Artist:
Raymond Leppard, English Chamber Orchestra and Choir
Title:
Handel Edition: Messiah; Samson; Arias from Rinaldo and other operas
Year Of Release:
2008
Label:
Warner Classics
Genre:
Classical
Quality:
FLAC (image + .cue, log, artwork)
Total Time: 7:30:21
Total Size: 2.07 GB
WebSite:
Album Preview
01. MESSIAH, Oratorio in three Parts, HWV 56 - PART I. No. 1. Symphony (Ouverture)
02. No. 2. Accompagnato (Tenor): “Comfort ye, comfort ye my people, saith your God”
03. No. 3. Aria (Tenor): “Every valley shall be exalted”
04. No. 4. Chorus: “And the glory of the Lord shall be revealed”
05. No. 5. Accompagnato (Bass): “Thus saith the Lord, the Lord of hosts”
06. No. 6. Aria (Alto): “But who may abide the day of His coming”
07. No. 7. Chorus: “And He shall purify the sons of Levi”
08. No. 8. Recitativo (Alto): “Behold a virgin shall conceive and bear a son”
09. No. 9. Aria (Alto): “O thou that tellest good tidings to Zion”
10. No. 9. Chorus: “O thou that tellest good tidings to Zion”
11. No. 10. Accompagnato (Bass): “For behold, darkness shall cover the earth
12. No. 11. Aria (Bass): “The people that walked in darkness have seen a great light”
13. No. 12. Chorus: “For unto us a child is born, unto us a son is given”
14. No. 13. Pifa (Pastoral Symphony)
15. Nos. 14a, 14b, 15, 16. Recitativi (Soprano): “There were shepherds abiding in the field” … “And lo, the angel of the Lord came upon them” … “And the angel said unto them” … “And suddenly there was with the angel”
