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Salient. Victoria University of Wellington Student's Newspaper. Volume 31, Number 4. March 26 1968

Records

page 13

Records

Messiah releases

December 1967 produced more than the usual number of Messiah releases HMV re-released a vintage Sir Malcolm sargant/Huddersfield Choral Society version on the Concert classics label but a very dated recording and a poor surface detracts from the initial advantage of the set being on a bargain-price label.

Rival companies issued new complete recordings. The Charles Mackerras HMV Angel One is by far the best. It eclipses any other previous recordings.

The conductor has used Basil Lam's edition—the Victorian conventions have been ignored; instead of a huge orchestra and a 100 voice choir the editor has reverted to a scon similar to that in Handel's time—

"Basil Lam has worked from the autograph of the score, adding ornaments to orchestral and vocal parts in the Handelian style, to produce a performing edition."

The choir consists of 10 sopranos. 10 altos (male and Female), 8 tenors and 10" basses. The orchestra at its largest is eight first and seven second violins, four violas, lour 'cellos, three basses, six oboes, four bassons, and two trumpets, timpani and harpsichord and organ continuo.

It is refreshing to hear such a beautifully sung "18th century" version The soloists are all outstanding. Elizabeth Harwood and Janet Baker are both very light, rather different from the usual Handelian sopranos and contraltos. Miss Baker's duet with counter-tenor Paul Esswood ("How beautiful are the feet of him that bringeth glad tidings") is one of the highlights of the set.

The choir is all that is to be expected from the Ambrosian singers, surely one of the finest English choral groups. Mackcerras has ensured authenticity by using male altos. The English Chamber Orchestra is very good—a special word of praise for trumpet soloist Phillip Jones. His work on "The Trumpet Shall Sound" is the best I have heard— exquisite baroque phrasing and a Rood clear tone.

The stereo recording is clean and well balanced. Highly recommended; it doesn't have to be Christmas to buy this superb set.

The thought of Stokowski conducting Handel, in phase Four Stereo seems rather gauche after this delicate, restrained version, and indeed it is. Selections from the Messiah (Decca PFSM 34113) is terrible. The conductor should stick to the "1812" and Von Suppe as he is completely out of his depth with Handel.

This is the grand' style performance—huge orchestra and chorus, in fact at times it sounds like a movie score for the latest 70 mm Biblical epicl

The soloists are not effective and Stokowski has not kept a strict control over the London Symphony Chorus. Some of the soprano's higher register work is incredibly out of tune. I don't really think it's any use saying anything else—except that the recording is mushy and nowhere near as good as the HMV set.

Getz and Fiedler experiment

Tanglewood, summer "camp" for the Boston Symphony Orchestra, was the venue last year for a concert recorded "live" on the RCA Victor release "Stan Getz and Arthur Fiedler at Tanglewood" (Stereo LSC 2925).

It is a fascinating performance experimenting with new modes of expression for the dominant combination of tenor sax and strings, particularly in the 15 minute "Tanglewood Concerto". Conductor Fiedler attempts to maintain a delicate balance between the moods of Getz's sax and the sympathetic weavings of the orchestra, and on some of the arrangements enlists the aid of Gary Burton on vibes, Jim Hall on guitar, Steve Swallow (bass), and Roy Haynes (drums), to boost the jazz tone.

Despite the virtuosity of the orchestra, however, it is the sax which leaves the final impression—the ecstatic heights and depths of its range, and the subtle flute-like notes contrasting with strong, confident summon calls.

Of course, no Stan Getz performance is complete without a nod to 'The Girl from Ipanema"; in fact, the opening track is an upswept, up-tempo version of this. Despite its scintillating hypertension, however, I still prefer the original, with its wistful tones and slower, smoother pace.

On the whole, the record is a fine example of what can be achieved when two apparent diverse musical styles collaborate to create something new, particularly with such masters as Fiedler and Getz doing the creating.