Customer Reviews

Vivaldi: Gloria; Bach: Magnificat [Hybrid SACD]

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These are lively, well-recorded performances of these works, with a chamber orchestra using period instruments augmented by a small choir and vocal soloists. I have enjoyed previous recordings featuring Pearlman conducting Boston Baroque; they seem to strike a nice balance between using period instruments to get an authentic sound and striving to make things energetic and enjoyable. Some ensembles can make this kind of music sound stilted and academic, but Pearlman and his forces always seems to bring a measure of liveliness to the proceedings, which is the case with their performances here.

Martin Pearlman and the Boston Baroque have finally recorded these staples of Baroque literature. First let me start by letting readers know that this is the Magnificant BWV 243 in D and not the earlier version (BWV 243a) in Eb. The majority of this review will focus mostly on the Magnificant since it is the main reason of my purchase. Compared to Gardiner, Herreweghe, McCreesh, Suzuki (Bach Collegium Japan) and Koopman this recording holds up finely. Pearlman's tempos are brisk but not, as most would agree, as brisk as McCreesh's opening Magnificant (108 on the metronome!). An overall commanding performance by the singers and soloists.

As a baroque trumpet player, I listen mostly for the balance of the trumpets and drums with the choir. Sadly, I felt that the first trumpet parts were not played suitably loud enough and the supporting second and third parts (as well as the drums) covered its tricky ascending lines. In the opening movement, the first trumpet part tops a high E (which is sadly squeaked out). John Thiessen plays first trumpet, regrettably, using a MODERN mouthpiece which thus limits the full breadth of the baroque trumpet. It is also unfortunate Boston contracted him when living in the state of Massachusetts is the godfather of the baroque trumpet Fred Holmgren (of the notorious Josh Rifkin Bach Ensemble glory days). Fred plays much louder and could have easily topped off this trumpet section to be a firm machine. The second and third parts did a great job.

I'm done picking at the trumpets and ready to tell you that overall this recording is quite good, including the packaging, artwork, etc. Telarc goes to great lengths these days to provide the highest level of sound recording. I am interested to see the next Boston Baroque recording and crossing my fingers it is more Bach (especially cantatas).

Happy listening.

My interest on this CD grown as I listened to it's samples on Amazon and considered it's low price and nice classic repertoire.
Listening to it as soon as the CD arrived my expectations have changed and I don't recommend it anymore.

Martin Pearlman have received some accolades for some of his readings and he has a good team of players.
For the Vivaldi he used a reduced choral group and a small ensemble with gut strings.
The Vivaldi reading is good but not the best around. I recommend you to get Vittorio Negri's readings with the John Aldis Choir. They are reference on Vivaldi choral music (on redbook CD) but with a great sound.

The Bach Magnificat is not good and the first track of the piece shows that the group isn't in the mood to praise God for the promise of the Redemptor incarnation. You should go to Gardiner with the Monteverdi Choir that, although a redbook CD, is far better technically and have a nice spacious sound.

The worse on this CD, although is a SACD, is the recording.
It's difficult to understand why Telarc mastered it as we are listening to the group through a great tube. There is no sound stage and the volume is very low, as we are listen to the players singing in a kind of a bathroom-acoustics.
I have some SACD, some other 300 CD and I'm comparing the sound played on a Magnepan 3.6R planar speaker.
I even didn't't listen to the complete CD and I'm just thinking on someone to give it to.

Don't spend your money on this, try the options listed, they are far better.