Handel: Jephtha (In English)

Editorial Reviews
Album Description
This recording is part of a cycle of old testament oratorios by G. F. Handel and is one of the many concerts performed at Maulbronn monastery over the past years. The Maulbronn monastery, founded by Cistercian monks in the year 1147, is the only completely preserved mediaeval complex north of the Alps and since 1994 as the 13th German site on the list of UNESCO World Heritage Sites. The series of recordings combines authentically performed baroque oratorios with the optimal acoustics and atmosphere of this unique monastic church. This ideal location demands the transparency of playing and the interpretive unveiling of the rhetoric intimations of the composition, which is especially aided by the historically authentic performance. The music is exclusively performed on reconstructed historical instruments, which are tuned to the pitch customary in the composers lifetime (a = c. 415 Hz).

Soloists: Emma Kirkby (soprano), Melinda Paulsen (mezzo-soprano), Charles Humphries (alto), Julian Podger (tenor), Stephen Varcoe (bass)

Ensembles: Baroqueorchestra of the Maulbronn Concerts (on period instruments), Maulbronn Chamber Choir

Conductor: Jürgen Budday

Tracks:

Brandenbutg Concerto No.3 In G First Movement
Overture No.3 In D Second Movement
Violin Concerto In E First Movement
Prelude In C minor
Jesu Bleibet Meine Freude (Chorus From Cantata No.147)
Overture No.2 In B minor Minuet And Badinerie
Oboe Concerto In D minor Second Movement
Brandenburg Concerto No.4 In G Third Movement
Musical Offering - Fuga canonica
Easter Oratorio - Overture
Minuet In D minor
Kommst Du Nun, Jesu, Vom Himmel herunter(From Choral Prelude BWV 650
Brandenburg Concerto No.1 In F Second Movement
Art Of The Fugue - Contrapunctus 9
Concerto For Flute, Violin, Harpsichord And Strings. Triple Concerto - Third Movement
Overture No.4 In D - Réjouissance
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Water Music - Alla Hornpipe
Xerxes - Ombra Mai Fu (Largo)
Messiah - And The Glory Of The Lord
Concerto Grosso In A Minor, Op. 6, No. 4 - Larghetto Affettuoso
Organ Concerto In F, Op. 4, No. 4 Allegro
Water Music - Air
Messiah - For Unto Us A Child Is Born
Concerto Grosso In B flat, Op. 3, No. 2 - Largo
Salomon - Sinfonia, Act 3
The Choice Of Hercules - While For Thy Arms
Water Music - Allegro (Suite No. 1)
Suite No. 5 In E - Air With Variations
Jephtha - How Dark, O Lord
Organ Concerto In F, Op. 4, No. 5 Alla Siciliana - Presto
Mi Palpita Il Cor (Solo Cantata) S'un Di M'adora
Water Music - Andante Allegro Da Capo
Concerto for Trumpet & Orchestra in E-flat: First Movement
Symphony No. 94 in G: Surprise Symphony-second movement
Concerto for Violin No. 2 in D: Third Movement
Flute Trio No. 31 in G: Second Movement
Symphony No. 31 in D: Hornsignal-First Movement
String Quartet No. 17 in F, Op. 3, no. 5: Serenade Quartet-Second Movement
Sinfonia Concertante in B-flat for Violin, Cello, Oboe, Bassoon and Orchestra-Third Movement
Concerto for 2 Horns & Orchestra in E-flat: Second Movement
Symphony No. 88 in G: Fourth Movement
String Quartet No. 77 in C: Kaiser Quartet-Poco adagio cantabile
Notturno No. 1 in C: Second Movement
Symphony No. 98 in B: Londoner No. 4-Fourth Movement
Eine Kleine Nachtmusik - first movement
Piano Concerto in A - second movement
Flute Concerto in D - Rondeau
Serenade - Minuet
Violin Concerto - first movement
Symphony No. 40 in G minor - first movement
Clarinet Concerto - second movement
Turkish March
Divertimento - Minuet
Horn Concerto No. 3 in E-flat - first movement
Symphony No. 5 in C minor, Op. 67-First Movement
Piano Sonata No. 14 in C sharp minor, Op. 27, no. 2: Moonlight Sonata-First Movement
Overture
O welche Lust (Prisoners' Chorus)
Ha, welch ein Augenblick (Pizarros's Aria)
Concerto for Piano and Orchestra No. 3 in C minor, Op. 37: Second Movement
Concerto for Violin and Orchestra in D, Op. 61: Third Movement
Piano Sonata No. 8 in C minor, Op. 13: Pathétique-Second Movement
Sympony No. 6 in F, Op. 68: Pastorale-First Movement
Fantasy for Piano, Chorus and Orchestra in C minor, Op. 80: Choral Fantasy - Finale
German Dance No. 1 In C
Impromptu Op. 90, No. 3 In G-Flat
Heidenroslein
Ave Maria
Der Lindenbaum
Quintet In A 'Trout Quintet' - Andante
Mass No. 6 In E-Flat - Kyrie
Die Schone Mullerin Des Mullers Blumen
German Dance No. 2 In G
Piano Sonata In B-Flat
Nachtgesang Im Walde
Winterreise - No. 15: Die Krahe
German Mass - Zum Sanctus (Heilit, Heilig Ist Der Herr)
Symphony No. 8 In B Minor 'Unfinished' - Second Movement
Waltz No. 1 in E-flat, Op. 18 Grande Valse brillante
Nocturne in E-flat, Op. 9, no. 2
Etude in G-flat, Op. 10, no. 5
Concerto for Piano and Orchestra No. 2 in F minor, Op. 21-Second Movement
Mazurka in D minor, Op. 33, no. 2
Prelude in D-flat, Op. 28, no. 15 Raindrop
Etude in C, Op. 10, no. 1
Nocturne in D-flat, Op. 27, no. 2
Impromptu No. 4 in C-sharp minor, Op. 66 Fantasy Impromptu
Scherzo in B minor, Op. 20
Piano Sonata No. 2 in B-flat minor, Op. 35-Third Movement
Concerto for Piano and Orchestra No. 1 in E minor, Op. 11 - Third Movement
