Idiotic timestamps.

Verdi and Toscanini, They are God.

I was introduced to this by Lee Rodgers on KSFO who played the ending from Troika as his outro.

Szell❤

Listening this for more than 40 years, i believe that there will never be a more intense and fresh messiah. All contributors live on in this recording.

My goosebumps have goosebumps 😍

Sir Jon- knight of the long breaths

Nilsson and Fischer-Dieskau are totally misscast. Neither of them ever sounded right in Italian opera. Terrible recording.

Cleveland the best ❤

Cleveland the best ❤

I love the Cleveland Orchestra

Who was it who called this symphony "pure thought"? One of my favorite pieces of music.

Orchestra Hall's acoustics are not as bad as Muti says they are.

A magnificent, regal, powerful and dazzling performance. Sir Thomas has the orchestra, soloists and of course the magnificent multilayered choir performing "on afterburners." Just put this on the sound system in your house, turn up the volume, close your eyes....and sit back for a marvellous ride.

Currently at #20 (using the Ebenezer Prout numbering), "And He shall bore His flock". Egads, an utterly interminable rendition. It is also extraordinarily tedious for the violins to have to play it that slowly (in various performances of the work over the years, as both violinist and violist, i have encountered many mutton-headed dragging female soloists who have come close to matching this tedious pace) and indeed actually physically painful. This is thus far, listening from the beginning, the only number that seems completely wrong-headed. Other sections / "movements" have some shocking and revelatory results when done (much) more slowly than the H.I.P. norm, but this is just soporific...Oh wait, #21, "His Egg Yoke is Over Easy", has turned out to be even worse. Yes, the repeated dotted-sixteenth / thirty-second note figure is now mathematically correct, but there is no lightness or momentum whatsoever. Oh, oh, two consecutive misfires. And i am now quite ambivalent about the first number of "Part the Second". Hmmm. NOT observing the de rigeur double-dotting seems, again, to sap things of energy and momentum. And now "He was rejected" has achieved absolute stasis. Yikes, these doldrums of this recording may yet trigger a profound aesthetic crisis in your gadfly-esque neighbourhood music critic. Stay tuned, folks... 😮😢😅😂😊

The confidence, phrasing, and sound are incomparable. There has never been another fiddle player as great as Heifetz.

I'd never have thought that Szell/Cleveland/1960 could create the most thrilling recording of this symphony that I've ever heard. Thank you!

Wow! That 3rd movement!!!

Beecham 's version of The Messiah was the one I first heard as a boy and it has remained my favorite interpretation ever since. Indeed, I still have my LP vinyl recording of it and play it still as well as my CD recording.

And you included disc 3! Thanks 😊!

I always thought certain parts of this felt like they could have been in a Tim Burton movie. Anyone else think Elfman was inspired by Prokofiev?

Wow!!!! Prepare to have the hair on the back of your neck raised! What voices. God bless Handel and god bless these people.

토마스 비참 경께서 지휘 로얄 필 하모닉연주 비제 교향곡 1 중 c 장조 감명있게 감상하여봅니다

8:54

Thank you! My ancient car's CD player is too old to fix. Now I can listen through my FM Bluetooth modulator!

those intro rolled chords, wow

Zio toscanini

I used to have this on tape. But lost it. Was talking about it and that I'd never heard it bettered. KZbin is great. Glad I'm not alone.

Glorious version. Historicism does have its place, though: in the classroom. For the rest of us, this does nicely. Two generations and working on the third.

🙌🏻

Hovhaness is condemned by some because he wrote so much music. The man had a gift. He couldn't contain himself. Not everyone has to like every piece he wrote. But much of his work belongs in the mainstream repertoire simply because it would be a terrible shame if people weren't exposed to music like his. This piece in particular reminds me, even today, given what's going on, that there is still beauty in this world, as well as people who appreciate it

La plupart des grands interprètes bruckneriens (Furtwaengler, Jochum, Wand, Celibidache, Barenboim par exemple) semblent s'être peu intéressés à Mahler. De même la plupart des grands mahlériens ne sont pas toujours convaincants dans Bruckner. Haïtink est, non pas le seul mais un des rares à avoir joué et enregistré ces deux grands musiciens. C'est paradoxal car on associe toujours ces deux compositeurs. Autre paradoxe: Bruckner et Brahms passaient pour être rivaux, voire ennemis. Pourtant tous les grands chefs brucknériens sans exception ont été d'admirables interprètes de Brahms

Tearfully glorious starting at 42:00 when it pulls back from the initial climax to softly transition into an introspective crawl that climbs to a finale so full of hope and release.

世紀の名盤‼️

Ich mag dieses Stück !Die Story kümmert mich nicht es ist für mich absolute Musik!Es gibt mit Mitropoulos Studioaufnahme aus Köln von 57,herrlich aber auch Maazel mit dem hier schon herrlichen Sinfonieorchester des Bay.Rundfunks und meinem Liebling aus Philadelphia beide Orchester meine Lieblinge👍.

