Customer Reviews

Bach - Mass In B Minor

5 star:		(18)
4 star:		(1)
3 star:		(1)
2 star:		(3)
1 star:		(1)

 

 

Philippe Herreweghe will gain many fans with this recording. I bought it because I had worn out my Gardner recording. Talk about a revelation! Someone else already reviewed the differences in the opening Kyrie, so I won't retread that ground. Suffice it to say that EVERY chorus, aria, and duet is handled deftly but never "nose in the air" bombastic. The Crucifixus, with it's chromatically descending ostinato, transfixed an entire room full of people when I played it recently at our "Music Night". We have them once a month, rotating who chooses the program. I have been asked to include more of Herreweghe's recording of Bach's Mass in B Minor simply on the merits of the Crucifixus. I was deeply moved also by the wonderful "Credo Patrem Omnipotentem Factorum Coeli et Terrae". This recording is so solid, that when the Collegium Vocale resolve their chords at the end of each movement, you can hear the harmonic overtones generated by their purity of pitch. I have never heard such sublime singing. They also (and this is a tough one for most choirs) have their diction so unified that it is literally impossible to tell how many voices are singing - only that they're all singing perfectly together. Get this CD. You will not regret it. Five stars is not enough, but I wasn't given the choice to award more. Bravo, M. Herreweghe!

It is true that the Mass in B-Minor has rather been "taken out of the church." Doubtless, it is a great work that requires virtuosity of all it's performers, but therefore, it is easy for a recording of the Mass in B-Minor to lose it sacred feel. Take, for instance, the recording of the Mass by John Elliot Gardiner: a fine recording, but the oversized, vibrato heavy chorus and bombastic exectution might leave you less then awed.

Leave it to Philippe Herreweghe and his fine choir, instrumentalists, and soloists to surpass any recording of this work made. When Bach composed this mass near the end of his life (about 1748), he recycled his best works from his long, illustrious career. Some of these works went as far back as 1714. These recycled works were "tweaked" more or less for improvements, and so most of the Mass in B minor is actually Bach's compendium of what he thought were the highlights of his career.

And what better way to show-off Bach's pinnacle work than with Herreweghe and the Collegium Vocale! Never using more than 5 singers per part, the choir is uniform. It is a large-sounding choir and their diction is clear as a bell and each line can be heard. The "Patrem omnipotentem factorem coeli et terrae," (Bach's reworked version of cantata #171) is an exciting rendition, as are the other choruses.

The sopranos and altos (not including the male altos) in the Collegium Vocale are especially boyish sounding, a good quality for a Bach choral work, sounding closer to what Bach had in mind for his own boy choir in St. Thomas Church in Leipzig. Their voices are not vibrato-heavy, making the sound of the choir more appealingly antique and smooth.

The church-like resonance of the recording gives the Mass it's sacred atmosphere that other recordings lack. Harmonia Mundi's sound recording quality ranks the label as one of the most loved among classical music listeners.

The orchestra is similarly fine. But the real treasure is the soloists. Herreweghe's recordings always boast the some of the finest young soloists of this generation, and this record is no exception.

Bach never heard his peerless Mass in B-Minor during his lifetime. But Herreweghe has sure done Mr. Bach proud. Strongly reccomended.

I have several recordings of the Bach b-minor mass (Gardiner, Shaw, Harnoncourt and Herreweghe). Herreweghe's recording is the favorite hands-down. His artistic choices are excellent; The orchestra and chorus of Collegium Vocale Gent offer a broad and intense palette for Herreweghe's brush. This small chamber orchestra balances the voices beautifully and more succesfully than a large orchestra (Shaw). What is sacrificed in instrumental blending is more than compensated by the pronounced character of each instrument and the resulting dramatic effect. Rather than use brute force in tutti sections, Herreweghe offers subtly of line, emphasizing the genius of Bach's counterpoint with clarity. At times, an almost-spartan string section acts as a haunting backdrop for the soloists and chorus (best example 'Agnus Dei'). This is not to say that instrumental force is lacking; plenty punches through in the 'Gloria' and 'Et Ressurexit' where required, but the voice reigns supreme.

