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Handel: Messiah (Dublin Version, 1742)

Dunedin Consort

Handel: Messiah (Dublin Version, 1742)

...winner Baroque Vocal Album of the Year 2007
CKD 285 (Linn Records)
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Compact Disc

$25.00

Studio Master

FLAC 24bit 88.2kHz 2,543.9MB $24.00

Studio Master

ALAC 24bit 88.2kHz 2,582.5MB $24.00

CD Quality

FLAC 16bit 44.1kHz 725.4MB $13.00

CD Quality

ALAC 16bit 44.1kHz 739.9MB $13.00

MP3

MP3 320k 44.1kHz 320.7MB $11.00
Prices shown in US Dollars



Listen

Tracks: Listen and Download

Format
Track Time Listen
1
Sinfonia

Sinfonia

Composer

George Frideric Handel

Conductor John Butt
3:05 Play $1.70
2
Recit: Comfort ye

Recit: Comfort ye

Composer

George Frideric Handel

Conductor

John Butt

Soloist Nicholas Mulroy (tenor)
3:16 Play $1.70
3
Air: Every valley shall be exalted

Air: Every valley shall be exalted

Composer

George Frideric Handel

Conductor John Butt
Soloist Nicholas Mulroy (tenor)
3:10 Play $1.70
4
Chorus: And the Glory of the Lord

Chorus: And the Glory of the Lord

Composer George Frideric Handel
Conductor John Butt
2:50 Play $1.70
5
Recit: Thus saith the Lord

Recit: Thus saith the Lord

Composer George Frideric Handel
Conductor John Butt
Soloist

Matthew Brook (bass)

1:17 Play $1.70
6
Air: But who may abide

Air: But who may abide

Composer George Frideric Handel
Conductor John Butt
Soloist

Matthew Brook (bass)

3:13 Play $1.70
7
Chorus: And he shall purify

Chorus: And he shall purify

Composer George Frideric Handel
Conductor John Butt
2:22 Play $1.70
8
Recit: Behold a virgin shall conceive

Recit: Behold a virgin shall conceive

Composer George Frideric Handel
Conductor John Butt
Soloist

Annie Gill (mezzo soprano)

0:20 Play $1.70
9
Air: O thou that tellest good tidings

Air: O thou that tellest good tidings

Composer George Frideric Handel
Conductor John Butt
3:38 Play $1.70
10
Chorus: O thou that tellest good tidings

Chorus: O thou that tellest good tidings

Composer

George Frideric Handel

Conductor John Butt
1:32 Play $1.70
11
Recit: For behold!

Recit: For behold!

Composer

George Frideric Handel

Conductor John Butt
Soloist

Matthew Brook (bass)

2:03 Play $1.70
12
Air: The people that walked in darkness

Air: The people that walked in darkness

Composer George Frideric Handel
Conductor John Butt
Soloist

Matthew Brook (bass)

3:27 Play $1.70
13
Chorus: For unto us a child is born

Chorus: For unto us a child is born

Composer George Frideric Handel
Conductor John Butt
3:44 Play $1.70
14
Pifa (Pastoral Symphony)

Pifa (Pastoral Symphony)

Composer George Frideric Handel
Conductor John Butt
2:46 Play $1.70
15
Recit: There were shepherds

Recit: There were shepherds

Composer George Frideric Handel
Conductor

John Butt

Soloist

Susan Hamilton (soprano)

0:12 Play $1.70
16
Recit: And lo!

Recit: And lo!

