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A vocalist and an instrumentalist comment on the differences between performing in tutti and soloing, where in the latter you suddenly need to become more personal, more expressive, in order to connect with the audience . . .
Gardiner writes, ". . . the most poignantly human moment is reserved for that ghostly bridge-passage that links the Confiteor to the Et expecto" ( 1:21:45 in the recording ), about which van Veldhoven, in the after-video (10:05), says, "And then there's a page in the score that has no parallel in Bach's era. Sometimes three sharps or five flats. At one point they're singing in E flat minor. Every key is used. It's as if you're lying in a coffin, waiting for what ? You really don't know what's coming." Another musician takes over: "Just when it seems to have become too complicated ever to be solved . . . there's a ray of light, and the whole knot becomes disentangled in the jubilant Et expecto." van Veldhoven: "It's like an opera with a sudden scene change. The lighting changes and there's the word "resurrectionem" . . . with all the joy that comes with it."
Indeed one has the impression here that Herreweghe was looking for new material in the score, or at least previously unrevealed or under-emphasized lines, harmonies and emphases. I judge that he found many of them; we are the happy beneficiaries.
A revelation--and already a generation old. Better late than never ?
https://www.bing.com/videos/search?q=mi ... ORM=WRVORC
This would be the second of the conductor's recorded performances of this work, released in 1996 and again in 2006 on CD.
The transfer of the recording to YouTube suffers from a few glitches at moments of transition from one movement to another, in one alarming instance covering the end of one part with the uninterrupted mid-bar commencement of the next. On the plus side, the ample bass end of the spectrum apparently found in the original is evident in the online presentation.
As a further comment on the performance, a propulsive beat is a defining characteristic of the conductor's style here. However, Herreweghe is apparently not a proponent of the modern tendency, often breath-takingly satisfying, of a rapid or even abrupt termination of the final note to a movement.
Here we have another Herreweghe B minor Mass, from 2011.
https://www.bing.com/videos/search?q=Ba ... SCL%26%3D0
The second performance, by the same conductor, seems by comparison to the 1998 version to be curiously homogenized, as if the aim this time was a uniformity of tone and texture throughout. The B minor Mass as elevator music---albeit celestial Muzak ?
One day in a department store I heard the "piped-in" music (as it was called) running backward ! No one seemed to notice. Now that I think of it, perhaps someone was having a bit of fun . . .
https://www.youtube.com/watch?v=JGAsTaI ... 86&index=5
Yeah, sure . . .! Nevertheless there is more, of course, and here's another performance of the same piece, equally satisfying if not indeed more thrilling. I'm only half-way through my first listening, and already anxious to share it.
So many instrumental and vocal lines are brought forth anew. Crisp and lush at the same time; the soprano and alto soloists and the horns are worthy of special mention right off.
If Beethoven made "edifices in sound," what castles of heaven are built, minute by minute and measure after measure, here ?