| RECORDINGS |
|
| LABEL: |
DEUTSCHE
GRAMMOPHON |
| CATALOG
NUMBER: |
413
967-2 |
| UPC
NUMBER: |
028941396723 |
| NUMBER OF DISCS: |
3 |
| RUNNING TIME: |
52:18,
56:02, 49:55 |
| YEAR
RECORDED: |
1965 |
| CD
RELEASE DATE: |
SEPTEMBER
4, 1989 |
| CONDUCTOR: |
KARL
RICHTER |
| ORCHESTRA: |
MÜNCHENER
BACH-ORCHESTER |
| CHOIR: |
MÜNCHESNER
BACH-CHOR |
| SOPRANO: |
GUNDULA
JANOWITZ |
| ALTO: |
MARGA
HÖEFFGEN |
| TENOR: |
ERNST
HAEFLIGER |
| BASS: |
FRANZ
CRASS |
|
|
| AUDIO SAMPLES |
HIGHLIGHTS |
OTHER
RELEASES |
| |
    |
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|
DISC ONE
1. Sinfonia. Grave - Allegro
moderato [4:20]
2. Arioso (Tenor) "Tröste dich, mein
Volk" [2:34]
3. Arie (Tenor) "Alle Tale macht hoch
erhaben" [4:05]
4. Chor: "Denn die Herrlichkeit Gottes"
[3:21]
5. Rezitativ (Baß) "So spricht der Herr,
Gott Zebaoth" [1:36]
6. Arie (Alt) "Doch wer wird ertragen
den Tag.." [5:34]
7. Chor "Und er wird reinigen und
läutern das Volk.." [2:47]
8. Rezitiativ (Alt) "Denn sieh, der
Verheißene ..." [0:31]
9. Arie (Alt) "O du, die Wonne verkündet
in Zion" [5:25]
10. Chor "O du, die Wonne verkündet in
Zion" [2:20]
11. Rezitiativ (Baß) "Denn blick auf:
Finsternis ..." [1:31]
12. Arie (Baß) "Das Volk, das da wandelt
im Dunkel" [4:22]
13. Chor "Denn es ist uns ein Kind
geboren" [4:21]
14. Hirtenmusik. Larghetto e mezzo piano
[3:07]
15. Rezitativ (Sopran) "Es waren Hirten
beisammen.." [2:04]
16. Chor "Ehre sei Gott in der Höhe"
[2:14]
|
DISC TWO
1. Arie (Sopran) "Erwach, frohlocke, o
Tochter.." [4:53]
2. Rezitativ (Alt) "Dann wird das Auge
des Blinden sich auftun" [0:29]
3. Duett (Sopran, Alt) "Er weidet seine
Herde" [5:30]
4. Chor "Sein Joch ist sanft" [2:40]
5. Chor "Seht an das Gotteslamm" [2:57]
6. Arie (Alt) "Er ward verschmähet und
verachtet" [12:23]
7. Chor "Wahrlich, er trug unsere Qual"
[2:40]
8. Chor "Durch seine Wunden sind wir
geheilt" [2:12]
9. Chor "Der Herde gleich, vom Hirten
fern" [4:06]
10. Rezitativ (Tenor) "Und alle, die ihn
sehen, .." [0:49]
11. Chor "Er traute Gott, daß er würd'
erretten ihn" [2:50]
12. Rezitativ (Tenor) "Diese Schmach
brach ihm das Herz" [2:07]
13. Arioso (Tenor) "Schau hin und sieh"
[1:40]
14. Rezitativ (Tenor) "Er ist dahin aus
dem Lande..." [0:32]
15. Arie (Tenor) "Doch du ließest ihn im
Grabe nicht" [2:27]
16. Chor "Hoch tut euch auf" [3:26]
17. Rezitativ (Tenor) "Zu welchen von
den Engeln" [0:25]
18. Chor "Laßt alle Engel des Herrn
preisen ihn" [1:37]
|
DISC
THREE
1. Arie (Baß) "Du
fuhrest in die Höh'" [3:49]
2. Chor "Der Herr gab das Wort"
[1:17]
3. Arie (Sopran) "Wie lieblich
ist der Boten Schritt" [3:19]
4. Arioso (Tenor)"Ihr Schall
gehet aus in jedes Land" [1:19]
5. Arie (Baß) "Warum denn rasen
und toben die Heiden" [3:23]
6. Rezitativ (Tenor) "Der da
thronet im Himmel" [0:13]
7. Arie (Tenor) "Du zerschlägst
sie mit dem eisernen Zepter"
[2:11]
8. Chor "Halleluja" [4:12]
9. Arie (Sopran) "Ich weiß, daß
mein Erlöser lebet" [6:25]
10. Chor "Wie durch Einen der
Tod" [2:17]
11. Rezitativ (Baß) "Vernehmt,
ich künd' ein Geheimnis an"
[0:47]
12. Arie (Baß) "Sie schallt, die
Posaun'" [10:11]
13. Rezitativ (Alt) "Dann wird
erfüllt, was da .." [0:27]
14. Chor "Würdig ist das Lamm"
[4:20]
15. Chor "Amen" [3:29] |
|
SITE RATING: 4/10
SITE
REVIEW: Not being an
admirer of Karl
Richter's 1972 Messiah (also on
Deutsche Grammophon), I wasn't expecting much
from this earlier, 1965 recording, and my
expectations were sadly met - even exceeded.
Richter's style is very much rooted in
the slower-is-better school of thought, but
unlike some of his contemporaries, who knew
how to bring out the richness and colour in
more romantic readings of Messiah, Richter's
direction simply is far less vital. The
Münchesner Orchestra & Bach-Choir's
playing and singing are pleasant enough; and
the soloists are good-to-middling, with
soprano Gundula Janowitz posessing a lovely
tone, alto Marga Höeffgen a bit rich and heavy
in her tone, tenor Ernst Haefliger has a
similarly lovely tone, but is reduced to
lurching through his arias, and bass Franz
Crass hollow and blustery. The feel of
Richter's direction here is extremely
mechanical - there is a lurching (there's that
word again) stop-and-start punctuation to the
playing and singing that reminded me of rusty
gears meshing together poorly. For all
the talent in the orchestra and choir,
everything here sounds like an old motor
trying to start on a cold morning - there's no
forward motion, or dancing tempos, lightness
or easiness. One of the most thudding,
unpleasant Messiahs
I've heard - and another strike in my book
against Karl Richter.
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