Consequently, throughout this recording, following the purely intuitive practice of Shaw, Harnoncourt shifts among three divisions of his choir (varying between large (20 sopranos, 10 altos, 6 tenors and 8 basses); medium (11, 5, 4, 4) and small (7, 3, 3, 3)) and orchestra (diverse combinations ranging between 6 and 13 strings). 19. Scores – Among its immense trove of free public domain scores, the Petrucci Music Library (http://imslp.org/wiki/Main_Page) has a nearly complete scan of Bach's autograph of the. INTERMISSION. Bach - Mass in B Minor | John Eliot Gardiner (2015) - YouTube He began by asserting that traditions of interpretation are valid only for works performed in unbroken sequence since their composition, whereas for Bach, whose works lay unperformed for a century and thus were removed from the composer's intentions, our notions of authenticity (and thus our accustomed listening experiences) reflect the prevalent style of when they were discovered rather than when they had been composed. Yet Spitta contends that Bach was such a practical musician that he "never wrote anything – and least of all such a mighty work as this – simply to have it unheard." Robert Shaw; Anne McKnight, June Gardner, Lydia Summers, Lucius Metz, Paul Matthen; RCA Victor Chorale and Orchestra (1947, RCA Victor LPs, 122 [119 + an extra 3 for the omitted repeat of the Osanna]), Robert Shaw; Saramae Endich, Adele Addison, Florence Kopleff, Mallory Walker, Ara Berberian; Robert Shaw Chorale and Orchestra (1960, RCA LPs and CDs, 133). 8. Hermann Scherchen; Emmy Loose, Hilde Ceska, Gertrud Burgstahler-Schuster, Anton Dermota, Alfred Poell; Vienna Akademie Kammerchor, Vienna Symphony Orchestra (1950, Westminster LP set; 125'). Rifkin's reasoning is that distinctions between chorus and solo singing arose only after Bach's time, when a chorus comprised however many singers (known as "concertists") were required to assign one voice to each line. America had to await the 20th century - the first US performance was in 1900 by the Bach Choir of Bethlehem, Pennsylvania. The juxtaposition of adjacent movements of deeply-felt meditation followed by brash outbursts of vivacious zeal adds a sense of urgent discovery and spontaneous invention. Certainly the length of the Mass would have made it unsuitable Malcolm Boyd concludes: "No other work more convincingly demonstrates that at the highest level Bach's process of parody, adaptation and compilation must be accepted as a creative act almost on a par with what we normally think of as 'original composition'." And even in 1749 when it was completed it was bundled in four very separate parts. ", Karl Richter; Maria Stader, Hertha Töpper, Ernst Haefliger, Kieth Engen, Dietrich Fischer-Dieskau; Münchener Bach-Chor, Münchener Bach-Orchester (1961, DG Arkiv LP and CD sets: 122'). Ferrier (1912 - 1953) lavishes her celebrated natural warmth on her five solo sections, highlighted by an especially heartfelt "Agnus dei." Accordingly, Gardiner not only assigns some entire choral movements to soloists but achieves textural variety within movements by varying his forces. In that light, the score itself (even when shorn of later annotations) is only a bare outline, as it omits performance conventions that were universally understood at the time, and thus obviated the need to write out all the details of execution. Even beyond these markings, he infers that Bach may have used soloists in the movements having no obbligato instrumental accompaniment. Everything about it is large, the music, the voices, the scope of conception, the dynamics, use â¦ He achieves further variety by using both female mezzos and male altos, rotates the solo turns among various members of his choir, and fortifies the more thickly-orchestrated concluding sections (Sanctus, Osanna and Dona nobis pacem) with additional voices, strings, oboes and flutes. 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