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Bach - Mass In B Minor
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Music CD CoverConductor: Johann Sebastian Bach Conductor: Philippe Herreweghe Orchestra: Collegium Vocale Performer: Veronique Gens Performer: Peter Kooy Performer: Christoph Pregardien Performer: Andreas Scholl Edition: Music CD Format: Box set, Import CD Release Date: 1998-03-10 Music Label: Harmonia Mundi (France) Soundtracks: Music CD 1- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Kyrie. Kyrie eleison
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Kyrie. Christe eleison
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Kyrie. Kyrie eleison
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Gloria. Gloria in excelsis Deo
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Gloria. Et in terra pax hominbus bonae voluntatis
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Gloria. Laudamus te
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Gloria. Gratias agimus tibi
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Gloria. Domine Deus
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Gloria. Qui tollis peccata mundi
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Gloria. Qui sedes ad dexteram patris
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Gloria. Quoniam tu solus sanctus
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Gloria. Cum sancto spiritu
Music CD 2- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Symbolum nicenum. Credo in unum Deum
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Symbolum nicenum. Patrem omnipotentem
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Symbolum nicenum. Et in unum dominum
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Symbolum nicenum. Et incarnatus est
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Symbolum nicenum. Crucifixus
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Symbolum nicenum. Et resurrexit
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Symbolum nicenum. Et in spiritum sanctum dominum
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Symbolum nicenum. Confiteor
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Symbolum nicenum. Et expecto
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Sanctus
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Osanna
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Benedictus
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Osanna
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Agnus Dei
- Mass in B minor, for soloists, chorus & orchestra, BWV 232 (BC E1): Dona nobis pacem
Free Music Notes for Bach - Mass In B MinorFree Music Review: maybe too much perfected? Hit: 5 Stars
In many ways this Mass in B is an improvement over Herreweghe's first recording on Virgin.
Quicker tempi in some parts like the "Gloria" which is also a bit more outgoing than his earlier Gloria. (although most parts are slower, but not noticeable)
Better soloists and even better orchestral playing.
His reading on Virgin was already pretty special because of Herreweghe's attention to the orchestra and its sound, compared to most other versions in which the orchestral part didn't seem that important, everything was focused on the singers and choir - but the orchestral part on Herrweghe's 2nd acount is even better, even more detailed and with character.
But what this reading sets apart from every other reading I heard is the recorded sound which is excellent.
Virgin's recorded sound of Herreweghe I was already superb, especially when compared to rivals like Parrott, Gardiner and Christophers which readings sound small, thin and bass shy, a definite lack of warmth.
The sound of this Herreweghe II is outstanding: big and sumptious with rich textures, instrumental timbres and amazing dynamics.
The "Kyrie" has very great impact, because of the sudden dynamic change, I didn't expect it to become even louder near the end.
Not that the sound is perfect: in the openingchorus "Kyrie" for instance the treble vocals (sopranos) in the left channel distort quite a bit - a cracking noise - as if the sound was recorded too loud.
It reminds me a lot of Herreweghe's 1st St. Matthew Passion, a very nice recording, but in every single air the sound would crack when the soloist suddenly sang louder.
Also the placement of some instruments in the stereo-image isn't alway that ideal: timpani in the "Gloria" (rather bass-heavy in this recording) are placed in the left channel.
This is not a problem when I'm listening through speakers, but when I'm wearing headphones it beats directly into my left ear (I obviously prefer bass and beat in the middle)
But overall it has the best recorded sound of any Mass in B I heard.
So this must be the best Mass in B then?
No.
I still like his 1st account better.
There's something about his Virgin recording - just like his first St. Matthew in comparison with his later account - that is very special.
I sense a greater 'searching' commitment and devotion which I do not hear that obvious in his later account.
Maybe it's just me, having lived with his 1st recording for so much longer than this newer one, and are terms like stronger "devotion" and "commitment" simply not true and valid, but do they exist only in my head.
Well ok, at least for me, just subjectively speaking (like every other ordinary guy would just give HIS opinion), this newer Harmonia Mundi recording does have all those qualities of his older account, but maybe too much perfected? Could it be?
Oh well, along with Herreweghe's 1st recording this one will remain my favorite Mass in B for a very, very long while.
Bach - Mass In B Minor PosterThis recording is, quite frankly, a marvel. In the opening bars of the Kyrie, where tradition dictates a powerful, agonized cry for mercy, Philippe Herreweghe offers a gentle, awestruck plea that took this listener's breath away. Extroverted movements like the Gloria, Et resurrexit, and Sanctus lack nothing in excitement; Qui tollis and Dona nobis pacem feel like fervent prayers. Herreweghe's luminous Collegium Vocale and skillful, sensitive instrumentalists make every gesture, large and small, seem exactly right. The soloists have attractive voices that blend with the period instruments and each other; while each is exquisite, tenor Christoph Prégardien and alto Andreas Scholl are magnificent. Underlying the entire performance is a sense of contemplative wonder that suits this deeply religious music perfectly. -- Matthew Westphal
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