This recording of the Messiah was made during a public performance in Cologne in 1951. Here no homage was rendered to historicizing doctrine; rather the singers in the choir, the soloists and orchestral players and above all, the conductor, made Handel’s oratorio their own; they made music according to the criteria which their aesthetic judgement, their taste had determined. To hear this concert again today, after more than 50 years, is a unique adventure. After countless experiences from performances of this work shaped by the doctrines of historicizing performance practice one experiences here “historical performance practice” in a quite different sense. One that will doubtless arouse interest and approval among younger listeners for whom such a performance is new and unexpected.