Piano Concerto No. 1 in B-flat minor - first movement 113.String Seranade - Waltz
Violin Concerto - second movement
The Sleeping Beauty - Waltz
Capriccio Italien, Op. 45
Swan Lake - Waltz
Eugene Onegin - Polonaise
The Nutcracker - Waltz of the Flowers
Orchestral Suite No. 4 - Mozartiana - Third Movement
Swan Lake - Dance of the Swans
Symphony No. 6 in B minor - Pathétique - Third Movement
Hungarian Dance No.5
Lullaby
Symphony No.1 in C minor, Op. 68 - Third Movement
Intermezzo in E-flat, Op.117, no. 1
Concerto for Violin and Orchestra in D, Op. 77 - Third Movement
Waltz, Op. 39, no. 15
Concert for Piano and Orchestra No. 2 in B-flat, Op. 83 - Second Movement
String Quintet in G, Op. 111 - Second Movement
Symphony No.4 in E minor, Op. 98 - Third Movement
Intermezzo in A minor, Op. 76, no. 7
Hungarian Dance No.1 in G minor
German Requiem Selig sind die Toten (Final Chorus)
Die Fledermaus - Overture
Kaiser Waltz, Op.437
Thunder And Lightning Polka, Op. 324
Roses From The South Waltz, Op. 388
AnnenPolka, Op. 117
Vienna Blood Waltz, Op. 354
Eljen A Magyar Polka, Op. 332
Wine, Women and Song Waltz, Op. 333
On The Beautiful Blue Danube Waltz, Op. 134
Die Meistersinger Von Nurnberg - Overture
Tannhauser - Die Pilger sind's (Pilgims' Chorus)
Tannhauser - O du mein holder Abendstern (Wolfram's Aria)
Lohengrin - Act 3 Prelude and Bridal Chorus
The Flying Dutchman - Jo-ho-he Traft ihr das Schiff (Senta's Ballad)
The Flying Dutchman - Steuermann, lass die Wacht (Sailors' Chorus)
Die Walkure - Wintersturme wichen dem Wonnemond (Siegmund's Aria)
Die Walkure - Ride of the Valkyries
Siegfried Hoho! Hoho! Hohei! Schmiede mein Hammer (Siegfried's Forging Song)
Tristan und Isolde - Liebestod
Thus sprach Zarathustra, Op. 30 (excerpt)
Don Juan, Op. 20
Eine Alpensinfonie, Op. 64, I.Nacht
Don Quixote, Op.35, first movement: Introduction
Salome, Op. 54, Dance Of The Seven Veils
Der Rosenkavalier, Op. 59, Finale: Hab' mir's gelobt ihn lieb zu haben
Piano Concerto 2 In C minor, Op. 18 - First Movement
Vocalise, Op.34, No. 14
Prelude In G Sharp minor, Op. 32, No. 12
Piano Concerto No. 4 In G minor, Op. 40 - Third Movement
Symphony No. 2 In E minor, Op. 27 - Third Movement
Piano Concerto No. 1 In F sharp minor, Op. 1 - Second Movement
Rhapsody, Op. 43 On A Theme By Paganini
Hungarian Rhapsody No.2
Liebestraum No.3 in A-flat
Piano Concerto No.1 in E-flat - third movement
Angelus
Mephisto Waltz No.1 (Dance in a Village Tavern)
Prelude and Fugue on B-A-C-H
Dante Symphony - Finale. - Purgatorio - Magnificat
Les Préludes
Boléro
Daphnis et Chloé first movement: Nocturne
Rhapsodie Espagnole
Shéhérazade - first movement: Asie
Ma Mère l'Oye - fourth movement: La Belle et la Bête
Introduction and Allegro for Harp, Flute, Clarinet, and String Quartet
La Valse
Slavic Dance No. 1 in C, Op. 46, no.1
Symphony No. 9 in E minor, Op. 95 'From the New World' - second movement
Humoresque, Op. 101
Slavic Dance No. 8 in G minor, Op. 46, no. 8
Serenade for String Orchestra, Op. 22 - second movement
Romance for Violin and Orchestra In F minor, Op. 11
Symphony No. 7 in D minor - third movement
Melodie (Songs My Mother Taught Me)
Carneval Overture, Op. 92
Concerto for Cello and Orchestra in B minor, Op. 104 - third movement
Symphony No.4 In A, Op. 90. Italian - First Movement
Frühlingslied In A, Op. 62, No. 6
Wedding March (From A Midsummer Night's Dream, Op.61)
Duetto In F, Op.30, No.6 (From Songs Without Words)
String Symphony No.9 In C. Schweitzer Symphony - Third Movement
Concerto For Violin, Piano And String Orchestra No. 1 In D minor - Second Movement
Symphony No.3 In A minor, Op.56 Scottish - Third Movement"
Notturno (From A Midsumment Night's Dream, Op. 61)
Rondo Capriccioso, Op.14
String Symphony No. 12 In G minor - First Movement
Venetian Gondola Song In F Sharp minor, Op.30, No.6
Scherzo (From A Midsumment Night's Dream, Op. 61)
Violin Concerto In E minor, Op.64 - Third Movement
Peer Gynt - Suite No. 1, Op. 46 - Morgenstimmung
Holberg Suite, Op. 40 - I. Prelude. Allegro vivace
Holberg Suite, Op. 40 - IV. Air. Andante religioso
Arietta, Op. 12, no. 1
Homage March from Sigurd Jorsalfar, Op. 56
Peer Gynt - Suite No. 2, Op. 55 - Solveig's Song
Wedding Day at Troldhauen, Op. 65, no. 6
The Last Spring, Op. 34, no. 2
Peer Gynt - Suite No. 1, Op 46 - Anitra's Dance
Nordic Melody Op. 63
Notturno, Op. 54, no. 4
Elegie, Op. 47, no. 5
Peer Gynt - Suite No. 2, Op. 55 - Arabic Dance
Piano Concerto in A minor, Op. 16 - Allegro
Symphony No. 3 in E flat, Op. 97 - Rhenish - first movement
Traumerai (from Kinderszenen, Op. 15)
Mondnacht (from Eichendorff-Liederkreis, Op. 39)
Aufschwung (from Fantasietucke, Op. 12)
Triolett, Op. 114, no. 2
Tanzlied (No. 1 from Duets, Op. 78)
Symphony No. 4 in D minor, Op. 120 - second movement
Frühlingsgruss
Abschied (from Waldszenen Op. 82)
Dichterliebe, Op. 48 - Im wunderschonen Monat Mai
Manfred Overture, Op. 115
Romance in F sharp, Op. 28, no. 2
Die Rose stand im Tau
Liebesgarten (from Four Duets, Op. 34)
Warum? (from Fantasiestucke, Op. 12)
Kennst du das Land, Op.79, no. 29 (from Lieder der Mignon, Op. 98a)
Von fremden Landern und Menschen (from Kinderszenen, Op. 15)

