The performance of the B minor Mass by La Petite Bande
In the 1980s, Joshua Rifkin published his Preliminary Report on the workings and makeup of the “choir” in the vocal works of Johann Sebastian Bach. His conclusions (then provisional and to be further elaborated on) radically contradicted the practice of the time, which consisted in unreservedly assuming that by “choir” – indeed – Bach meant a vocal ensemble that has multiple singers per part, resulting in a more or less substantial number of performers. Before Rifkin, nobody had studied the sources with such seriousness from that standpoint or sought to envision the actual conditions Bach faced in his position as cantor. Rifkin’s findings, thus, were “sacrilegious.” Generally, he concluded, Bach used one singer per part in his cantatas, motets, passions, etc., so there was no “choir” in the modern sense of the word – consequently, the B minor Mass requires just eight vocalists (the Osanna is set for 2 choirs: 2 x 4 singers).
Tracklist
Please note that the below previews are loaded as 44.1 kHz / 16 bit.Total time: 01:41:49
Additional information
| Label | |
|---|---|
| SKU | CC72316 |
| Qualities | |
| Channels | 2ch Stereo, 5 Channel Surround Sound, 2ch Stereo & 5ch Surround |
| Artists | |
| Composers | |
| Genres | |
| Digital Converters | DCS Ad |
| Mastering Engineer | Bert van der Wolf |
| Microphones | Sonodore |
| Conductors | |
| Instruments | Bassoon, Horn, Oboi, Traverso, Trimpani, Vocal alto, Vocal bass, Vocal tenor, Choir, Organ, Vocal soprano, Trumpet, Viola |
| Original Recording Format | |
| Producer | Bert van der Wolf |
| Recording Engineer | Bert van der Wolf |
| Recording location | San Lorenzo de El escorial Spain |
| Recording Software | Pyramix |
| Recording Type & Bit Rate | DSD64 |
| Release Date | September 13, 2014 |
Press reviews
Positive Feedback
Listening to Kuijken’s Mass in B Minor is like a enjoying a refreshing breeze. The sound is light, open, highly resolved, and immensely articulate. Gone are layers of encumbering, lumbering sound. Instead, one has the essence. A minimal number of vocalists, a spare but completely satisfying complement of instruments, and a resulting transparency of sound…
In contrast [to Gardiner’s performance], Kuijken’s performance is similarly alive, but dignified. It entirely avoids mannerism and fussiness. Best characterized as a performance filled with solid strength, Kuijken is not afraid of genuine grandeur when called for (as in the Gloria or Et Resurrexit), but he entirely eschews effects purely for display. And yet, he maintains a subtle and well-chosen variation of tempi that avoids any deadening sense of sameness.
The recorded sound of the Kuijken performance is superb. Detailed, transparent, fully realistic. Recording engineer Bert van der Wolf has engineered a marvel of detail and balance in this DSD64 recording to which I’m listening: balance of direct and reflected sound, balance of voice and instruments, balance of instruments among each other, all with immense clarity. And when power is applied by the performers, the recording fully encompasses and delivers that power and brilliance of sound. And in the excellence of the sound quality is where this Bert van der Wolf recording (23 years later) separates itself from the earlier Gardiner recording by Archiv. As much as I admire the Archiv recording quality for it’s time, the Bert van der Wolf recording is devastatingly superior in all respects. Very satisfyingly done.
Most highly recommended!
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