There are plenty of
good budget priced recordings of the
Mass in B minor available, but these
are often reissues - like Jochum’s inspired
performance - of ‘old-school’ readings.
Or others - like Joshua Rifkin’s controversial
edition - which, for one reason or another,
have met with limited critical acclaim.
So there’s more than enough room for
another, such as this welcome offering
from Naxos. In the light of Müller-Brühl’s
previous work for Naxos - especially
his excellent middle-period Haydn -
I’ve been looking forward to this with
more than usual levels of anticipation.
This recording uses
modest forces, but modern instruments.
The approach is intelligent, with a
keen awareness of stylistic conventions,
some sprightly tempi and lively articulation.
Indeed, there is much to enjoy, and
a good deal which stands out from the
crowd. The Credo chorus, for
example, which is unusually brisk and
- very unusually, but arrestingly
- starts quietly. Everything is delivered
with a warm heart, and a palpable sense
of conviction - something which (surely?)
ultimately transcends my detailed reservations.
Unfortunately, there
are some scrappy starts: Laudamus
te and Et Resurrexit (both,
interestingly, starting half way through
beats) should have been re-recorded,
and the careless transition from Quoniam
into Cum Sancto Spiritu either
re-recorded or re-edited. (Bach obviously
wants this chorus to follow on immediately,
as again with the Qui tollis, but
either Müller-Brühl - or his
sound engineer? - seems content to have
a micro-second’s break before proceeding,
with resultant disruption of musical
continuity.) On the other hand, the
difficult gear-change (in the Gloria
chorus) into Et in terra pax
is absolutely masterly: so we cannot
possibly generalise about weak structural
seams or insecure off-beat starts.
Müller-Brühl
is partial to some odd staccato articulation
- the violins in Christe eleison,
the voices in Crucifixus (why
oh why?) and the curious stabbing chords
of the chamber organ continuo in Agnus
Dei.
Although many of the
choruses are strong in conception, there
are, it seems to me, a number of missed
opportunities. The D major statement
of the opening Kyrie fugue -
a ray of God-given sunlight - passes
for nothing. And Bach’s mighty rising
harmonic sequences in the Sanctus
are left to fend for themselves, so
conveying little sense of divine architecture.
Happily, the long crescendo of
the Gratias and dona nobis
choruses are paced well, and are wholly
convincing.
I cannot stop myself
mentioning Müller-Brühl’s
habit of pausing very briefly before
almost every final chord, ritardando
or not: this may be an inconsequential
detail to some, but I find it mannered,
and grossly intrusive.
The orchestral sound (compared with
Gardiner, Herreweghe or King) is full
and warm, but disappointingly orthodox.
The modern double horn and Heckel bassoons
in the Quoniam are very ordinary
compared to the delicate lip legati
and raw hand-stopped notes of a natural
horn and the muted warbling of keyless
bassoons in rival recordings. The playing
is professional rather than inspired.
Trumpets, I admit, are outstanding -
bright and secure, with splendidly pointed
articulation: in fact the opening tutti
of the Gloria chorus is as thrilling
as any on record. The sound of the oboe
d’amore (in Qui sedes especially)
is pure velvet, and the body of strings
sound cultured. On the other hand, the
violin soloist in Laudamus te is
heavy in tone and phrasing, displaying
little of the lightness of touch which
all of Bach’s markings and figuration
would seem to prescribe. And the flutes
in Domine Deus (less so the lovely
Benedictus obbligato) play with
featureless ‘flat-landscape’ phrasing,
for all their beautiful sonority.
The chorus is youthful
in both sound and character, and mostly
very well-drilled, with sopranos as
often as not beautifully clean in attack
and sustained tone. Witness the high-lying
entries in the second Kyrie fugue,
or the delightfully agile singing of
the bonae voluntatis countersubject
to the et in terra pax fugue.
Much the same could be said of the tenors
in the Cum Sancto Spiritu fugue,
or the basses ‘soli’ in et iterum
venturus est cum gloria, both of
them difficult to execute cleanly, but
here admirably lively and polished.
However, detail in the men’s voices
is much less easy to pick out - partly
the result of a backward recording balance,
and partly (as always) a question of
register. But partly also a failure
(on Müller-Brühl’s part, presumably?)
to distinguish between primary and secondary
material in contrapuntal textures. One
seldom experiences the weight of a choral
bass line as one ought, and the all-important
plainchant line in Confiteor
is almost inaudible!
The choir is fairly
secure in the two extraordinary chromatic
episodes - notorious pitfalls for even
the best choirs - at sepultus est
(at end of the Crucifixus) and
et expecto resurrectionem (the
closing bars of the Confiteor
chorus). But some upper notes in the
Credo and Confiteor choruses
(where there’s no instrumental doubling
to support the voices) are distinctly
shaky, sounding flat and unsupported.
There’s some untidiness in semiquaver
passagework too, and, here and there
in busy tuttis, evidence that
the choir has simply been left to its
own devices. Most disappointing of all,
the Sanctus and Osanna
choruses (being divided into 6 and 8
parts respectively) convey little of
the ‘fullness of God’s glory’.
The soloists are all
good, well suited to their individual
and (in the duets) combined roles, well
prepared and well integrated into both
the ensemble and Müller-Brühl’s
conception. Marianne Beate Kielland
(Bach’s Soprano II) deserves a special
mention for her glorious sound, the
clarity of her diction, and her firm
control of vocal registers. The bass,
Hanno Müller-Brachmann, sings most
appealingly too, despite one or two
(I presume unintentional?) explosive
resonances.
The recording is transferred
at a low level, so you may need to turn
your volume up abnormally high to experience
the drama of the opening chords. The
sound itself is clean, with an agreeable
ambience. The distant placing of the
chorus is perhaps regrettable, though
it is good to be able to savour the
instrumental doublings of (for example)
the opening Kyrie - so often
submerged in more chorally-dominant
sound perspectives. There are one or
two rather conspicuous edits, mostly
between numbers.
This B minor Mass is
a real mixed blessing - very
good in parts, but rather disappointing
in others. I regret my criticisms only
because the performance as a whole strikes
me as being very genuine, and an obvious
labour of love. It’s well worth buying,
but its ideal role is as a complement
to more ‘senior’ readings which this
issue, for all its strengths, cannot
possibly displace.
Peter J Lawson