) 9 0 0 2 h Dorothee Mields, soprano i c r a M Johannette Zomer, soprano ii , t g e Patrick van Goethem, V alto r e d Jan Kobow, tenor n a v s Peter Kooij, e bass i l e n n A o Cappella Amsterdam t o h p ( Orchestra of the Eighteenth Century m a d r e t Frans Brüggen s m A n i l 5 a s r a e Recorded live in Warsaw (Lutoslawski Radio Studio), Poland, in March 2009 h e R Recording supervision and sound engineering by Lech Dudzik In collaboration with the Fryderyk Chopin Institute Mastered by Jochem Geene and Sieuwert Verster Executive producers: Sieuwert Verster (The Grand Tour / Orchestra of the Eighteenth Century) & Carlos Céster (Glossa Music / MusiContact) Editorial direction: Carlos Céster Editorial assistance: María Díaz Design: Valentín Iglesias Booklet essay: David Vickers Translations: Pierre Mamou ( fra ), Susanne Lowien ( deu ), David Rodríguez Cerdán ( esp ) © 2010 MusiContact GmbH Johann Sebastian Bach (1685-1750) cd ii [51:31] Mass in B minor (bwv 232) ii. Symbolum Nicenum (Credo) cd 1 [54:50] 01 Credo in unum Deum Coro a 5 1:52 02 (Credo in unum Deum) Patrem omnipotentem Coro a 4 1:48 i. Missa (Kyrie, Gloria) 03 Et in unum Dominum Duetto (soprano i, alto) 4:15 04 Et incarnatus est Coro a 5 3:03 01 Kyrie eleison Coro a 5 9:30 05 Crucifixus Coro a 4 3:07 02 Christe eleison Duetto (soprano i, soprano ii ) 5:12 06 Et resurrexit Coro a 5 3:54 03 Kyrie eleison Coro a 4 3:51 07 Et in Spiritum Sanctum Aria (basso) 5:00 08 Confiteor unum baptisma Coro a 5 3:58 04 Gloria in excelsis Deo Coro a 5 1:45 09 Et expecto resurrectionem Coro a 5 2:15 05 Et in terra pax Coro a 5 4:55 06 Laudamus te Aria (soprano ii ) 4:15 iii. Sanctus 07 Gratias agimus tibi Coro a 4 3:16 08 Domine Deus Duetto (soprano i, tenore) 6:06 10 Sanctus Coro a 6 4:44 09 Qui tollis peccata mundi Coro a 4 2:59 10 Qui sedes ad dexteram Patris Aria (alto) 4:25 iv. Osanna, Benedictus, Agnus Dei et Dona nobis pacem 11 Quoniam tu solus sanctus Aria (basso) 4:23 12 Cum Sancto Spiritu Coro a 5 4:06 11 Osanna in excelsis Coro a 8 2:30 12 Benedictus Aria (tenore) 4:09 13 Osanna in excelsis Coro a 8 da capo 2:30 14 Agnus Dei Aria (alto) 5:13 15 Dona nobis pacem Coro a 4 3:03 4 5 Orchestra of the Eighteenth Century Cappella Amsterdam (Frans Brüggen, conductor) (Daniel Reuss, choirmaster) First Violin Cello Trumpet Soprano i Tenor Rémy Baudet (concertmaster) Richte van der Meer David Staff Andrea van Beek Otto Bouwknegt Marc Destrubé Albert Brüggen Jonathan Impett Marijke van der Harst Jon Etxabe-Arzuaga Lorna Glover Lidewij Scheifes Geoff Harniess Astrid Lammers Guido Groenland Kees Koelmans Rainer Zipperling Simone Manders Gerhard Hölzle Irmgard Schaller Timpani & Percussion Marjo van Someren Gerben Houba Annelies van der Vegt Bass Maarten van der Valk Tilman Kögel Sayuri Yamagata Margaret Urquhart Soprano ii Robert Franenberg Organ Dorothea Jakob Bass Second Violin Siebe Henstra Marielle Kirkels Job Boswinkel Staas Swierstra Flute Mieke van Laren Christian van Es Hans Christian Euler Michael Schmidt-Casdorff Valeria Mignaco Pierre-Guy le Gall White Anthony Martin Ricardo Kanji Inga Schneider Jan Hoffmann Guya Martinini Bart Oenema Troels Svendsen Oboe Alto Michel Poels Marinette Troost Alayne Leslie Marian Dijkhuizen Dirk Vermeulen Peter Tabori Petra Ehrismann Richard Walz Diego Nadra Elsbeth Gerritsen Gustavo Zarba Sabine van der Heijden Bassoon Desirée Verlaan Viola Danny Bond Emilio Moreno Donna Agrell Marten Boeken Else Krieg Corno da caccia Yoshiko Morita Teunis van der Zwart 6 7 English ) 9 0 0 2 h c r a M , t g e V r In March 1989 the Orchestra of the Eighteenth Century, together with the Netherlands Chamber Choir and a team of e d n soloists, journeyed across Europe, in the company of Bach’s Mass in B minor . In the year when relations between East and a v s West were altering so dramatically, we were giving concerts in Amsterdam, Paris, Milan and Vienna but also in Berlin, e i l e Budapest and Moscow. March 12 saw us performing in the Filharmonia Narodowa in Warsaw: the hall was packed and n n people had travelled from far and wide for our first performance in Poland. This concert proved to be a magical occasion – A o t to the point where we were asked to repeat the concluding Dona nobis pacem . One marvellous consequence of this has o h p been the resulting friendship between a country and an orchestra. ( w a s r a Bach’s Mass in B minor – described in 1818 by the work’s first publisher, the Swiss Hans Georg Nägeli, as “ das größte W n musikalische Kunstwerk aller Zeiten und Völker ” (the