Composer: Johann Sebastian Bach
Works: Mass in B Minor BWV 232
Performers: Barbara Bonney (soprano), Angelika Kirchschlager (mezzo-soprano), John Mark Ainsley (tenor), Alastair Miles (bass), Tokyo Opera Singers, Saito Kinen Orchestra, Seiji Ozawa (conductor)
Recording: August – September 2000, Naganoken Matsumoto Bunka Kaikan, Japan
Label: Philips 468 363-2 [2CD 102.32]
Bach’s Mass in B minor stands as a monumental testament to the composer’s artistic vision, encapsulating a lifetime of stylistic evolution and spiritual contemplation. The work, left unfinished at his death in 1750, synthesizes elements of the Baroque tradition with a deeply personal approach to sacred music, transcending its time to resonate with audiences across centuries. Seiji Ozawa’s recording, featuring an impressive assembly of soloists and the Saito Kinen Orchestra, emerges as a noteworthy entry in the canon of B minor Mass interpretations, diverging from contemporary trends toward historically informed performances with small forces and period instruments.
Ozawa’s interpretation embraces the grandeur inherent in the Mass, employing a large chorus and orchestra that imbue the performance with a robust sound. His broad, sweeping gestures establish a sense of majesty, particularly in the “Kyrie” and “Gloria” movements, where the rhythmic emphasis creates an exhilarating drive. The expansive soundscape resonates with vibrancy, calling to mind the great recordings of the past, akin to those by Hermann Scherchen or Karl Richter. However, while Ozawa’s approach brings a thrilling energy, it sometimes sacrifices the nuanced contrasts between the large choral sections and the more intimate arias. For instance, the “Laudamus te,” a duet for two sopranos, reveals a lack of subtlety, as the orchestra’s presence often overshadows the delicate interplay of the voices.
The engineering quality of this recording deserves special mention, as the sound is both rich and transparent, allowing the listener to appreciate the intricate textures of Bach’s orchestration. The choir exhibits an impressive blend, delivering crystalline lines that are particularly effective in the “Christe eleison” duet, where Barbara Bonney and Angelika Kirchschlager shine with clarity and precision. Nevertheless, the recording’s tonal balance leans towards the bass, which may prompt adjustments in playback settings for optimal listening. The obbligato violin in the “Laudamus te” disappoints somewhat, lacking the vibrancy one expects from such a prominent role, though Kirchschlager’s powerful delivery compensates for this shortcoming.
Ozawa’s ability to build dynamic crescendos is commendable, particularly in the “Gratias agimus tibi,” where the orchestral forces come together in an organic swell of sound. However, the final movement, “Dona nobis pacem,” lacks the climactic impact found earlier, with the horns dominating the texture, resulting in a less than satisfying conclusion. John Mark Ainsley’s tenor work in the “Benedictus” is commendable; his voice, coupled with the flute obbligato, creates an ethereal quality that captures the essence of this pivotal moment in the Mass. The emotional depth of Kirchschlager’s performance in the “Agnus Dei” stands out as a highlight, demonstrating a balance that eludes other sections of the recording.
Ozawa’s recording of Bach’s B minor Mass, while not without its challenges, offers a compelling interpretation that emphasizes the work’s grandeur. The technical execution is strong, the sound engineering commendable, and the performances by the soloists are often moving. For listeners who appreciate a more traditional, powerful approach to Bach, this recording represents a vibrant choice that captures the spirit of the work amidst a landscape increasingly dominated by historical performance practices.
