Sanctus - No. 5 from Mass No. 11 in A major
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When bass Peter Harvey finally comes, it's just perfect. If you think you'd like Argenta and Blaze then you must hear their singing of the Domine Deus duet. I've heard it said that Chance's lower range is weaker than Robin Blaze, who is the counter-tenor on the first volume, but I do not hear any deficiency at all! Both works use the same music. And again, I enjoyed the PQ version of the Mass' movement more than the cantata version, in this case recorded by Koopman.
Although Koopman's treatment of the work drew fairly high plaudits by the cantata pundits, I liked the simple, elegant powerful and crisp version on the PQ recording. The accompaniment by the PQ and friends holds its own with these singers and while I can't decide whether I enjoy the slightly greater forces in McCreesh's recording or those in the PQ, I haven't gotten a bit weary of alternating between the two and I suspect that I shall never manage to come to any conclusion. I like these recordings an Awful Lot. I do recommend these recordings with the caveat that if OVPP isn't your cup of tea, you might get a bit less out of the Masses.
The Trio Sonatas are very nice to listen to and are very well recorded as are the Masses. So, if you're poking around for something to listen to, here are 3 discs from some musicians who clearly love their Bach and do the works proud. Well, of to listen to even More Bach. Y'all be cool And duly noted. Pascal Bedaton wrote August 16, : 15 16 I bought the 1 st volume last year before having read a good paper on it in a magazine. I have waited the 2 nd one for months and I bought it last month.
I found it very good, nearly close to "my" reference by Herreweghe but different due to the one-per-part.
If I can say 2 word, buy it! I keep listening to the two of them and I just can't decide! His forces were for the choruses in the Mass. For "Sie werden aus Saba kommen" he used in the choruses, but deployed as concertists soloists singing throughout and ripienists joining in intermittently. McCreesh has told me that original performing parts for these two works have not survived. Thanks for the clarification!
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Claus Kretzschmar wrote August 19, : To Matthew Westphal The Purcell Quartet recordings of the Four Short Masses 15 16 , which are in fact, de facto cantatas because they are largely parodies of cantata movements, are absolutely the non-pareil, the ne plus ultra.
And, as he so often does, McCreesh 14 dissembles when he says the performance parts for the Missa Breves do not survive. Technically, he is correct, but the original performing parts for some of the cantatas from which they are parodied DO survive, and those are all one voice per vocal line.
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I am certain when it comes to BWV , from which much of the G Minor Missa Brevis is parodied, for I have had the privilege of examining the original parts. I'm not sure that makes any sense logically It was adapted from parts 3 and 4 of the Christmas Oratorio.
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For what that's worth. I don't know myself if performance material survives for the cantatas from which the Missa in F is drawn, but when I last interviewed McCreesh April of this year , he indicated that it does not. What he said was, "We looked at the cantatas the music [for the Missa] came from, and there was no help there either," meaning hints as to whether Bach may have used ripienists.
As time goes on, McCreesh seems to be getting more hard-line about one-voice-per-part Bach, particularly for recordings. For concerts, he will sometimes use two per part or occasionally even three of that's what a particular presenter insists on. It's the presenter who is paying the fee, after all. Also, for large works such as the Passions, when on tour he'll often use one singer on each choral part two per part in the St. John, following the performance materials but separate soloists who don't sing in the choruses.
He does this because concert tours are generally very strenuous and if the singers get too tired, then the performance suffers -- and the music, the musicians and the one-voice-per-part practice all come out looking the worse for it. One friend of mine, a concert presenter in New York, thinks this is cheating; I think that it's a very reasonable compromise -- as long as the choruseare performed one-singer-per-part and those singers are good , it doesn't bother me much if those singers aren't the same ones doing the solos.
What do you all think about that? Given the choice, I'll go with you, JSB.
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Good -- that makes for an even better rhetorical question and the one I had first hoped to pose : Are Parts 3 and 4 of the Christmas oratorio a de facto "dramma per musica" because they were adapted from Hercules auf dem Scheidewege? Only thing is, what's a "dramma per musica"? One friend of mine, a concert presenter in New York, thinks this is cheating; I think that it's a very reasonable compromise -- as long as the choruses are performed one-singer-per-part and those singers are good , it doesn't bother me much if those singers aren't the same ones doing the solos.
What matters is the character of the voices used: considering the fact that Bach's soloists were "ensemble singers" there shouldn't be a big difference in character between the "soloists" and the "choir". The soloists should be such that they could sing in the ensemble, if they had to, without disturbing the overall sound. If that is the only compromise a conductor has to make to modern concert life, than he and the audience should be happy. Finding the right venue is far more important and often far more difficult. If it is possible to wear out CDs by playing them too often, I am in danger of doing so with these recordings.
I have been passionately fond of the pieces since my teenage years back in the dark ages, believe me!
Harry J. Steinman wrote December 1, : 15 16 I shall add my rave about the Purcell Q releases And when I submit my nominations for the year's best, these shall be included! However, there is some strange writing, exactly like in The C Sanctus, probably not by Bach but so "Bachian Bach could have improved some contemporary works, add trumpets and counterpoint, like he did for his own music Gloria of b minor Mass, probably come from an earlier concerto grosso. What is the scholarly opinion on who wrote the C major Sanctus?
Kuhnau's original parts with corrections by Bach; and 3 CPE Bach's confirmation of his father's authorship on the cover page. It consists of three separate sections all starting with the same orchestral ritornello, and then the third fugal section segues almost seamlessly back into the first one. That segue especially strikes me as rather un-Bachian but maybe there are other examples of this in his writing as well. I haven't done a thorough search, but haven't yet found it, if it exists. Any help would be greatly appreciated. Matthew Passion; St.
John Passion; Mass in b. But, the recordings by the Purcell Quartet and by Herreweghe are both excellent. It's always worth comparing such bits where Bach has reused his music, to get ideas about the music's possible characters. Get a good horn player! I performed this piece a few years ago as continuo organist and recall that there was some tricky stuff there.
But, the recordings by the Purcell Quaand by Herreweghe are both excellent. It was recorded in The choir membership adult, mixed is listed as 6, 5, 5, Mass No. Simple and tuneful, it is a small-scaled work for chamber choir accompanied only by strings and organ. Soprano, tenor, and bass soloists contribute to the intimate beauty of the choral writing.
The product of a remarkable surge of music Schubert wrote in his final year, Mass No.
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It is basically a choral mass, as its five soloists soprano, mezzo, two tenors, and bass are used sparingly. The festive orchestra includes strings, timpani, and full winds except for tuba and flute. Its overall shape and construction follow traditional practice—more so than his preceding setting in A-flat. In harmonic language and details of text setting, however, we encounter a different Schubert, a Romantic who produced telling dramatic effect through his use of frankly pictorial writing and daring chromatic digressions.
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