Handel's Messiah

Wonderful version of Messiah:
This is the 1st version of Messiah I cam across, by accident, and I have really enjoyed it for the last several months ... the audio quality isn't top-notch, and after reading the previous reviews stating this is an original analog recording from the 50's I understand better why, but I still feel that this version of Messiah captures, for me, how it should sound ... both the orchestra, vocalists, and tempo are perfect in my opinion, and having now purchased other versions of the work w/ quicker tempo's, I continue to prefer this version ... theres just something about the British accents of the vocalists and the purity of the tone of their voices that makes this version very special to me ... if I could find a recording w/ similar tempo w/ better audio quality, I would be interested in that ... however, I don't think you could match the quality of the vocalists ... perhaps someone could digitally enhance or re-master this version ?? Either way, highly recommended!

sentimental favorite:
Like others, I recall this set's first appearance. It was my initial introduction to the complete Messiah growing up, and a pleasant revelation. It appeared off and on over the following decades. I know The Musical Heritage Society offered it prominently in the 70's and 80's. Madacy, which has exhibited some spotty quality issuing old videos on DVD, has done a very good job digitalizing this 1958 recording. April Cantelo, the first Mrs. Colin Davis, is wonderful in the soprano part, So is Helen Watts whom I gather almost owned the part in her heyday. Wilfred Brown, not a big name even then, does quite well with the tenor music as does Stalman with the bass solos, though he is perhaps the least suave of the quartet. (If I encountered a quartet of this quality at a public performance these days I'd be in heaven.) George Malcolm's harpischord continuo is very prominent throughout, as I had recalled. I suspect he had a lot to do with the style of the over-all project. He was a pioneer in early music performance and moved the forces in this direction. The chorus is well-drilled. Jackson recorded a similar performance of his own with many of the same forces a few years later, but I always felt this version had more personality. When it first appeared, the style of presenting The Messiah was still big and slow and reverent (read Victorian). Susskind, the Czech expatriate conductor, was for many years a house conductor in London for EMI. Later he became music director of the St. Louis Symphony, and associated with, (I believe) the Aspen Festival and the Cincinnati Symphony. He was always a reliable conductor, but never associated with the growing movement toward authentic style in the performance of Baroque music which was just getting off the ground. There are zippier versions, but I never find the music dragging. The speeds are plausible and lively. Susskind has in fact forged a compromise between more spritely scholarly Baroque style and the feeling associated with the British tradition of Messiah performances. I find myself returning to this version again and again and it does not disappoint. I do wish I knew why it is missing a few movements. I gather they just were not recorded. Too bad, but at the time it was one of the few recording that came close to be complete, so we just had to be grateful. If the Miller-Alshire people, stereo pioneeers who liked pronounced separation and who recorded it and first issued it, are sitting on these other movements in their vault, I wish they would release them posthaste. (They also have some early stereo recordings of Sirs Adrian Boult and John Pritchard.) Maybe Testament could be persuaded to take up the cause if this kind of miracle occurred. We will ask Santa next year. Still, with allowances for its age as an early stereo Messiah, it still has its charms and appeal--- like returning to see a beloved old friend!

Historical Stereo Recording of the Messiah:
I can shed some light on the recording as I own it on a 4 lp set issued by Audio Spectrum label which was the "classical" side of Alshire Records, where all those 101 String albums came from. The recording was made in Sepetember 1958 on two open reel machines, one a Telefunken at 30 IPS and an Ampex unit at 15 IPS, to follow the then European curve, and the American curve. It was made in the church: St. Mary Magdalene in Paddington England. Overall, it sounds very good for the time, yet does not have the depth that a true digital recording can have. It was made in true stereo, and if you happen to have a system that can extract ambiance, the surround sound in very good indeed. I am not speaking of digital enhancments, but true extraction such as Dolby Prologic II or a matrix decoder. I am not a great lover of this work (or any of this period)...I start up at the classical era so for me to judge this performance would not be correct; I just wanted to add to the historical context of this recording.

For sentimental reasons:
This recording was my first meeting with Händels Messiah, in the beginning of the 60-ies. Yes "Jazzbaritone", it was on PYE, Golden Guinea. But with number GSGL 10062. Anyway this is the number on the three LP that I have in front of med now. They were recorded in 1958 and in stereo. I did not knew who the singers were, so I am greatful to "jazzbaritone" for his research and findings. It is thus the voice of April Cantello (soprano) and Helen Watts that has given me so many wonderful moments. Even now 40 years later is it Cantellos version of "I know that my Redeemer liveth", that counts for me. I find her version more natural and sincere than many others, even Janet Bakers or Margarete Price's versions. And I love the sound of the London orchestra. But of course it may be performed somewhat faster in some parts. But it is still my favorit. Maybe for sentimental reasons.

My first "complete" Messiah:
This was given to me as a birthday gift on vinyl in the late 70's. I found Audio Spectrum's 1987 CD release in a Salvation Army thrift store a few years ago and snapped it up. For all the differences between the many recordings of this work (and there are SO many worth giving at least one listen), this one is my favorite. Probably for all of the same reasons already stated by other posters here. I noticed that the sound quality on the CD is markedly improved over the vinyl release. I'd love to hear from anyone who can compare Audio Spectrum's disc with this Madacy one. After having purchased a few of their video offerings, I'm a little leary.