Composer George Frideric Handel
Conductor John Butt
Soloist

Susan Hamilton (soprano)

0:17 Play $1.70
17
Recit: And the angel said unto them

Recit: And the angel said unto them

Composer George Frideric Handel
Conductor John Butt
Soloist

Susan Hamilton (soprano)

0:28 Play $1.70
18
Recit: And suddenly

Recit: And suddenly

Composer

George Frideric Handel

Conductor John Butt
Soloist

Susan Hamilton (soprano)

0:16 Play $1.70
19
Chorus: Glory to God

Chorus: Glory to God

Composer George Frideric Handel
Conductor John Butt
1:51 Play $1.70
20
Air: Rejoice greatly

Air: Rejoice greatly

Composer George Frideric Handel
Conductor John Butt
Soloist

Susan Hamilton (soprano)

6:19 Play $3.40
21
Recit: Then shall the eyes of the blind

Recit: Then shall the eyes of the blind

Composer George Frideric Handel
Conductor John Butt
Soloist

Clare Wilkinson (alto)

0:23 Play $1.70
22
Air: He shall feed his flock

Air: He shall feed his flock

Composer George Frideric Handel
Conductor John Butt
Soloist

Clare Wilkinson (alto)

5:07 Play $3.40
23
Chorus: His yoke is easy

Chorus: His yoke is easy

Composer George Frideric Handel
Conductor John Butt
2:12 Play $1.70
24
Chorus: Behold the lamb of God

Chorus: Behold the lamb of God

Composer George Frideric Handel
Conductor John Butt
3:09 Play $1.70
25
Air: He was despised

Air: He was despised

Composer George Frideric Handel
Conductor John Butt
Soloist

Clare Wilkinson (alto)

11:30 Play $5.10
26
Chorus: Surely

Chorus: Surely

Composer George Frideric Handel
Conductor John Butt
1:47 Play $1.70
27
(and with his stripes)

(and with his stripes)

Composer

George Frideric Handel

Conductor John Butt
1:47 Play $1.70
28
Chorus: All we like sheep

Chorus: All we like sheep

Composer George Frideric Handel
Conductor John Butt
3:27 Play $1.70
29
Recit: But Who may abide

Recit: But Who may abide

Composer George Frideric Handel
Conductor John Butt
0:27 Play $1.70
30
Recit accomp: All they that see him

Recit accomp: All they that see him

Composer George Frideric Handel
Conductor John Butt
Soloist Nicholas Mulroy (tenor)
0:42 Play $1.70
31
Chorus: He trusted in God

Chorus: He trusted in God

Composer George Frideric Handel
Conductor John Butt
2:14 Play $1.70
32
Recit accomp: Thy rebuke

Recit accomp: Thy rebuke

Composer George Frideric Handel
Conductor John Butt
Soloist

Susan Hamilton (soprano)

1:52 Play $1.70
33
Air: Behold and see

Air: Behold and see

Composer George Frideric Handel
Conductor John Butt
Soloist

Susan Hamilton (soprano)

1:22 Play $1.70
34
Recit accomp: He was cut off

Recit accomp: He was cut off

Composer George Frideric Handel
Conductor John Butt
Soloist

Susan Hamilton (soprano)

0:16 Play $1.70
35
Air: But thou didst not leave

Air: But thou didst not leave

Composer George Frideric Handel
Conductor John Butt
Soloist

Susan Hamilton (soprano)

2:09 Play $1.70
36
Chorus: Lift up your heads

Chorus: Lift up your heads

Composer George Frideric Handel
Conductor John Butt
3:05 Play $1.70
37
Recit: Unto which of the angels

Recit: Unto which of the angels

Composer George Frideric Handel
Conductor John Butt
Soloist Nicholas Mulroy (tenor)
0:17 Play $1.70
38
Chorus: Let all the angels

Chorus: Let all the angels

Composer George Frideric Handel
Conductor John Butt
Band
1:26 Play $1.70
39
Air: Thou art gone up

Air: Thou art gone up

Composer George Frideric Handel
Conductor John Butt
Soloist

Matthew Brook (bass)

3:00 Play $1.70
40
Chorus: The Lord gave the word

Chorus: The Lord gave the word

Composer George Frideric Handel
Conductor John Butt
1:07 Play $1.70
41
Soli & Chorus: How beautiful are the feet

