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J.S. Bach - Mass in B Minor, BWV 232 Hybrid SACD, Import


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J.S. Bach - Mass in B Minor, BWV 232 + J.S. Bach: Johannes-Passion
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Product details

  • Performer: Gerlinde Sämann, Elisabeth Hermans
  • Orchestra: La Petite Bande
  • Conductor: Sigiswald Kuijken
  • Composer: Johann Sebastian Bach
  • Audio CD (20 April 2009)
  • Number of Discs: 2
  • Format: Hybrid SACD, Import
  • Label: Challenge Classics
  • ASIN: B001RH974U
  • Other Editions: Audio CD  |  MP3 Download
  • Average Customer Review: 3.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 19,419 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         


Disc 1:

Samples
Song Title Time Price
Listen  1. h-Moll-Messe, BWV 232: Ia. Kyrie, Kyrie eleison 9:07£0.99  Buy MP3 
Listen  2. h-Moll-Messe, BWV 232: Ib. Kyrie, Christe eleison 4:55£0.99  Buy MP3 
Listen  3. h-Moll-Messe, BWV 232: Ic. Kyrie, Kyrie eleison 3:36£0.99  Buy MP3 
Listen  4. h-Moll-Messe, BWV 232: IIa. Gloria, Gloria in excelsis 1:39£0.99  Buy MP3 
Listen  5. h-Moll-Messe, BWV 232: IIb. Gloria, Et in terra pax 3:34£0.99  Buy MP3 
Listen  6. h-Moll-Messe, BWV 232: IIc. Gloria, Laudamus te 4:23£0.99  Buy MP3 
Listen  7. h-Moll-Messe, BWV 232: IId. Gloria, Gratias agimus tibi 2:09£0.99  Buy MP3 
Listen  8. h-Moll-Messe, BWV 232: IIe. Gloria, Domine Deus 5:26£0.99  Buy MP3 
Listen  9. h-Moll-Messe, BWV 232: IIf. Gloria, Qui tollis peccata mundi 2:53£0.99  Buy MP3 
Listen10. h-Moll-Messe, BWV 232: IIg. Gloria, Qui sedes ad dexteram Patris 4:31£0.99  Buy MP3 
Listen11. h-Moll-Messe, BWV 232: IIh. Gloria, Quoniam tu solus sanctus 4:09£0.99  Buy MP3 
Listen12. h-Moll-Messe, BWV 232: IIi. Gloria, Cum Sancto Spiritu 4:05£0.99  Buy MP3 


Disc 2:

Samples
Song Title Time Price
Listen  1. H-Moll-Messe, BWV 232: IIIa. Symbolum Nicenum, Credo in unum Deum 2:06£0.99  Buy MP3 
Listen  2. H-Moll-Messe, BWV 232: IIIb. Symbolum Nicenum, Patrem omnipotentem 1:55£0.99  Buy MP3 
Listen  3. H-Moll-Messe, BWV 232: IIIc. Symbolum Nicenum, Et in unum Dominum 5:01£0.99  Buy MP3 
Listen  4. H-Moll-Messe, BWV 232: IIId. Symbolum Nicenum, Et incarnatus est 2:53£0.99  Buy MP3 
Listen  5. H-Moll-Messe, BWV 232: IIIe. Symbolum Nicenum, Crucifixus 3:00£0.99  Buy MP3 
Listen  6. H-Moll-Messe, BWV 232: IIIf. Symbolum Nicenum, Et resurrexit 4:09£0.99  Buy MP3 
Listen  7. H-Moll-Messe, BWV 232: IIIg. Symbolum Nicenum, Et in Spiritum Sanctum Dominum 5:36£0.99  Buy MP3 
Listen  8. H-Moll-Messe, BWV 232: IIIh. Symbolum Nicenum, Confiteor 3:43£0.99  Buy MP3 
Listen  9. H-Moll-Messe, BWV 232: IIIi. Symbolum Nicenum, Et expecto 2:15£0.99  Buy MP3 
Listen10. H-Moll-Messe, BWV 232: IVa. Sanctus, Osanna, Benedictus, Agnus Dei, Sanctus 4:24£0.99  Buy MP3 
Listen11. H-Moll-Messe, BWV 232: IVb. Sanctus, Osanna, Benedictus, Agnus Dei, Osanna in excelsis 2:51£0.99  Buy MP3 
Listen12. H-Moll-Messe, BWV 232: IVc. Sanctus, Osanna, Benedictus, Agnus Dei, Benedictus 3:58£0.99  Buy MP3 
Listen13. H-Moll-Messe, BWV 232: IVd. Sanctus, Osanna, Benedictus, Agnus Dei, Osanna in excelsis 2:50£0.99  Buy MP3 
Listen14. H-Moll-Messe, BWV 232: IVe. Sanctus, Osanna, Benedictus, Agnus Dei, Agnus Dei 4:25£0.99  Buy MP3 
Listen15. H-Moll-Messe, BWV 232: IVf. Sanctus, Osanna, Benedictus, Agnus Dei, Dona nobis pacem 2:13£0.99  Buy MP3 

