Mass in B minor, BWV 232 (1748/49) [123:00]
Maria Stader (soprano), Hertha Töpper (contralto), Ernst Haefliger (tenor), Dietrich Fischer-Dieskau (baritone), Kieth Engen (bass),
Münchener Bach-Chor, Münchener Bach-Orchester/Karl Richter
rec. 1961 Musikhochschule, Munich, Germany
Herz und mund und tat und leben, BWV147 (1723) [33:02]
Ursula Buckel (soprano), Hertha Töpper (contralto), John van Kesteren (tenor), Kieth Engen (bass)
Münchener Bach-Chor, Münchener Bach-Orchester/Karl Richter
rec. 1961 Münster zu Heilbronn, Germany (Cantata)
Texts in Latin and German, no English translations.
PROFIL EDITION GÜNTER HÄNSSLER PH13034 [3 CDs: 61:59 + 61:01 + 33:02]
This set begins with the Bach’s famous Latin Mass in B minor,
BWV 232 a true masterwork written in 1748/49. Here Bach reused a considerable
amount of earlier material. No one is sure why as a Lutheran Cantor
he should have embraced the Roman Catholic Mass so enthusiastically.
The work was never performed in Bach’s lifetime and it seems
likely that the first complete performance was not given until around
1859 in Leipzig.
Although we are not told in the booklet notes this Profil release
of the Mass in B minor from 1961 directed by Karl Richter seems
to be the same recording that was initially released on an Archiv
Produktion vinyl set and is still available on Archiv Galleria 00289
427 1552. This account is not to be confused with Richter’s
live 1969 Tokyo recording also on Archiv.
As their founder and artistic director Richter had been conducting
the Münchener Bach Chor since 1954 going on to establish the
Münchener Bach Orchester. With these forces Richter maintained
an enduring and world renowned collaboration which I believe for many
had no peers in this repertoire.
In the opening duet of the Kyrie, Christe eleison the
voices of soprano Maria Stader and contralto Hertha Töpper blend
quite beautifully to stunning effect. The renowned aria Laudamus
te of the Gloria commences with a gloriously played violin
obbligato. Here Töpper is in firm and committed voice
coming across as especially reverential. In the Gloria section,Domine
Deus, the glorious duet between Stader and tenor Ernst Haefliger
is extremely well performed with their voices combining to sublime
effect. There is a highly impressive contribution from Töpper
in the Gloria, Qui sedes ad dexteram Patris revealing
a clear tone, and a rich and expressive timbre that she can noticeably
darken. I find the oboe d'amore obbligato quite enchantingly
played. The tessitura of the Gloria aria, Quoniam tu solus
sanctus tests the lower registers of sturdy bass Kieth Engen.
I loved the obbligato horn and bassoon parts. In the Credo
section eminent baritone Dietrich Fischer-Dieskau effortlessly sings
the aria Et in Spiritum Sanctum displaying his accustomed smooth,
firm tone. The duet in the Credo, Et in unum Dominum
is a wonderful experience with the outstanding voices of Stader and
Töpper complementing each other so splendidly. Haefliger in his
aria Benedictus, qui venit from the Sanctus,
with its violin obbligato, is warm and respectful delivering
the text with unerring assurance. I did however detect some slight
wavering to his line. Töpper is smooth, secure and splendidly
devout in her arias Qui sedes ad dextram Patris from the Gloria
and in the Agnus Dei with its attractive violin obbligato.
The Austrian contralto is in quite commanding voice and these are
true highlights of the recordings.
Next the church cantata ‘Herz und mund und tat und
leben’ (Heart and Mouth and Deed and Life), BWV 147
includes the chorale ‘Jesu, Joy of Man's Desiring’.
According to author Julian Shuckburgh this work was composed in 1723
(‘Harmony and Discord:The Real Life of Johann Sebastian
Bach’, Old Street Publishing London (2009)). It seems that
Bach adapted it from an older cantata BWV 147a composed in 1716 which
is now lost. This 1961 performance recording, said to be from Münster
zu Heilbronn, appears to be the same as the one by Richter that I
have on a disc titled ‘Famous Cantatas’ on Deutsche
Grammophon 453 094-2. If this is the same recording then the Münchener
Bach-Chor is performing with the Ansbach Bach Festival Soloists not
the Münchener Bach-Orchester. I asked Hännsler for clarification
but await a reply. Whatever the case this is a performance of the
highest quality. The soloists provide a semi-sung quality to their
recitatives as if almost treating them as arias. Demonstrating her
superior aptitude for communication Töpper excels in her aria
Schäme dich, o Seele nicht (Soul of mine, be not ashamed)
with its charming oboe d'amore accompaniment. This is lovely secure
singing of reverential intensity with avoiding any inappropriate sentimentality.
I enjoyed the soprano aria Bereite dir, Jesu, noch itzo die Bahn
(Prepare for Thy coming the way to our hearts) so delightfully
sung by Ursula Buckel. It is however a touch fluttery at times and
with some slight strain in her high sustained notes. The aria is introduced
and is finely accompanied throughout by a lovely played violin solo.
In the aria Hilf, Jesu, hilf, daß ich auch dich bekenne
(Help Jesus, help that I may not deny Thee) with a prominent
organ part in the basso continuo, tenor John van Kesteren with
his bright and attractive timbre convincingly proclaims his steadfast
belief in the Saviour. Spirited and fluid toned Kieth Engen fortifies
his praise to Jesus in the aria Ich will von Jesu Wundern singen
(Of Jesus am I ever singing) with its lovely part for trumpet.
Justly famous the chorale movements No.6 Wohl mir, daß
ich Jesum habe (Happy am I that I have Jesus) and No.10
Jesu bleibet meine Freude (Jesus remains my joy) are
appealing, uplifting and gloriously performed.
Recorded in 1961 the sound quality is clear and well balanced. I would
be highly satisfied if these glorious recordings were the only accounts
in my collection such is their superior quality.
Michael Cookson
I would be highly satisfied if these glorious recordings were the
only accounts in my collection such is their superior quality.
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