16. No. 17. Chorus: “Glory to God in the highest”
17. No. 18. Aria (Soprano): “Rejoice greatly, o daughter of Zion”
18. No. 19. Recitativo (Alto): “Then shall the eyes of the blind be opened”
19. No. 20. Duetto (Soprano, Alto): “He shall feed his flock like a shepherd”
20. No. 21. Chorus: “His yoke is easy, and His burden is light”
21. PART II. No. 22. Chorus: “Behold the Lamb of God, that taketh away the sin of the world”
22. No. 23. Aria (Alto): “He was despised and rejected of men”
23. No. 24. Chorus: “Surely, He hath borne our griefs”
01. No. 25. Chorus: “And with His stripes we are healed”
02. No. 26. Chorus: “All we like sheep have gone astray”
03. No. 27. Accompagnato (Tenor): “All they that see Him laugh Him to scorn”
04. No. 28. Chorus: “He trusted in God that He would deliver Him”
05. No. 29. Accompagnato (Tenor): “Thy rebuke hath broken His heart”
06. No. 30. Arioso (Tenor): “Behold, and see if there be any sorrow like unto His sorrow”
07. No. 31. Accompagnato (Tenor): “He was cut off out of the land of the living”
08. No. 32. Aria (Tenor): “But thou didst not leave His soul in hell”
09. No. 33. Chorus: “Lift up your heads, O ye gates”
10. No. 34. Recitativo (Tenor): “Unto which of the angels said He at any time”
11. No. 35. Chorus: “Let all the angels of God worship Him”
12. No. 36. Aria (Bass): “Thou art gone up on high”
13. No. 37. Chorus: “The Lord gave the word”
14. No. 38. Aria (Soprano): “How beautiful are the feet of them that preach the gospel of peace”
15. No. 39. Arioso (Tenor): “Their sound is gone out into all lands”
16. No. 40. Aria (Bass): “Why do the nations so furiously rage together”
17. No. 41. Chorus: “Let us break their bonds asunder”
18. No. 42. Recitativo (Tenor): “He that dwelleth in heaven shall laugh them to scorn”
19. No. 43. Aria (Tenor): “Thou shalt break them with a rod of iron”
20. No. 44. Chorus: “Hallelujah: for the Lord God Omnipotent reigneth”
21. PART III. No. 45. Aria (Soprano): “I know that my Redeemer liveth”
22. No. 46. Chorus: “Since by man came death, by man came also the resurrection of the dead”
23. No. 47. Accompagnato (Bass): “Behold, I tell you a mystery”
24. No. 48. Aria (Bass): “The trumpet shall sound”
25. No. 49. Recitativo (Alto): “Then shall be brought to pass the saying that is written”
26. No. 50. Duetto (Alto, Tenor): “O death, where is thy sting? O grave, where is thy victory?”
27. No. 51. Chorus: “But thanks be to God”
28. No. 52. Aria (Soprano): “If God is for us, who can be against us?”
29. No. 53. Chorus: “Worthy is the Lamb that was slain”
30. [No. 53.] Chorus: “Amen”
01. SAMSON, Oratorio in three Acts, HWV 57 - ACT ONE. Sinfonia
02. Scene 1. Recitative (Samson): “This day, a solemn feast to Dagon held”
03. Scene 1. Chorus of Philistines: “Awake the trumpet’s lofty sound!”
04. Scene 1. Air (Dalila): “Ye men of Gaza, hither bring the merry pipe and pleasing string”
05. Scene 1. Chorus of Philistines: “Awake the trumpet’s lofty sound!”
06. Scene 1. Air (Philistine): “Loud as the thunder’s awful voice”
07. Scene 1. Air (Philistine Woman): “Then free from sorrow, free from thrall”
08. Scene 1. Chorus of Philistines: “Awake the trumpet’s lofty sound!”
09. Scene 1. Recitative (Samson): “Why by an angel was my birth foretold”
10. Scene 1. Air (Samson): “Torments, alas! are not confin’d to heart, or head, or breast!”
11. Scene 2. Recitative (Micah): “Oh change beyond report, thought or belief!”
12. Scene 2. Air (Micah): “Oh mirror of our fickle state!”
13. Scene 2. Recitative (Samson, Micah): “Whom have I to complain of but myself” … “Matchless in might! once Israel’s glory, now her grief!” … “Welcome, my friends! Experience teaches now” … “Which shall we first bewail” … “O loss of sight, of thee I most complain!”
14. Scene 2. Air (Samson): “Total eclipse! no sun, no moon, all dark amidst the blaze of noon!”
15. Scene 2. Air (Micah): “Since light so necessary is to life”
16. Scene 2. Chorus of Israelites: “Oh first created beam! And thou great word!”
17. Scene 2. Recitative (Samson, Micah): “Ye see, my friends, how woes enclose me round” … “The wisest men have err’d, and been deceiv’d” … “Oh that I had! Alas, fond wish, too late!” … “Here comes thy rev'rend sire, old Manoah” … “Alas! Another grief that name awakes”
18. Scene 3. Recitative (Micah, Manoah, Israelitish Man): “Brethren and men of Dan, say, where is my son” ... “Oh, miserable change!” ... “Oh, ever failing trust in mortal strength!”
19. Scene 3. Air (Israelitish Man): “God of our fathers, what is man?”
20. Scene 3. Recitative (Manoah): “The good we wish for, often proves our bane”
21. Scene 3. Air (Manoah): “Thy glorious deeds inspir’d my tongue”
22. Scene 3. Recitative (Samson, Manoah): “Justly these evils have befall’n thy son” … “Worse yet remains” … “This have I done, this pomp, this honour brought”
23. Scene 3. Air (Samson): “My griefs for this forbid mine eyes to close”
24. Scene 3. Air (Samson): “Why does the God of Israel sleep?”
25. Scene 3. Recitative (Micah): “There lies our hope! True prophet may’st thou be”
26. Scene 3. Chorus of Israelites: “Then shall they know, that He whose name”
01. Scene 3. Recitative (Manoah, Samson): “For thee, my dearest son, must thou meanwhile” … “It should be so, to expiate my crime” … “Be for thy fate contrite: but oh, my son” … “Why should I live?”
