Composer: Johann Sebastian Bach (1685-1750)
Performers: Catherine Dubosc (Soprano I), Catherine Denley (Soprano II), James Bowman (Alto), John Mark Ainsley (Tenor), Michael George (Bass), The Sixteen Choir and Orchestra
Conductor: Harry Christophers
Record Label: Regis Records
Catalog Number: RRC 2002
Duration: 106.24
Recording Date: Unknown, possibly 1980s
In this recorded rendition of Johann Sebastian Bach’s seminal “Mass in B Minor, BWV 232”, there’s an alluring precision of historical performance practice that strikes a chord. The instrumentals by The Sixteen Choir and Orchestra, under the sharp direction of Harry Christophers, evoke a warm, intimate sound that brings out the complexities of Bach’s score, structured heavily around the polyphony that makes this work particularly intricate.
Soprano roles are executed capably by Catherine Dubosc and Catherine Denly, who convey the substance and style beautifully, managing to keep to their areas of musicological expertise without overly romanticizing the performance. Dubosc, in particular, provides just the right amount of lightness and clarity, while Denley gives depth and gravity to her part.
James Bowman’s alto reveals an understanding of Bach’s intent, successfully delivering the emotional intricacies with an impressive range of color and nuance. John Mark Ainsley’s tenor, while less consistent, delivers some fine moments. His performance at times lacked firmness necessary for tenor register, more richly ornamented sections, but was commendable overall. Bass Michael George contributes a voice of steadiness and richness, providing a suitable backbone for the ensemble.
Though the recording’s date and location remain undistinguished, it possesses a quality that suggests the 1980s, before the early music revival genuinely took root. There’s a charm in this uncanny timelessness, which adds an intriguing pillar to its identity.
Nonetheless, the stylistic choices in the interpretation seem up-to-date, resulting in an engaging interplay between historical performance practices and more modern sensibilities. Christophers encourages the performers’ expressive freedom within the solid groundwork set up by Bach, paving the way to a captivating musical discourse.
This recording of Bach’s “Mass in B Minor” enjoys a central position in the vast discography of this masterwork, courtesy of its balanced interpretation, intimate performance, and fine soloists. While it doesn’t exactly break new grounds, it stands as an enjoyable, well-rounded performance of a beloved work, worth the attention of Bach devotees and casual listeners alike.
