Bach: Lutheran Masses, Vol. 2

Track Listings
1. Trio Son in C (Transposed To D), BWV 529: I. Allegro - The Purcell Qt    
2. Trio Son in C (Transposed to D), BWV 529: II. (Largo) - The Purcell Qt    
3. Trio Son in C (Transposed to D), BWV 529: III. Allegro - The Purcell Qt    
4. Mass in G, BWV 236: I. Kyrie    
5. Mass in G, BWV 236: II. Gloria (Vivace)    
6. Mass in G, BWV 236: III. Gratias    
7. Mass in G, BWV 236: IV. Domine Deus    
8. Mass in G, BWV 236: V. Quoniam (Adagio)    
9. Mass in G, BWV 236: VI. Cum Sancto Spiritu    
10. Mass in F, BWV 233: I. Kyrie    
11. Mass in F, BWV 233: II. Gloria    
12. Mass in F, BWV 233: III. Domine Deus    
13. Mass in F, BWV 233: IV. Qui Tollis (Adagio)    
14. Mass in F, BWV 233: V. Quoniam (Vivace)    
15. Mass in F, BWV 233: VI. Cum Sancto Spiritu (Presto)    

Editorial Reviews
Amazon.com
Joshua Rifkin and Andrew Parrott no longer seem to be lonely voices crying in the proverbial wilderness. The idea of performing Bach's sacred music with only soloists seems to be catching on a bit. This recording, for instance, completes Chandos's one-singer-per-part set of Bach's four "Lutheran" Masses (i.e., Kyrie and Gloria only), performed by the (enlarged) Purcell Quartet with all the transparency, exactitude, and grace they brought to volume 1 of the series. Perhaps surprisingly, it's the instrumental detail--usually buried underneath the voices of a choir but clearly audible here--that's striking: take the lively oboe figures that give a Handelian feel to the Gloria of the G major Mass, for example. If you've heard the Gabrieli Consort & Players' rip-roaring rendition of the F major Mass, the Purcell Quartet's performance may seem a bit too genteel--but only a bit: it's both energetic and graceful. The excellent soprano and alto from the first disc, Susan Gritton and Robin Blaze, are replaced here by Nancy Argenta and Michael Chance, two baroque singing stars of the 1980s: Argenta sounds fairly good, much less shaky than she did on Masaaki Suzuki's St. Matthew Passion, but Chance sounds dismayingly unsteady. On the other hand, tenor Mark Padmore uses an impressive range of vocal colors (sometimes sounding almost like a countertenor himself), bass Peter Harvey brings real merriment to his virtuoso aria "Gratias agimus," and the horn players (on valveless instruments) toss off their difficult parts with real aplomb. This disc may have a few more flaws than its predecessor, but it's got skillful, very listenable performances--yet another demonstration that this supposedly kooky Bach-as-madrigal idea can really work. --Matthew Westphal

Bach: Lutheran Masses, Vol. 2, Music, Johann Sebastian Bach, Nancy Argenta, Peter Buckoke, Michael Chance, Peter Harvey, Catherine Latham, Mark Padmore, Anthony Halstead, Roger Montgomery, The Purcell Quartet, Chamber Music & Recitals, Choral, Classical, Classical Composers, Classical Music, Keyboard, Mass, Music for Organ
Bach: Lutheran Masses Vol.1
Average customer rating: 4 out of 5 stars
  • Beautiful reditions and performances
  • Outstanding Performance
  • A milestone
  • they tried their best: but the performance is poor
 Bach: Lutheran Masses Vol.1
Peter Harvey , Catherine Latham , Mark Padmore , Jane Rogers , Stephen Preston , The Purcell Quartet , and Sinéad Bradbeer
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

All Works by J.S. BachAll Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
MassesMasses | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:
  1. Bach: Lutheran Masses, Vol. 2
  2. Luther: German Hymn Mass / Chorales
  3. Martin Luther & The Music
  4. Musik der Reformation: Ein feste Burg ist unser Gott
  5. Handel: Dettingen Te Deum

ASIN: B00000J8QP
Release Date: 1999-06-22

Tracks:

  1. Mass, BWV 235: Kyrie
  2. Mass, BWV 235: Gloria
  3. Mass, BWV 235: Gratias
  4. Mass, BWV 235: Domine Fili
  5. Mass, BWV 235: Qui tollis
  6. Mass, BWV 235: Cum Sancto Spiritu
  7. Mass, BWV 234: Kyrie
  8. Mass, BWV 234: Gloria
  9. Mass, BWV 234: Domine Deus
  10. Mass, BWV 234: Qui tollis peccata mundi
  11. Mass, BWV 234: Quoniam tu solus
  12. Mass, BWV 234: Cum Sancto Spiritu

