I’m with @pete84, the Pinnock/English Concert is a long- term favourite. Arleen Auger stands out for me,but all the soloists are good. BUT it is an Easter piece chez nous.
Bach’s Christmas Oratorio is my music of choice for the day itself. The first section of the Gardiner/Monteverdi Choir version will probably go on some time tomorrow morning.
Merry Christmas, everyone! First spin of a work I am not familiar with but decided to finally add to my shelves: Bach’s Christmas Oratorio. Selecting a version took an age of sampling and reviews, but ultimately went with Stephen Layton’s 2013 recording. It sounds excellent!
Two of my favorite Messiahs are Paul McCreesh & Gabrieli Consort (2004, Archiv) and Emmanuelle Haïm & Le Concert d’Astrée (2013, Erato). An honourable mention to René Jacobs & Freiburger Barockorchester (2006, Harmonia Mundi), which for all its polish doesn’t quite hang together for me.
Today I played the Gardiner Messiah in full, followed by Herreweghe’s recording of Bach’s Leipziger Weihnachtskantaten. Happy and music filled holidays to all!
Started the day with the Richter Christmas Oratorio that I thoroughly enjoyed. Great sound too considering the 1965 recording.
Then I listened to the Heinrich Schütz as mentioned above - delightful.
It is wonderful to see all of these recommendations and favorites. One thing seems clear: Christopher Hogwood’s early music revolution prevailed - at least when it comes to the Messiah and the folks posting on this thread! None of the big, blown-up symphonic performances here! I have occasionally listened to parts of the Hogwood recording, but don’t have a strong recollection of it, probably given all of the other recordings of Messiah to which I have listened. It seems, however, that I need to make that a priority! Thank you, all! And Merry 3rd Day of Christmas! This day is auspicious, I suppose for @FrenchRooster!
Just came across this fascinating video from Emil Berliner Studios on Karajan’s Bruckner recordings and their Original Source reissue. First time I could appreciate the complexity of the recording, mixing and cutting process. How they handled reverb effects is amazing.
Perhaps unsurprisingly, Hahn’s technique is astonishing. I confess I did not know these sonatas, but with Hahn as guide I expect to enjoy the process of getting to know them in more detail. Splendid recording too, with surprisingly wide dynamic range for a solo violin.