Bach: Mass in B minor / McNair, Ziegler, Simpson, Aler, Stone, Paul; Shaw
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Music CD Cover
Edition: Music CDCD Release Date: 1990-10-10
Music Label: Telarc
Soundtracks:
Music CD 1
- Kyrie
- Gloria
- II. Symbolum Nicenum
- III. Sanctus
- IV. Osanna In Excelsis
- Benedictus
- Osanna In Excelsis
- Agnus Dei
- Dona Nobis Pacem
Free Music Notes for Bach: Mass in B minor / McNair, Ziegler, Simpson, Aler, Stone, Paul; Shaw
Free Music Review: Solid, but with presentation issues
Hit: 4 Stars
Shaw's final recording of the Mass in B minor is a devotional, almost religious experience, despite being placed in a concert hall.
The performance here is very much cut from the same cloth as his earlier recording made in 1960 after touring all over the U.S. giving this huge piece in one-night stands. Tempi are broad and spacious, the sound rich and full. The soloists are all top rate. The music breathes in several passages wonderfully, especially the closing "Dona nobis pacem." The pathos of the "Et incarnatus" and "Crucifixus" is especially striking.
Shaw's interpretation falls into the traditional side of that tedious "HIP vs. Everything Else" debate, meaning his orchestra and chorus are quite large compared to more recent interpretations.
The complaint, here is this: look VERY CLOSELY at the track list. The Kyrie, Gloria, and Symbolum Nicenum are NOT subdivided into a track for each movement. That's not a detriment to the performance, but it does make the set difficult to work with when studying specific areas within the piece. The Symbolum Nicenum especially is so long, even a track division after, say, the "Et resurrexit" would be preferable to none at all. It's a shame that such a good performance is marred by Telarc's presentation.
Nonetheless, an all-around great reading (but don't miss some of the others, like Robert King or Karl-Friederich Beringer).
Bach: Mass in B minor / McNair, Ziegler, Simpson, Aler, Stone, Paul; Shaw Poster
Robert Shaw's reading of the B Minor Mass is, in one sense at least, just what one would expect: sober and purposeful, beautifully shaped (Shaw is a master architect), it centers on the chorus. Like all of Shaw's choruses, the Atlanta group has that trademark richness of body and blend, and it sings with utter unanimity as though it were one great voice. Shaw opts for marginally broader tempos than those found in most period-instrument performances but is nowhere near as glacial as some interpreters. Yet oddly enough, the approach seems more idealized, and less passionate and expressive, than one might expect from a conductor famous for giving his singers adrenaline rushes. Proof again that one should expect the unexpected from Shaw, as well as the expected. It's part of his fascination. --Ted LibbeyClassical Music CDs
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