greatest musical artwork of all time and all peoples) – i l a instantly became one of those works that our orchestra wanted to return to whenever it could. s r a e h e In March 2009 and therefore twenty years after our first performances of the Mass in B minor , we set out on another R European tour with this extraordinary music, with five soloists and also with our colleagues of Cappella Amsterdam. It will come as no surprise that we were all of the opinion that Warsaw needed to be included in the schedule again, and so the Mass came to be performed on Sunday March 15 in the Lutoslawski Hall of Polish Radio. Here, we are proud to present you this recording which was made live in Warsaw and we would like to thank publicly our many friends in Poland, and especially those from the Fryderyk Chopin Institute, for their hospitality and for their friendship. Frans Brüggen, Sieuwert Verster Amsterdam, January 2010 8 9 English English pal Kapellmeister increased in 1729 when he became Italian operas were performed by prestigious per - favour of conferring upon me a Predicate in your Hoff- director of the Collegium Musicum, which gave formers imported from Italy, such as the prima donna Capelle, and thus let Your High Command be given to the weekly concerts in winter and summer, and twice Faustina Bordoni and her husband, the acclaimed appropriate authority for the bestowal of a Decree. Such weekly during the spring and autumn trade fairs. composer Johann Adolf Hasse (born near Hamburg most gracious fulfilment of my most humble petition will Despite his prolific accomplishments, Bach was but trained in Naples). Bach gave recitals on the bind me to unending devotion, and I offer myself in most frequently involved in tense disputes with the Silbermann organ in the city’s Sophienkirche in 1725 dutiful obedience to show at all times, upon Your Royal Thomasschule rector (his immediate superior) and and 1731, and took his eldest son Wilhelm Highness’s Most Gracious Desire, my untiring diligence in the city council. One such political clash in August Friedemann to the court opera on several occasions. the composition of music for the church as well as for the 1730 seems to have caused lingering dissatisfaction: Visits to the Saxon capital city nurtured his abiding orchestra, and to devote all my powers to the service of the Bürgermeister Jakob Born believed that the city’s interest in Italian music, both vocal (sacred and secu - Your Highness... Johann Sebastian Bach Kantor ought to treat the duties of classroom teach - lar) and instrumental. ing above those of musical pursuits, and attempted to On 27 July 1733, during a visit to Dresden, Bach It transpired that Bach remained in Leipzig, and did Mass in B minor oust Bach from his job. Born’s machination failed, wrote to Friedrich August ii . The composer request - not gain a permanent appointment at Dresden, but the Kantor responded with a terse memorandum ed a job at the illustrious Saxon court, complained of although in 1736 he renewed his petition to the elector to the town council complaining about the extreme - his bad treatment at the hands of the Leipzig author - and was granted the honorary title of Hofcompositeur . In December 1722 Johann Sebastian Bach applied for ly poor musical resources available to him, and the ities, and, to demonstrate his talent, enclosed neatly The “trifling product” that the beleaguered composer the post of Thomaskantor at Leipzig, a job that disgruntled musician began to canvas for preferable copied parts of a mass: presented in support of his necessarily sycophantic required its occupant to be organist, choirmaster and employment elsewhere. plea for a job was the first part of what eventually composer at the Thomaskirche, teacher at its associ - One particular destination fascinated Bach To Your Royal Highness I present in deepest devotion this grew into the great Mass in B minor (bwv 232). ated school next door, and also to lead musical life at throughout his years in Leipzig. Dresden, the capital trifling product of that science which I have attained in The embryonic Dresden Missa consisted only of the city’s other main churches. The Leipzig authori - city of Saxony, was a vibrant centre for musical life. In musique, with the most humble request that Your Highness a solemn Kyrie in B minor, and a magnificent Gloria ties eventually offered him the job on 22 April 1723, 1697 Elector Friedrich August i converted to Roman will regard it not according to the imperfection of its com - in D major.