Album Description

An extraordinary 20-CD collection of great works by Bach, Vivaldi, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, Tchaikovsky, Brahms, Ravel, Mendelssohn, Rachmaninoff, J. Strauss, R. Strauss, Schumann, Wagner, Dvorak, Grieg and Liszt. It also features worldrenowned artists such as Sir Neville Marriner, Martha Argerich, Ivo Pogorelich, Hermann Prey, Reiner Goldberg, Sylvia Sass, Jochen Kowalski, Peter Schreler and many more. This exquisite, copper metallic, deluxe boxed set is the perfect gift for the classical music neophyte.

Customer Reviews:

Mill. Classical review.......2007-05-13

This is a great set of recordings for the money, the only problem was I've had to clean some of the CD's before they played correctly.

classical music for the unitiated.......2007-04-01

This set is a good way to start listening to classical music. It's very well produced and easy to listen to. I purchased it to use as part of my world history high school class. It would have been nice to have some bio information on the composers. However, the product is exactly as advertised and good value for the money. The students were intrigued by how many of the excerpts they had heard before.

Some little gems there that I had forgotten!.......2007-03-30

Although I studied classical music at school, I had all but forgotten it until I bought this set. I heard several tracks I haven't heard for over 30 years, and I had been humming Brahms's 'Hungarian Dance no. 5' for years without ever knowing what it was and it was on the disc, so that was nice.

I found it to be a very good selection overall, but I felt too much had already been heard on TV, which of course is what lots of newcomers to classical music might appreciate. I managed to find about 2 hours of tracks that I wanted to keep, which works out quite expensive per disc, but I did find some wonderful music I had completely forgotten about, so it was worth it. All in all, it represents good value, and I have only knocked one star off as so much of it had been used in adverts.

It is definitely a good introduction to classical music, and it has made me want to listen to more of it, so I don't regret this 'expensive' purchase one bit!

Classical Masterpieces of the Millennium [20 CD Set]

A very helpful collection.......2007-03-24

I define this set as an excellent way to find out who you like, and who you don't, among 20 of the important composers. It opens the door to purchasing more complete pieces by composers you do like, and can save a lot of time and money in the process.
To criticize the set for not containing more composers, or more than just snippets of those who are in the set, is missing the point: it is a helpful introduction to finding your way in the huge maze of classical music. It succeeds admirably in this.
Sound quality is uniformly very good on an audiophile system.
Highly recommended.

Excellent!.......2007-03-08

A great way to start a classical music collection. It's nice to have a full CD of each composer. It makes it easy to keep track of selections/composers I already have and what composers I still need to puchase to complete my collection.

Land of My Fathers: 100 Great Welsh Choir Favourites

Average customer rating:

Land of My Fathers: 100 Great Welsh Choir Favourites

Manufacturer: Castle Pulse
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

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Hymns | Vocal Non-Opera | Opera & Vocal | Styles | Music

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Similar Items:

Favourite Welsh Choirs
Land of Song Welsh Choral Classics
Welsh Choirs: Wonderful Welsh Choirs
Bryn Terfel - We'll Keep a Welcome
Traditional Songs of Wales

ASIN: B0009SOFXG
Release Date: 2005-08-01

Tracks:

Guide Me O Thou Great Redeemer (CWM Rhondda) - Caerphilly Make Voice Choir
Land of My Fathers - Caerphilly Make Voice Choir
Dies Irae
Men of Harlech
You'll Never Walk Alone
Cadwyn O Emyn Donau Cymreig: Joanna (Trad./Elfion Wyn)/Crugybar (Trad.
Old Folks at Home
Il Liza Jane
Faust/Soldier's Chorus - Caerphilly Make Voice Choir
Vergine Degli Angeli
Ballard of Rourke's Drift - Cwt-Y-Collen Choir
My Hero
God Bless the Prince of Wales - Caerphilly Make Voice Choir
German Mass/Gloria
German Mass/Sanctus
Misbles/Master of the House/On My Own/Drink with Me/Empty Chairs at
All Through the Night - Caerphilly Make Voice Choir
Arwelfa
Invictus
Softly as I Leave You

Tracks:

