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PAGE 8 TUESDAY, FEBRUARY 11, 1975 THE TECH ,-- -e -- , ill, ...-- . · -r. , Bach B Minor Mass in Three New Versions By Ge-.rge Harper is an American release by RCA of a uses seven). None of the soloists was makes a lack of blend all too obvious, but J. S. Bach's is a performance available for some time on a known to me before hearing this record- this is mote than compensated for by the perennial favorite among conductors and French label, Erato, and in this country ing, and they range in caliber from barely resulting clarity of structure: the inner ensembles of every rank. Scarcely a year from the Musical Heritage Society), and akceptable (Claudine Perret, alto) to voices never disappear, and entrances are goes by that does not see at least one Johannes Somary's for Vanguard. They much worse (Olivier Dufour, ). always strong (not true of either the Boston-area choral group tackle the work. join the six other recordings of the Mass Corboz uses a chamber-sized ensemble, Karajan or the Corboz). Metrical relation- It's easy to see why: this setting, which currently available-more about those but whatever gains this might have carried ships are sometimes strained -- Credo I almost certainly never saw an integral later. with it in clarity of line are totally and II are not given the simple relation- performance in Bach's lifetime, is 's reading (DG undone by the engineering: the recording ship they cry out for - but for the most arguably the finest thing Bach ever wrote, 2709 049, 3 discs) makes use of Gundula sounds as though it was made in an part this performance is remarkably and certainly deserves to be ranked Janowitz, , Peter Schreier, airplane hangar that just happened to be clean-cut. Had Vanguard issued it on its among the greatest choral compositions Robert Kerns, Karl Ridderbusch, the available. budget-priced Cardinal label, I could have of all time. The sheer power of the work Vienna Singverein, and Karajan's own- Still, all this need not have rendered given it an even higher recommendation. is so immediately obvious that it exerts Berlin Philharmonic. Obviously he has a the performance worthless. Thought can Incidentally, Vanguard should offer a an almost irresistable attraction on a very strong ensemble of soloists, and such save a reading that is technically flawed, prize to the person finding the 'most conductor-and of course he approaches good points as there are to the per- though no amount of polish can save a mistakes in their release. I've spotted it with the conviction that he (and formance are to their credit and in spite performance that is deficient in thought. -three: Michael Rippon's biography is usually only he) has penetrated the dense of Karajan: they are far outweighed by Unfortunately, it is at just this point that given Robert, Tear's picture, and vice thickets of counterpoint to discover and the -many problems which his mannered Corboz is most clearly lacking. Tempos versa, and the label on side- four doesn't delineate Bach's "true intent." Many approach generates. frequently seem bizarre, and a unifying bear too. close a relationship to what's make the attempt, but few come near Simply put, Karajan goes for homo- concept is nowhere to be seen. Corboz actually on. that side. Also, for some success. genized Bach. Everything is stirred to- observes such big retards at the ends of foolish reason Vanguard has insisted on A word is in order at this point about gether in one pot - a ladle of violin, a sections that it is difficult to get a grasp using for-their cover art the same painting interpretation. In recent years the idea dash of oboe - and simmered over a low of the continuity of the whole. Corboz's used on the cover of Otto Klemperer's has been gaining in credence that perhaps flame. The choral sound especially has a treatment of the opening Kyrie could recording of the same work. the pre-Romantic composers were not so painful uniformity to it: it's all very best be described as languid. Corboz also In summary, of these three new deprived as we may once have thought, yummy and creamy, but one can hardly commits the rather astonishing boner of recordings only the .Somary 'is really that we need not feel so sorry for Bach even hear the successive fugal entrances. assigning the continuo in the brighter worth considering (unless, of course, for not havinig had available to him the Any hopes for clarity and lightness we numbers to a closely miked harpsichord, you're a Bach freak and have all six other forces of the modem symphony orchestra might have had are quickly laid to rest by rather than the imore appropriate porta- versions already). Beyond this, there are - that it is indeed not the highest form of the doughy opening Kyrie. Such pleasures tive organ. All this is the more to be three other recordings currently available musical evolution. It is a fairly common as ,there are in this performance lie with