Amazon.com

In 1979 it was inconceivable; even in 1989 it seemed radical if not ridiculous. By 1999, however, performing Bach's choral music with one singer and player per part had started to catch on. Around 1982 Joshua Rifkin first argued that Bach composed most of his sacred music for an ensemble of soloists; when Rifkin recorded the Mass in B Minor that way, he had few defenders and many outraged detractors. Gradually other Baroque specialists such as Andrew Parrott and Jeffrey Thomas tried this approach; now the (augmented) Purcell Quartet presents Bach's four brief "Lutheran" Masses with top-notch soloists--Volume 1 is not only a sterling example of one-on-a-part Bach, it's an outstanding performance, period. The singers blend beautifully with the early instruments, Susan Gritton (the only mainstream opera singer of the bunch) in particular keeping her vibrato well under control. Once you hear, say, the Kyrie of the G Minor Mass, in which each singer in turn takes up the winding fugue subject from the first oboe, or the A Major Mass, in which the flutes take up a fugue subject from the singers and (for once) are audible, a choral performance of these pieces may seem odd. --Matthew Westphal

Customer Reviews:

5 out of 5 stars Beautiful reditions and performances.......2006-12-22

I have listened to this CD over and over again and enjoy it more each time. I disagree that these performances are sub-par in any way. I find the blending of the voices and the music soothing and well done. On more than one occasion I have even been brought to tears.

5 out of 5 stars Outstanding Performance.......2003-04-02

The One Voice Per Part theory of Joshua Rifkin. The minimalist "Essential Bach 'Choir'" by Andrew Parrot. It looks like hell on paper. A terrible proposition. A seeming disregard for Bach's intentions (which Parrott disproves in his book on the subject). But does the same hold true when it is actually put in practice?

In my opinion, it does not. Since this "revolution" in the way we perform Bach's concerted choral works production of exceedingly beautiful records using Rifkin's theory have prooven that the sound of the smallest possible ensemble (the size Bach likely had to his availability during his lifetime) is not only aesthetically positive, but essential. Essential in that each voice (both vocal and instrumental) is heard.

This recording of the Lutheran Masses only confirms the ever growing favor of OVPP recordings. It boasts top rate soloists as well a clearly virtuosic group of instrumentalists.

These are meticulous performances. The 16th note violin runs in the Gloria of the g-minor mass are effortless. OVPP allows also for more quick tempi which makes for a more gripping listening experience. The singers are all first rate.

5 out of 5 stars A milestone.......2000-02-08

As a rare one-voice-per-part recording (OVPP), this is a milestone in the history of Bach performances. The close recorded sound will not be to everyone's liking (BBC Music certainly didn't appreciate this aspect of the recording), but as Matthew Westphal's glowing review suggests, not everybody will find it objectionable either. I greatly respect Westphal's insightful comments, so when a friend forwarded me Westphal's e-mail suggesting other OVPP recordings of Bach, I went out and bought most of them. The comparison gave me a new perspective on this recording. I had bought this recording for the soloists, without knowing anything about the raging OVPP debate (both Gramophone and BBC Music have recently featured vigorous exchanges on the subject). In fact, my first response to this recording was incredulity. I had heard OVPP performances of Renaissance masses and Venetian vespers, but I had no idea that this approach could also work in Bach. Now, having heard a number of OVPP interpretations of Bach, and having read the arguments in favor of the approach, I am a convert. As this recording demonstrates, performing Bach with solo voices reveals hidden structural nuances and adds a more intimate dimension to the genius of the score. It also lets you enjoy the beautiful vocal timbres of the individual soloists, if you're into that sort of thing. In that regard, this recording presents four voices about as beautiful as they get! Their impressive vocal contributions, coupled with delightful instrumental playing, make this recording a compelling testament to the merits of the OVPP approach. gkolomietz@yahoo.com

1 out of 5 stars they tried their best: but the performance is poor.......2000-01-08