Diolch l'R L
Hine E Hine (Maori Lullaby)
Pererin Wyf (Amazing Grace)
Tribute to the USA: America the Beautiful (Ward/Bates)/God Bless ...
Memories of Martha
I Lombardi/The Crusaders' Chorus - Treorchy Male Choir
Myfanwy - Treorchy Male Choir
Tales of Hoffman/Barcarolle
Creation's Hymn
In the Spirit!
Shall We Gather at the River
Nos a Bore
Very Best Time of Year
Soon Ah Will Be Done
Thanks Be to God
Flower That Shattered the Stone
Rhys - Treorchy Male Choir
Where Shall I Be?
Bywyd y Bugail
Lord's Prayer

Tracks:

Ave Maria
Pearl Fishers/Divine Brahma
She Was Beautiful (Cavatina) - Treorchy Male Choir
Cymru Fach
Nidaros
Jacob's Ladder - Treorchy Male Choir
Watching the Wheat
Pan Ddaw y Saint (When the Saints Go Marching In)
Misbles/Stars
Rachie
Pirates of Penzance/With Cat-Like Tread - Treorchy Male Choir
There Is a Balm in Gilead
Rise Up Shepherd and Foller
My Lord, What a Mornin'
Bryn Myrddin
Jesus Christ Superstar/Medley: Jesus Christ Superstar/Hosanna/The Last
Finnish Forest (Suomen Salossa)
Nabucco/The Glory of Israel
Ride the Chariot
Tydi a Roddaist - Treorchy Male Choir

Tracks:

Y Nefoedd
Phantom of the Opera/Think of Me
Morte Christe (When I Survey the Wondrous Cross)
By Babylon's Wave
I'm Gonna Sing
Where Could I Go But to the Lord?
Holy City - Treorchy Male Choir
Mefistofele: Ave Signor, Degli Angeli
Senzenina (Zulu Chant)
That's All I Want from You
Deep Harmony - Treorchy Male Choir
Give Me Jesus
Just a Closer Walk with Thee
My Wish for You
Jeptha/Waft Her Angels
Mose in Egitto/Prayer
Be Still My Soul (Finlandia Hymn)
God's Choir in the Sky
Floral Dance - Treorchy Male Choir
Smilin' Through

Tracks:

Calon Lan
True Love
Mor Fawr Wyt Ti (How Great Thou Art)
Aberystwyth
Comrades in Arms
Cats/Memory
They Led My Lord Away
State Fair/It's a Grand Night for Singing
When I Fall in Love
Let's Face the Music and Dance
Windmills of Your Mind
How Soon
Non Nobis Domine
Rhythm of Life
Kalinka
Sound an Alarm
Neapolitan Trilogy: It's Now or Never (Di Capua/Schroeder/Gold)/Mo ...
Turandot/Nessun Dorma
Christus Redemptor
Ann Evening's Pastorale

Album Details

Choirs Include the Morriston Orpheus Choir, the Pontadrddulais Male Voice Choir, the Caerphilly Male Voice Choir, the Cwrt-y-gollen Choir, the Treorchy Male Choir and the Lucknow Male Voice Choir.

Average customer rating:

Wonderful pick-me-up
Great holiday music!

Handel for the Holidays

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

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Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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Classical Instrumental | Holiday Music | Special Features | Music
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ASIN: B0000041FE
Release Date: 1996-10-15

Tracks:

Arrival Of The Queen Of Sheba (Solomon)
Water Music Suite No. 1 In F: Allegro
Water Music Suite No. 1 In F: Air
Water Music Suite No. 1 In F: Bourree
Water Music Suite No. 1 In F: Hornpipe
Water Music Suite No. 2 In D: Alla hornpipe
Jeptha: Sinfonia
Concerto Grosso No. 1 In G: Allegro
Music For The Royal Fireworks: Overture
Music For The Royal Fireworks: Bourree
Music For The Royal Fireworks: La paix
Music For The Royal Fireworks: La rejouissance
Oboe Concerto No. 1 In B-Flat: Adagio
Oboe Concerto No. 1 In B-Flat: Allegro
Oboe Concerto No. 1 In B-Flat: Largo
Oboe Concerto No. 1 In B-Flat: Vivace
Concerto Grosso No. 6 In G Minor: Musette (Larghetto)
Hornpipe In D
Alcina Overture: Menuet
Concerto Grosso In C 'Alexander's Feast'
Harp Concerto In B-flat: Andante allegro
Concerto No. 1 In B-Flat: Allegro ma non troppo
Pastoral Symphony (Messiah)
Concerto No. 2 In F: A tempo giusto
'Hallelujah' Chorus (Messiah)

Customer Reviews:

Wonderful pick-me-up.......2006-07-17

This CD has lively, energizing, festive music. It can get you into a spirit of celebrating each day of your life, uplifting you, waking you up in the morning or picking you up in the afternoons.

Great holiday music!.......2002-12-19

I have all of the Philips classical CD's and enjoy them often. This Handel Holiday music CD is really a festive combination of classical pieces.

I highly recommend this CD to classical fans and also to friends who don't particularly enjoy/understand classical music as this CD is truly a holiday feast!

