Bach Mass in B minor
View record and artist detailsRecord and Artist Details
Label: Reflexe
Magazine Review Date: 10/1985
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: EX270239-3
Label: Reflexe
Magazine Review Date: 10/1985
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: EX270239-5
Author: Nicholas Anderson
It was two-and-a-half years ago that Joshua Rifkin's Gramophone Award-winning version of Bach's B minor Mass was released on Nonesuch. Its fundamentally different approach from that of all other recorded performances evolved from Rifkin's own study of the surviving sources. In a detailed and enthusiastic review of that issue SS outlined Rifkin's argument for one singer to each vocal part, whilst drawing attention to the challenges of other Bach scholars, notably those of Professor Robert Marshall. The argument is not resolved and may never be, but one of the most beneficial effects of Rifkin's studies has been that of enabling us to hear Bach's great work with an entirely fresh outlook. Andrew Parrott in his new recording of the B minor Mass follows a similar path to Rifkin, whom he acknowledges for the availability of his edition. But whilst Rifkin holds tenaciously to the one-to-a-part principle, Parrott uses a ripieno group of five voices from the Taverner Consort in addition to his solo team. This seems to me to be a more effective solution since it enables the more fully scored choruses to speak with greater authority and conviction; and the practice is substantiated by the fact that we do know that Bach required contrast between ripieno and concertino texture in the choruses of at least some of his church cantatas and that the ''Gratias agimus tibi'' is a reworking of just such a chorus in BWV29.
Another important difference between the two performances concerned with texture is that whilst Rifkin preferred to use counter-tenors, Parrott has chosen alto boys' voices from the Tolz Boys' Choir. In this he is backed by Hugh Keyte who, in his excellent notes, states unequivocally that Bach did not use counter-tenors in Leipzig. Thus, what we have here are solos sung by the two women sopranos, three alto boys, who share out the work between them, a tenor and a bass. In the choruses one voice from each of these strands augments its equivalent in the ripieno group. And Parrott matches these slightly stronger forces with three each of first and second violins, as opposed to Rifkin's two, and two violas rather than one; a second cello and second bassoon occasionally expand the continuo and, as Parrott interestingly points out, the natural horn in the ''Quoniam'' is played, for the first time in a recording, without the later eighteenth-century technique of handstopping. In these respects and above all in the use of a ripieno group of singers, Parrott has aimed in his own words ''to adopt the conventions of a hypothetical performance by Bach himself at Leipzig, where the work was written''.
I found this performance very thoughtful and, on the whole, satisfying. What I missed, above all, in the Rifkin version was an effective solution to choruses. That has mostly been found by Parrott's solo voices with additional support. The choral sections of this n ew version are altogether more impressive and provide that contrast with the arias and duets that Bach surely envisaged. The strength of Rifkin's performance lay for me in his well-judged tempos—especially, perhaps, those of the solo numbers—his carefully shaped phrasing, the fine contributions from certain of his obbligato players, notably the oboist, and in the high standards set by his vocalists. But Parrott is no less impressive in these respects. His Taverner Players are on first-rate form here and almost throughout have the edge on Rifkin's team. Their superiority can be felt especially in the string section of the band, where the leader, John Holloway, as well as ensuring some fine ensemble playing also gives a beautiful account of the violin solo of the ''Laudamus te''. Both versions have notably lively and crisply articulate continuo playing but I would single out Francis Baines's violone contribution in the Taverner recording as outstanding: there are occasional lapses in his intonation but I find that a small piece to pay for his marvellous sense of rhythm, his liveliness and his feeling for Bach's phrase.
The solo vocalists in both versions are by and large experienced singers in baroque style. The sopranos in Parrott's performance are Emma Kirkby and Emily Van Evera whose voices are pretty well matched as, for instance, in the ''Christe eleison'', where the blend of sound and the balance seem ideal. The three alto boys are less even in the success with which they cope with their music. I did not feel altogether happy with Panito Iconomou in the opening chorus of the Kyrie though his voice settles down more comfortably in the second of them; nor did I altogether enjoy the sound of Christian Immler's voice in the ''Qui tollis'' but, having said that, I applaud the use of boys as opposed to counter-tenors in this context. Rogers Covey-Crump has a light tenor voice, an articulate technique and an unerring sense of pitch. These are qualities which serve Bach's demanding vocal lines extremely well and his duet with Emma Krikby in the ''Domine Deus'' is one of the radiant highlights of the performance. Hardly a detail is missing from either singer and the music sparkles with warmth and intelligence from beginning to end. David Thomas is authoritative bass throughout and his intonation, too, is dependable; the ''Quoniam'' is strong and fervent.
