 "Disappointed" | 2009-05-31 |
| - Reviewed By User: A1P29GLDCU6RI5 |
| This recording of the B Minor Mass was very highly recommended in a review posted on NPR's website. It may very well be a superb performance, but the quality of the sound is, in my opinion, abysmal. I cannot in good conscience recommend it. |
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 "Very disappointing" | 2008-04-08 |
| - Reviewed By User: A1CH78O36PYFMY |
The soloists manage to focus well enough on their solos. But on the choral pieces, they're not able to muster a consonant between them. Except for the occasional ss or ch or ooo, the choral texts are a blur of schwa. And, the first soprano is frequently inaudible.
Is it possible for an ensemble to be OVER-blended? Something is definitely wrong with the mix! It sounds like they were going for ethereal, but instead of angelic, it sounds quite ghostly.
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 "What you will hear at the gates of Heaven" | 2007-04-16 |
| - Reviewed By goodpuppy |
Though I generally prefer OVPP (one voice per part) performances, Herreweghe's rendition of the Sanctus transcends any other performance I have ever heard -- and I have heard and own most of them.
I understand the one reviewer's quibble. Herreweghe lacks the overarching dramatic momentum of a Gardiner. And, taking the performance as a whole, I too prefer Gardiner, Rifkin, Parrot and especially Junghanel.
But...
What Herreweghe brings to Bach's work is a sublimity and tenderness uniquely his own, a feeling that suffuses the whole with a transcendent spiritual glow. Nowhere is this transcendence more awe inspiring than in his Sanctus.
Forget the desert island. When I die, this is the music, this Sanctus, that I am taking with me.
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| "maybe too much perfected?" | 2006-06-20 |
| - Reviewed By nout |
In many ways this Mass in B is an improvement over Herreweghe's first recording on Virgin.
Quicker tempi in some parts like the "Gloria" which is also a bit more outgoing than his earlier Gloria. (although most parts are slower, but not noticeable)
Better soloists and even better orchestral playing.
His reading on Virgin was already pretty special because of Herreweghe's attention to the orchestra and its sound, compared to most other versions in which the orchestral part didn't seem that important, everything was focused on the singers and choir - but the orchestral part on Herrweghe's 2nd acount is even better, even more detailed and with character.
But what this reading sets apart from every other reading I heard is the recorded sound which is excellent.
Virgin's recorded sound of Herreweghe I was already superb, especially when compared to rivals like Parrott, Gardiner and Christophers which readings sound small, thin and bass shy, a definite lack of warmth.
The sound of this Herreweghe II is outstanding: big and sumptious with rich textures, instrumental timbres and amazing dynamics.
The "Kyrie" has very great impact, because of the sudden dynamic change, I didn't expect it to become even louder near the end.
Not that the sound is perfect: in the openingchorus "Kyrie" for instance the treble vocals (sopranos) in the left channel distort quite a bit - a cracking noise - as if the sound was recorded too loud.
It reminds me a lot of Herreweghe's 1st St. Matthew Passion, a very nice recording, but in every single air the sound would crack when the soloist suddenly sang louder.
Also the placement of some instruments in the stereo-image isn't alway that ideal: timpani in the "Gloria" (rather bass-heavy in this recording) are placed in the left channel.
This is not a problem when I'm listening through speakers, but when I'm wearing headphones it beats directly into my left ear (I obviously prefer bass and beat in the middle)
But overall it has the best recorded sound of any Mass in B I heard.
So this must be the best Mass in B then?
No.
I still like his 1st account better.
There's something about his Virgin recording - just like his first St. Matthew in comparison with his later account - that is very special.
I sense a greater 'searching' commitment and devotion which I do not hear that obvious in his later account.
Maybe it's just me, having lived with his 1st recording for so much longer than this newer one, and are terms like stronger "devotion" and "commitment" simply not true and valid, but do they exist only in my head.
Well ok, at least for me, just subjectively speaking (like every other ordinary guy would just give HIS opinion), this newer Harmonia Mundi recording does have all those qualities of his older account, but maybe too much perfected? Could it be?
Oh well, along with Herreweghe's 1st recording this one will remain my favorite Mass in B for a very, very long while. |
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| "Herreweghe and Bach" | 2005-09-17 |
| - Reviewed By critical-of-all |
If you don't like HIP and prefer massive choruses and thick lush sounds you will probably not like this recording! That said, although Herreweghe is clearly in the camp of HIP, he doesn't overdo it. I find that when you listen to his recordings of Bach you can grasp and marvel at what is going on compositionally, without being left cold by lack of emotion. That is certainly true here.
Many other reviews have commented in detail, I will not add my voice to theirs in analyzing each and every aspect. I will tell you that if you are at all HIP oriented or open minded about a variety of performance styles AND are willing to really sit down and listen, you will find it a wonderful recording to own.
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| "Excellence in recording; One of my favorite discs" | 2005-07-14 |
| - Reviewed By User: A2BR3F1H1HMA3K |
I have several recordings of the Bach b-minor mass (Gardiner, Shaw, Harnoncourt and Herreweghe). Herreweghe's recording is the favorite hands-down. His artistic choices are excellent; The orchestra and chorus of Collegium Vocale Gent offer a broad and intense palette for Herreweghe's brush. This small chamber orchestra balances the voices beautifully and more succesfully than a large orchestra (Shaw). What is sacrificed in instrumental blending is more than compensated by the pronounced character of each instrument and the resulting dramatic effect. Rather than use brute force in tutti sections, Herreweghe offers subtly of line, emphasizing the genius of Bach's counterpoint with clarity. At times, an almost-spartan string section acts as a haunting backdrop for the soloists and chorus (best example 'Agnus Dei'). This is not to say that instrumental force is lacking; plenty punches through in the 'Gloria' and 'Et Ressurexit' where required, but the voice reigns supreme.
Chorus texture blends beautifully, at times sounding like powerful 4 and 5 part solo work rather than an ensemble; they lend enough force to carry through the full orchestra. Soloists are remarkable, delivering the text clearly and audibly throughout with solid intonation. I applaud the maestro's choices of sopranos Johannette Zomer & Véronique Gens (beautiful work in the 'Christe Eleison') and countertenor Andreas Scholl rather than the more common choice of a female alto; Sorry ladies, but the b-minor demands the purity of a countertenor. Scholl's voice is a perfect pairing to the oboe d'amore in 'Qui sedes ad dexteram patris' and the plaintive organ in 'Angus Dei'. Tempi are a bit fast throughout compared to other recordings but used to good effect.
I would recommend this as a first recording to anyone who is new to the b-minor mass , or as a second (third, fourth, or fifth) recording for those who own other performances. Through his period ensemble and sound judgement, Herreweghe elevates the beauty, expressiveness and drama of Bach's secular mass to a sacred status. |
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