℗ 2016 BR-Klassik
| Released | October 7, 2016 |
| Duration | 3h 30m 04s |
| Record Label | BR-Klassik |
| Catalogue No. | 900908 |
| Genre | Classical (Opera) |
Händel: Der Messiah, HWV 56 (Mit einer Werkeinführung)
Julia Doyle, Steve Davislim, Lawrence Zazzo, Chor des Bayerischen Rundfunks, B'Rock Orchestra, Peter Dijkstra
Available in 48 kHz / 24-bit AIFF, FLAC audio formats
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Messiah, HWV 56
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1.1
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Part I: Symphony. Grave
Julia Doyle; B'Rock Orchestra; Peter Dijkstra |
2:59 | |||
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1.2
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Part I: Accompagnato. Comfort ye my people (Tenor)
Steve Davislim; B'Rock Orchestra; Peter Dijkstra |
3:01 | |||
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1.3
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Part I: Aria: Ev'ry valley shall be exalted (Tenor)
Steve Davislim; B'Rock Orchestra; Peter Dijkstra |
3:16 | |||
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1.4
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Part I: And the glory of the Lord (Chorus)
Chor des Bayerischen Rundfunks; B'Rock Orchestra; Peter Dijkstra |
2:30 | |||
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1.5
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Part I: Accompagnato. Thus saith the Lord (Bass)
Neal Davies; B'Rock Orchestra; Peter Dijkstra |
1:22 | |||
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1.6
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Part I: Aria: But who may abide the day of his coming (Alto)
Lawrence Zazzo; B'Rock Orchestra; Peter Dijkstra |
4:18 | |||
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1.7
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Part I: And he shall purify the sons of Levi (Chorus)
Chor des Bayerischen Rundfunks; B'Rock Orchestra; Peter Dijkstra |
2:32 | |||
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1.8
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Part I: Behold, a virgin shall conceive (Alto)
Lawrence Zazzo; B'Rock Orchestra; Peter Dijkstra |
0:25 | |||
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1.9
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Part I: Aria. O thou that tellest good tidings to Zion (Alto, Chorus)
Lawrence Zazzo; Chor des Bayerischen Rundfunks; B'Rock Orchestra; Peter Dijkstra |
5:08 | |||
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1.10
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Part I: Accompagnato. For behold, darkness shall cover the earth (Bass)
Neal Davies; B'Rock Orchestra; Peter Dijkstra |
2:06 | |||
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1.11
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Part I: Aria. The people that walked in darkness have seen a great light (Bass)
Neal Davies; B'Rock Orchestra; Peter Dijkstra |
3:34 | |||
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1.12
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Part I: For unto us a child is born (Chorus)
Chor des Bayerischen Rundfunks; B'Rock Orchestra; Peter Dijkstra |
3:55 | |||
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1.13
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Part I: Pifa (Pastoral Symphony). Larghetto
B'Rock Orchestra; Julia Doyle; Peter Dijkstra |
0:56 | |||
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1.14
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Part I: Recitative. There were shepards abiding in the field (Soprano)
Julia Doyle; B'Rock Orchestra; Peter Dijkstra |
0:14 | |||
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1.15
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Part I: Accompagnato. And lo, the angel of the Lord came upon them (Soprano)
Julia Doyle; B'Rock Orchestra; Peter Dijkstra |
0:19 | |||
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1.16
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Part I: Recitative. And the angel said unto them (Soprano)
Julia Doyle; B'Rock Orchestra; Peter Dijkstra |
0:31 | |||
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1.17