02. Scene 3. Air (Micah): “Then long eternity shall greet your bliss”
03. Scene 3. Air (Micah): “Joys that are pure, sincerely good”
04. Scene 3. Chorus of Israelites: “Then round about the starry throne”
05. ACT TWO. Scene 1. Recitative (Manoah, Samson): “Despair not thus! You once were God’s delight” … “Where’er the liquid brook or fountain flow’d” … “Trust yet in God! Thy father’s timely care”
06. Scene 1. Air (Manoah): “Just are the way of God to man”
07. Scene 1. Recitative (Samson, Micah): “My evils hopeless are! One pray’r remains”
08. Scene 1. Air (Micah): “Return, oh God of hosts!”
09. Scene 1. Chorus of Israelites: “To dust his glory they would tread”
10. Scene 2. Recitative (Micah, Samson, Dalila): “But who is this? that so bedeck’d and gay” … “My wife? my traitress? Let her not come near me!” … “She stands, and eyes thee fix’d, with head declin’d” … “With doubtful feet, and wav’ring resolution” … “Out, thou hyæna! ’Twas malice brought thee here!” … “I would not lessen my offence, yet beg” … “How cunningly the sorceress displays”
11. Scene 2. Air (Dalila, Samson): “With plantive notes and am’rous moan”
12. Scene 2. Air (Samson): “Did love constrain thee? No, ’twas raging lust!”
13. Scene 2. Air (Samson): “Your charms to ruin led the way”
14. Scene 2. Recitative (Dalila): “Forgive what’s done, nor think of what’s past cure”
15. Scene 2. Duet (Dalila, Virgin): “My/Her faith and truth, O Samson, prove”
16. Scene 2. Chorus of Virgins: “Her faith and truth, oh Samson, prove”
17. Scene 2. Air (Dalila): “To fleeting pleasures make your court”
18. Scene 2. Chorus of Virgins: “Her faith and truth, oh Samson, prove”
19. Scene 2. Air (Dalila): “How charming is domestic ease!”
20. Scene 2. Chorus of Virgins: “Her faith and truth, oh Samson, prove”
21. Scene 2. Recitatives (Samson, Dalila): “Ne’er think of that! I know thy warbling charms” … “Let me approach, at least, and touch thy hand” … “Not for thy life, lest fierce remembrance wake” … “Thou art more deaf to pray’rs than winds or seas”
22. Scene 2. Duet (Dalila, Samson): “Traitor to love! I’ll sue no more” … “Traitress to love! I’ll hear no more” / Scene 3. Recitative (Micah, Samson): “She’s gone! A serpent manifest, her sting discover’d in the end” … “So let her go!”
23. Scene 3. Air (Israelitish Man): “It is not virtue, valour, wit”
24. Scene 3. Recitative (Samson): “Favour’d of heaven is he, who finds one true”
25. Scene 3. Chorus of Israelites: “To man God’s universal law”
26. Scene 4. Recitative (Micah, Harapha, Samson): “No words of peace, no voice enchanting fear” … “I come not, Samson, to condole thy chance” … “The way to know, were not to see, but taste” … “Ha! Dost thou then already single me?” … “Boast not of what thou would’st have done, but do” … “The honour certain to have won from thee
27. Scene 4. Air (Harapha): “Honour and arms scorn such a foe”
01. Scene 4. Recitative (Samson): “Put on your arms, then take for spear” ; Air (Samson): “My strength is from the living God”
02. Scene 4. Recitative (Harapha, Samson): “With thee! a man condemn’d, a slave enroll’d” … “Cam’st thou for this, vain boaster?” … “O Dagon! Can I hear this insolence”
