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BT 0046
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BT 0046

HANDEL, G.F.: Messiah [Oratorio] (King's Colllege Choir, Cambridge, Brandenburg Consort, Cleobury)

The Classical Shop
release date: December 2013

Originally recorded in 2013

Artists:

Brandenburg Consort

Orchestra

Stephen Cleobury

Conductor

Alastair Miles

Soloist

John Mark Ainsley

Soloist

King's College Choir, Cambridge

Choral

Record Label
Brilliant Classics

Genre:

Choir


Classical

Total Time - 133:55
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GEORGE FRIDERIC HANDEL

     
 

Dotter Sion

 
1 Part I: Symphony 03:02
2 Part I: Comfort ye my people (Tenor) 02:50
3 Part I: Ev'ry valley shall be exalted (Tenor) 03:20
4 Part I: And the glory of the Lord shall be revealed (Chorus) 02:51
5 Part I: Thus saith the Lord of Hosts (Bass) 01:19
6 Part I: But who may abide the day of His coming (Alto) 04:04
7 Part I: And He shall purify (Chorus) 02:29
8 Part I: Behold, a virgin shall conceive (Alto) 00:23
9 Part I: O thou that tellest good tidings to Zion (Alto, Chorus) 05:26
10 Part I: For behold, darkness shall cover the earth (Bass) 02:01
11 Part I: The people that walked in darkness (Bass) 03:17
12 Part I: For unto us a child is born (Chorus) 04:04
13 Part I: Pifa (Pastoral Symphony) 02:30
14 Part I: There were shepards (Soprano) 00:30
15 Part I: And the angel said unto them (Soprano) 00:31
16 Part I: And suddenly there was with the angel (Soprano) 00:16
17 Part I: Glory to God in the highest (Chorus) 01:52
18 Part I: Rejoice greatly, O daughter of Zion (Soprano) 04:16
19 Part I: Then shall the eyes of the blind be open'd (Soprano) 00:24
20 Part I: He shall feed His flock like a shepherd (Soprano) 04:34
21 Part I: His yoke is easy, his burthen is light (Chorus) 02:20
22 Part II: Behold, The Lamb of God (Chorus) 02:21
23 Part II: He was despised (Alto) 09:50
24 Part II: Surely, He hath borne our griefs (Chorus) 01:42
25 Part II: And with His stripes we are healed (Chorus) 01:47
26 Part II: All we like sheep have gone astray (Chorus) 03:43
27 Part II: Recitative: All they that see Him (Tenor) 00:40
28 Part II: He trusted in God (Chorus) 02:18
29 Part II: Thy rebuke hath broken His heart (Tenor) 01:48
30 Part II: Behold, and see if there be any sorrow (Tenor) 01:21
31 Part II: He was cut off out of the land of the living (Soprano) 00:17
32 Part II: But Thou didst not leave His soul in hell (Soprano) 02:20
33 Part II: Lift up your heads, O ye gates (Chorus) 02:58
34 Part II: Unto which of the Angels (Tenor) 00:18
35 Part II: Let all the angels of God worship Him (Chorus) 01:27
36 Part II: Thou art gone up on high (Alto) 03:11
37 Part II: The Lord gave the word (Chorus) 01:04
38 Part II: How beautiful are the feet (Soprano) 02:02
39 Part II: Their sound is gone out into all lands (Chorus) 01:29
40 Part II: Why do the nations so furiously rage together (Bass) 01:25
41 Part II: Let us break their bonds asunder (Chorus) 01:43
42 Part II: He that dwelleth in heaven (Tenor) 00:11
43 Part II: Thou shalt break them (Tenor) 01:58
44 Part II: Hallelujah (Chorus) 03:35
45 Part III: I know that my redeemer liveth (Soprano) 05:47
46 Part III: Since by man came death (Chorus) 02:02
47 Part III: Behold, I tell you a mystery (Bass) 00:34
48 Part III: The trumpet shall sound (Bass) 08:30
49 Part III: Then shall be brought to pass the saying (Alto) 00:16
50 Part III: O death, where is thy sting (Alto, Tenor) 01:02
51 Part III: But thanks be to God (Chorus) 02:02
52 Part III: If God be for us (Soprano) 05:06
53 Part III: Worthy is the Lamb that was slain … Amen (Chorus) 06:49
     
 John Mark Ainsley Soloist
 Alastair Miles Soloist
 Stephen Cleobury Conductor


The Messiah was written at great speed by Handel during the winter of 1741-2, and was received to great acclaim its first performance in Dublin in 1742. Charles Jennens compiled the text from the Bible, and the work is cast in three sections. Although a success in Dublin, the work had a less than warm welcome when it was performed in London without its title, and called ’a New Sacred Oratorio’ to avoid causing offence to the rather puritanical British public and press.This ruse failed however, and the press were hostile. Jennens and Handel also fell out, as Jennens felt that the composer hadn’t taken enough time and care over the music! This was a low point for Handel, and he seriously contemplated leaving the UK and returning to Germany. Eventually, after a few years, and after a series of performances for charitable causes, the work became a firm favourite. It has been linked ever since with the composer’s generous charitable donations to the Foundling Hospital, of which he was a director along with William Hogarth and Thomas Coram. 

Messiah is the masterpiece of the English Baroque, and for 200 years has been performed by both professional and amateur choirs around the world. Handel’s gift for truly memorable tunes and (notwithstanding Jennens’s concerns) the care he took in setting the text have ensured that it has remained one of the most famous worksever composed.

 
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