Soli & Chorus: How beautiful are the feet

Composer George Frideric Handel
Conductor John Butt
Soloist

Annie Gill (mezzo soprano), Heather Cairncross (alto)

3:34 Play $1.70
42
Air: Why do the nations

Air: Why do the nations

Composer George Frideric Handel
Conductor John Butt
Soloist

Edward Caswell (bass)

1:27 Play $1.70
43
Chorus: Let us break

Chorus: Let us break

Composer George Frideric Handel
Conductor John Butt
1:48 Play $1.70
44
Recit: He that dwelleth

Recit: He that dwelleth

Composer George Frideric Handel
Conductor John Butt
Soloist Nicholas Mulroy (tenor)
0:21 Play $1.70
45
Chorus: Hallelujah

Chorus: Hallelujah

Composer George Frideric Handel
Conductor John Butt
4:02 Play $1.70
46
Air: I know that my redeemer liveth

Air: I know that my redeemer liveth

Composer George Frideric Handel
Conductor John Butt
Soloist

Susan Hamilton (soprano)

5:12 Play $3.40
47
Soli & Chorus: Since by man

Soli & Chorus: Since by man

Composer George Frideric Handel
Conductor John Butt
2:01 Play $1.70
48
Recit. Accomp: Behold I tell you a mystery

Recit. Accomp: Behold I tell you a mystery

Composer George Frideric Handel
Conductor John Butt
Soloist

Matthew Brook (bass)

0:36 Play $1.70
49
Air: The trumpet shall sound

Air: The trumpet shall sound

Composer George Frideric Handel
Conductor John Butt
Soloist

Matthew Brook (bass)

8:28 Play $3.40
50
Recit: Then shall be brought

Recit: Then shall be brought

Composer George Frideric Handel
Conductor John Butt
Soloist Annie Gill (mezzo soprano)
0:13 Play $1.70
51
Duet: O death where is thy sting

Duet: O death where is thy sting

Composer George Frideric Handel
Conductor John Butt
Soloist Nicholas Mulroy (tenor), Annie Gill (mezzo soprano)
1:00 Play $1.70
52
Chorus: But thanks

Chorus: But thanks

Composer George Frideric Handel
Conductor John Butt
2:08 Play $1.70
53
Air: If God be for us

Air: If God be for us

Composer George Frideric Handel
Conductor John Butt
Soloist

Clare Wilkinson (alto)

4:27 Play $1.70
54
Chorus: Worthy is the lamb

Chorus: Worthy is the lamb

Composer George Frideric Handel
Conductor John Butt
3:18 Play $1.70
55
Chorus: Amen

Chorus: Amen

Composer George Frideric Handel
Conductor John Butt
4:20 Play $1.70
56
Recit: He that dwelleth in Heaven shall laugh them to scorn

Recit: He that dwelleth in Heaven shall laugh them to scorn

Composer George Frideric Handel
Conductor John Butt
0:11 Play $1.70
57
Air: Thou shalt break them with a rod of iron

Air: Thou shalt break them with a rod of iron

Composer George Frideric Handel
Conductor John Butt
2:04 Play $1.70
Total Running Time 138 minutes Purchase all tracks 
$13.00 
Prices shown in US Dollars

This superb 2-disc set, which features the Messiah as premiered by Handel in Dublin in 1742, was named the winner of Baroque Vocal Album of the Year in the 2007 Gramophone Awards.

The SACD layer is both 5.1 channel and 2-channel. The Studio Master files are 88.2kHz / 24-bit.

