It would be hard to imagine a greater contrast between performances of
Bach's B minor Mass than
Otto Klemperer's 1967 recording featuring the
New Philharmonia Orchestra and Chorus, and
Sigiswald Kuijken's 2009 version with
La Petite Band.
Klemperer's recording features a star-studded cast of soloists and sounds as if it were carved from giant slabs of granite, while
Kuijken is seated in the concertmaster's chair, leading a performance with one voice to a part. Musical fashions change, and this recording reflects research and an aesthetic attitude that the B minor Mass does not need to be backed by an army of vocalists and instrumentalists. As with his series of
Bach cantatas,
Kuijken eliminates nearly all doublings, instrumental and vocal, except for the first and second violins, of which there are two each. Although other conductors have taken similar approaches, most notably Joshua Rifkin in his pioneering 1981 recording, it could be argued that
Kuijken has done it best. Aside from the effortless virtuosity of all the musicians, the qualities that most distinguish this performance are its inwardness and its spirituality. Technical mastery is a quality shared by all great recordings of the B minor Mass, but the inwardness and the intimacy of this performance make it unique. Each musician is alone on his or her part, as in chamber music, so each part is infused with individual personality. Under
Kuijken's intense and assured leadership, the result is a recording that stands among the greatest ever made, including
Klemperer's. Challenge Classics' super audio sound is richly detailed, amazingly clear, and evocative.