19. The duets are especially well-matched, as are the solo voices and accompaniment in the arias which, as Canby has observed, are essentially duets between a voice and a single instrument. It comes from Masaaki Suzuki and his Bach Collegium Japan on the BIS label. But the power of the music, combined with wide stylistic and technical extremes makes it in my opinion one of the great masterworks of all time, whether originally conceived that way or not. Overall, Gardiner melds historical credibility and tradition with creativity to help bridge the gap between the older, romanticized approach and a radical application of period practices that threatens to alienate those who should embrace this wondrous work, and thus paved the way to many excellent recordings that continue to proclaim Bach’s eternal relevance, even in our modern times. The composition was completed in 1749, the year before the composer's death, and was to a large extent based on earlier work, such as a Sanctus Bach had composed in 1724. Joshua Rifkin notes that after a dozen years of service Bach felt mistreated in his position at Leipzig and sought an official, if only honorary, title to strengthen his status. : Canby, Edward Tatnall – notes to the Scherchen Westminster box, WAL 301 (1950). Credo Sanctus Agnus Dei (1685–1750) Mass in B Minor, BWV 232. Emery, Walter – notes to the Klemperer Angel box, SC-3720 (1967). (x3) Christe eleison (Duet, soprano I,II) Christe eleison. Rifkin speculates that the solos may have been meant to display the talents of the Elector's chapel choir. Alan Jefferson terms it "Bach's personal declaration of Faith.". Rifkin, too, included extensive notes to justify his choices. Thus, after its initial chords and orchestral fugal introduction the opening Kyrie begins with a vocal quartet and evolves into a full chorus, adding cumulative weight in this way rather than through an escalation of volume alone, as is routinely done. Find album reviews, stream songs, credits and award information for Bach: Mass in B minor, BWV 232 - Helmuth Rilling on AllMusic Everything about it is large, the music, the voices, the scope of conception, the dynamics, use … The Boyd Neel Orchestra, founded by its namesake surgeon in 1933 as one of the earliest permanent chamber groups, provides eloquent, light textures (with imposing tympani) that must have seemed refreshingly pure at the time. Yet, more subtle transitions are often effective as well – the fleet Domine slows to a crawl, thus preparing the slow, mystical opening of the Qui tollis that follows. However the Bach Archive Leipzig in conjunction with Bärenreiter are constantly striving to bring new discoveries of editorial research to the fore. Unlike the two surviving Bach Passions (John and Matthew), Bach’s great Mass wasn’t originally conceived as a single entity. The complete B Minor Mass was first heard in Leipzig, Germany, in 1859. The first integral performance only arose in 1859 in Leipzig by a chorus of over 100, adapted to the taste of the time, complete with dramatic dynamics and legato slurs. He never did enough practice to get really good at it, but caught a passion for Classical music which would stick with him forever. To that end, Christoph Wolff credits Bach as having a breadth that embraces a comprehensive grasp of musical history, ranging from ancient to new styles. Johann Sebastian Bachs Mass in B minor is regarded by many as one of the supreme achievements of Western classical music. A wonderful question which, I’d argue, admits of no single answer. Accordingly, Gardiner not only assigns some entire choral movements to soloists but achieves textural variety within movements by varying his forces. It comes from Masaaki Suzuki and his Bach Collegium Japan on the BIS label. The annotator of the original album (identified only as "H.W.L." As you probably know Suzuki is part way through a cycle of Bach Cantatas which are getting fantastic reviews, and when the cycle is finally complete (a little way off admittedly as he is only on Volume 36 of what I imagine will get up to somewhere near 60) I think it may well become ‘the’ version to have. There is a theory that he never expected the work to be performed in its entirety, and certainly at nearly two hours in length it would never have been part of a church liturgy. Thus, the opening Kyrie evolves patiently, inexorably and reverently, while the Christe duet, despite a lovely initial blending of the two female voices, devolves into a duel for attention, complete with mammoth retards to mark the end of each section. Kyrie Gloria. Buy download online. Even within movements, the Confiteor galvanizes with a startling contrast between effervescent