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I Am a Bird (From "L'engagement 1.0") - Single
Sebastien Agius
Film Soundtracks - Released September 15, 2014 | Plaza Mayor Company, Ltd.
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Charpentier: Messe de Minuit - In Nativitatem Domini Canticum
Sébastien Daucé
Masses, Passions, Requiems - Released October 13, 2023 | harmonia mundi
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Marc-Antoine Charpentier's Messe de Minuit ("Midnight Mass") has been a popular work almost ever since it was composed around 1694, and it was one of the first French Baroque pieces to be recorded during the LP era. It is an absolutely irresistible Christmas piece, with French folk tunes woven into the polyphonic texture. This recording comes along just in time for the 2023 Christmas season, and it should find plenty of listeners. Ensemble Correspondances and leader Sébastien Daucé are specialists in the music of Charpentier, and they capture the particular lilt of this wonderful work with delicately elegant singing throughout. The ensemble is small, with just 11 singers; this may be a bit undersized in a French scene that favored big groups (choral performances at the king's court may have had 100 or more), but the mass was written for a small Jesuit group, and the dimensions feel natural. Another draw is the presence of two sizable small-ensemble cantatas, quite different from each other and sung with the right dramatic emphasis. Here, the forces are perfectly appropriate, and the sound engineering from the Seine Musicale concert hall is ideal. A very satisfying holiday release for the French Baroque lover in one's life.© James Manheim /TiVo
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Antoine Boesset : Messe & motets (L'Archange & le Lys)
Sébastien Daucé
Classical - Released September 29, 2011 | Zig-Zag Territoires
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5 de Diapason
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Jean Sébastien Bach : Messe en si mineur
Orchestre Philharmonique de Vienne, Société Chorale des Amis de Vienne, Herbert Von Karajan
Pop - Released October 22, 2021 | Jade
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Agnus Dei
Sebastien Van Der Rohe
Symphonic Music - Released January 15, 2020 | Sebastien Van Der Rohe
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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
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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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J.S. Bach : Mass in B Minor, BWV 232
John Eliot Gardiner
Masses, Passions, Requiems - Released November 6, 2015 | SDG
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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
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J. S. Bach : Magnificat
Philippe Pierlot
Masses, Passions, Requiems - Released November 5, 2009 | Mirare
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Philippe Pierlot and the Ricercar Consort's 2006 recording of Bach's Magnificat brings back the glory days of historically informed performances, those halcyon days in the 1980s when musicians, empowered by scholarship and energized by virtuosity, were recording the Baroque repertoire with the zeal of the newly converted. Though Pierlot and his musicians are of a younger generation, they bring a missionary fervor to the music, a program of Bach's Magnificat, BWV 243, and Missa Brevis, BWV 235, interspersed with two well-chosen organ works, the Fuga sopra il Magnificat, BWV 733, and the Präludium und Fuga, BWV 541. Pierlot's textures are clean, his rhythms buoyant, his colors bright, and tempos brisk, but not rushed in the fast movements, and contemplative but not moribund in the slow movements. The Ricercar Consort plays with technical brilliance and manifest enthusiasm as an ensemble, and the violin and flute soloists deliver sparkling performances. But perhaps the best thing is the five vocal soloists and given that they also serve as the choir, their performances are even more remarkable. With clarion tones, gracious technique, and an effortless blend, they comport themselves with the ease and luster of the best jazz vocal groups, and the spirit they bring to their parts is infectious. Francis Jacob delivers forceful yet effervescent readings of the two organ works. Mirare's digital sound is as clear and as real as a blue sky.
© TiVo
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Bach: Messe en si mineur, BWV 232
Michel Corboz
Classical - Released November 18, 2022 | Warner Classics
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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, J.S.: Mass In B Minor, BWV 232
Maria Stader
Classical - Released January 1, 1962 | Archiv Produktion
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Bach: Missa in h-moll
Philippe Herreweghe
Classical - Released January 24, 2012 | Phi
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Philippe Herreweghe founded Collegium Vocale Ghent in 1970 and has been its primary conductor since, so it's no surprise that after 40 years, on this 2011 recording of J.S. Bach's B minor Mass, the conductor and choir project an organically unified approach to the masterpiece. From the opening Kyrie Eleison, the singers' intuitive understanding of each other is evident in the surging waves of sound expressing urgent supplications for God's mercy. Throughout, the group responds to Herreweghe's nuanced leadership with supple fluency. Herreweghe draws a bright, vibrant sound from his singers and instrumentalists. His approach to the music is fleet and buoyant, and the musicians respond to his tempi with agility. This reading is nearly 10 minutes shorter than the average version, but it never feels hurried. The group's instrumental ensemble, using period instruments, can produce a full, colorful, rounded sound in the larger choruses, but pares its tone to appropriate leanness in movements like the alto solo Agnus Dei. The horn obbligato in the bass solo Quoniam tu solus sanctus is particularly impressive, especially since it is played on a natural horn. The five vocal soloists are not international superstars but they are expert interpreters of this music, technically solid and distinguished in the purity and expressiveness of their voices. The sound of the Out Here CD is clean and crisp, and somewhat on the bright side. In music of this contrapuntal intricacy, that clarity makes it easy to hear Bach's elaborate interweaving of lines. The ambience is not lacking in warmth and depth, though, and the balance and stereo definition are excellent.© 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
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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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Bach : Cantatas Vol. 22
Ton Koopman
Classical - Released November 14, 2006 | Challenge Classics
The 22nd and final volume in Ton Koopman and the Amsterdam Baroque Orchestra and Choir's series of recordings of Bach's cantatas includes two of his final Lutheran cantatas, all four of his short Catholic masses based on movements taken from earlier cantatas, and an early secular version of one of the sacred cantatas plus arrangements of two movements of the other sacred cantata by Bach's son Wilhelm Friedemann. And like every other volume in this series, it is a thorough-going triumph. In the extremely well-known Ein feste Burg ist unser Gott (A mighty fortress is our God) BWV 80, Koopman and his forces turn in a performance as celebratory as it is soulful. In the extravagantly festive Freue dich, erlöste Schar (Be happy, saved crowd) BWV 30 -- or in the equally extravagantly festive Angenehmes Wiedrau (Most charming Wiedrau) BWV 30a as it's known in its secular transformation -- their performances are as sublime as they are joyous. In all four masses, their performances are as devotional as they are musical. And in W.F. Bach's take on his father's music, their performances are as insightful as they are individualistic. Anyone who enjoys Bach's music will enjoy this volume, or, for that matter, any other volume in Koopman's cantata series. If you can only collect one cycle of Bach's cantatas, this is the one to get. As T.S. Eliot once said in another context, Antonie Marchand's sound is here, now, always.
© TiVo
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