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Part I: Accompagnato. And suddenly there was with the angel (Soprano)
Julia Doyle; B'Rock Orchestra; Peter Dijkstra |
0:17 | |||
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1.18
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Part I: Glory to God in the highest (Chorus)
Chor des Bayerischen Rundfunks; B'Rock Orchestra; Peter Dijkstra |
1:52 | |||
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1.19
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Part I: Aria. Rejoice greatly, O daughter of Zion (Soprano)
Julia Doyle; B'Rock Orchestra; Peter Dijkstra |
4:14 | |||
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1.20
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Part I: Recitative. Then shall the eyes of the blind be open'd (Alto)
Lawrence Zazzo; B'Rock Orchestra; Peter Dijkstra |
0:30 | |||
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1.21
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Part I: Aria. He shall feed his flock (Soprano, Alto)
Julia Doyle; Lawrence Zazzo; B'Rock Orchestra; Peter Dijkstra |
5:26 | |||
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1.22
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Part I: His yoke is easy (Chorus)
Chor des Bayerischen Rundfunks; B'Rock Orchestra; Peter Dijkstra |
2:18 | |||
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1.23
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Part II: Behold, The Lamb of God (Chorus)
Chor des Bayerischen Rundfunks; B'Rock Orchestra; Peter Dijkstra |
3:11 | |||
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1.24
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Part II: Aria. He was despised and rejected of men (Alto)
Lawrence Zazzo; B'Rock Orchestra; Peter Dijkstra |
10:18 | |||
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1.25
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Part II: Surely, he hath borne our griefs and carried our sorrows (Chorus)
Chor des Bayerischen Rundfunks; B'Rock Orchestra; Peter Dijkstra |
1:36 | |||
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1.26
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Part II: And with his stripes we are healed (Chorus)
Chor des Bayerischen Rundfunks; B'Rock Orchestra; Peter Dijkstra |
1:40 | |||
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1.27
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Part II: All we like sheep (Chorus)
Chor des Bayerischen Rundfunks; B'Rock Orchestra; Peter Dijkstra |
3:58 | |||
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2.1
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Part II: Accompagnato. All they that see him (Tenor)
Steve Davislim; B'Rock Orchestra; Peter Dijkstra |
0:39 | |||
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2.2
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Part II: He trusted in God (Chorus)
Chor des Bayerischen Rundfunks; B'Rock Orchestra; Peter Dijkstra |
2:16 | |||
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2.3
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Part II: Accompagnato. Thy rebuke hath broken his heart (Tenor)
Steve Davislim; B'Rock Orchestra; Peter Dijkstra |
1:43 | |||
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2.4
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Part II: Arioso. Behold, and see if there be any sorrow (Tenor)
Steve Davislim; B'Rock Orchestra; Peter Dijkstra |
1:17 | |||
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2.5
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Part II: Accompagnato. He was cut off (Tenor)
Steve Davislim; B'Rock Orchestra; Peter Dijkstra |
0:16 | |||
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2.6
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Part II: Aria. But thou didst not leave his soul in hell (Tenor)
Steve Davislim; B'Rock Orchestra; Peter Dijkstra |
2:07 | |||
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2.7
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Part II: Lift up your heads (Chorus)
Chor des Bayerischen Rundfunks; B'Rock Orchestra; Peter Dijkstra |
3:00 | |||
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2.8