03. Scene 4. Duet (Samson, Harapha): “Go, baffled coward, go / Presume not on thy God”
04. Scene 4. Recitative (Micah): “Here lies the proof”
05. Scene 4. Chorus of Israelites: “Hear, Jacob’s God, Jehovah, hear!”
06. Scene 4. Recitative (Harapha): “Dagon, arise! attend thy sacred feast!”
07. Scene 4. Air (Philistine): “To song and dance we give the day”
08. Scene 4. Chorus of Philistines: “To song and dance we give the day”
09. Scene 4. Double Chorus of Israelites and Philistines: “Fix’d in his everlasting seat”
10. ACT III. Scene 1. Recitative (Micah, Samson, Harapha): “More trouble is behind, for Harapha” … “I fear him not, nor all his giant brood” … “Samson, to thee our lords thus bid me say” … “I am an Hebrew, and our law forbids” … “This answer will offend; regard thyself” … “Myself, my conscience and intemal peace!” … “My message, giv’n with speed, brooks no delay”
11. Scene 1. Air (Harapha): “Presuming slave, to move their wrath!”
12. Scene 1. Recitative (Micah, Samson): “Reflect then, Samson, matters now are strain’d”
13. Scene 1. Chorus of Israelites: “With thunder arm’d, great God, arise!”
14. Scene 1. Recitative (Samson, Micah, Harapha): “Be of good courage; I begin to feel”
15. Scene 1. Air (Samson): “Thus when the sun from’s wat’ry bed”
16. Scene 1. Recitative (Micah): “With might endued, above the sons of men”
17. Scene 1. Air (Micah): “The Holy One of Israel be thy guide” ; Chorus of Israelites: “To fame immortal go”
18. Scene 2. Recitative (Micah, Manoa): “Old Manoa, with youthful steps” … “I come, my brethren, not to seek my son”
19. Scene 2. Air (A Philistine) & Chorus of Philistines: “Great Dagon has subdued our foe”
20. Scene 2. Recitative (Manoah, Micah): “What noise of joy was that? it tore the sky”
21. Scene 2. Air (Manoah): “How willing my paternal love”
22. Scene 2. Recitative (Micah, Manoa): “Your hopes of his deliv’ry seem not vain” … “I know your friendly minds” ; Chorus of Philistines: “Hear us, our God! oh hear our cry!”
23. Scene 2. Recitative (Micah, Manoa, Messenger): “Noise call you this? An universal groan” … “Ruin indeed! Oh, they have slain my son!” … “Thy son is rather slaying them” / Scene 3. (Messenger, Micah, Manoa): “Where shall I run, or which way fly the thoughts” … “The accident was loud, we long to know from whence” … “Let me recover breath” … “Tell us the sum, the circumstance defer” … “Gaza yet stands, but all her sons are falI’n” … “Sad, not to us! But now relate by whom?” …
24. Scene 3. Air (Micah): “Ye sons of Israel, now lament” ; Chorus of Israelites: “Weep, Israel, weep a louder strain”
25. Scene 3. Recitative (Manoah): “Proceed we hence to find his body”
26. Scene 3. Dead March
27. Scene 3. Recitative (Micah, Manoah): “The body comes; we’ll meet it on the way” … “There shall all IsraeI’s valiant youth resort”
28. Scene 3. Air (Manoah) and Chorus of Israelites: “Glorious hero, may thy grave peace and honour ever have” ; Solo (Israelite Woman) and Chorus of Israelites and Virgins: The virgins too shall on their feastful days” … “Bring the laurels, bring the bays” … “May ev’ry hero fall like thee Bring the laurels, bring the bays” … “Glorious hero, may thy grave”
29. Scene 3. Recitative (Manoah, Micah): “Come, come! no time for lamentation” … “Why should we weep or wail, dispraise or blame”
30. Scene 3. Air (Israelitish Woman): “Let the bright Seraphim in burning row”
31. Scene 3. Chorus of Israelites: “Let their celestal concerts all unite”
01. Rinaldo - Aria: “Or la tromba in suon festante” (Rinaldo, Atto III, Scena 9)
02. Rinaldo - Aria: “Cara sposa” (Rinaldo, Atto I, Scena 7)
03. Rinaldo - Aria: “Venti, turbini” (Rinaldo, Atto I, Scena 9)
04. Rinaldo - Aria: “Cor ingrato” (Rinaldo, Atto I, Scena 8)
05. Serse - Recitativo accompagnato ed Arioso: “Frondi tenere e belle” … “Ombra mai fu” (Serse, Atto I, Scena 1)
