While hardly a ‘period-instrument’ pioneer, Sir Adrian Boult had a much surer sense of authentic Handelian style than most of his contemporaries. Editions and performances of Handel’s masterpiece were still often cut and loaded with Romantic trappings in 1935 when Julian Herbage prepared the most complete version of the score yet made, with Handel’s original instrumentation. Boult began performing this version in 1942 and it was the obvious choice for a new, refreshing perspective on the piece when he came to record it for Decca in 1954.
Listeners and critics alike were struck by the energy of Boult’s direction, the purity and simplicity of the solo singing and the vivid Decca engineering. These qualities also distinguished the stereo remake, made with similarly slimmed-down forces and featuring Dame Joan Sutherland on the top line. She also contributed to the success of Boult’s Acis and Galatea from 1959, and the box is completed with a series of glorious vocal recitals, from the tenor Kenneth McKellar, the soprano Kirsten Flagstad and the contralto Kathleen Ferrier, all accompanied by Boult in Baroque repertoire with the sensitivity to line that made him so underrated and underused as an opera conductor.
Ferrier recorded this selection of Bach and Handel arias a year before her death in 1952, but eight years later Boult and the LPO returned to the studios to produce a stereo accompaniment for the album, which the Decca producer James Walker mixed with Ferrier’s part from 1952: an early and remarkably successful example of the technology later used to ‘update’ classic recordings of Caruso and Callas.
CD 1
GEORGE FRIDERIC HANDEL (1685–1759)
Messiah, HWV 56
Edited by Julian Herbage
1–19 Part I
Jennifer Vyvyan, soprano
Norma Procter, contralto
George Maran, tenor
Owen Brannigan, bass-baritone
London Philharmonic Choir
Frederic Jackson, chorus master
London Philharmonic Orchestra
Sir Adrian Boult
CD 2
GEORGE FRIDERIC HANDEL (1685–1759)
Messiah, HWV 56
Edited by Julian Herbage
1–21 Part II
Jennifer Vyvyan, soprano
Norma Procter, contralto
George Maran, tenor
Owen Brannigan, bass-baritone
London Philharmonic Choir
Frederic Jackson, chorus master
London Philharmonic Orchestra
Sir Adrian Boult
CD 3
GEORGE FRIDERIC HANDEL (1685–1759)
Messiah, HWV 56
Edited by Julian Herbage
1–8 Part III
Jennifer Vyvyan, soprano
Norma Procter, contralto
George Maran, tenor
Owen Brannigan, bass-baritone
London Philharmonic Choir
Frederic Jackson, chorus master
London Philharmonic Orchestra
Sir Adrian Boult
CD 4
GEORGE FRIDERIC HANDEL (1685–1759)
Messiah, HWV 56
1–17 Part I
Joan Sutherland, soprano
Grace Bumbry, alto
Kenneth McKellar, tenor
David Ward, bass
London Symphony Chorus
London Symphony Orchestra
Sir Adrian Boult
CD 5
GEORGE FRIDERIC HANDEL (1685–1759)
Messiah, HWV 56
1–19 Part II
Joan Sutherland, soprano
Grace Bumbry, alto
Kenneth McKellar, tenor
David Ward, bass
London Symphony Orchestra & Chorus
Sir Adrian Boult
CD 6
GEORGE FRIDERIC HANDEL (1685–1759)
Messiah, HWV 56
1–6 Part III
7 Recitative and Air (tenor): Thy rebuke hath broken his heart … Behold and see (alternative version)
Joan Sutherland, soprano
Grace Bumbry, alto
Kenneth McKellar, tenor
David Ward, bass
London Symphony Orchestra & Chorus
Sir Adrian Boult
CD 7
GEORGE FRIDERIC HANDEL (1685–1759)
Acis and Galatea, HWV49a
1–12 Beginning
Joan Sutherland, soprano (Galatea)
Peter Pears, tenor (Acis)
Owen Brannigan, bass (Polyphemus)
