No question! This is the one!

Reviewed by Giordano Bruno, 2009-02-01

OVPP (one voice per part) is no longer a rare performance option; this recording in two volumes of Bach's four Lutheran masses demonstrates why: you can hear the parts! and you can hear the instrumental lines! and the voices sound like human voices! Intonation is sharper (assuming the singers are good enough) and rhythms are more incisive. Scholarship does show that OVPP was more the norm in Bach's musical milieu than large choirs, but that's a musicologist's problem. My judgement is based purely on listening.

I'm very fond of the Philippe Herreweghe performance of these masses, for a number of reasons. Herreweghe's chorus is amazingly tight and expressive, and the big sound he coaxes from them is surely impressive. His performance has been re-released as part of a 4-CD box, which I've recently reviewed. However...

... this performance by the Purcell Quartet (masquerading as a chamber orchestra), with three very fine "early music" singers and one operatic soprano who knows how to sing in such an ensemble, is a good deal more exciting. I suspect that it will be too exciting, too upbeat, for listeners who want their Bach to sound like the choir they heard in church when they were children. This is not a solemn, pious performance of Bach. It's a Revelation, though... a revelation of how Italianate Bach's music was, even in these small Latin masses for Lutheran services on certain holidays.

Fortunately there are samples available here on amazon. Plug in your best headphones and listen! I'll bet you'll wind up buying.

Beautiful reditions and performances

Reviewed by P. Schmale, 2006-12-22

I have listened to this CD over and over again and enjoy it more each time. I disagree that these performances are sub-par in any way. I find the blending of the voices and the music soothing and well done. On more than one occasion I have even been brought to tears.

Outstanding Performance

Reviewed by R. Gerard, 2003-04-02

The One Voice Per Part theory of Joshua Rifkin. The minimalist "Essential Bach 'Choir'" by Andrew Parrot. It looks like hell on paper. A terrible proposition. A seeming disregard for Bach's intentions (which Parrott disproves in his book on the subject). But does the same hold true when it is actually put in practice?

In my opinion, it does not. Since this "revolution" in the way we perform Bach's concerted choral works production of exceedingly beautiful records using Rifkin's theory have prooven that the sound of the smallest possible ensemble (the size Bach likely had to his availability during his lifetime) is not only aesthetically positive, but essential. Essential in that each voice (both vocal and instrumental) is heard.

This recording of the Lutheran Masses only confirms the ever growing favor of OVPP recordings. It boasts top rate soloists as well a clearly virtuosic group of instrumentalists.

These are meticulous performances. The 16th note violin runs in the Gloria of the g-minor mass are effortless. OVPP allows also for more quick tempi which makes for a more gripping listening experience. The singers are all first rate.

A milestone

Reviewed by Anonymous, 2000-02-08

As a rare one-voice-per-part recording (OVPP), this is a milestone in the history of Bach performances. The close recorded sound will not be to everyone's liking (BBC Music certainly didn't appreciate this aspect of the recording), but as Matthew Westphal's glowing review suggests, not everybody will find it objectionable either. I greatly respect Westphal's insightful comments, so when a friend forwarded me Westphal's e-mail suggesting other OVPP recordings of Bach, I went out and bought most of them. The comparison gave me a new perspective on this recording. I had bought this recording for the soloists, without knowing anything about the raging OVPP debate (both Gramophone and BBC Music have recently featured vigorous exchanges on the subject). In fact, my first response to this recording was incredulity. I had heard OVPP performances of Renaissance masses and Venetian vespers, but I had no idea that this approach could also work in Bach. Now, having heard a number of OVPP interpretations of Bach, and having read the arguments in favor of the approach, I am a convert. As this recording demonstrates, performing Bach with solo voices reveals hidden structural nuances and adds a more intimate dimension to the genius of the score. It also lets you enjoy the beautiful vocal timbres of the individual soloists, if you're into that sort of thing. In that regard, this recording presents four voices about as beautiful as they get! Their impressive vocal contributions, coupled with delightful instrumental playing, make this recording a compelling testament to the merits of the OVPP approach. gkolomietz@yahoo.com

they tried their best: but the performance is poor

Reviewed by Edward Nikicicz, 2000-01-08

These Bach "small masses" are masterpieces, but the present recording is not very good. Have the performers not listened to an Eterna edition vinyl recording from DDR? These masses should really sing, like Domine Deus (track 9).
I am now rewriting this review. Anybody who gives this recording a high rating has little idea about how Bach should sound. Yes, there is plenty of snobs, who want to sound educated by writing "educated" review. The fact is: this performance is poor, no matter how many snobs give it 5 stars.
Rewriting again, because I cannot believe that people have so little taste for Bach: guys, do yourself a favor, buy JS Bach Masses BWV 233-236, Berlin Classics label, available from Amazon, listen to it, then listen to this CD. If then you cannot hear the difference, go to the doctor.