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Part II: Recitative. Unto which of the angels said he at any time (Tenor)
Steve Davislim; B'Rock Orchestra; Peter Dijkstra |
0:13 | |||
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2.9
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Part II: Let all the angels of God worship him (Chorus)
Chor des Bayerischen Rundfunks; B'Rock Orchestra; Peter Dijkstra |
1:29 | |||
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2.10
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Part II: Aria. Thou art gone up on high (Alto)
Lawrence Zazzo; B'Rock Orchestra; Peter Dijkstra |
3:07 | |||
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2.11
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Part II: The Lord gave the word (Chorus)
Chor des Bayerischen Rundfunks; B'Rock Orchestra; Peter Dijkstra |
1:11 | |||
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2.12
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Part II: Aria. How beautiful are the feet (Soprano)
Julia Doyle; B'Rock Orchestra; Peter Dijkstra |
2:21 | |||
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2.13
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Part II: Their sound is gone out into all lands (Chorus)
Chor des Bayerischen Rundfunks; B'Rock Orchestra; Peter Dijkstra |
1:23 | |||
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2.14
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Part II: Aria. Why do the nations so furiously rage together (Bass)
Neal Davies; B'Rock Orchestra; Peter Dijkstra |
2:47 | |||
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2.15
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Part II: Let us break their bonds asunder (Chorus)
Chor des Bayerischen Rundfunks; B'Rock Orchestra; Peter Dijkstra |
1:46 | |||
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2.16
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Part II: Recitative. He that dwelleth in heaven (Tenor)
Steve Davislim; B'Rock Orchestra; Peter Dijkstra |
0:12 | |||
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2.17
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Part II: Thou shalt break them with a rod of iron (Tenor)
Steve Davislim; B'Rock Orchestra; Peter Dijkstra |
2:04 | |||
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2.18
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Part II: Hallelujah (Chorus)
Chor des Bayerischen Rundfunks; B'Rock Orchestra; Peter Dijkstra |
3:37 | |||
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2.19
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Part III: Aria. I know that my Redeemer liveth (Soprano)
Julia Doyle; B'Rock Orchestra; Peter Dijkstra |
5:25 | |||
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2.20
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Part III: Since by man came death (Chorus)
Chor des Bayerischen Rundfunks; B'Rock Orchestra; Peter Dijkstra |
2:16 | |||
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2.21
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Part III: Accompagnato. Behold, I tell you a mystery (Bass)
Neal Davies; B'Rock Orchestra; Peter Dijkstra |
0:34 | |||
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2.22
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Part III: Aria. The trumpet shall sound (Bass)
Neal Davies; B'Rock Orchestra; Peter Dijkstra |
8:49 | |||
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2.23
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Part III: Recitative. Then shall be brought to pass (Alto)
Lawrence Zazzo; B'Rock Orchestra; Peter Dijkstra |
0:16 | |||
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2.24
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Part III: Duet. O death, where is thy sting (Alto, Tenor)
Lawrence Zazzo; Steve Davislim; B'Rock Orchestra; Peter Dijkstra |
0:58 | |||
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2.25
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Part III: But thanks be to God (Chorus)
Chor des Bayerischen Rundfunks; B'Rock Orchestra; Peter Dijkstra |
2:02 | |||
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2.26