Download includes - cover art, inlay, booklet
Dunedin Consort

Dunedin Consort

Under the direction of John Butt OBE, the ensemble has become particularly acclaimed for its inquisitive approach, shining new light into some of the best known pieces of the baroque repertoire. They have won two Gramophone Awards for their performances of Handel's Messiah  and Mozart's Requiem.

profile & recordings >>
George Frideric Handel

George Frideric Handel

Handel was a German-British Baroque composer who is famous for his operas, oratorios, and concertos.
profile & recordings >>
John Butt

John Butt

John Butt is Gardiner Professor of Music at the University of Glasgow and musical director of Edinburgh's Dunedin Consort.
profile & recordings >>

Produced by Philip Hobbs

Winner Baroque Vocal Album of the Year 2007Winner Baroque Vocal Album of the Year

Classic FM Gramophone Awards 2007

 

Recorded at Greyfriars Kirk, Edinburgh, UK: 1-4 May 2006
Engineered by Philip Hobbs
Post-Production by Julia Thomas at Finesplice Ltd
Project Management: Caroline Dooley
Cover image: The Tribute Money, 1629 (oil on panel)

Performers
John Butt (conductor), Co-artistic Director
Susan Hamilton (soprano), Co-artistic Director
Nicholas Mulroy (tenor)
Matthew Brook (bass)
Annie Gill (mezzo soprano)     
Clare Wilkinson (alto)
Heather Cairncross (alto)
Edward Caswell (bass)

Why the Dublin version?
Choosing to perform Handel's Messiah in the version presented at its very first performances, in Dublin (13 April and 3 June, 1742), does not mean that we are presenting the work in its ‘best' or indeed in its entirely ‘original' form. Handel seems to have composed the oratorio with no specific performers in mind, so he was prepared to adapt it for each production in turn; indeed, around ten versions are discernible in all. He certainly made some revisions in Dublin for those singers who were not of the same calibre as he enjoyed in London, so there has sometimes been a tendency to view this first performing version as critically compromised by supposedly inadequate forces. Nevertheless, there is much to be gained from reconstructing the Dublin version (albeit something which cannot be done with total certainty) and, particularly, attempting to use roughly the same size of vocal forces and a similar apportionment of soloists. Some of Handel's cuts made during the preparations for the Dublin performances were clearly designed to enhance the flow of the piece; these were retained in subsequent performances and thus do not reflect the inadequacy of the first performers.

Other changes were positive reactions to the qualities of specific singers available in Dublin. Most significant here was Handel's decision to present one lyrical alto aria in each of the three parts to Mrs Susannah Cibber, sister of Thomas Arne. Cibber was best known as an outstanding actor, but had recently undergone the scandal of an extra-marital affair, the details of which had been described in court in astonishingly unambiguous detail. Her appearance in Dublin marked the beginning of her return to public life at a safe distance from London; although by no means expert as a singer, her performances brought a quality of expression that was clearly outstanding. The aria ‘He shall feed his flock' in Part 1, originally cast for soprano in Bb major, was therefore transposed down to F major to suit Mrs Cibber. The aria from Part 2 (‘He was despised and rejected' - and, as it happened, a particularly prescient text for the singer concerned) was already in the correct range and, in Part 3, Handel transposed the aria ‘If God be for us, who can be against us?' from G minor (soprano) to C minor, thus giving Mrs Cibber the final aria, conventionally reserved for the leading soloist.

The other major change is the replacement of the original version of the aria ‘How beautiful are the feet' (from Romans, as chosen by Charles Jennens, the compiler of the libretto) with a duet for two altos and chorus, setting the text beginning with the same line from Isaiah 52:7-9. Thus the opening musical material is very similar to the original but it thereafter departs entirely, with the chorus section ‘Break forth into joy'. This suggests that Handel was keen to adapt the work for the vocal forces available in Dublin, particularly the men of the two cathedral choirs, who were adept at singing in this ‘verse anthem' style.