Tracks:

"Destructive War" (Belshazzar)
" O Sacred Oracles Of Truth" (Belshazzar)
"Despair No More Shall Wound Me" (Semele)
"Your Tuneful Voice" (Semele)
" The Raptured Soul" (Theodora)
"Deeds Of Kindness" (Theodora)
" Kind Heaven" (Theodora)
"Sweet Rose And Lily" (Theodora)
"Brave Jonathan" (Saul)
"O Lord, Whose Mercies Numberless" (Saul)
"Up The Dreadful Steep Steps Ascending" (Jephtha)
"Dull Delay" (Jephtha)
"He Was Despised" (Messiah)

Amazon.com

This is a splendid recording. The music is beautiful, though of the 13 arias, only the one from Messiah is well-known. The rest come from relatively obscure oratorios (or operas--the distinction is often blurred). Artfully arranged for maximum diversity of tempo, length, tonality, mood, and character, they add up to a consistently engrossing program. The performances could hardly be better. David Daniels is an extraordinary artist. His voice, effortlessly produced and impeccably focused, has an incredibly pure, even quality over an enormous range. He can give it an infinite variety of nuance, inflection, and expression, from exquisite sweetness in the lyrical arias to assertiveness and defiance in the dramatic ones; it even matches the color of the instruments in answering phrases. His coloratura, delivered in smooth legato but clear and flawless like a string of pearls, is stunning. He gives every note vibrant life and brings out the character of each aria without fuss or exaggeration. In the da capo arias, he embellishes the repeats with imaginative but never excessive ornamentation that sounds genuinely improvised. The period orchestra is excellent. Using normal tuning but baroque style, the players can step forward as soloists or set and underline mood and atmosphere. Listeners will choose their own favorite gems from this treasure-trove, but listening to the concluding aria, "He was despised," one understands why Messiah is Handel's most enduringly popular oratorio. --Edith Eisler

Customer Reviews:

a voice teacher and early music fan.......2006-10-07

Handel's oratorio style was the product of many mingled elements. Germany, Italy and England all had a hand in its formation. But the work that Handel did in the development of the oratorio alone gives him the right to rank among the greatest of those to whom we owe the modern forms of music. David Daniels to my mind has chosen six of the greatest of Handel's oratorios. 'Belshazzar' was written to a text based on the book of Daniel, by the rich and eccentric land-owner Charles Jennens with whom he collaborated many times. 'O Sacred Oracle of Truth' is sung by the imprisoned prophet Daniel, while 'Destructive War' is sung by the haughty and magnamimous Cyrus, King of Persia, who frees the Hebrews from their slavery under the Babylonian king Belshazzar."Semele" is a secular story taken from Greek mythology put into verse by William Congreve. Jupiter lusts after a mortal woman snatching her from her family in the form of an eagle. The young woman, Semele,arouses the jealous anger of Juno, who takes her revenge. As a result of a plot that the goddess hatches,Semele is destroyed by fire. The 2 arias heard here are for Athamas who is betrothed to Semele. He finally gains consolation by marrying Semele's sister. The heroine of 'Theodora' is a Christian martyr whose life is recounted by St. Ambrose in his 'De virginibus of AD377. When Theodora is punished for refusing to worship the Roman gods, Didymus(a Roman soldier who has secretly converted to Christianity) rescues her from imprisonment; is then condemned to death, Theodora joins him in martyrdom. The oratorio 'Saul' centres on the celebrated trio of Saul,David and Jonathan. Based on the first book of Samuel, it dealt with a familiar story to most of the public at that time. 'Brave Jonathan' and 'O Lord, whose mercies Numberless' are both sung by David being pursued by a jealous Saul, but is sustained by the staunch friendship of Jonathan. 'Jeptha' is based on Chapter 11 of the book of Judges. The theme; Jeptha's promise to sacrifice to God ,in exchange for a victory over the enemy ,the first person to come out of his house to greet him after the battle; and it is his daughter Iphis. But what the Christian God really demands is that his daughter consecrate herself to Him and thus retain her virginity. And Hamor (countertenor) although very unhappy indeed sighs for her 'Up the Dreadful Steep Ascending' and 'Dull Delay'. The libretto of the "Messiah" is based on extracts from the Bible and The Book of Common Prayer, arranged by Charles Jennens. Unlike the other oratorios,it does not tell a story. 'He Was Despised' invites the listener to meditate on the horrendous suffering imposed by mankind on Jesus before his crucifixion.

Handling Handel With Unparalleled Skill and Power.......2004-08-08

If you need evidence on why David Daniels has been rising so fast as the leading countertenor voice today, you need only listen to this wonderfully recorded disc of Handel's oratorio arias, which captures him at full vocal power with amazing coloratura. Although the countertenor voice is generally described as androgynous and often effeminate because of the high range, Daniels has an intensely passionate style that actually sounds warmer and more masculine than one would think possible for such a voice type. Consequently, he is playing a pivotal role in broadening the audience significantly for not only countertenors but also Handel's wondrous music.

Daniels' first solo recording for Virgin Classics in 1998 (strongly recommended) focused on Handel's Italian operas, while this one focuses on his English oratorios composed specifically for the concert stage. Except for the language difference, the distinction is not all that meaningful since both fully use Daniels' amazing interpretative powers to their maximum. On "The raptured soul" from "Theodora", for example, it's amazing how through his sheer virtuosity and deeply textured tessitura, he can make the repetition of six simple lines sound so compelling over an air that lasts nearly nine minutes. Speaking of which, it's quite satisfying to have four airs from "Theodora" recorded here for posterity, as an aural reminder of his stunning performance as Didymus in Peter Sellars' legendary 1996 Glyndebourne staging of this oratorio (now available on DVD and also strongly recommended).

Starting with a scale-swooping "Destructive war" from "Belshazzar", the entire program is mesmerizing with special mention going to "O Lord, whose mercies numberless" from "Saul" and "He was despised" from "Messiah". Conductor John Nelson and the Ensemble Orchestral de Paris accompany Daniels beautifully and unobtrusively with modern (versus period) instruments, a smart decision giving the pieces a more contemporary feel. The end result is a recital to play again and again...at least until you have the opportunity to hear him live.