regretted since the Corboz recording, on which I find preferable to the Somary. belief these days that all composers write the soloists. The , Karl Ridderbusch, two budget discs, is by far the cheapest From last to first in order of my prefer- presupposing a certain sonority and turns in a fine Quoniam, while the one available. ence, they are Robert Shaw's perfor- texture which are not really attainable baritone, Robert Kerns (whom I had not More successful is Johannes Somary's mance (RCA LSC 6157, 3 discs), Karl except by the use of appropriately-sized heard before), sings well in his Et in new recording of the B Minor Mass for Richter's performance (DG Archive 2710 ensembles playing instruments of the Spiriturm sanctum. Especially fine are Vanguard (VSD 71190/91/92), with 001, 3 discs), and my own favorite, comnposer's own period. This is the Gundula Janowitz and Peter Schreier in Felicity Palmer, Helen Watts, Robert 's reading driving principle behind groups like the Domine Deus, a duet for soprano and Tear, Michael Rippon, the Amor Artis (Telefunken SKH 20, 3 discs). Shaw's is a the Collegium Aureum, the Schola tenor. Still, this work perhaps above all Chorale, and the English Chamber wonderful chamber-sized performance Cantorum Basiliensis, Nikolaus Hamon- others relies for effect on the impact of Orchestra. There are occasional problems that only occasionally lets me down. Karl court's Concentus Musicus, and a host of its choruses, an impact that is vitiated by with a raw and unblended choral sound Richter's is a good all-around reading that lesser-known ensembles. To a greater or Karajan's carefully contrived and utterly (especially noticeable in the opening of Richter produced before he entered his lesser extent, their influence is audible on wrong-headed interpretation. There's the Credo), and the soloists sometimes current revisionist phase. But the greatest most modern recordings of the pre- really no reason for paying the sort of give problems - Robert Tear is his usual of all is Nikolaus Harnoncourt's reading Romantic repertory. Performances today money DG asks these days for this sort of awful self, and Helen Watts, the con- with his Concentus Musicus. This perfor- increasingly go for plarity of line and an .performance. tralto, makes a marvelously eloquent mance is full of joy and a spirit of dance eye to structural detail. Attention is Newly released in the U.S. by RCA is argument for treating the Christe as a that are a real revelation. Textures are increasingly being drawn to the dance- the account (Victrola FVL2-5715) by duet for two sopranos. Still, this perfor- always clear, and choral singing by the related aspects of much early music. Michel Corboz and the Chorus and Orc- mance is without question superior to superb Chorus Viennensis and Vienna Unfortunately, conductors are still all too hestra of Lausanne with soloists Yvonne both Corboz's and Karajan's; Helen Choir Boys is a real asset on this record- common who read eighteenth-century Perrin, Wally Staempfli, Magali Schwartz, Watts, when she isn't being asked to ing - the boy trebles aid' altos' make music through nineteenth-century eye- Caudine Perret, Olivier Dufour, Niklaus sound like a soprano, is wonderful - her much more sense of the upper-parts than glasses. Tuller, and Philippe Huttenlocher (how Qui Sedes is really lovely. Michael Rippon do the usual massive female voices. If you The past several months have seen the to assign solo roles is one of the problems is forgettable, but Felicity Palmer is will own only one recording, buy the release of three new recordings of the B of the work: some performances get by admirable. Also, and in contrast to the HIarnoncourt. When you want to add Minor Mass: Herbert von Karajan's ac- with -as few as four soloists, while five or other two new recordings, the choral another, go on the Shaw. Then for a third count for , Michel six is a more common figure; Corboz's is so und is clear and straightforward you might try the Somary or the Richter. Corboz's on Victrola (not really new-this the only performance I have heard that throughout. There are times when this Beyond that, 5rou're on your own. .Harndel& Haydn's IChristmas O ratorio

By George Harper Shadley, whose tone was constricted and The chorus vas· simply amazing. There On December 20 the Handel and harsh, especially by comparison with that are five or six major choruses in Boston, Haydn Society, under the direction of of Jon Humphrey. IIls diction was consis- and each of them has its own distinctive Thomas Dunn, gave a performance of J. tently. poor (a serious flaw for an Evan- sound. That of the Handel and HaydIn S. Bach's . This work, gelist), with modified and obscured Society is a seemingly 'effortless and actually a set of six semi-autonomous vowels, and often inaudible consonants. relaxed production into which sounds of cantatas bound together under the unify- A sense of strain and discomfort seldom strain and