*Timestamps* *Part 1* Intro (Overture) [Length - 4:52] 0:01 - No. 1 Sinfony (Overture) Scene 1 (Comfort ye, my people) [Length - 10:50] 4:52 - No. 2 Comfort ye, comfort ye my people saith your god 8:29 - No. 3 Ev’ry valley shall be exalted 12:04 - No. 4 And the glory, the glory of the Lord shall be revealed Scene 2 (Thus saith the Lord of Hosts) [Length - 10:12] 15:41 - No. 5 Thus saith the Lord, the Lord of Hosts 17:34 - No. 6 But who may abide the day of His coming (for he is like a refiner's fire) 22:39 - No. 7 And He shall purify the sons of Levi Scene 3 (Behold, a virgin shall conceive) [Length - 8:09] 25:54 - No. 8 Behold, a virgin shall conceive 26:37 - No. 9 O thou that tellest good tidings to Zion (Arise, shine) 34:02 - No. 10 For behold, darkness shall cover the earth 37:02 - No. 11 The people that walked in darkness 41:58 - No. 12 For unto us a Child is born Scene 4 (Pastoral Symphony - There were shepeherds abiding) [Length - 9:10] 46:50 - No. 13 Pifa (Pastorale) 51:29 - No. 14 There were shepherds abiding in the field 51:56 - No. 15.1 And lo, the angel of the Lord came upon them 52:27 - No. 15.2 And the angel said unto them 53:20 - No. 16 And suddenly there was with the angel 53:41 - No. 17 Glory to God in the highest Scene 5 (Rejoice greatly, O daughter/Then shall the eyes) [Length - 14:28] 56:00 - No. 18 Rejoice greatly, O daughter of Zion 1:00:37 - No. 19 Then shall the eyes of the blind be open'd 1:01:09 - No. 20 He shall feed His flock like a shepherd (Come unto Him, all ye that labour) 1:07:24 -- No. 21 His yoke is easy, His burthen is light [MORE TIMESTAMPS COMING AT A LATER TIME]

2:12

This is the first time I've heard this since 1958, when someone stole my LP. It sounds even better. Thanks!

Недооцененная скрипачка 🎉

Love it!

HOTTER Y VARNAY, INSUPERABLES

Great performance!!! Had this recording on cassette about 30 years ago. However, am wondering why you put the second mov last?

本当にシカゴ響は上手い抑制が効いています!

THE benchmark recording of this piece.

by Chia Han-Leon Oops. Recently, in the pages of Gramophone, Lady Shirley Beecham has written to clarify that the 1959 Beecham recording of Messiah, reviewed here, was in fact not orchestrated by Sir Eugene Goossens. According to her, Sir Thomas had engaged Sir Eugene to arrange the oratorio for a full modern orchestra, but as time passed, Sir Thomas found the latter’s pace and quality of work unimpressive.As time was running short, Sir Thomas asked one Leonard Salzedo - a musician (and composer) in the Royal Philharmonic - to undertake the task. Oddly, Sir Goossens was the one paid for the job eventually (and damn well) done - the man never even attended the recording sessions. Lady Beecham suggests that Sir Thomas did not want to embarass his life-long friend, and so, rather than reveal the truth, simply made no mention of the nature of the situation in the booklet notes of the RCA album. Info compiled from letter by Shirley, Lady Beecham. Gramophone June 1999. The first difference you might notice here is when the tenor’s “Comfort ye” (disc 1: track 2) accompagnato begins, with its harps rippling gently in the background. As he proceeds to his aria “Every valley”, trumpets and other wind instruments ensure a colourful accompaniment - and this is the great glory of this set. The idea of reorchestrating a well-established piece of music is not that often welcomed, but in the case of Leonard Salzedo’s fascinating and bountiful reworking of Handel’s Messiah - I can only wish he had done the same with more Baroque works! The effect of the score is like a combination of English choral tradition with a huge dose of orchestration lessons with Berlioz, and even a touch of Beethovenian woodwind!

Honestly, I prefer a much slower slow first movement... don't care if it's long... just needs to be emotional and spiritual just like this example!!

아바도에게는 따뜻함이 있다. 따뜻함이 있는 베토벤을 가장 잘 연주해내는 작곡가이다.

I undersood this work as the apocryphal last flourishes of love. Mahler knew that his wife Alma was having an affair with Gropius. Despite tthis, the last ten minutes are a testiment to his commim=tment to love at the end of hisd time on this earth. I will forever understand Mahler as giving voice and emotion to the complexities of life beyond languange.

Wao,sin temor a equivocarme creo que esta es la major versión que he oído de esta obra inconclusoa de PIT. Con esta magnífica orquesta de Filadelfia y la batuta del genial director E.ormandy de hace 62 años de antigüedad.maravilloso❤

Heavy stuff man! 🤟😎