David Galliver, tenor (Damon)
St. Anthony Singers
Philomusica of London
Sir Adrian Boult
CD 8
GEORGE FRIDERIC HANDEL (1685–1759)
Acis and Galatea, HWV49a
1–17 Conclusion
18 Air (Polyphemus): O ruddier than the cherry (alternative version)
Joan Sutherland, soprano (Galatea)
Peter Pears, tenor (Acis)
Owen Brannigan, bass (Polyphemus)
David Galliver, tenor (Damon)
St. Anthony Singers
Philomusica of London
Sir Adrian Boult
CD 9
GEORGE FRIDERIC HANDEL (1685–1759)
1 Frondi tenere … Ombra mai fu (Serse, HWV 40)
2 Love in her eyes sits playing (Acis and Galatea, HWV 49)
3 Silent Worship (Tolomeo, HWV 25)
4 Deeper, and deeper still (Jephtha, HWV 70)
5 Comfort ye, my people … Ev’ry valley shall be exalted (Messiah, HWV 56)
6 Where’er you walk (Semele, HWV 58)
7 Thanks to my brethren … How vain is man (Judas Maccabaeus HWV 63)
8 My Arms! Against this Gorgias … Sound an alarm (Judas Maccabaeus HWV 63)
JOHANN SEBASTIAN BACH (1685–1750)
9 Sheep may safely graze (Cantata BWV 208)
10 Air (Suite No. 3 in D major, BWV 1068)
Kenneth McKellar, tenor
Orchestra of the Royal Opera House, Covent Garden
Sir Adrian Boult
JEREMIAH CLARKE (c.1674–1707)
11 Trumpet Voluntary
Trumpeters of Kneller Hall Royal Military School of Music
London Symphony Orchestra
Kenneth Alwyn
12 God Save The Queen (arr. Britten)
London Symphony Chorus
London Symphony Orchestra
Benjamin Britten
CD 10
A RECITAL OF BACH & HANDEL ARIAS
1952 Recording
JOHANN SEBASTIAN BACH (1685–1750)
1 Qui sedes (Mass in B minor, BWV 232)
2 Grief for sin (St. Matthew Passion, BWV 244)
3 All is fulfilled (St. John Passion, BWV 245)
4 Agnus Dei (Mass in B minor, BWV 232)
GEORGE FRIDERIC HANDEL (1685–1759)
5 Return, O God of hosts (Samson, HWV 57)
6 O thou that tellest good tidings to Zion (Messiah, HWV 56)
7 Father of Heaven (Judas Maccabaeus, HWV 63)
8 He was despised (Messiah, HWV 56)
Kathleen Ferrier, contralto
London Philharmonic Orchestra
Sir Adrian Boult
CD 11
A RECITAL OF BACH AND HANDEL ARIAS
1960 Stereo Remake
JOHANN SEBASTIAN BACH (1685–1750)
1 Qui sedes (Mass in B minor, BWV 232)
2 Grief for sin (St. Matthew Passion, BWV 244)
3 All is fulfilled (St. John Passion, BWV 245)
4 Agnus Dei (Mass in B minor, BWV 232)
GEORGE FRIDERIC HANDEL (1685–1759)
5 Return, O God of hosts (Samson, HWV 57)
6 O thou that tellest good tidings to Zion (Messiah, HWV 56)
7 Father of Heaven (Judas Maccabaeus, HWV 63)
8 He was despised (Messiah, HWV 56)
Kathleen Ferrier, contralto
London Philharmonic Orchestra
Sir Adrian Boult
CD 12
JOHANN SEBASTIAN BACH (1685–1750)
1 Sheep may safely graze (Cantata, BWV 208)
2 Break in Grief (St. Matthew Passion, BWV 244)
3 Jesu, Joy of Man’s Desiring (Cantata, BWV 147)
HEINRICH STÖLZEL (1690–1749), attrib. J.S. BACH
4 If thou be near (‘Bist du bei mir’, BWV 508)
GEORGE FRIDERIC HANDEL (1685–1759)
5 Gods All-Powerful (Radamisto, HWV 12)
6 Art thou troubled? (Rodelinda, HWV 19)
7 Oh sleep, why dost thou leave me? (Semele, HWV 58)
8 He shall feed his flock (Messiah, HWV 56)
9 I know that my Redeemer liveth (Messiah, HWV 56)
Arr. SIEGFRIED OCHS (1858–1929), LESLIE WOODGATE (1900–1961)
10 Praise ye the Lord
Kirsten Flagstad, soprano
London Philharmonic Orchestra
Sir Adrian Boult
CD 13
GREAT SACRED SONGS
FELIX MENDELSSOHN (1809–1847)
1 Hear my prayer … O for the wings of a dove, MWV B 49
2 Jerusalem, thou that killest the prophets (St. Paul)
FRANZ GRUBER (1787–1863)
3 Silent Night, Holy Night (arr. Woodgate)
CHARLES GOUNOD (1818–1893)