Very beautifully intoned.......2004-04-04

I was greatly impressed with this CD. I have always appreciated Daniel's voice over most other countertenors (and there are many wonderful ones that are simply incredible), and mostly for its warmth and lack of "hootiness." The coloratura is well executed, and his legato line is breathtaking. Then why a four star rating? All of these arias are sung in English, and it seems these days NO ONE, not male, female, soprano, alto, countertenor, seem to know how to sing it so you can understand a word. That is why I say this recording is beautifully intoned, for it is beautifully sung. What is missing is actual communication of something, no meaning exists behind the non-existent words. It would have been so much more meaningful if we could have figured out what he was telling us. I have old recordings of Dame Clara Butt, a huge voiced contralto of the past century. She sings much of this type of music, and in spite of the horrible quality of the recordings, her words come blazing forth effortless to understand. Even Ernestine Schumann-Heink sings credibly in English giving meaning to the words. Singing is WORDS, not just music. Sadly, we are all forgetting this now days, and most of our well known singers are simply horrible when it comes to singing in English (I have bought many Chaldas recording of opera in English, well they may as well have sung in the original language for we at least can figure out the words when singers sing thusly). Countertenors have the world's worst pronunciation of their words out there, but Daniels is usually much better because of the darker quality of his voice. This time, however, I have to say, I was not impressed. The voice is beautiful, the singing ravishing, but there is no meaning because the words are not clear.

Handel: Oratorio Arias.......2003-08-08

In this beautiful collection of music, one would be, as usual, hardpressed to find some aspect about which to complain in the beautiful, mellifluous tones of David Daniels. That is not the reason for this brief review. I am, on the other hand, dissatisfied with the choice of using the Ensemble Orchestral de Paris as the accompaniment. With many fine baroque ensembles out there from which to choose and enhance--including ones utilized in previous recordings--it seems a shame to pick such an average group, who saw away with very little phrasing or soul. Leave it to the French to abandon all traces of soulfulness--even in their music.

A beautiful recital.......2002-09-23

For once, I'll be brief. Beautiful singing and playing. Daniels performance of "Oh, Lord whose mercies numberless" is alone worth the price of the CD. Mr. Daniels is a consummate musician and this release further gives proof of that. Lovers of Handel and baroque music in general and English oratorios in particular will be more than delighted with this CD. Sit back and enjoy.

Average customer rating:

Handel: With Valour Abounding

Manufacturer: Arabesque Recordings
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
ASIN: B00000DMVO
Release Date: 1998-11-17

Tracks:

Selections From Solomon, Ov: Maestoso
Selections From Solomon, Allegro Moderato
Selections From Solomon, Allegro
Selections From Solomon, Recitative: 'From Morn To Eve'
Selections From Solomon, Aria: 'See Yonder Palm'
Selections From Solomon, Sinfonia From Part III (Entrance Of The Queen Of Sheba)
Selections From Joseph And His Brethren, Ov: Andante
Selections From Joseph And His Brethren, Larghetto
Selections From Joseph And His Brethren, Allegro
Selections From Joseph And His Brethren, Menuet
Selections From Joshua: Intro
Selections From: Recitative: 'So Long The Memory Shall Last'
Selections From: Aria: 'While Kedron's Brook'
Selections From: Recitative/Aria: 'To Give Command'/'Haste, Israel, Haste'
Selections From Jephtha: Ov
Selections From Jephtha: Menuet
Selections From Jephtha: Sinfonia From Part III
Selections From Jephtha: Recitative: 'Horror! Confusion!'
Selections From Jephtha: Aria: 'Open Thy Marble Jaws'
Selections From Jephtha: Sym From Part II
Selections From Jephtha: Arioso: 'Deeper, And Deeper Still'
Selections From Jephtha: Arioso: 'Hide Thou Thy Hated Beams'
Selections From Jephtha: Recitative: 'A Father, Off Ring Up His Only Child'
Selections From Jephtha: Aria: 'Waft Her, Angels'
Selection From Belshazzar: Aria 'Let Festal Joy Triumphant Reign!'

Average customer rating:

a voice teacher and early music fan
Feast for Handelians!!

Handel: Jephtha
John Elliot Gardiner / English Baroque Soloists , Lynne Dawson , Nigel Robson , Anne Sofie von Otter , and Michael Chance
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B00000E3UZ
Release Date: 1989-05-09

Customer Reviews:

a voice teacher and early music fan.......2006-05-30

The plot of Jeptha is based on Chapter 11 of the book of Judges in the bible and as usual Handel has chosen well; for the story is highly dramatic and exciting thruout. Jeptha was disinherited by his half-brothers but eventurally became a great warrior. Many years later his brothers came to him and asked him to defeat the Ammonites who were attacking the Israelites. He agreed to do so providing that he would then become their leader. Before the battle he agrees to sacrifice to God the first person that comes out of his home after the battle. He wins the battle and upon arriving home his only daughter comes out to greet him and therefore is slated to be the sacrifice. Then Handel changes the ending and an angel comes down from heaven and tells her that her life is not required but her virginity will remain her whole life. Her betrothed is devistated but that's the way it ends. This recording is one of John Eliot Gardiners'masterpieces!!!!. The singers are absolutely marvelous in their roles displaying much virtuosity and suitable emotions. There are so many highly dramatic situations in this oratorio which provided so many opportunities for Handel to display his many creative abilities both chorally and instrumentally. And the arias are exquisite!!!. Michael Chance is stunning in the role of Hamor (Jepthah's chief commander and Iphis's betrothed).His arias come forth as if by magic with note after beautiful note. Anne Sofie von Otter in the role of Iphis has never sounded better!!!. "Jeptha" was Handel's farewell to oratorio, and his last work of any importance.

Feast for Handelians!!.......2003-12-25

This set is a feast for Handelians!! Jepththa contains some of Handel's most sublime music. It is amazing how neglected such good music can be. Gardiner and his forces provide a winning performance from start to finish. This was captured in a 'live' performance and the 'live' atmosphere comes across consistently. The Monteverdi Choir, as usual, sings with astonishing virtuosity. All Handelians must have this set!!