outer sections and a deeply contemplative inner one. Only some portions of the score were in Bach's handwriting, leading Rifkin to consider that others might have been copied by family members rather than by the usual professional copyists, which, in turn, suggests composition during a trip rather than at home. (The nature and sources of each movement are traced in the notes that accompany nearly every recording of the B Minor Mass, and so, in lieu of citing numerous examples, I gladly defer to them for a detailed structural analysis of the individual components, should that be of interest.). Overall, he considered the new recording as "about midway between the ceremonial grandeur of the old Coates effort on HMV, with its overwhelming means, and the ascetic rigors of the Robert Shaw on RCA, with its rather paltry ones." Rifkin, Joshua – notes to his Nonesuch gatefold album, 9 79036 (1982). Among the ones I have enjoyed through the years are: I am indebted to the following writers for the information and attributed opinions in this article: Spitta, Philipp (tr: Clare Bell and J. For nearly two decades, Harnoncourt had immersed himself in the study of period instruments and performance, played on numerous LPs and with his wife Alice had founded the Concentus Musicus Wein to spread their goal of realizing and proselytizing for period practice. Bach P 180 #310747 & 310748: Re-submission of the autograph of the Missa and Symbolum Nicenum originally submitted by Ivdruiz, supplemented by 9 of the 11 missing pages. Although he further emphasized that “Bach’s light, airy and intricate texture is overwhelmed by great and glutinous sound” and sought to emulate Bach’s own resources, he recognized that the practicality of presentation in auditoriums seating up to ten thousand required a compromise with somewhat expanded forces (abetted by the power of modern instruments). The Mass can also be hailed as the supreme example of the practice of parody. Join us to listen to this special presentation of the Mass in b minor in its entirety. Mass In B Minor BWV 232, Missa: Christe Eleison (Soprano I & II) 5:35. A new Bach B minor Mass has got me very excited this week. The first publication was by Hans Georg Naëgli, who had purchased the autograph at auction. Video on demand: Bach's Mass in B minor with the Ensemble Pygmalion Watch online on www.francemusique.fr Cité de la musique - La Philharmonie Recorded at Philharmonie 1: Grande salle Pierre Boulez, Paris, France Charles Sanford Terry notes that while it contains all the sections of the Catholic mass (and, indeed, it was listed in Bach's estate catalog as "die Grosse catholische Messe"), textual variations violate the inflexible strictures required for ritual purposes; on the other hand, Lutherans use only portions (the Kyrie, Gloria and occasionally the Sanctus) of the full Catholic mass in their services. The genesis and purpose of nearly all of Bach's prodigious output of vocal works is either known or can be reliably surmised – except for his very last and arguably greatest of all, which would come to be known as the Mass in B Minor (although, as Karl Geiringer observes, the title is a misnomer, as twice as many sections are in B Major than in b minor). (All compositions are created 'over time'! Cost: $25+ Duration: About 2 … Consequently, throughout this recording, following the purely intuitive practice of Shaw, Harnoncourt shifts among three divisions of his choir (varying between large (20 sopranos, 10 altos, 6 tenors and 8 basses); medium (11, 5, 4, 4) and small (7, 3, 3, 3)) and orchestra (diverse combinations ranging between 6 and 13 strings). And even in 1749 when it was completed it was bundled in four very separate parts. (x3) These concertists could be doubled by additional singers ("ripienists") for fully-scored passages to amplify the vocal texture, but the ripienists were purely optional, dependent upon available resources. 25 Years in the Making! Mass in B minor, BWV 232 (Bach, Johann Sebastian) Movements/Sections Mov'ts/Sec's: 4 parts Composition Year ... Staatsbibliothek zu Berlin (D-B): Mus.ms. Although written in the last years of his life, Bach’s Mass in B Minor had its beginnings some 15 years earlier. Most commentators hold Bach's parody approach in high regard. Whether it is a complete patchwork or put together from pieces of a design (most musicologists suggest the latter), this music is- certainly metaphorically and possibly literally- divine! The B Minor Mass included Harnoncourt's own lengthy, scholarly notes in which he both explained and defended his approach. Butt notes that the parody technique had been a staple of Renaissance music, and so Bach's use of his own work