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Part III: Aria. If God be for us (Soprano)
Julia Doyle; B'Rock Orchestra; Peter Dijkstra |
4:24 | |||
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2.27
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Part III: Worthy is the Lamb that was slain (Chorus)
Chor des Bayerischen Rundfunks; B'Rock Orchestra; Peter Dijkstra |
3:17 | |||
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2.28
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Part III: Amen (Chorus)
Chor des Bayerischen Rundfunks; B'Rock Orchestra; Peter Dijkstra |
3:50 | |||
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Der Messias
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3.1
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Teil 1: "Händels Kompositionsprozess": Kreativer Rausch und Schaffenskrise
Christian Baumann; Gert Heidenreich; Hans Jürgen Stockerl |
3:29 | |||
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3.2
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Teil 1: "Händels Kompositionsprozess": Tonarten als Symbole
Christian Baumann; Gert Heidenreich; Hans Jürgen Stockerl |
7:24 | |||
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3.3
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Teil 1: "Händels Kompositionsprozess": Von der Erfindung zur Partitur
Christian Baumann; Gert Heidenreich; Hans Jürgen Stockerl |
3:14 | |||
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3.4
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Teil 1: "Händels Kompositionsprozess": Das Verhältnis von Wort zu Ton
Christian Baumann; Gert Heidenreich; Hans Jürgen Stockerl |
4:12 | |||
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3.5
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Teil 1: "Händels Kompositionsprozess": Orchesterklang und Parodie - Diebstahl in eigener Sache
Christian Baumann; Gert Heidenreich; Hans Jürgen Stockerl |
6:12 | |||
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3.6
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Teil 2: "Wohltätigkeit und gute Taten": Die Uraufführung in Dublins Fishamble Street
Christian Baumann; Gert Heidenreich; Hans Jürgen Stockerl |
3:25 | |||
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3.7
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Teil 2: "Wohltätigkeit und gute Taten": Arien und Affekte
Christian Baumann; Gert Heidenreich; Hans Jürgen Stockerl |
3:10 | |||
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3.8
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Teil 2: "Wohltätigkeit und gute Taten": Musik als Klangmalerei
Christian Baumann; Gert Heidenreich; Hans Jürgen Stockerl |
6:36 | |||
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3.9
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Teil 2: "Wohltätigkeit und gute Taten": Ein Oratorium als geistliches Musiktheater
Christian Baumann; Gert Heidenreich; Hans Jürgen Stockerl |
4:46 | |||
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3.10
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Teil 2: "Wohltätigkeit und gute Taten": Enttäuschung und Erfolge
Christian Baumann; Gert Heidenreich; Hans Jürgen Stockerl |
6:16 | |||
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3.11
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Teil 3: "Text, Politik und Theologie": Oratorien im Überfluss
Christian Baumann; Gert Heidenreich; Hans Jürgen Stockerl |
4:11 | |||
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3.12
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Teil 3: "Text, Politik und Theologie": Gottes Wort im Opernhaus
Christian Baumann; Gert Heidenreich; Hans Jürgen Stockerl |
4:19 | |||
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3.13
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Teil 3: "Text, Politik und Theologie": Sacred words - Das Libretto als Bibelcollage
Christian Baumann; Gert Heidenreich; Hans Jürgen Stockerl |
3:37 | |||
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3.14
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Teil 3: "Text, Politik und Theologie": Glaube und Politik
Christian Baumann; Gert Heidenreich; Hans Jürgen Stockerl |
5:48 | |||