Product Description

CC 72316; CHALLENGE CLASSICS - Olanda; Classica vocale Sacra Messe

Customer Reviews

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Most Helpful Customer Reviews

Format: Audio CD Verified Purchase
With characteristic wisdom, Kuijken recognises that there is no one right way to perform Bach’s b minor Mass, being, as it is, a work of transcendent sublimity. However he is convinced, for a number of reasons, that it is perfectly valid to perform the piece with a (very) small band of instrumentalists and with one voice to each singing part. He specifically mentions the benefit of clarity this approach brings to the work.

The natural response when one hears the word ‘clarity’ in this context is to think of clarity of line, of polyphonic thread. That form of clarity is certainly in evidence here. But my initial response to Sigiswald Kuijken’s performance was not so much to recognise clarity of texture but rather clarity of tone. The sounds produced in this performance have a glorious and, in my experience, unique luminescence. It is not by chance that the photographer responsible for the photographs in the booklet expatiates in his notes on the quality of light he found in the recording venue. I cannot recall hearing in any other recording of this work (of which I must have heard scores) such a beautifully integrated blending of instrumental and vocal colour. Constantly the ear is captivated by the most attractive and subtle blends of colour and timbre. And both the exemplary recording and Kuijken’s little band, with their characterful instruments, allow this interplay full scope. The playing of La Petite Band is captivating throughout; they produce the most delicious and delicate sounds from their period instruments, a constant delight on the ear, with supremely accomplished tonal and phrasing sensitivity. It is almost as if light of illimitable hue and delicacy streams from the speakers rather than sounds alone!
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2 of 6 people found the following review helpful By Bernard Michael O'Hanlon on 9 Sep 2013
Format: Audio CD
While I enjoy Kuijken's work in Haydn, his traversal of the Mass in B Minor is a shocker.

It's one voice per part all the way. That's not to my taste. Others - usually the thin-lipped variety - enjoy it. To my mind, if Bach had demanded this practice, he would have merged their allocations in the score rather than delineating them as he did. Translated into practice, it means that traditional thumpers such as the Gloria in Excelsis, Cum Sancto Spiritu, Et Expecto Resurrectionem and the Sanctus are sung stylishly and pass ever so uneventfully. It also begs the question: since when has clarity been an antonym of power? Surely any conductor worth their salt can balance the dynamic?

All the soloists are pleasant enough. Vibrato is in use.

La Petite Band blights this endeavour. Listen to the Quoniam Tu Solus Sanctus in its entirety: inadvertently, this is Bach prefiguring Mozart's Ein musikalischer Spaß. The Cum Sanctu Spiritu is equally ramshackle. And is someone using a bottle-top banger at the commencement of the Qui Tollis? The Qattara Depresssion is the lumpy, four-square opening to the Agnus Dei: surely Ma and Pa Kettle's Barnyard Band could have played it with more lustre! How did this pass muster? Even when it plays somewhat in tune, the thinned-down orchestra - in its reverberant rumblings - could be likened to a fatty on a spring mattress. Clipped phrasing is minimal: for that we are grateful.

This is the most subjective of questions but dare one ask: what of the Pascal Mystery? This is Madrigal City, not a Mass.

If you enjoy small-scale, antiseptic Bach which is shorn of grandeur and largely in tune, Christmas - sorry, Yuletide - has come early: this is for you.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 11 reviews
18 of 18 people found the following review helpful
OVPP, A Winning Practice 12 Feb 2004
By R. Gerard - Published on Amazon.com
Format: Audio CD
This is the fourth recording of the Mass in B minor to utilize the one-voice-per-part (OVPP) theory, and again, it pays of beautifully. While Rifkin, Parrot, and Kuijken have all recorded the Mass in such a configuration, Junghanel's rendition seems to be the winner here.

