Bach, J S: Mass in B minor, BWV232

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Gardiner bases his forces on the famous memorandum which Bach handed to the Leipzig town council in 1730 outlining the vocal and instrumental requirements for performances of his church music.... — Gramophone Classical Music Guide, 2010 More…

Release Date: 15th Nov 1985
Catalogue No: 4155142
Label: DG Archiv
Length: 1 hour 45 minutes

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Bach, J S: Mass in B minor, BWV232

Work length1:45:38

$29.70

$40.50

Michael Chance (countertenor), Patrizia Kwella (soprano), Lynne Dawson (soprano), Stephen Varcoe (bass), Valerie Darke (oboe d amore), Nancy Argenta (soprano), Lisa Beznosiuk (flute), Michael Thompson (french horn), Elizabeth Wilcock (violin), Sophia McKenna (oboe), Carol Hall (soprano), Howard Milner (tenor), Lloyd Morgan (bass), Wynford Evans (tenor), Ashley Stafford (alto), Michael Chance (alto), Andrew Murgatroyd (tenor), Mary Nichols (mezzo-soprano), Jean Knibbs (soprano), Jane Fairfield (soprano), Collin Patrick (alto)
English Baroque Soloists, Monteverdi Choir
Sir John Eliot Gardiner
Recorded: 1985-02-04
Recording Venue: All Saints' Church, Tooting, London

Kyrie eleison

Track length9:28

$1.10

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Christe eleison

Track length4:52

$1.10

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Kyrie eleison

Track length3:29

$1.10

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Gloria in excelsis Deo

Track length1:43

$1.10

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Et in terra pax

Track length4:00

$1.10

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Laudamus te

Track length3:52

$1.10

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Gratias agimus tibi

Track length3:00

$1.10

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Domine Deus

Track length5:17

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Qui tollis peccata mundi

Track length3:19

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Qui sedes ad dexteram Patris

Track length4:23

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Quoniam tu solus sanctus

Track length4:23

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Cum Sancto Spiritu

Track length3:47

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Credo in unum Deum

Track length1:55

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Patrem omnipotentem

Track length1:52

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Et in unum Dominum

Track length4:10

$1.10

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Et incarnatus est

Track length3:25

$1.10

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Crucifixus

Track length3:06

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Et resurrexit

Track length3:47

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Et in Spiritum Sanctum

Track length5:28

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Confiteor unum baptisma

Track length2:31

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Et expecto resurrectionem

Track length3:33

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3. Sanctus

Track length5:24

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Osanna in excelsis

Track length2:30

$1.10

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Benedictus

Track length4:47

$1.10

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Osanna in excelsis

Track length2:33

$1.10

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Agnus Dei

Track length5:45

$1.10

$1.50

Dona nobis pacem

Track length3:19

$1.10

$1.50

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Favourites, JS Bach Choral & Vocal Works

This week it's David's turn to attempt the impossible - whittling down the huge and distinguished choral discography of JS Bach and picking out the very best.

Reviews

2010

Gardiner bases his forces on the famous memorandum which Bach handed to the Leipzig town council in 1730 outlining the vocal and instrumental requirements for performances of his church music. This results in a larger ripieno group. Gardiner also includes a harpsichord as well as an organ, the simultaneous playing of which, in Wolff's words, was 'a practice that can probably be assumed to be normative in the great majority of Bach's church music'. Gardiner uses women's voices for the soprano solo and ripieno lines and also a male alto soloist and male alto ripieno singers.
This is a fine achievement. Here the many strong points of his direction – a vital rhythmic understanding, a clear and positive sense of purpose, and a naturally affective response to Bach's music, combine in forming a concept of the work which not only explores its eneffable mysteries but also savours the magnificence of its architecture.The solo vocal line-up is a strong one and there are few weak moments; most of the soloists sing in the ripieno group as well, though Patrizia Kwella and Lynne Dawson appear to be exceptions to the rule. Nancy Argenta's 'Laudamus te', in which she is lightly partnered by Elizabeth Wilcock's sensitive violin playing is very fine and the singing of Mary Nichols who provides an expressive and wellbalanced partnership with Patrizia Kwella in the 'Et in unum Dominum' deserves special mention.
Michael Chance gives a beautifully controlled account of the 'Agnus Dei' and there are assured contributions elsewhere from Wynford Evans and Stephen Varcoe.
The crowning achievement of Gardiner's recording lies in the vitality, accuracy and homogeneity of the ripieno singing it is in no sense intended to underplay the considerable virtues of the soloists and the orchestra; but this, after all, is first a vocal work and foremost a choral one. The ripieno singing at its very best – as it is for example, in the 'Et resurrexit' – is thrilling and gives a fervent imprint to the entire work. There is a spontaneity about this singing to which few listeners could remain indifferent.
Gardiner's choruses are immediately striking and handled with such skill and rigorous discipline that repeated hearing in no sense diminishes their impact.

2011 edition

Gardiner masterfully conveys the majesty (with bells and censer-swinging evoked) simultaneously with a crisply resilient rhythmic pulse. The choral tone is luminous and powerfully projected. The recording is warmly atmospheric but not cloudy.

It would be nothing short of a crime to exclude this benchmark recording of the B minor Mass; Nancy Argenta and Michael Chance particularly stand out among the soloists, and the Monteverdi Choir and English Baroque Soloists shine equally brightly in the choruses.

Bach, J S: Mass in B minor, BWV232

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