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Bach: Messe en Si
 
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Bach: Messe en Si

22 Dec 2008 | Format: MP3

£10.98 (VAT included if applicable)
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Song Title Artist
Time
Popularity  
30
1
9:58
30
2
5:07
30
3
2:57
30
4
1:31
30
5
4:59
30
6
4:10
30
7
2:37
30
8
5:41
30
9
3:37
30
10
4:44
30
11
4:26
30
12
3:34
Disc 2
30
1
1:34
30
2
1:45
30
3
4:24
30
4
3:28
30
5
3:03
30
6
3:45
30
7
4:52
30
8
3:44
30
9
1:58
30
10
5:03
30
11
2:37
30
12
4:28
30
13
2:44
30
14
6:30
30
15
3:39


Product details

  • Original Release Date: 22 Dec 2008
  • Number of Discs: 2
  • Label: naïve
  • Copyright: 2008 naïve
  • Total Length: 1:46:55
  • Genres:
  • ASIN: B002MRAJ0K
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: 544,242 in MP3 Albums (See Top 100 in MP3 Albums)

Customer Reviews

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4 of 4 people found the following review helpful By FL Traverso on 4 Sep 2009
Format: Audio CD
I have heard my share of "extra dozens of singers" performance of this music, and, no, to these ears the score doesn't gain from being sung by a few dozen more singers. On the contrary, bloated vocal forces often result in a less inflected, more homogenous quality in singing, unless the chorus is of the same calibre as Gardiner's Monteverdi Choir, of which few equals exist. Bach never once used the term "coro" in the manuscript to indicate the so-called "choral" movements, and one can only figure what that might have meant in terms of the forces JSB actually envisioned for this composition. Indeed, the mass in b was conceived firmly in the Baroque "spiritual concerto" tradition (since the times of Gabrieli's, Monteverdi and Schutz) which delights in various ways of combining solo voices or instruments to achieve changing textural or spatial effects.

Minkowski has realised all the above, and his interpretation is significantly more dramatic than most other minimalist performances on record. Apart from fabulous balances and textures, his interpretation paces through the movements so meticulously that it instills a strong sense of overall structure to music. This no doubt comes as a result of Minkowski's long experience as a conductor of baroque operas and dramatic works. Although lacking in an outward monumentality due to its relatively small performing forces, the present recording has struck me as among the most humane and luminously beautiful versions of Bach's masterpiece in vocal music.
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2 of 2 people found the following review helpful By R. C. Ross on 17 Oct 2010
Format: Audio CD
Bach's B minor Mass speaks infinite truths in finite terms: it is, in a sense, an incarnation. This raises questions of performance styles. No answer can be absolutely perfect. The scope and intention of the work renders a perfect solution impossible. How can human terms express the inexpressible? Performance 'solutions' for this work are only ever provisional and approximate. You take your pick. To insist on a 'period' performance as alone 'correct' seems short-sighted, in the sense that the work is regarded merely as the product of a particular age; indeed a product of a particular place in time. However, a 'period' performance is a legitimate option. (But so too may be the approach of Klemperer, Vaughan-Williams or Celibidache. The only wholly unacceptable approach is to use the work egotistically, without humility: Gardiner?)

Minkowski is a sensitive and accomplished conductor. His response to the B minor Mass is in a period performance tradition but not in a period performance straight-jacket. His tempi and expressiveness respond intelligently (and religiously) to the truths that Bach at any point is expressing. Therefore the Kyrie is expansive, pleading; as are the Agnus Dei and Benedictus. While, for example, the Osanna and Confiteor go at boggling lick.

With a choir of (only) ten soloists clarity and dexterity are conspicuous virtues. But they also sing with weight and gravitas, achieved by intelligence rather than force of numbers. Time and again the singers create significant moments of powerful impact, tremendous yet intimate.

The orchestral contribution is a delight; beautiful, whether playing with delicate finesse or resplendent celebration.

A recoding more than fit to be placed high among the very finest efforts at an impossible project!

(It seems that the recorded level is lower than normal, at least I needed to turn the volume a good deal higher than my normal setting.)
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3 of 4 people found the following review helpful By enthusiast TOP 500 REVIEWER on 13 Jan 2010
Format: Audio CD Verified Purchase
I have been looking for a while for a B minor Mass to complement Gardiner's set. Gardiner's set has always seemed to be to be particularly successful but almost too much so ... doesn't it sound just a little bit slick? This Minkowski version is what I was looking for as an alternative. It is fresh, beautiful, alive and moving. It is really well played and sung and the recording is beautifully clear.

The question of whether the B minor Mass needs a full choir or not does not interest me very much because I was actually looking for an alternative. However, on the basis of this (Minkowski) account, I am perhaps less convinced by the argument for smaller forces than I have been in some other Bach works (and Parrot's effort with the Mass convinced me even less). But Minkowski's account is a fully convincing one even if it doesn't fully remove memories of the glories of a good choir ... it is an alternative account par excellence.

I could have been happy with a full choir alternative to Gardiner but have not yet found one. Herreweghe comes close (some really excellent solo singing) but spoils everything for me by some really ugly horn playing in Quoniam Tu Solus Sanctus - it is bad enough to spoil the whole performance for me!

So I guess my "default recommendation" for this piece remains Gardiner's but Minkowski satisfies and impresses and brings lots of freshness.
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5 of 10 people found the following review helpful By Camberwick Green is Puppets on 25 Aug 2009
Format: Audio CD Verified Purchase
This is an unashamed minimalist performance, with soloists doubling up for the 'choruses'. It's cleverly thought out and nicely performed. The balance is usually surprisingly good, though orchestral detail was sometimes lacking (I listened on a Cyrus/B & W hi-fi which finds details if there are any). And every so often the effect is exhilarating. But with the bigger choruses - Kyrie, Sanctus - it's like listening to a poorly attended rehearsal. There just isn't any power. Now minimalists, and the early music lobby in general, will argue that we should be content with what Bach might have heard in performance. I think we should aim to squeeze the pips out of the score, and if that means adding a few dozen singers, all to the good.
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