4 Ah, turn me not away … O divine Redeemer
HUBERT PARRY (1848–1918)
5 Jerusalem
DMYTRO BORTNIANSKY (1751–1825)
6 Jubilate (arr. Woodgate)
JOHN WADE (1711–1786)
7 O Come All Ye Faithful (arr. Woodgate)
SAMUEL LIDDLE (1867–1951)
8 Abide with me
Kirsten Flagstad, soprano
Chorus
London Philharmonic Orchestra
Sir Adrian Boult
CD 1-3
Recording Producer: James Walker
Balance Engineer: Kenneth Wilkinson
Recording Location: Kingsway Hall, London, UK, 4–9, 11–13 January 1954
Original Decca Release: LXT 2921–24: April 1954
P 1954 Decca Music Group Limited
MONO
CD 4-6
Recording Producer: James Walker
Balance Engineer: Kenneth Wilkinson
Recording Location: Kingsway Hall, London, UK, 15–17 May 1961, 10–12, 16–17, 25 August 1961
Original Decca Releases: SET 218–20: November 1961, except: Thy rebuke [tenor version]: Decca Eloquence 480 4924: April 2011
P 1961 (Messiah – complete), 2011 (‘Thy rebuke … Behold and see’: tenor version) Decca Music Group Limited
Although credited as ‘London Symphony Orchestra & Chorus’ on the LP set, there was no ‘London Symphony Chorus’ in 1961. The chorus here was the group that was usually credited as ‘Ambrosian Singers’.
STEREO
CD 7-8
Recording Producer: Ray Minshull
Balance Engineer: Alan Reeve
Recording Location: Watford Town Hall, London, UK, 31 May, 2–4 June 1959
Original L’Oiseau-Lyre Releases: OL 50179–80, SOL 60011–12: January 1960
P 1960 Decca Music Group Limited
STEREO
CD 9
Recording Producers: Ray Minshull (Handel: Acis and Galatea, Judas Maccabaeus, Jephtha); Christopher Raeburn [mono], Erik Smith [stereo] (Handel: Serse, Tolomeo, Messiah, Semele; Bach); Ray Minshull (Clarke, Britten)
Balance Engineers: Peter Attwood, Kenneth Wilkinson (Handel); Kenneth Wilkinson (Bach, Clarke, Britten)
Recording Location: Kingsway Hall, London, UK, 27 November 1959 (Handel: Serse, Tolomeo, Messiah, Semele; Bach), 16–17 May 1960 (Handel: Acis and Galatea, Judas Maccabaeus, Jephtha), 15 December 1961 (Clarke, Britten)
Original Decca Releases: LK 4380, SKL 4121 (Handel): February 1961; DFE6623 / STO133 (Handel: Serse, Tolomeo, Messiah): March 1960; CEP 736, SEC 5119: April 1962 (Bach, Clarke, Britten). Clarke, Britten first issued in mono on 45rpm 71146: March 1962
P 1961 (Handel), 1962 (Bach, Clarke, Britten) Decca Music Group Limited
STEREO
CD 10
Recording Producer: John Culshaw
Balance Engineer: Kenneth Wilkinson
Recording Location: Kingsway Hall, London, UK, 7–8 October 1952
Original Decca Release: LXT 2757: January 1953
P 1953 Decca Music Group Limited
MONO
CD 11
Recording Producers: James Walker [mono], Ray Minshull [stereo]
Balance Engineer: Kenneth Wilkinson
Recording Location: Kingsway Hall, London, UK, 7–8 October 1952; with new accompaniment for stereo recording: 19 February, 3 May 1960
Original Decca Release: SXL 2234: September 1960
P 1960 Decca Music Group Limited
STEREO
CD 12
Recording Producer: John Culshaw
Balance Engineers: Kenneth Wilkinson [mono], Gordon Parry [stereo]
Recording Location: Kingsway Hall, London, UK, 4–7 December 1956
Original Decca Releases: LXT 5316: May 1957 (except Rodelinda); Decca Eloquence 480 0616: November 2009 (Rodelinda)
P 1957 (Bach, Stölzel, Ochs/Woodgate; Handel: Radamisto, Semele, Messiah), 2009 (Handel: Rodelinda) Decca Music Group Limited
STEREO
CD 13
Recording Producers: John Culshaw [mono], Michael Williamson [stereo]
Balance Engineers: Kenneth Wilkinson [mono], Cyril Windebank [stereo]
Recording Location: Kingsway Hall, London, UK, 24–26 April 1957