Webster Booth: Handel Arias; Operatic Arias

Average customer rating:

The finest British oratorio tenor

Webster Booth: Handel Arias; Operatic Arias

Manufacturer: Dutton Laboratories
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Wedding Music | Miscellaneous | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B00000G3Z7
Release Date: 1998-12-08

Tracks:

Acis And Galatea: Love Sounds Th' Alarm
Acis And Galatea: Love In Her Eyes Sits Playing
Messiah: Comfort Ye, My People
Messiah: Ev'ry Valley Shall Be Exalted
Messiah: Thy Rebuke Hath Broken His Heart
Messiah: Behold, And See If There Be Any Sorrow
Messiah: He Was Cut Off Out Of The Land
Jephtha: Deeper And Deeper Still
Jephtha: Waft Her, Angels, Through The Skies
Samson: Total Eclipse
Serse: Ombra Mai Fu
Il Seraglio: Constanze, Constanze
The Magic Flute: O Loveliness Beyond Compare
Don Giovanni: Speak For Me To My Lady
Aida: Heavenly Aida
I Pagliacci: On With The Motley
The Mastersingers: The Prize Song
La Boheme: In A Coupe
Hiawatha's Wedding Feast: Onaway! Awake Beloved

Customer Reviews:

The finest British oratorio tenor.......2005-01-14

Webster Booth is remembered today for his musical association with his wife, Anne Ziegler, but he was also one of the finest oratorio tenors of the twentieth century.

On this CD he is in command of every emotional nuance of the recitative. 'Deeper and deeper still' from Jephtha is a good example of the emotional range. His diction is perfect and the Handelian runs are effortless.

He had an amazingly wide range, extending from a baritonal quality in the lower registers to the effortless high notes in the arias from 'Acis and Galatea'.

He also sings some standard operatic arias on the CD. All these are sung in English and he observes every expression mark to the letter.

I can thoroughly recommend this CD to potential buyers.

Handel - Jephtha / Ainsley, George, Denley, Oelze, Köhler, Gooding, RIAS-Kammerchor, Creed

Average customer rating:

Delectable
Top-ranking choice for Handel's oratorio swansong
NEMESIS NEGATED

Handel - Jephtha / Ainsley, George, Denley, Oelze, Köhler, Gooding, RIAS-Kammerchor, Creed
George Frideric Handel , Akademie für Alte Musik Berlin , Marcus Creed , John Mark Ainsley , Michael George , Catherine Denley , Christine Oelze , Axel Köhler , Julia Gooding , and RIAS-Kammerchor
Manufacturer: Berlin Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Samson
Handel: Susanna
Handel - Athalia / E. Scholl · Schlick · Holzhausen · Reinhold · Brutscher · MacLeod · Martini
Handel - Joshua / Kirkby, Bowman, Oliver, Ainsley, George, The King's Consort

ASIN: B0000035LS
Release Date: 1994-06-28

Customer Reviews:

Delectable.......2007-05-18

George Frideric Handel (1685 - 1759): Jephtha, HWV 70. Libretto by Thomas Morell. Performed by: John Mark Ainsley, tenor (Jephtha); Michael George, bass (Zebul); Catherine Denley, mezzosoprano (Storgè); Christiane Oelze, soprano (Iphis); Axel Köhler, countertenor (Hamor); Julia Gooding, soprano (angel); RIAS Chamber Choir, Berlin; Academy for Ancient Music, Berlin, directed by Marcus Creed. Recorded in June 1992 at the Church of the Good News in Berlin-Karlshorst. Published in 1994 as Berlin Classics BC 1057-2. (This is the edition I have, but there is also a budget priced reissue available from the Dutch label Brilliant Classics). Total time: 2 hrs 40 mins.

The Bible is very candid about its heroes, letting us see their faults and sins just as clearly as their great deeds of faith. In this respect, the book of Judges is typical: its heroes (Abimelech, Gideon, Jephtha, Samson) are all very fallible, in fact quite the opposite of what one might expect. This was not always understood by our Christian forefathers, who, sometimes over-pious, tended to gloss over the sins of these Jewish men of faith. Jephtha's vow to sacrifice the first thing (or person) who met him when he returned victoriously from battle against the Ammonites, Israel's oppressors, was definitely not praiseworthy but a most unwise and rash act, made so much the worse by the fact that he insisted on performing it when it turned out that it was his daughter who met him first (as he might have anticipated). His cruel act brought not only death and distress on those near and dear to him but also cast the worst of aspersions on the God he professed to serve, making him seem brutal and over-stern instead of the loving and forgiving God he had revealed himself to be. It seems that this was lost to view in the centuries following the Reformation. Not only the humanist Buchanan, on whose 16th century work Morell based his libretto, but also the 17th century Puritan commentator Rogers watered down the Judges story, making Jephtha's daughter become the equivalent of a nun for the rest of her life instead of being sacrificed. Morell, and Handel, were men of their age and adopted this version of the story for Handel's last oratorio (first performance 1752), bringing in an angel in Act 3 to sort out the problems. This makes the story-line rather unsatisfactory from a modern standpoint, but enables Handel to follow on from his "How dark, O Lord" at the end of Act 2 to the usual bright Hallelujah-type ending with trumpets and timpani. There is no doubt an autobiographical element here as Handel himself was going blind when he wrote the autograph, and the close of Act 2 can be seen as his personal struggle with ill-health and the will of God: "Whatever is, is right" is not meant as a kind of deistic confession but as submission to the all-wise will of God.

