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Messe en Si mineur

Les Musiciens du Louvre, Marc Minkowski

Masses, Passions, Requiems - Released December 22, 2008 | naïve classique

Distinctions 4 étoiles du Monde de la Musique
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Bach: Messe en si mineur, BWV 232

Michel Corboz

Classical - Released November 18, 2022 | Warner Classics

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Bach, J.S.: Mass In B Minor BWV 232 (Messe en si mineur)

Monteverdi Choir

Classical - Released December 9, 1985 | Archiv Produktion

Distinctions Diapason d'or - The Qobuz Ideal Discography
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Messe en si mineur

Philippe Herreweghe

Classical - Released May 29, 2021 | Warner Classics

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Messe en si mineur

Collegium Vocale 1704

Choral Music (Choirs) - Released September 2, 2013 | Accent

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Messe en si mineur

Orchestre -Bach de Munich

Classical - Released January 1, 1962 | Deutsche Grammophon (DG)

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Bach: Messe en Si

Michel Corboz

Sacred Vocal Music - Released January 8, 2009 | Mirare

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Johann Sebastian Bach: Messe h-Moll / Mass in B Minor, BWV 232

Thomanerchor Leipzig

Classical - Released July 7, 2023 | Rondeau Production

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Bach: Messe H-Moll

Philippe Herreweghe

Classical - Released May 29, 2021 | Warner Music Group - X5 Music Group

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J.S. Bach: Mass in B Minor

Dunedin Consort

Classical - Released May 1, 2010 | Linn Records

Hi-Res Booklet
Linn Records' recording of Johann Sebastian Bach's Mass in B minor is the first to utilize the revised Joshua Rifkin edition published by Breitkopf and Härtel in 2006. This is a refinement of the 1980s version in which Rifkin pared the instrumentation of the mass down to its barest essentials and rendered the chorus as a one-to-a-part vocal ensemble, and while the texture is a tad fuller here than on the radically skimpy recording made for Nonesuch at that time, it's still pretty minimal, especially in comparison to versions utilizing more traditional forces. This SACD recording by the Dunedin Consort and Players, led by John Butt -- who have enjoyed considerable critical acclaim for their 2007 recording of the Dublin version of Handel's Messiah -- utilizes just 10 singers and a band barely the size of a chamber orchestra. This approach definitely benefits the voices, and these are good singers, though there are no standout performances. Indeed, this recording is at its best in the ensembles, such as "Et resurrexit," "Et expecto," and "Laudamus te," where the flexibility of the small group raises the rhythmic profile of the music to a pitch of excitement and intensity that can be quite engaging. On the other hand, the heft and power that a traditional ensemble can bring to the Mass in B minor is noticeably lacking here and this set will not satisfy listeners for whom a large orchestral/choral rendering is the only viable option for Bach's last great choral work. However, Linn's SACD recording is spectacularly clear and solid and the orchestral playing is terrific; were that the solo singers were more distinctive and memorable in their star turns, then this would be just about perfect for a small potatoes Mass in B minor.© TiVo
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Bach: h-Moll-Messe

La Petite Bande

Classical - Released April 24, 2009 | Challenge Classics

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It would be hard to imagine a greater contrast between performances of Bach's B minor Mass than Otto Klemperer's 1967 recording featuring the New Philharmonia Orchestra and Chorus, and Sigiswald Kuijken's 2009 version with La Petite Band. Klemperer's recording features a star-studded cast of soloists and sounds as if it were carved from giant slabs of granite, while Kuijken is seated in the concertmaster's chair, leading a performance with one voice to a part. Musical fashions change, and this recording reflects research and an aesthetic attitude that the B minor Mass does not need to be backed by an army of vocalists and instrumentalists. As with his series of Bach cantatas, Kuijken eliminates nearly all doublings, instrumental and vocal, except for the first and second violins, of which there are two each. Although other conductors have taken similar approaches, most notably Joshua Rifkin in his pioneering 1981 recording, it could be argued that Kuijken has done it best. Aside from the effortless virtuosity of all the musicians, the qualities that most distinguish this performance are its inwardness and its spirituality. Technical mastery is a quality shared by all great recordings of the B minor Mass, but the inwardness and the intimacy of this performance make it unique. Each musician is alone on his or her part, as in chamber music, so each part is infused with individual personality. Under Kuijken's intense and assured leadership, the result is a recording that stands among the greatest ever made, including Klemperer's. Challenge Classics' super audio sound is richly detailed, amazingly clear, and evocative. © TiVo
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Bach : h-Moll Messe, BWV 232

Stephan MacLeod

Classical - Released March 26, 2021 | Claves Records

Hi-Res Booklet
The Mass in B minor holds a very special place in J.S. Bach’s output: a work of grandeur, an opus ultimum, it was not composed as such but is the result of an assembly of pieces written at different times and for different circumstances. Bach worked on it during the years 1748-1749, until his eyesight, which had gradually deteriorated, was completely lost. The idea of bringing together pieces drawn essentially from the vast corpus of cantatas was not unusual; a similar approach was taken by several of his contemporaries, such as Handel, and Bach himself had done so for the short masses he composed in the late 1730s. These were called parodies. Moving from the German text of the cantatas to the Latin text of the masses meant adapting the vocal lines, with additions and deletions, polyphonic and harmonic enrichments, and changes in instrumentation. Throughout his life, Bach never ceased to revisit his works with a view to improving them.
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Bach: Mass in B Minor