I noted that however fast the Sanctus, Dona nobis, and Gratias agimus tibi are executed, it is not a detriment to the sound. I believe what makes recording this large scale work with small scale forces is that the balance between each line is sounded perfectly.

The recording reminds me of Herreweghe's... reverberant, ecclesiastical sound, suitable to the music. Each soloist functions perfectly as both a soloist and a chorister. I belive that the singers and players of Cantus Colln have the uniformity of voice unmatched by any other ensemble that has attempted to play Bach's concerted church music in such a configuration.

The Mass in B-Minor under Rifkin's baton was the first to be recorded using OVPP. Nearly a 20 year old theory, Junghanel's set seems to be a revelation. It is nearly flawless. While I would appreciate the more "standard" tempos of some numbers, it is no less a revelatory pleasure to listen to.

[Update] The new recording by Minkowski uses virtually the same forces, but Minkowski prefers a more grandiose approach as a whole. Both his set and Junghanel's are excellent and highly recommendable.
10 of 11 people found the following review helpful
If you have got this far, buy this CD IMMEDIATELY! 9 Aug 2004
By B. Considine - Published on Amazon.com
Format: Audio CD
Ever since I acquired Cantus Colln's Early Bach Cantatas CD with Actus Tragicus, Christ LAg in Todesbanden, etc., I have been totally over awed by their approach to the OVPP. A big fan of the practice myself, I am now completely over whelmed by this Mass rendition. Even if you are unsure about the OVPP practice, and your main concern is that, despite the gorgeous clarity and intonation the practice affords, some sections will not sound "full" enough without a chorus- banish all fears and buy this CD. The marvelous recording and engineering of this recording is magical, and the sound is impressively huge. I was initially shocked at the attention the low-end receives, but it never interferes with the delicate textures, or the overall balance. I am the biggest fan of clarity and purity, and volume and presence are of less concern to me- but even I was satisfied and not troubled by this incredibly fat bottom-end.

Also wonderful is the detailed performance notes! For once, the record label has heard our voice and has exquisitely detailed the EXACT performers for each section of the Mass, right down to the bar-numbers for solos within movements!!!! Thank you, Jesus!

Artistically, old Konrad has nailed just about everything spot-on for my nickel, and I love the refreshingly suprising tempos, particularly the 7 part accompanied Credo fugue, Gratias, and Sanctus. They make all other recordings sound six-feet under in these sections, by comparison. This is truly a Mass rendition for the living, not the dead!!!!!!!!
8 of 10 people found the following review helpful
Absolutely Brilliant: My all-time favorite B-minor Mass 3 April 2004
By Frederick II of Hohenstaufen - Published on Amazon.com
Format: Audio CD
Out of all the Bach B-minor Masses in my large Bach collection, this is the best of the lot. Junghanel and Cantus Colln use the OVPP model to perfection, not only is the performance top-notch, the recording engineers outdid themselves. A delight to the ears.
To those who prefer a more "modern" and "romanticized" B-minor Mass, this might not be a good choice (get either of the Shaw recordings, they are both fantastic modern versions). The Hickox or Gardiner recordings are great if you want period instruments with a larger choir.
For the purist looking for a set representing more closely what Bach intended for his B-minor Mass, you won't find a better choice than this. Very highly recommended!
3 of 3 people found the following review helpful
The pictured title & reviews DO NOT MATCH (at the time of this review) 7 Oct 2011
By Kerplunk - Published on Amazon.com
Sigiswald Kuijken & La Petite Bande's 2009 release of Bach's B Minor Mass merits an easy FIVE stars.

Please note, however, that as of 10/7/2011 the reviews that appear here are NOT for Kuijken's release, they are for Konrad Junghanel's version.

[Who knows what the future will bring. Amazon may eventually fix it, and then this note will appear -- rather confusingly -- under Junghanel's release.]
2 of 2 people found the following review helpful
Verve and Virtuosity 5 Jun 2005
By F. HOU - Published on Amazon.com
Format: Audio CD
Get the SACD version if you can, and hear the

"cori spezzati" (spaced-out choruses) effect played

out on an appropriate audio system. The

light and clear instrumental textures, which are

much in evidence in this recording, enable the

voice to sing fast and free. As a previous

reviewer's complaining comment suggests, there

is a lack of weight and gravity in this approach,

but these are not exactly Junghanel's concerns

anyway by my reckoning; verve and virtuosity

are, and the recording offers these in plenty

though its metaphysical greatness.
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