While Handel had the services of a professional Italian soprano, Christina Maria Avoglio, the remainder of the soloists were drawn from the two cathedral choirs: two male altos shared out the remaining alto solos (Joseph Ward and William Lamb); the tenor arias and recitatives were taken by James Bailey, and John Mason and John Hill sang the bass solos (Hill apparently taking only ‘Why do the nations so furiously rage together?'). Mason and Lamb were former children of the Chapel Royal in London, and may well thus have encountered Handel before. In true cathedral fashion, all these soloists also formed the core of the chorus, so the work was not only given a broad spectrum of solo vocal colours but also a much more intimate and flexible chorus than many later performances (assuming a distinction between solo and choral forces) would lead us to expect. Another factor to consider is that Handel had used the music that was to constitute five of the Messiah choruses as Italian duets, a year or so before. To Handel, at least, these intimate but also intensely energetic and virtuoso duets would have been in his mind when he wrote and directed the first performances of Messiah.

The challenge then, in this recording, has been to try and recapture something of the freshness of the first public performances of Messiah, imagining what it was like to hear the work for the very first time when many moments must have been quite unexpected. By analysing the lists of adult singers in the two cathedral choirs and subtracting the number who were likely to have been ordained (and thus excluded from secular performances) Donald Burrows has suggested that the original chorus probably consisted of no more than three or four voices to a part. This certainly allows us to capitalise on the existing strengths of the Dunedin Consort, which comprises singers who are equally adept at solo, ensemble and choral singing. We have thus been able to apportion the solo areas in more or less exactly the way Handel did (although we have slightly altered the way in which the two ‘cathedral' altos are employed). We have also kept in mind the virtuoso origins of at least some of the choruses and the level of detail and expression that a smaller group of expert singers might be able to achieve.

The sequence of movements in the Dublin version also brings its own particular pacing: the alto versions of the final arias of Parts 1 and 3 create a more striking contrast between the increased mellow character of each aria and the respective final chorus. With the various cuts and abbreviations made towards the end of Part 2, there is, conversely, rather more momentum from the end of ‘How beautiful are the feet' towards the ‘Hallelujah' chorus. We have also borne in mind the division of each part into ‘scenes', which is provided in the libretto for the London performances of 1743. Handel would, in all likelihood, have paced his oratorios in much the same way as he did for his operas.

The Dublin orchestra, expertly led by Matthew Dubourg, comprised only strings, two trumpets and timpani, although the exact size is unknown. Handel had his own organ transported to Ireland, according to a letter discovered by Burrows, so this was presumably used in the Messiah performances, perhaps by the composer himself (it is mentioned specifically for the new version of ‘How beautiful are the feet'); we assume that the harpsichord was used much of the time too.
John Butt

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There are 7 customer recommendations - Read all >>

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Choral Journal
"They play with stylish vigor..."
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High Fidelity (Poland)
5 Stars
An outstanding review from the Polish publication
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The Berkshire Review
Superb
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SA-CD.net
5 Stars
Highly recommended - indeed, this version is probably the first choice for this ever popular work.
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Inverness Courier
The Consort deliver a fresh and hugely enjoyable perspective on the music
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Classic FM Magazine
4 Stars
...nothing but praise
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Allmusic.com
5 Stars
ALBUM OF THE DAY - One of the most compelling and engaging Messiahs on disc.
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Atlanta Audio Society Newsletter
An additional plus is the excellent diction of these singers (should that surprise us about the Scots?). This is one time when you don't need to have the booklet firmly in hand in order to understand an oratorio in English!
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The Guardian
4 Stars
an authoritative bass in Matthew Brook, and a superb contralto (one of three) in Clare Wilkinson, whose heart-stopping delivery of the words "And ye shall find rest unto your souls," sets the tone for the whole performance.
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The Times
4 Stars
the real highlights are the choruses
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Bloomberg.com
...one of the most intimate "Messiahs" available.
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The Sunday Telegraph
The playing of the Dunedin Players under John Butt is admirably crisp, and the singing of the Consort disciplined and clear in enunciation.
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Gramophone Magazine
The freshest, most natural, revelatory and transparently joyful Messiah I have heard for a very long time.
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BBC Music Magazine
4 Stars
Stylish, fresh and more intimate.
more >>

The Scotsman
A genuine sparkle which lifts Handel's music above the ordinary, and a fresh angle for just about every moment.
more >>

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