showed respect for tradition, as well as for the purity and durability of the old style, rather than signaling a decline in inventiveness. (Bach also wrote four other full-fledged Masses during this period, which contained far briefer Kyries and Glorias, but scholars are uncertain as to their intended purposes or when, or even whether, they were ever performed.). Clearly, Schumann was the star of this show (and indeed its Pearl CD incarnation is entitled "Elisabeth Schumann – the Complete Bach Recordings," even though she appears in only three of the 24 movements). Yet Spitta contends that Bach was such a practical musician that he "never wrote anything – and least of all such a mighty work as this – simply to have it unheard." The first two of its five major sections (the Kyrie and Gloria, known as the Missa) were dedicated in 1733 to the Elector of Saxony in Dresden in the apparent hope of obtaining either a court title or at least some commissions. (Aside from a few Bach and Handel snippets (mostly in Romanticized arrangements) and a vertiginous Mozart Jupiter, he recorded nothing else written prior to Beethoven.) Performing the complete mass since 1940, The Bach Festival Society recognizes its place as inheritors of this tradition of bringing Bach’s work to life. All the components fit well – yet perhaps a bit too well, without the textural diversity or emotional peaks needed to sustain attention over the course of two largely undifferentiated, moderated hours. Wolff, Christoph – notes to the Gardiner set, Archiv 415 514 (1984). Needless to say, it's unique anyway, --Gerda Arendt 12:52, 17 April 2013 (UTC) B-Minor Mass. The genesis and purpose of nearly all of Bach's prodigious output of vocal works is either known or can be reliably surmised – except for his very last and arguably greatest of all, which would come to be known as the Mass in B Minor (although, as Karl Geiringer observes, the title is a misnomer, as twice as many sections are in B Major than in b minor). Noting that such elaborate music was often performed during great festivals, he speculates that at least portions must have been performed, possibly the Gloria and Sanctus that were appropriate for a Christmas service. Heard in the context of all the recordings that followed, it emerges nowadays as largely a dutiful and functional rendition, lacking the zesty ardent spontaneity that Coates routinely brought to his brilliant series of recordings of Wagner, Tchaikovsky, Rimsky-Korsakoff and other late Romantic repertoire. Among the slowest on record, and thus patently at odds with more recent notions of brisk Baroque pacing (as well as Shaw's own earlier version), the patient unfolding of carefully layered lines, exquisite control and tender phrasing fend off any sense of tedium and instead create an aura of eternal mystery and conviction that assures a treasured place among traditional performances. For Bach, it's a splendid choice, because - again to my knowledge - it's unique, even without a composer, no other mass in B minor. Ecstatically greeting it in the December 1929 Gramophone magazine, C. M. Crabtree agreed: "For many people the recording of Bach's B minor Mass complete will be the greatest thing that has happened since the first gramophone record was made. As just a single example, consider the themes of the Kyrie movements – complex yet haunting, and endlessly fascinating in their evolutionary repetitions (as, indeed, a good fugue theme should be), offsetting the simpler, gentle theme of the Christe. Even if it had no other merit, the sheer daring of this bold British venture would assure it an honored place in the history of the phonograph – a full recording of a two-hour, barely-known work of highly select appeal. In that light, Rifkin notes that the separate performing parts Bach prepared for the Missa (but which may never have been used) comprised one each for Soprano 1, Soprano 2, Alto, Tenor and Bass, rather than multiple copies that ripienists would have required. Bach - Mass in B Minor | John Eliot Gardiner (2015) - YouTube 18. Bach, who performed the Credo alone (but with his own introduction and elaborations) toward the end of his own life in 1786. The first documented performance of any portion of the B Minor Mass was by the composer's son C.P.E. ", While there may have been earlier acoustical records of isolated, and possibly abridged, arias or choruses, the first substantial set of excerpts was the eight sides cut in 1926 for HMV by the Royal Choral Society and Royal Albert Hall Orchestra under the direction of Dr. Edward Cuthbert Bairstow, a distinguished minister, organist and professor. 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