These Bach "small masses" are masterpieces, but the present recording is not very good. Have the performers not listened to an Eterna edition vinyl recording from DDR? These masses should really sing, like Domine Deus (track 9).
I am now rewriting this review. Anybody who gives this recording a high rating has little idea about how Bach should sound. Yes, there is plenty of snobs, who want to sound educated by writing "educated" review. The fact is: this performance is poor, no matter how many snobs give it 5 stars.
Rewriting again, because I cannot believe that people have so little taste for Bach: guys, do yourself a favor, buy JS Bach Masses BWV 233-236, Berlin Classics label, available from Amazon, listen to it, then listen to this CD. If then you cannot hear the difference, go to the doctor.
Bach: Lutheran Masses, Vol. 2
Average customer rating: 5 out of 5 stars
  • a voice teacher and early music fan
  • Stellar Renditions
  • Surprisingly good
  • If you love Bach, BUY THIS CD!
 Bach: Lutheran Masses, Vol. 2
Peter Buckoke , Michael Chance , Peter Harvey , Catherine Latham , Mark Padmore , Anthony Halstead , Roger Montgomery , and The Purcell Quartet
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

All Works by J.S. BachAll Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
Chamber MusicChamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
OrganOrgan | Keyboard | Instruments | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Chamber Music | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
MassesMasses | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:
  1. Bach: Lutheran Masses Vol.1
  2. Luther: German Hymn Mass / Chorales
  3. Martin Luther & The Music
  4. Musik der Reformation: Ein feste Burg ist unser Gott
  5. Handel: Dettingen Te Deum

ASIN: B00004GOWP
Release Date: 2000-03-28

Tracks:

  1. Trio Son in C (Transposed To D), BWV 529: I. Allegro - The Purcell Qt
  2. Trio Son in C (Transposed to D), BWV 529: II. (Largo) - The Purcell Qt
  3. Trio Son in C (Transposed to D), BWV 529: III. Allegro - The Purcell Qt
  4. Mass in G, BWV 236: I. Kyrie
  5. Mass in G, BWV 236: II. Gloria (Vivace)
  6. Mass in G, BWV 236: III. Gratias
  7. Mass in G, BWV 236: IV. Domine Deus
  8. Mass in G, BWV 236: V. Quoniam (Adagio)
  9. Mass in G, BWV 236: VI. Cum Sancto Spiritu
  10. Mass in F, BWV 233: I. Kyrie
  11. Mass in F, BWV 233: II. Gloria
  12. Mass in F, BWV 233: III. Domine Deus
  13. Mass in F, BWV 233: IV. Qui Tollis (Adagio)
  14. Mass in F, BWV 233: V. Quoniam (Vivace)
  15. Mass in F, BWV 233: VI. Cum Sancto Spiritu (Presto)

Amazon.com

Joshua Rifkin and Andrew Parrott no longer seem to be lonely voices crying in the proverbial wilderness. The idea of performing Bach's sacred music with only soloists seems to be catching on a bit. This recording, for instance, completes Chandos's one-singer-per-part set of Bach's four "Lutheran" Masses (i.e., Kyrie and Gloria only), performed by the (enlarged) Purcell Quartet with all the transparency, exactitude, and grace they brought to volume 1 of the series. Perhaps surprisingly, it's the instrumental detail--usually buried underneath the voices of a choir but clearly audible here--that's striking: take the lively oboe figures that give a Handelian feel to the Gloria of the G major Mass, for example. If you've heard the Gabrieli Consort & Players' rip-roaring rendition of the F major Mass, the Purcell Quartet's performance may seem a bit too genteel--but only a bit: it's both energetic and graceful. The excellent soprano and alto from the first disc, Susan Gritton and Robin Blaze, are replaced here by Nancy Argenta and Michael Chance, two baroque singing stars of the 1980s: Argenta sounds fairly good, much less shaky than she did on Masaaki Suzuki's St. Matthew Passion, but Chance sounds dismayingly unsteady. On the other hand, tenor Mark Padmore uses an impressive range of vocal colors (sometimes sounding almost like a countertenor himself), bass Peter Harvey brings real merriment to his virtuoso aria "Gratias agimus," and the horn players (on valveless instruments) toss off their difficult parts with real aplomb. This disc may have a few more flaws than its predecessor, but it's got skillful, very listenable performances--yet another demonstration that this supposedly kooky Bach-as-madrigal idea can really work. --Matthew Westphal

Customer Reviews:

5 out of 5 stars a voice teacher and early music fan.......2006-01-14

" I place music next to theology and give it highest praise." Thus said Martin Luther, himself a singer and lutenist. He made it clear to all that his objections to the Roman church were theological, not liturgical. Therefore Bach was given considerable freedom in his writing as long as the text adhered to correct biblical teachings. His burden was great for he was required to produce music for every Sunday and special holy days; thus the numerous cantatas and organ preludes,Passions etc. When he finally got around to composing the Mass in G major, he approached it mainly as one of selecting and reworking masterpieces from the cantatas, a process known as 'parody'. And it is indeed fascinating to find bach choosing earlier compositions whose musical architecture suits his purpose and completely altering their emotional impact by extensive recomposition of the individual lines. On the other hand, in the Mass in F major, one wonders whether the first 3 movements derive from no such models and are original compositions.