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3.15
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Teil 3: "Text, Politik und Theologie": Äussere Form und dogmatischer Inhalt
Christian Baumann; Gert Heidenreich; Hans Jürgen Stockerl |
3:55 | |||
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3.16
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Teil 3: "Text, Politik und Theologie": Anglikanisches Erbe: Die Liturgie des Book of Common Prayer
Christian Baumann; Gert Heidenreich; Hans Jürgen Stockerl |
3:45 | |||
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Digital Booklet
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From its 1742 premiere, Handel's Messiah has been an audience favourite and for many, the initial portal into the world of classical choral music. This live triple album, recorded at pre-Christmas concerts in November 2014, features vocalists Julia Doyle, Lawrence Zazzo, Steve Davislim and Neal Davies performing the original English language version along with the Chor des Bayerischen Rundfunks under the direction of Peter Dijkstra. They are joined by the whimsically named B'Rock, the Belgian Baroque Orchestra Ghent, working from the original and historically informed scoring.
48 kHz / 24-bit PCM – BR-Klassik Studio Masters
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -4.33 -14.37 to -0.37 | -26.44 -33.24 to -18.45 | -22.92 -29.90 to -13.80 | 14 8 to 18 | |
| 1.1 | Part I: Symphony. Grave | -8.42 | -27.93 | -25.2 | 12 |
| 1.2 | Part I: Accompagnato. Comfort ye my people (Tenor) | -4.80 | -28.89 | -25.0 | 15 |
| 1.3 | Part I: Aria: Ev'ry valley shall be exalted (Tenor) | -8.43 | -28.41 | -24.7 | 13 |
| 1.4 | Part I: And the glory of the Lord (Chorus) | -1.16 | -21.14 | -17.9 | 13 |
| 1.5 | Part I: Accompagnato. Thus saith the Lord (Bass) | -2.19 | -27.10 | -23.4 | 15 |
| 1.6 | Part I: Aria: But who may abide the day of his coming (Alto) | -0.69 | -25.72 | -22.6 | 15 |
| 1.7 | Part I: And he shall purify the sons of Levi (Chorus) | -0.46 | -22.84 | -19.7 | 14 |
| 1.8 | Part I: Behold, a virgin shall conceive (Alto) | -11.50 | -32.02 | -27.9 | 12 |
| 1.9 | Part I: Aria. O thou that tellest good tidings to Zion (Alto, Chorus) | -0.38 | -25.59 | -22.6 | 16 |
| 1.10 | Part I: Accompagnato. For behold, darkness shall cover the earth (Bass) | -5.85 | -28.41 | -24.7 | 12 |
| 1.11 | Part I: Aria. The people that walked in darkness have seen a great light (Bass) | -3.20 | -27.52 | -23.9 | 16 |
| 1.12 | Part I: For unto us a child is born (Chorus) | -0.45 | -23.25 | -20.1 | 15 |
| 1.13 | Part I: Pifa (Pastoral Symphony). Larghetto | -13.24 | -32.23 | -29.9 | 10 |
| 1.14 | Part I: Recitative. There were shepards abiding in the field (Soprano) | -14.37 | -32.57 | -29.1 | 10 |
| 1.15 | Part I: Accompagnato. And lo, the angel of the Lord came upon them (Soprano) | -8.12 | -29.27 | -24.4 | 11 |
| 1.16 | Part I: Recitative. And the angel said unto them (Soprano) | -9.88 | -29.40 | -25.5 | 12 |
| 1.17 | Part I: Accompagnato. And suddenly there was with the angel (Soprano) | -3.92 | -25.00 | -21.4 | 12 |
| 1.18 | Part I: Glory to God in the highest (Chorus) | -0.48 | -21.09 | -15.9 | 13 |
| 1.19 | Part I: Aria. Rejoice greatly, O daughter of Zion (Soprano) | -3.59 | -26.70 | -23.8 | 16 |
| 1.20 | Part I: Recitative. Then shall the eyes of the blind be open'd (Alto) | -11.76 | -31.92 | -27.4 | 12 |
| 1.21 | Part I: Aria. He shall feed his flock (Soprano, Alto) | -3.39 | -27.47 | -24.7 | 16 |
| 1.22 | Part I: His yoke is easy (Chorus) | -0.47 | -23.18 | -19.9 | 14 |
| 1.23 | Part II: Behold, The Lamb of God (Chorus) | -0.60 | -24.10 | -20.3 | 14 |
| 1.24 | Part II: Aria. He was despised and rejected of men (Alto) | -6.19 | -30.59 | -27.5 | 16 |
| 1.25 | Part II: Surely, he hath borne our griefs and carried our sorrows (Chorus) | -0.57 | -21.42 | -18.4 | 13 |
| 1.26 | Part II: And with his stripes we are healed (Chorus) | -0.65 | -23.27 | -20.4 | 13 |
| 1.27 | Part II: All we like sheep (Chorus) | -1.55 | -24.73 | -21.5 | 15 |
| 2.1 | Part II: Accompagnato. All they that see him (Tenor) | -8.00 | -26.69 | -23.2 | 12 |
| 2.2 | Part II: He trusted in God (Chorus) | -0.52 | -21.98 | -18.9 | 14 |