Chorus texture blends beautifully, at times sounding like powerful 4 and 5 part solo work rather than an ensemble; they lend enough force to carry through the full orchestra. Soloists are remarkable, delivering the text clearly and audibly throughout with solid intonation. I applaud the maestro's choices of sopranos Johannette Zomer & Véronique Gens (beautiful work in the 'Christe Eleison') and countertenor Andreas Scholl rather than the more common choice of a female alto; Sorry ladies, but the b-minor demands the purity of a countertenor. Scholl's voice is a perfect pairing to the oboe d'amore in 'Qui sedes ad dexteram patris' and the plaintive organ in 'Angus Dei'. Tempi are a bit fast throughout compared to other recordings but used to good effect.

I would recommend this as a first recording to anyone who is new to the b-minor mass , or as a second (third, fourth, or fifth) recording for those who own other performances. Through his period ensemble and sound judgement, Herreweghe elevates the beauty, expressiveness and drama of Bach's secular mass to a sacred status.

Philippe Herreweghe is one of my favorite period conductors. Most of his recordings ended up in my possession because of the great soloists he engages. For example, this disc attracted my attention because of Veronique Gens, Andreas Scholl and Christoph Pregardien (who made a very favorable impression on me in Christie's recording of Mozart's Requiem). Yet, every time I ended up liking the recording for more than just a solo voice. Herreweghe's interpretations are always intelligent and nuanced. They appeal to me so much more than the bombastic Bach performances I grew up hearing. Herreweghe is great conducting other baroque music as well. My other personal favorites include Purcell's Hail! Bright Cecilia (Herreweghe jumps on the latest authentic performance bandwagon by casting two alto arias with a high tenor; but without lowering the pitch!); and Schutz Geistliche Chormusic (a combination of choral pieces and several Geistliche Concerte for solo voices - it moved me to tears!).

Caveat: I am only 18 years old and have only been singing/listening to choral music seriously for 3 or 4 years.

Do yourself a favor and get this exquisite recording. There is intense emotion, perfect diction, light production, excellent dynamic contrast, BEAUTIFUL soloists and just about anything else imaginable in this recording. The straight tone, evened-out vibrato sound is to die for.
Some of the most beautiful and moving solo pieces are Scholl's "Agnus Dei", Pregardien and the soprano (forgot her name)'s "Domine Deus", Scholl and the soprano's "Et in Unum Dominum" and Kooy's "Et in Spiritum Sanctum Dominum". I am not a big fan of Muller-Brachman's voice, but his interpretation of "Quoniam Tu Solus Sanctus Dominus" is well done. Ah, and the "Christe Eleison" is absolutely gorgeous, too. Really, there aren't any outright bad solo tracks. Muller-Brachman's "Quoniam" is clearly the worst, and the only one I won't listen to at any given moment.
The "Qui Tollis" movement is possibly the best on the CD. You can sense the long, legato lines that Herreweghe is going for, as if the singers are pulling you along for the ride with their breath connection. The trumpets are absolutely spectacular, especially in the "Cum Sancto Spiritu" movement. If you hear that piece, and don't want to fly out of your chair, something is horribly wrong. There is something distinctively divine about this music, and for me, it is best felt on movements like the "Cum Sancto Spiritu", "Gloria in excelsis deo", "Sanctus", "Ex Expecto" and "Et Resurexit"... The ones with lots of trumpet. However, the "Crucifixus" and "Et Incarnatus est" are nearly as powerful, just in a more subdued way. While the trumpet pieces make you want to jump out of your chair, the slower movements make you want to sink into your chair and just melt. The "Credo in Unum Deum" movement is performed with an excellent sense of counterpoint in this recording, and the only slight criticism I have is that I wish there was a bit more "bass" in some of the movements. However, being a baritone myself, I am a bit biased.
I had the pleasure of singing this piece with the Choral Society of Durham this past May, and this recording is as close to perfect as I have ever found and will likely find in the future. I can not wait to sing such a divinely beautiful work of choral music again.

You will listen to this over and over again. The singing is superb. Despite the small numbers, they manage to create quite a sound. It's authentic but with female sopranos. Very moving. Technically superb too without the glitches sometimes heard in some baroque groups. Very moving slow sections, especially Andreas Scholl.