The first selection on this disc'Trio Sonata,BWV529' was written by Bach for organ and here arranged by Richard Boothby (cellist in the Purcell Quartet) for two violins,viola di gamba and harpsichord. I'm sure Bach would have approved for it's quite enjoyable to hear and seems just right! There are two Masses: Mass,BWV236 in G major and Mass, BWV233 in F major. Although,strictly speaking there is almost no Lutheran raw material included in them, they are however, deeply Lutheran and Bachian in spirit,music in which it is hard not to be moved by a big and complex resolution of dissonace. From a listening standpoint, they are very uplifting, for the most part joyful and VERY pleasant to hear. I wasn't going to critique this CD because you have several opinions already, but I must respond to a couple of statements made by Matthew Westphal, who I think does a great job assessing most of the CDs. BUT I can't allow him to make such an erroneus statement concerning Michael Chance's performance on this recording. I have been following Chance's career for 25 years and have most of his recordings and I can tell you as a voice teacher of 30 years that his voice is better than ever! Perhaps the low tessitura that goes on and on thruout these Masses becomes wearing to the ear, but it's not the fault of the singer. This is a great recording in every way; all the singers do a fine job and I do love the solo voice concept.

To conclude, Bach's writings have a spiritual power, a solid strength and sincerity that cannot be traced to technique, but to the inspirations of pure genius! Near the end of his life, he was stricken with blindness, his condition further aggravated by an operation, followed by a paralytic stroke; and the invitation of his magnificent chorale 'Komm,Susser Tod' (come sweet death) was accepted.

5 out of 5 stars Stellar Renditions.......2003-04-02

Does Joshua Rifkin's One-Voice-Per-Part (OVPP) theory really *sound* as awful as it appears on paper?

Not at all. In my perspective, as part of the growing number of OVPP "converts," the theory is not only wonderful to hear but necessary to the music in that all voice lines can be heard clearly.

And these performances are a prime example of OVPP: neat and clear. The sound is actually more convincing than the sound of a 12 to 16 voice choir we are used to hearing. The archaic sound is just more believable for the music of Bach, in my mind.

Balance is also an important issue regarding OVPP, and I'm glad to say that both Volume 1 and 2 of this edition of Bach masses keeps balance well in mind.

The soloists are each top-rate and the authentic, orchestra is likewise great.

5 out of 5 stars Surprisingly good.......2000-04-20

When it comes to BWV 233-236, the term "Lutheran Masses" is something of a misnomer: there is nothing Lutheran about these masses, and, strictly speaking, they are not even masses (i.e., they are not complete settings of the Ordinary). Because Lutheran aesthetics emphasized accessibility of liturgy to congregation, a true-to-the-word Lutheran mass would have been written in German and would have been based on easy-to-sing chorales meant for audience participation. The masses here, however, were clearly not meant for congregational (or even choral) singing. The choice of the language (Latin) and the intricate vocal and instrumental writing in these masses suggest that they were meant to be experienced on a more disassociated, more individualized, level. Can anything convey this intensely personal approach to worship better than a one-voice-per-part approach? I think not. I am very happy with this recording. It's been playing pretty much nonstop since I bought it a week ago. It is a worthy successor to Vol. 1 (which you should also buy). Some of my friends (including Matthew Westphal whose editorial review appears on this page) complained about the performances of Chance and Argenta on this disc. But I don't think that they were that bad. Sure, they don't sound as good as they once did, but they don't sound bad enough to ruin a group performance which is buoyed by the strong contributions from Harvey and especially Padmore. In fact, the overall blend of voices sounds surprisingly agreeable. All voices are also well balanced in terms of volume (something I didn't think was always the case with Vol. 1, although that was my only quarrel with Vol. 1). The absolute highlight of this disc are solo arias Gratias (Harvey) and Quoniam (Padmore), both from BWV 236. Notice also that the tenor line is frequently doubled by a viol. Can you get that level of detail in a choral performance? I doubt it. Soloists-as-chorus really works!

5 out of 5 stars If you love Bach, BUY THIS CD!.......2000-03-31

I heard a bit of this CD on the new releases program on my local radio station a couple of weeks ago, and I immediately ordered it. It came today. What a great recording! A one-per-part instrumentation, coupled with an excellent recording job, enables hearing every note of every player and singer, and this performance is worthy of that kind of reproduction. I know that my title for this review contains the netiquete equivalent of shouting, but I repeat: If you love Bach, BUY THIS CD!

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