There are many, many more things to be said about this performance but, to sum up, it all amounts to a considerable achievement. I have had a great deal of pleasure and enllightenment from Rifkin's version, and whilst I shall continue to do so, Parrott's interpretation makes the greater appeal on account of its stronger contrasts, greater element of excitement and vigorous sense of purpose. The recorded sound, though marginally less resonant than the Nonesuch, is every bit as clear and as pleasing. Congratulations!'
Another important difference between the two performances concerned with texture is that whilst Rifkin preferred to use counter-tenors, Parrott has chosen alto boys' voices from the Tolz Boys' Choir. In this he is backed by Hugh Keyte who, in his excellent notes, states unequivocally that Bach did not use counter-tenors in Leipzig. Thus, what we have here are solos sung by the two women sopranos, three alto boys, who share out the work between them, a tenor and a bass. In the choruses one voice from each of these strands augments its equivalent in the ripieno group. And Parrott matches these slightly stronger forces with three each of first and second violins, as opposed to Rifkin's two, and two violas rather than one; a second cello and second bassoon occasionally expand the continuo and, as Parrott interestingly points out, the natural horn in the ''Quoniam'' is played, for the first time in a recording, without the later eighteenth-century technique of handstopping. In these respects and above all in the use of a ripieno group of singers, Parrott has aimed in his own words ''to adopt the conventions of a hypothetical performance by Bach himself at Leipzig, where the work was written''.
I found this performance very thoughtful and, on the whole, satisfying. What I missed, above all, in the Rifkin version was an effective solution to choruses. That has mostly been found by Parrott's solo voices with additional support. The choral sections of this n ew version are altogether more impressive and provide that contrast with the arias and duets that Bach surely envisaged. The strength of Rifkin's performance lay for me in his well-judged tempos—especially, perhaps, those of the solo numbers—his carefully shaped phrasing, the fine contributions from certain of his obbligato players, notably the oboist, and in the high standards set by his vocalists. But Parrott is no less impressive in these respects. His Taverner Players are on first-rate form here and almost throughout have the edge on Rifkin's team. Their superiority can be felt especially in the string section of the band, where the leader, John Holloway, as well as ensuring some fine ensemble playing also gives a beautiful account of the violin solo of the ''Laudamus te''. Both versions have notably lively and crisply articulate continuo playing but I would single out Francis Baines's violone contribution in the Taverner recording as outstanding: there are occasional lapses in his intonation but I find that a small piece to pay for his marvellous sense of rhythm, his liveliness and his feeling for Bach's phrase.
The solo vocalists in both versions are by and large experienced singers in baroque style. The sopranos in Parrott's performance are Emma Kirkby and Emily Van Evera whose voices are pretty well matched as, for instance, in the ''Christe eleison'', where the blend of sound and the balance seem ideal. The three alto boys are less even in the success with which they cope with their music. I did not feel altogether happy with Panito Iconomou in the opening chorus of the Kyrie though his voice settles down more comfortably in the second of them; nor did I altogether enjoy the sound of Christian Immler's voice in the ''Qui tollis'' but, having said that, I applaud the use of boys as opposed to counter-tenors in this context. Rogers Covey-Crump has a light tenor voice, an articulate technique and an unerring sense of pitch. These are qualities which serve Bach's demanding vocal lines extremely well and his duet with Emma Krikby in the ''Domine Deus'' is one of the radiant highlights of the performance. Hardly a detail is missing from either singer and the music sparkles with warmth and intelligence from beginning to end. David Thomas is authoritative bass throughout and his intonation, too, is dependable; the ''Quoniam'' is strong and fervent.
There are many, many more things to be said about this performance but, to sum up, it all amounts to a considerable achievement. I have had a great deal of pleasure and enllightenment from Rifkin's version, and whilst I shall continue to do so, Parrott's interpretation makes the greater appeal on account of its stronger contrasts, greater element of excitement and vigorous sense of purpose. The recorded sound, though marginally less resonant than the Nonesuch, is every bit as clear and as pleasing. Congratulations!'
Bach Mass in B minor
Bach Mass in B minor
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