There are plenty of excellent versions of this extraordinary work, from Parrott to Hickox, and some disappointing ones, like Marriner or Harnoncourt. But for me Gardiner has always been the one who got the more things right, with the splendid singing of his Monteverdi Choir giving thrilling accounts of Gloria, Et Resurexit and Sanctus and beautifully moving ones of Kyrie and Gratias. After hearing Herreweghe perform live and rushing to buy his version, though, I have to say Gardiner has found an incredible competitor. Herreweghe conducts with a sense of drama that I didn't know he had (his Magnificat never impressed me much). His choir is, of course, first rate. And his singers excellent. The overall result is most impressive, especially with the good recording Harmonia Mundi has afforded him. I still think Gardiner is unsurpassable in the Gratias and the Sanctus. But Herreweghe is not far behind, and he has a lot more to stay on top, not the least the Crucifixus, with a crisp acompaniment from the strings. And Herreweghe recording is now midprice. A wonderful bargain.

This recording is a triumph of superb choral singing! Herreweghe's direction is a class of its own. I have the one by John Eliot Gardiner, and though it will be tought to outdo certain sections (for instance, the Monteverdi Choir's singing in Et Resurrexit), Collegium Vocale certainly would be the more compelling choir for me. I would listen to Credo and Patrem Omnipotentem and just marvel at the way this choir produce that wonderful choral tone. It's devoid of any obstrusive vibrato, though without sounding too "english" and dry. It's so perfectly sung! I've always believed that Bach was meant to be sung in a very spiritual manner, and believe me...this choir does so without sounding tired or restrained. They are able to project exuberance and maintain the work's sanctity all throughout.

For fans of choral music and Bach, this recording of the Mass in B minor is a sort dream marriage. Make no haste, snatch up this recording!

Conductors and ensembles who have recorded Bach's mass in B minor are either strong in one aspect of the music, yet weak in another; and either perform an aspect in one extreme, yet are right on target on another aspect. Understanding this, the criteria I use to select a quality recording is finding the conductor and ensemble which lies in the middle of as many extremes as possible. This criteria includes the following= 1. Correct tempo 2.Precision and clarity of notes-not too jumbled on one hand, yet not too choppy and march-like on the other 3.Support and pitch quality of the performer's voices-not the overemphatic bellowing of vibrato, yet not a mouse-like sound of timid, unsupported voices. 4.Strength of ensemble-not the bare minimum of performers, yet not a gargantuan force which presents the notes in a jumbled, unclear fashion. The ensemble who abides by most of these criterium will be the solid choice of performer, yet I have failed to find a recording that pulls off all of these.
"Sigh"... If only one could combine the tempo of the conductor, Robert Shaw; the clarity of notes of conductors Joshua Rifkin and Andrew Parrott; and the flowing quality of notes as well as the pitch quality of Ton Koopman, one would have the perfect ensemble. But despite my pickiness, I believe that I have found the most solid recording of Bach's mass in that of Philippe Herreweghe's version. If not for him, I would certainly recommend Ton Koopman or John Elliot Gardiner's versions. But while those two conductor's ensembles are not only precise and clear, but flowing, and well-supported, they simply take Bach's tempos to rapidly and play as if the world would end at any minute. Instead, it is well-rounded Philippe Herreweghe who makes the most of the criteria mentioned earlier that is the solid choice of Bach's mass.
One may think that all three styles of Gardiner, Koopman, and Herreweghe are very similar, so much so that a person would be satisfied in possessing the recordings of all three of those conductors. However, the tempo that Herreweghe takes, while not being abruptly different, is indeed noticible enough to realize that he is not rushing nor looking at his watch as Gardiner and Koopman do. Listen carefully to Koopman's "Cum Sancto Spiritu" and then to Herreweghe's and you will find out that Koopman's singers labor when singing the "RI" in "SpiRItu" while Herreweghe's singers sing the "RI" clearly and concisely. Another example is, when listening to the joyous "Et Expecto", Koopman's singers sing so rapidly at the climax that you would think that they were sprinting the 100 meter dash in the process, whereas Herreweghe is jogging at a reasonable pace.
If there is a drawback to Herreweghe it is that his singers' voices are a little on the soft side,lacking the full potential of projection. However, such a drawback is not enough to hinder the overall quality of this recording, nor keep me from enjoying this glorious music, music which Bach made for the glory of God.

Herreweghe, as usual, if I might add, makes the maximum out of the limits which he has put to himself by choosing to be an authentic performer... Starting mysteriously with a wonderful 'Kyrie Eleison' which leaves you speachless, the Mass continues to thrill you till it ends with the exciting 'Dona nobis Pacem'... Peter Kooy and Andreas Scholl are being superb (the best Agnus Dei I have ever heard). I'm not sure Bach would have conducted it better.