forcing never enter, all of ing designation of "Oratorio" by Bach left his singing. Was the splendid Karl Dan which leaves the impression that they himself, was originally intended for per- Sorensen unavailable for this concert? might sing all night if they wished. Tom formance on the six liturgically most Orchestral playing was beyond Dunn has built a chorus which may lay significant days of the Christmas season reproach, and especially to be commend- rightful claim to being one of the finest in of 1734 and early 1735: Christmas Day ed are the splendid trumpeters. The prin- this area. and the following two days, New Year's cipal' tossed off the tortuous clarino parts Handel and Haydn's next concert will Day, the Sunday after New Year, and in a manner that must have made any be on April 25, when they will present a Epiphany. Even more than in his other trumpet-players in the audience envious. performance of the Brahms German liturgical compositions, Bach in the The closing chorale for the sixth day, , along with Secheresses by Christmas Oratorio relied heavily on bor- Nun seid ihr wohl, which involves an Poulenc. If you feel that this review has rowings from earlier works, particularly extraordinarily florid trumpet part, was been a bit fulsome, go and see for secular cantatas-the bass aria Erleucht beyond belief. yourself. A uch from the fifth day's cantata is borrowed from an anniversary cantata (BWV 215) for Augustus III. Bach would never have understood modem misgivings New Writing PrPogram. Oferimg about the borrowing and re-use of music, By Jule Olson people taking writing courses are especial- and he himself had no problem in weav- Thomas Dunn The MIT Writing Program has another ly encouraged to come. ing these musical skeins from diverse telling role in the Christmas Oratorio as in new offering this spring for the MIT sources into a unified fabric. Presented in Bach's more familiar St. Matthew Passion community, writing clinics. The clinics This spring there are several new sub- concert format as it was by the Handel and St. John Passion), while Barbara will be places where people can come jects being taught by members of the and Haydn Society, with one day's Wallace, soprano, Pamela Gore, contralto, together to write. Sometimes, sitting Writing Program. - They include Writing cantata following close on the heels of Jon Humphrey, tenor, and David Evitts, alone in a room can be the best way to and Television: Words and Images I another, one problem presents itself that baritone, served as soloists. Pamela Gore get writing done. But at other times, it (21.902), a course which will explore never would have arisen in the work's was truly superb: her Schlafe, mein Lieb- doesn't work. This is where the clinics ways in which the written word can be original liturgical format: there are too ster, a lullaby to the infant Jesus, was come in. Anyone can come to Room complemented and enhanced by the vid- many "big" choruses-each day opens simply amazing. Jon Humphrey demon- 7-106 on Monday and Friday from 3:00 eo image. Also offered is Writing and with a chorus strong enough to begin an strated in Nun mogt ihr stolzen that he is to 5:00 and on Tuesday from 4:00 to Photography (21.904J, 4.019J), a joint autonomous work. Thomas Dunn found one of the two or three finest now 5:00 and write. There are tables and project of the Writing Program and the his way around this trap by means of a active in the Boston area. David Evitts chairs there and people can bring paper, Creative Photography Lab aimed at com- carefully understated approach to most was at the top of his form, with a rather pencils, typewriters, and their creativity. bining the verbal and visual media. In of the choruses-only on rare occasions darker tone to his voice than he has The clinics are an experiment. It is another new course, Writing and Self did he unleash his splendid chorus for displayed in the past. The only problems possible that by making the act of writing (21.106X), the class members will ex- extended stretches. This treatment were with the soprano, Barbara Wallace, "public," writers can break through amine the relation between their writing worked admirably, making the effect ,that who seemed unable to suppress an exces- writing blocks, frustrations and feelings and their lives, using co-counseling tech- much more striking when Dunn called for sive and unpleasant wobble in her voice, of isolation about their work. The clihics niques and taped interviews in under- a really strong statement from the chorus. which was especially annoying in ensem- could also just be times set aside three standing and responding to writing, Ques- Richard Shadley, tenor, sang the role of ble numbers such as the trio for the fifth times a week to write, without interrup- tions can be answered by the Writing the (he serves the same story- day, and with the Evangelist, Richard tions. The clinics are open to anyone, and Program office at X3-7894.