Bach: Mass in B minor
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Performer: Roland HermannPerformer: Robert Holl
Composer: Johann Sebastian Bach
Conductor: Eugen Jochum
Conductor: Josef Schmidhuber
Orchestra: Bavarian Radio Chorus
Orchestra: Bavarian Radio Symphony Orchestra
Orchestra: Bayerischen Rundfunkorchester
Orchestra: Symphonie Orchester des Bayerischen Rundfunks
Performer: Helen Donath
Performer: Claes-H?kan Ahnsjo
Performer: Brigitte Fassbaender
Edition: Music CD
CD Release Date: 1996-06-18
Music Label: EMI Classics
Soundtracks:
Music CD 1
- Kyrie eleison. I. Chorus: Kyrie eleison
- Kyrie eleison. II. Duet; Christe eleison
- Kyrie eleison. III. Chorus: Kyrie eleison
- Gloria. IV. Chorus: Gloria in excelsis Deo
- Gloria. V. Chorus: Et in terra pax
- Gloria. VI. Aria: Laudamus te
- Gloria. VII. Chorus: Gratias agimus tibi
- Gloria. VIII. Duet: Domine Deus
- Gloria. IX. Chorus: Qui tollis peccata mundi
- Gloria. X. Aria: Qui sedes ad dexteram Patris
- Gloria. XI. Aria: Quoniam tu solus sanctus
- Gloria. XII. Chorus: Cum Sancto Spiritu
- Credo. XIII. Chorus: Credo in unum Deum
- Credo. XIV. Chorus: Patrem omnipotentem
- Credo. XV. Duet: Et in unum Dominum
- Credo. XVI. Chorus: Et incarnatus est
- Credo. XVII. Chorus: Crucifixus
- Credo. XVIII. Chorus: Et resurrexit
- Credo. XIX. Aria: Et in Spiritum Sanctum Dominum
- Credo. XX. Chorus: Confiteor
- Credo. XXI. Chorus: Et exspecto resurrectionem
- Sanctus. XXII. Chorus: Sanctus
- Sanctus. XXIII. Chorus: Osanna in excelsis
- Sanctus. XXIV. Aria: Benedictus
- Sanctus. XXV. Chorus: Osana in excelsis
- Agnus Dei. XXVI. Aria: Agnus Dei
- Agnus Dei. XXVII. Chorus: Dona nobis pacem
Music reviews of Bach: Mass in B minor
Music Review: A solemn performance
Rating: 4 Stars
To me, the most important is and remain the spirit of the interpretation, so usually I can easily forgive some technical flaws in performance and recording/mixing, provided the spirit of the music appeals to my imagination. Still I find this Jochum-recording slightly disappointing. Perhaps the reason is that I am used to his Christmas oratorio (Weihnachts-oratorium) from 1973, both intimate and glorious, perfect on all levels, but sadly out of print... This is not out of print - september 2005 - if you search B0007RO57K on Amazon you find the reissue. I have to agree with the other reviewers that this b-minor mass - it is from 1982, not from the 50ies - suffers from some weak singers and a dubious sound quality; it is something foggy about it. Jochum's forces are too big here - unlike the Christmas oratorio - but despite these drawbacks, we still have Jochum's baton, his wand! There is an incomparable dignity to the phrasing and pacing; this is a solemn performance and it grows in my mind by repeated listening. I also like Herreweghe's very different interpretation - Amazon-search B000005Z2W - which in fact has all the clarity, all the transparency I miss by Jochum's 1982-recording. I need them both.
P.S. July 2006: Yes, I did need both, because I had not found Rilling's b-minor mass yet. That one leaves no wishes open and gets the final fifth star, Amazon search: B00004S584.
Description of Bach: Mass in B minor
For Bach lovers who never have gotten comfortable with the sound of period instruments--or youngsters who want to check out how Bach was performed before the likes of Harnoncourt and Hogwood changed everything --this is as good a "conventional" 20th-century-style B-Minor Mass as you will find. Eugen Jochum packs the performance with dramatic gestures and grandeur: his mighty opening "Kyrie" hits you right in the gut; very slow tempos give the "Et incarnatus" and "Crucifixus" an imposing solemnity; the sudden hush at the start of "Et exspecto" and huge four-beat crescendo moments later are remarkable. The orchestra plays gracefully and with particularly good balance for a symphony orchestra doing Bach; the choir's blend and clarity are not ideal, but their sound is powerful and Jochum makes sure that the important lines are heard. Soprano Helen Donath sings blandly, with a vibrato so quick and wide she can only approximate pitch, but the male soloists, especially tenor Claes H. Ahnsj?, sound quite comfortable with Bach's writing. Mezzo-soprano Brigitte Fassbaender's voice seems more suited to Mahler, but she proves herself yet again a great artist. Any performance-practice purists who have strayed here accidentally should flee immediately to Herreweghe (if not Rifkin), but those who love the grand, old German tradition of Bach performance should be very pleased with this one. --Matthew WestphalGeneral CDs
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