Bach: Mass in B minor / Bach Collegium Japan
The first thing that strikes one when listening to this CD by Masaaki Suzuki is the slow tempo and powerful marcato expression of the opening section of “Kyrie eleison”. The fugue section that follows is played at a slow tempo and with a restrained volume, and is performed with a walking pace. After the instrumental theme, the chorus enters, and one notices that the chorus is surprisingly small. However, when all the voices soon join together, one is enveloped in an indescribable feeling of elation. The following duet, “Christe eleison” is a peaceful music, but the next fugue alla breve, “Kyrie eleison” is a tense music, and the performance ends with a sense of tension.
Next comes the festive “Gloria in excelsis Deo”, followed by “Et in terra pax” and the joyful “hominibus bonae voluntatis”. The following aria “Laudamus te” is sung by the violin in a flowing obbligato. Next comes the moving “Gratias agimus tibi” in fugue alla breve, followed by the duet “Domine Deus” in flute obbligato. Next comes “Qui tollis peccata mundi” sung in stifled lento, followed by the alto aria “Qui sedes ad dextram Patris”. The aria “Quoniam tu solus sanctus” is sung by the bass with horn obbligato. The song continues without interruption into the festive chorus of “Cum Sancto Spiritu”.
After the chorus of “Credo in unum Deum” and the festive chorus of “Patrem omnipotentem” the duet “Et in unum Dominum” is sung by soprano and alto. The next song, “Et incarnatus est” sung by a hushed chorus, reminds one of “Lacrimosa” from Mozart’s Requiem. After the chorus “Crucifixus Etiam Pro Nobis”, the chorus sings “Et resurrexit tertia die” aria “Et in Spiritum sanctum” which is sung by the bass. Two oboes d’amore accompany the obbligato in a flowing and beautiful manner. The chorus “Confiteor unam baptisma” is a fugue alla breve. “Et Expecto Resurrectionem” is a seamless continuation of the previous piece, singing in high spirits of the resurrection of the dead and the life of the world to come. As a side note, the tenor part of “Credo” begins with the “double consonants”. This is probably the most tense place to syncronize for the tenor part.
“Sanctus” is a gentle melody with trumpet and timpani playing thanksgiving to God. The following “Osanna In Excelsis” is also sung in a festive chorus. “Benedictus” is a heartwarming tenor aria sung with flute obbligato. “Osanna In Excelsis” is repeated festively again to conclude.
“Agnus Dei” is the most moving and poignant music of the Mass, an alto aria that appeals to the human soul. The melody, sung wistfully by the countertenor, has been adapted from Bach’s other cantatas. The Mass closes with the moving “Dona Nobis Pacem” which begins quietly and is enlivened by the trumpet and timpani in the second half.
The Bach Collegium Japan’s superb performance of both chorus and soloists fully expresses one of the best of Bach’s masterpieces. There is no doubt that this will remain one of the greatest recordings in history from now on.
There are many theories about the purpose of “Mass in B minor”, but here’s my take on it.For example, the “Musical Offering”, but it is said that there is no evidence of its use in this manuscript score. In Bach’s music, there is quite a bit of music whose purpose is not to be actually performed but “to be composed”. Another example would be the 14 Canons and the others. It is said that the too long length of the “Mass in B minor” could not possibly be used in a real Mass. In other words, for Bach, the purpose of this piece was “to be composed”. That is my imagination.
The “Art of Fugue” is an example of one of those works that went on to be “published,” but I wonder if any musicians actually bought and played this score at the time. This was also music that was intended “to be composed”, after all. More to the point, Bach may have written this music not for his contemporaries but for performers 300 years later. So think I. #baroque #bach #片山俊幸
