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Posted by David Payn on February 6, 2007, 1:47 am I must say how much I enjoyed Michael Greenhalgh's lucid and detailed review of the Dunedin Consort and Players' recent release of the Dublin version of Handel's Messiah. In particular, I enjoyed the detailed comparisons with Paul McCreesh and the Gabrieli Consort's recording (I own both, having just purchased the Dunedin's CD at an excellent concert they gave on the Isle of Arran on 3rd February 2007). What I particularly enjoyed about this review was (apart from the fact that it came from someone with a highly lively musical ear) that it wasn't simply a generalisation of the recording as a whole but a detailed review of each number, comparing both the aforementioned recordings. It's not often I find myself nodding in agreement with a classical CD review (though I should add, I do not possess the expertise of Mr. Greenhalgh) but I certainly did on a regular basis here! However, Mr Greenhalgh likens the trumpets' unison D at 'King of Kings' in the Hallelujah Chorus to trombones. The effect it had on me suggested, albeit briefly, that there were horns joining the trumpets at that point (Some period instrument recordings, notably the aforementioned McCreesh version and Trevor Pinnock, include them). Also, I felt that the trumpeter in 'The Trumpet Shall Sound' could have added some 'decoration' on the Da Capo. Nevertheless, I felt Clare Wilkinson's rendition of 'He Was Despised' to be the most effectively bleak, tragic and heart-rending version I've ever heard; all the better for the lack of vibrato. The other 'stand out' track from an excellent recording was the sheer virtuosity from all concerned in 'All We Like Sheep' But these are just the opinions of an enthusiastic amateur musician! Once again, I can only say how much I appreciated Mr. Greenhalgh's excellent review of this recording, given by someone who clearly listened to the whole recording in great detail. Many thanks. Dave
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Posted by David Payn on February 10, 2007, 1:45 pm, in reply to "Dunedin Consort and Players: Messiah" Have you heard the recent issue on the Naxos label of the Messiah (Choir of New College Oxford and soloists/Edward Higginbottom)? I purchased this a few days ago and whilst it is a different performing version to the Dunedin's comparisons come fairly easy to me. Initially, having gorged myself on several listenings to the Dunedins, the trebles singing of the soprano lines and the solos in the NCO version did jar at first, but on repeated listening, I realise that they do a fine job generally. However, the Dunedin Consort for me, win hands down, largely due to their exceptional diction. Okay, that might be considered easier to achieve with a smaller choir, but even in the solo arias, the Dunedin soloists are far clearer in their diction without ever over-emphasising to the detriment of the flow of the music (and I include the adult soloists of both in comparison). Perhaps the Academy of Ancient Music are slightly crisper and tighter than the Dunedin Players (though for me, there's not a great deal in it) but the overall impression for me, is that the Dunedins give a far greater account of the 'story' as a whole than the NCO/AAM and appear to really get into the meaning of the oratorio far better than the NCO. I'd be interested to see your views. My previous top choice was the English Concert and soloists/Pinnock (Archiv) but now, I feel it will be a long time before any Messiah recording betters the Dunedin Consort and Players. Regards Dave
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Posted by Michael Greenhalgh on February 14, 2007, 10:43 pm, in reply to "Re: Dunedin Consort and Players: Messiah" I've only heard a sample of the Higginbottom Messiah but didn't like it (I'm not reviewing it). What I heard I felt was a bit too cultivated Anglican, though I do like the Hogwood Messiah done with the AAM and Christchurch Oxford, first published 1980! I agree with you about the excellence of the Dunedin Consort diction and, in a word, spirituality. The clarity from small forces and of the recording helps too, as might indeed the comparative lack of instrumental frills in relation to other bands. With best wishes Michael.
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Posted by Michael Greenhalgh on February 6, 2007, 9:24 pm, in reply to "Dunedin Consort and Players: Messiah" In the Hallelujah chorus my trombone and your horn 'effect' arises, I think, because the 2 trumpets are playing the same notes for the only time in the chorus and these are the lowest they ever play. It's a fair point you make that the trumpet could have more ornamentation to match Matthew Brook's in the 'da capo' repeat of 'The trumpet shall sound'. I pointed out McCreesh's trumpeter was more imaginative in this respect. With best wishes, |
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