Original Decca Releases: LXT 5392: November 1957; SXL 2049: November 1958
P 1957 Decca Music Group Limited
STEREO
“An orchestra precisely the same as was used when the oratorio was first produced in Dublin in 1742. Hearing it this way is indeed a revelation and the fact that it is given complete is an added pleasure.” Irish Monthly, June 1954 (Handel: Messiah, mono version)
“The outstanding feature is apparent at once: it has a beautifully engineered sound. Balance is exceptional in all directions, a rarity in choral recording … and the strings are satiny. Since Sir Adrian has accomplished a projection of the tenderest and the most forceful dynamics, the pianos, in this realistic seizure of sound, are feathery, delightful.” High Fidelity, September 1954 (Handel: Messiah, mono version)
“[Flagstad] sounds completely happy and relaxed in her singing of ‘Sheep may safely graze’, and her voice doesn’t seem to have one tremor of age. In fact, to these ears, it sounds more beautiful than ever … One of the most powerful utterances of Flagstad on records.” High Fidelity, August 1957 (Bach and Handel arias – Flagstad)
“The singer’s beautiful dark tones and the gravity of her style admirably suit ‘He was despised’ and ‘Es ist vollbracht’ … The more joyous ‘Thou that tellest’ is equally well done.” Musical Times, May 1954 (Bach and Handel arias – Ferrier, mono version)
“The record is equally moving to hear as a purely musical experience, even without the emotional coloration imparted to it by Miss Ferrier’s passing.” High Fidelity, January 1954 (Bach and Handel arias – Ferrier, mono version)
“[Ferrier’s] matchless voice singing Bach and Handel in three dimensions, fuller and more detached than I ever heard it before … It was as though a great singer whose career we thought rounded with a sleep had awakened radiant in the light of day.” High Fidelity, September 1960 (Bach and Handel arias – Ferrier, stereo version)
“Before her last illness Ferrier’s voice was at its finest, and the sense of presence, of an actual performance, is made all the more vivid in stereo.” Musical Times, February 1961 (Bach and Handel arias – Ferrier, stereo version)
“A splendid performance of one of Handel’s freshest scores … Boult leads a clear, transparent rendition … [Pears] has few peers today in the styling of this kind of music.” High Fidelity, July 1960 (Handel: Acis and Galatea)
“David Ward is a tower of strength … The orchestra and chorus, under Boult’s firm but sympathetic direction, are both first-rate.” Musical Times, December 1961 (Handel: Messiah, stereo version)
“Boult has done it again … The new set calls for cheers and genuine rejoicing … A towering performance of this towering masterpiece … The power of the Hallelujah Chorus practically lifts you out of your chair, tradition or no.” High Fidelity, January 1962 (Handel: Messiah, stereo version)
“[McKellar’s] voice is of the right sort – light and flexible, but not white. He handles it expertly, carrying off the runs with dash, and sustaining the long, soft phrases with care … Boult’s accompaniments are incisive and well-paced, Decca’s sound top-notch.” High Fidelity, September 1961 (Handel Arias – McKellar)
“These old chestnuts never had it so good, and Flagstad makes ‘Silent Night’ her own much as did Schumann-Heink. It is a perfect record with which to say ‘good night’ to your friends.” High Fidelity, July 1970 (Sacred Songs – Flagstad)