Peter Harvey, Catherine Latham, Mark Padmore, Jane Rogers, Stephen Preston, The Purcell Quartet, SinA©ad Bradbeer - Bach: Lutheran Masses Vol.1

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 Amazon.com

Beautiful reditions and performances

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. December 22, 2006

Outstanding Performance

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. April 2, 2003

A milestone

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 February 8, 2000

they tried their best: but the performance is poor

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. January 8, 2000

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