Philippe Herreweghe

Classical - Released July 31, 2007 | harmonia mundi

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Passions de l'âme et du cœur

Ricercar Consort

Classical - Released January 12, 2015 | Mirare

Booklet
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Mozart : Grande Messe en ut mineur

Ferenc Fricsay

Sacred Vocal Music - Released January 8, 2010 | Tahra

Booklet
Tahra's Mozart: Grosse Messe consists of a glorious stereo recording made of Mozart's "Great" Mass in C minor featuring conductor Ferenc Fricsay leading the Berlin Radio Symphony Orchestra with the Choeurs de la Cathédrale Ste. Hedwig and soloists led by Maria Stader and Ernst Haefliger in Berlin on September 29, 1959. It was recorded the day before a very famous and long established Deutsche Grammophon catalog item of the Great Mass was made, with the same conductor, soloists, and forces, so one might wonder "why bother to put this out?" It runs within in a minute of the same duration of the studio recording that followed it! Because this live recording -- like the DG studio recording -- is excellent; Fricsay was an outstanding Mozart conductor and used essentially the same usual suspects that peopled Karl Richter's Bach recordings. Tahra's historical recording is remarkably stable and full, the performance is moving, dynamic, and Stader is right on the money in terms of the soprano solo part; she is arrestingly intense in the opening "Kyrie" and remains that way for most of the disc. There is an exception in that Stader is a little unsteady in the first section of "Et incarnates est," but for that matter Fricsay's band seems to have lost its bearings at the start of this movement, with the vagaries of live recording, no doubt, at foot. But overall this is a powerful recording that commands one's attention throughout, and listeners will be astonished at the range, gravity, and clarity of the recording quality, which seems hardly possible for a recording more than five decades old. © TiVo
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Bach: Mass in B Minor, BWV 232 (Remastered)

Otto Klemperer

Classical - Released February 1, 1990 | Warner Classics

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Bach: Mass in B Minor, BWV 232

René Jacobs

Masses, Passions, Requiems - Released May 13, 2022 | harmonia mundi

Hi-Res Booklet
Without even mentioning the playing styles or instruments, this new version of the Mass in B is clearly a far cry from the grandiose austerity that prevailed in the 1960s and 70s. In fact, it’s almost directly opposed to the mental representation people had of Bach at the time. From the moment the RIAS-Kammerchor enters at the beginning of Kyrie, we’re encapsulated by their angelic, almost naïve tone, which tenderly reaches out to the listener. Not to mention the sheer adaptability of their voices in face of the lengthy, skilful melismas in the vocal score.  The feeling of elation shines through in this performance, recorded near Berlin in August 2021 for Harmonia Mundi. This new recording by René Jacobs follows on from an already established version in 1992 (reissued in 2006), with the same ensembles but with different soloists. The Belgian conductor has made three stark changes. Firstly, with regards to the chamber choir, he has omitted the soloists from the more archaic pieces of this work. Secondly, he retains the chamber choir but reduces its number for the “modern” pieces which require “gentle, moderate and amiable singing” according to the composer and theorist Michael Praetorius (1571-1621). Thirdly, in terms of the “external” soloists, they aren’t part of the choir and are assigned the virtuoso arias and duets, which they sing sporadically during the large choral pieces.  According to René Jacobs, this cast creates a homogenous whole which represents “the choir of believers, the image of humanity in all of its diversity”. In terms of instrumentals, the musicians of the Akademie für Alte Musik Berlin manage to avoid the pitfalls of a score which can be severely testing for soloists. A special mention goes to horn player Margherita Lulli—a name destined for baroque music! As a former countertenor, René Jacobs utilises a female voice (Dutch contralto Helena Rasker) in Agnus Dei, in line with historical practice. There are no trumpets or thundering timpani in these versions, which are entirely focused on worship and the joy of musical collaboration. © François Hudry/Qobuz
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Allegri: Miserere - Palestrina: Missa Papae Marcelli - Mundy: Vox Patris caelestis

The Tallis Scholars

Choral Music (Choirs) - Released September 1, 1980 | Gimell Records

Hi-Res Booklet
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J.S. Bach : Mass in B Minor, BWV 232

John Eliot Gardiner

Masses, Passions, Requiems - Released November 6, 2015 | SDG

Hi-Res Booklet Distinctions 5 de Diapason - 4 étoiles Classica
For his new recording of this monument to Bach, John Eliot Gardiner is limited to a light chamber orchestra (obviously the English Baroque Soloists, founded here 37 years ago by Gardiner!), a choir of reasonable size (the Monteverdi Choir, same remark...), and a meticulous - but above all, calm - conducting of the articulations, phrases and lines, almost like a kind of chamber opera. The tempos are rather upbeat, like baroque music back in its heyday - the perfect balance between respecting history and the quest for beauty of sound. Gardiner has nothing dogmatic - making this new recording a particularly welcome perspective among the ample discography(yet unsatisfactory) of this Mass en si. © SM / Qobuz