| 2.3 | Part II: Accompagnato. Thy rebuke hath broken his heart (Tenor) | -10.54 | -32.88 | -29.6 | 14 |
| 2.4 | Part II: Arioso. Behold, and see if there be any sorrow (Tenor) | -7.50 | -30.56 | -27.0 | 14 |
| 2.5 | Part II: Accompagnato. He was cut off (Tenor) | -5.98 | -25.25 | -21.8 | 8 |
| 2.6 | Part II: Aria. But thou didst not leave his soul in hell (Tenor) | -5.04 | -28.75 | -25.8 | 14 |
| 2.7 | Part II: Lift up your heads (Chorus) | -0.44 | -21.59 | -18.2 | 13 |
| 2.8 | Part II: Recitative. Unto which of the angels said he at any time (Tenor) | -11.54 | -32.10 | -27.8 | 11 |
| 2.9 | Part II: Let all the angels of God worship him (Chorus) | -1.79 | -21.15 | -17.9 | 12 |
| 2.10 | Part II: Aria. Thou art gone up on high (Alto) | -2.75 | -28.21 | -25.3 | 16 |
| 2.11 | Part II: The Lord gave the word (Chorus) | -1.57 | -21.74 | -18.2 | 13 |
| 2.12 | Part II: Aria. How beautiful are the feet (Soprano) | -6.57 | -29.00 | -25.9 | 14 |
| 2.13 | Part II: Their sound is gone out into all lands (Chorus) | -0.88 | -20.24 | -16.9 | 12 |
| 2.14 | Part II: Aria. Why do the nations so furiously rage together (Bass) | -1.61 | -25.28 | -22.1 | 16 |
| 2.15 | Part II: Let us break their bonds asunder (Chorus) | -0.86 | -22.41 | -19.4 | 14 |
| 2.16 | Part II: Recitative. He that dwelleth in heaven (Tenor) | -8.72 | -29.41 | -24.3 | 10 |
| 2.17 | Part II: Thou shalt break them with a rod of iron (Tenor) | -6.97 | -26.95 | -23.7 | 13 |
| 2.18 | Part II: Hallelujah (Chorus) | -0.43 | -18.60 | -15.2 | 12 |
| 2.19 | Part III: Aria. I know that my Redeemer liveth (Soprano) | -3.92 | -29.27 | -26.3 | 16 |
| 2.20 | Part III: Since by man came death (Chorus) | -2.94 | -24.71 | -18.6 | 13 |
| 2.21 | Part III: Accompagnato. Behold, I tell you a mystery (Bass) | -4.32 | -28.97 | -24.1 | 13 |
| 2.22 | Part III: Aria. The trumpet shall sound (Bass) | -1.78 | -25.67 | -21.8 | 16 |
| 2.23 | Part III: Recitative. Then shall be brought to pass (Alto) | -13.25 | -33.24 | -29.6 | 11 |
| 2.24 | Part III: Duet. O death, where is thy sting (Alto, Tenor) | -9.64 | -29.87 | -26.9 | 12 |
| 2.25 | Part III: But thanks be to God (Chorus) | -2.25 | -22.79 | -19.8 | 13 |
| 2.26 | Part III: Aria. If God be for us (Soprano) | -5.34 | -28.38 | -25.4 | 15 |
| 2.27 | Part III: Worthy is the Lamb that was slain (Chorus) | -0.37 | -19.20 | -15.9 | 12 |
| 2.28 | Part III: Amen (Chorus) | -0.37 | -18.45 | -13.8 | 11 |
| 3.1 | Teil 1: "Händels Kompositionsprozess": Kreativer Rausch und Schaffenskrise | -2.84 | -27.66 | -23.9 | 18 |
| 3.2 | Teil 1: "Händels Kompositionsprozess": Tonarten als Symbole | -3.92 | -26.36 | -22.9 | 16 |
| 3.3 | Teil 1: "Händels Kompositionsprozess": Von der Erfindung zur Partitur | -3.89 | -27.11 | -23.8 | 15 |
| 3.4 | Teil 1: "Händels Kompositionsprozess": Das Verhältnis von Wort zu Ton | -5.26 | -26.70 | -23.4 | 15 |
| 3.5 | Teil 1: "Händels Kompositionsprozess": Orchesterklang und Parodie - Diebstahl in eigener Sache | -2.87 | -26.45 | -23.0 | 17 |
| 3.6 | Teil 2: "Wohltätigkeit und gute Taten": Die Uraufführung in Dublins Fishamble Street | -5.15 | -27.19 | -23.6 | 16 |
| 3.7 | Teil 2: "Wohltätigkeit und gute Taten": Arien und Affekte | -4.41 | -27.56 | -24.1 | 16 |
| 3.8 | Teil 2: "Wohltätigkeit und gute Taten": Musik als Klangmalerei | -2.26 | -27.02 | -23.9 | 16 |
| 3.9 | Teil 2: "Wohltätigkeit und gute Taten": Ein Oratorium als geistliches Musiktheater | -2.17 | -25.12 | -21.2 | 14 |
| 3.10 | Teil 2: "Wohltätigkeit und gute Taten": Enttäuschung und Erfolge | -3.04 | -25.93 | -22.3 | 14 |
| 3.11 | Teil 3: "Text, Politik und Theologie": Oratorien im Überfluss | -4.33 | -26.22 | -22.9 | 15 |
| 3.12 | Teil 3: "Text, Politik und Theologie": Gottes Wort im Opernhaus | -1.38 | -28.53 | -24.9 | 18 |
| 3.13 | Teil 3: "Text, Politik und Theologie": Sacred words - Das Libretto als Bibelcollage | -2.71 | -26.58 | -23.1 | 15 |
| 3.14 | Teil 3: "Text, Politik und Theologie": Glaube und Politik | -4.00 | -28.84 | -25.3 | 18 |
| 3.15 | Teil 3: "Text, Politik und Theologie": Äussere Form und dogmatischer Inhalt | -0.98 | -26.94 | -23.6 | 16 |
| 3.16 | Teil 3: "Text, Politik und Theologie": Anglikanisches Erbe: Die Liturgie des Book of Common Prayer | -5.89 | -27.75 | -24.4 | 14 |