06. Partenope - Aria: “Furibondo spira il vento” (Arsace, Atto II, Scena 9)
07. Agrippina - Aria: “Bel piacere è godere fido amor!” (Poppea, Atto III, Scena 10)
08. Rinaldo - Aria: “Lascia ch'io pianga mia cruda sorte” (Almirena, Atto II, Scena 4)
09. Orlando - Aria: “Fammi combattere” (Orlando, Atto I, Scena 9)
10. Serse - Arioso: “Ombra mai fu” (Serse, Atto I, Scena 1)
11. Ariodante - Aria: “Dopo notte” (Ariodante, Atto III, Scena 9)
12. Rinaldo - Aria: “Cara sposa” (Rinaldo, Atto I, Scena 7)
13. Giulio Cesare - Duet: “Caro! - Bella!” (Cleopatra & Cesare, Atto III, Scena 10)
14. Hercules - Accompagnato: “Where shall I fly” (Dejanira, Part III)
15. Semele - Air: “Hence, Iris, hence away” (Juno, Act 2, Scene 1)
Raymond Leppard was among the most important and prolific British conductors of the 20th century, identified for many years by his work with the English Chamber Orchestra. He was a scholar and a noted film music composer, and both as scholar and performer, he played a major role in the revival of Baroque music worldwide.
Raymond John Leppard was born in London on August 11, 1927, but grew up in Bath. At Trinity College, Cambridge, he studied viola and harpsichord, the latter an unusual course at the time. While at Trinity College, he conducted choirs and the Cambridge Philharmonic Society, and after graduating in 1952, he gravitated toward conducting. He formed his own Leppard Ensemble and gave a concert with it at London's Wigmore Hall in 1952. He often conducted the Goldsbrough Orchestra, which in 1960 was renamed the English Chamber Orchestra. Leppard was also noted as a harpsichord recitalist, but he did not transfer the ethos of historical performance to his orchestral groups; such a thing would have been rare for most of his career. He did, however, expand the role of the harpsichord in the continuo realization in Baroque chamber music, often drawing notice for his lively accompaniment role.
Leppard became a lecturer in music at Trinity College in 1957, rising to the position of Director of Music before leaving his post in 1968. By that time, Leppard's career as a film composer was well underway; among his credits was the score to the classic Lord of the Flies (1963). His activities as a conductor of Baroque opera also expanded in the 1960s, fueled in part by his work as an editor: he made editions of then little-known Baroque operas, including Monteverdi's L'incoronazione di Poppea, which he conducted at England's Glyndebourne Festival in 1962. His opera editions, like his orchestral performances, did not seek to reflect period practices, and certain of their features, such as their modern-style orchestrations, were criticized by some musicologists. The editions, however, remain in use and continue to exert influence. Leppard was conductor of the BBC Northern Symphony Orchestra from 1973 to 1980, and later in his career he was increasingly active in the U.S. After a 1969 debut with the Westminster Choir and New York Philharmonic, during which he played a Haydn keyboard concerto on the harpsichord, he made conducting appearances at the Santa Fe Opera (in Cavalli's L'Egisto) and, in 1978, at the Metropolitan Opera (in Benjamin Britten's Billy Budd). Leppard served as conductor of the St. Louis Symphony Orchestra from 1984 to 1990, and the Indianapolis Symphony Orchestra from 1987 until the early 2000s. He built that group into one of the few U.S. orchestras specializing in Classical-period music.
Among the general record-buying public, however, it was Leppard's work with the English Chamber Orchestra that was best known. He made at least 170 recordings, many on the Philips and Koss labels, and centered on, but not exclusively, involving music of the Baroque and Classical era.
Leppard remained active well into the 2000s decade, continuing to live in Indianapolis. He died there on October 22, 2019, at age 92. ~ James Manheim