The performance of the oratorio by Marcus Creed and his team is in many ways ideal. The strings of the Berlin Academy for Ancient Music are pulsing with life and vitality right from the start, and the RIAS Chamber Choir was at its peak at this time, filling each chorus with just the right amount of energy and sentiment. The soloists were all well-known English and German experts in the field of historic performance and oratorio, and there was none I could fault. Axel Köhler was not perhaps quite in the Andreas Scholl category as a countertenor, but his performance here is quite delightful, making me think that he has been underrated. He and Christiane Oelze, the other German here, do an amazingly good job at pronouncing the English text, there is really no difference to be heard between them and the British singers involved. John Mark Ainsley and Michael George are their usual brilliant selves, Catherine Denley's dark mezzo is ideal for Jephtha's worried wife, and Julia Gooding's brief appearance as the angel is quite delectable. I suspect that if this recording had appeared on one of the major international labels, it would have been hailed as a great achievement and given prizes; as it is, it is a highly entertaining and worthwhile recording which I can recommend to anyone interested in Handel, in mid-18th century oratorio or even in baroque opera (Handel remained an opera composer all his life, and the series of recitatives and arias in "Jephtha" smacks of his earlier operas all the way through).

Top-ranking choice for Handel's oratorio swansong.......2007-01-29

Handel's last four English oratorios are among his finest works: SOLOMON with its spacious pageantry, SUSANNA's curious yet effective hybrid of moral drama and English "village opera," the profoundly personal spiritual drama of THEODORA, and the intimate family tragedy - opening out onto deep philosophical vistas - of JEPHTHA... each one with its distinct atmosphere. Of these, JEPHTHA may be the most flawed in some of its details (notably the controversial ending), but each time one returns to it its imperfections matter less and less. It is one of the essential Handel works, and one of his most moving.

This 1994 studio recording ranks at the top of my personal list, along with John Eliot Gardiner's live version on Philips. Superbly played, sung and conducted, with a well-nigh ideal cast of soloists, it can be recommended without reservations. One consumer tip, however: it has been reissued on Brilliant Classics (with complete English text and program note) at a considerably lower price - worth seeking out.

NEMESIS NEGATED.......2004-07-19

Whatever economic dark night the classical music industry is currently going through, one result has been an absolutely superb crop of early music records. England has particularly distinguished itself, but here is a set of an English language masterpiece from Berlin that stands comparison with the best. The version of Handel's great Jephtha that I have lived with for many years is by Marriner and the Academy of St Martin's. I'm not seeing it in the current catalogues, but what I have observed is two other versions receiving highly favourable notices. Anyone with world enough and time may want to obtain or at least hear these. For now I only wish to signal that there is another serious contender in the lists.

The recorded sound on this set is one I'm particularly comfortable with. That may be both a good and a not-so-good thing in one sense. The biblical story of Jephtha (Judges XI) is not a comfortable one in the least, and I have not so far got from this account quite the acute sense of mounting tension, panic and despair that Marriner conveys. In the scripture Jephtha attempts to make a deal of the most appalling insolence and presumptuousness with the frightful Jehovah of the old testament. Handel's librettist, the Rev Morell, perhaps nervous at even handling this incident, tries in various ways to make placatory gestures towards the Almighty, but I remain convinced that Handel, who knew his scripture, basically kept the biblical version in mind. Faust himself hardly made a more dreadful bargain, but the story also recalls the sacrifice of Iphigenia before the attack on Troy. Morell, a Greek scholar himself, names Jephtha's daughter Iphis, and I suppose he had some right to play his own variation on the name as the most famous version of that story, in book I of Lucretius, substitutes Iphigenia's sister Iphianassa for no reason that I ever knew considering both names fit the metre.

It is a kind of biblical story that Handel was uniquely suited to. Jephtha is his last oratorio and he was struggling with advancing blindness during its composition. Music-lovers familiar with Messiah but not with Handel's other oratorios would be mistaken in my view to think that a certain unevenness in Messiah, the result of tearing haste, is characteristic. Jephtha, like Samson or Theodora, is thoroughly consistent in quality and workmanship. It contains some famous high spots around the mark of the end of act II and the start of act III. Jephtha's accompagnato `Deeper and deeper still' and the following chorus `How dark o Lord' are well known or at least get a lot of conventional mention, as does the celestial aria `Waft her angels', very likely because the more traditional commentators did not know the other numbers and indeed possibly not even these. The story develops powerfully, and Morell deserves some of the credit for that. He dilutes the crassness and hubris of Jephtha's behaviour, but Handel takes advantage of this to give light and shade to the action while focussing strongly on the horrific and terrifying mess that Jephtha has got himself into. It did not do to send London audiences home gloomy. Handel had probably fallen into that trap with his previous oratorio, his beloved Theodora, a gripping and convoluted tale of a priggish stand on principle, brutal retaliation, desperate and ingenious attempts to retrieve the situation, the worst possible outcome and a prevalent sense of futility. Theodora had been a box-office disaster, Morell had been the librettist of that too, and he provided a thoroughly 18th-century happy ending for Jephtha, involving not death but a commuted sentence of virginity for Iphis. At this stage my sense of dramatic action switches off, as I believe Handel's did. It is all very successfully done in my opinion, but a stylised epilogue rather than a real part of the action. Indeed it comes as something of a relief. The action proper has real development and concentration and the earlier numbers are a jewel-box. I believe that Handel has also given some measure of immortality to one Habermann by filching material from his contemporary masses for the choruses, providing the catalyst for that unique choral writing, unequalled in the entire history of the art.

With today's early music groups one becomes repetitious in saying that they perform more or less faultlessly. I don't know the nationality of the members of the chorus, but their English elocution is magnificent, and while it was fairly obvious that the Storge is not English I reflected that her pronunciation was a great deal better than the composer's from all accounts. The liner-note tells us nothing at all about the performers, and even in the era of search-engines I find that a little bit of a hardship. The booklet is in English only, so I'm all right, but what is quite startlingly good is the essay by Donald Teeters, a model of intelligence, independent thought and good sense.