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Recordings & Discussions of Other Vocal Works: Main Page | Motets BWV 225-231 | Mass in B minor BWV 232 | Missae Breves & Sanctus BWV 233-242 | Magnificat BWV 243 | Matthäus-Passion BWV 244 | Johannes-Passion BWV 245 | Lukas-Passion BWV 246 | Markus-Passion BWV 247 | Weihnachts-Oratorium BWV 248 | Oster-Oratorium BWV 249 | Chorales BWV 250-438 | Geistliche Lieder BWV 439-507 | AMN BWV 508-523 | Quodlibet BWV 524 | Aria BWV 1127

Mass in B minor BWV 232
Conducted by Helmuth Rilling

V-3

Bach Festival 43rd Annual Baldwin-Wallace College: Third & Fourth Concert

Vol. 4: Mass in B minor BWV 232: Kyrie & Gloria
Vol. 5: Mass in B minor BWV 232: Credo-Agnus Dei

Helmuth Rilling

Baldwin-Wallace College Choir / Festival Chamber Orchestra.

Soprano: Janice Harsányi; Mezzo-soprano: Elaine Bonazzi; Tenor: Mallory Walker; Bass: Philip Frohnmayer; Bass: Thomas Paul
Jean Clay Radice (Organ)

Baldwin-Wallace College Conservatory of Music

Apr (?) 1975

2-MC / TT:

Recorded live at Baldwin-Wallace College, Berea, Ohio, USA.
1st recording of Mass in B minor BWV 232 by H. Rilling.
Source: WorldCat Libraries

V-4

J.S. Bach: Mass in B Minor

 

Mass in B minor BWV 232

Helmuth Rilling

Gächinger Kantorei Stuttgart / Bach-Collegium Stuttgart

Soprano 1: Arleen Augér; Soprano 2 & Alto: Julia Hamari; Tenor: Adalbert Kraus; Baritone: Wolfgang Schöne; Bass: Siegmund Nimsgern

Sony Classical

Apr 1977

2-CD / TT: 129:46

Recorded at Gedächtniskirche Stuttgart, Germany.
2nd recording of Mass in B minor BWV 232 by H. Rilling.
Buy this album at: Amazon.com

V-5

J.S. Bach: Mass in B Minor

Mass in B minor BWV 232

Helmuth Rilling

Gächinger Kantorei Stuttgart / Stuttgarter Kammerorchester

Soprano: Arleen Augér; Alto Anne Sophie von Otter; Tenor: Aldo Baldin; Bass: Wolfgang Schöne

Platz

1988

2-CD / TT:

3rd recording of Mass in B minor BWV 232 by H. Rilling.

V-6

J.S. Bach: Mass in B Minor

Mass in B minor BWV 232

Helmuth Rilling

Gächinger Kantorei Stuttgart / Stuttgarter Kammerorchester

Soprano: Ulrike Sonntag; Alto: Marjana Lipovšek; Tenor: Howard Crook; Bass: Andreas Schmidt

Intercord / CBS

May 1988

2-CD / TT: 129:46

4th recording of Mass in B minor BWV 232 by H. Rilling.

V-7

Bach: Mass b minor in Moscow 1991

Mass in B minor BWV 232

Helmuth Rilling

Chor and Orchestra built up from students of the Moscow Conservatory

?

AlphaOmega Peter St. Petersburg

Apr 14, 1991

3-LP / TT:

Recorded live at Great Room of the Moscow Conservatory, Russia.
5th recording of Mass in B minor BWV 232 by H. Rilling.
Source: Edward H. Tarr on LP / CD

V-8

J.S. Bach: Mass in B minor BWV 232
Edition Bachakademie Vol. 70

Mass in B minor BWV 232

Helmuth Rilling

Gächinger Kantorei Stuttgart / Bach-Collegium Stuttgart

Sopranos: Sibylla Rubens, Juliane Banse; Alto: Ingeborg Danz; Tenor: James Taylor; Basses: Andreas Schmidt, Thomas Quasthoff

Hänssler

Mar 1999

2-CD / TT: 112:34

Recorded at Stadhalle Sindelfingen, Germany.
6th recording of Mass in B minor BWV 232 by H. Rilling.
Buy this album at: Amazon.com | Amazon.com

V-9

J.S. Bach: Mass in B minor - h-Moll Messe BWV 232

Mass in B minor BWV 232

Helmuth Rilling

Gächinger Kantorei Stuttgart / Bach-Collegium Stuttgart

Sopranos: Marlis Petersen, Stella Doufexis; Alto: Anke Vondung; Tenor: Lothar Odinius; Basses: Franz-Josef Selig, Christian Gerhaher

Hänssler 98.274

Feb 11-13, 2005

2-SACD / TT: 106:44

7th recording of Mass in B minor BWV 232 by H. Rilling.
Buy this album at: Amazon.com | Amazon.de

Bach Mass in B minor: Shaw / Rilling / Gardiner

Mark Zimmerman wrote (April 28, 2001):
Ok, first I want to thank everyone for there advice on Bach's Mass in B minor. As I said earlier I already have the Shaw & Gardiner. Now I have the Rilling and for me it goes to the head of the class. But, let me explain: the thing is I'm a fanatic for sound quality and the Gardiner just doesn't have it in this category (although it seems to be a more lively performance, something I really like). I have some expectation that on HIP recordings the sound may be a little drier due to the instruments, however I have several HIP recordings of other works where the sound is great. So for me I have a difficult time following the fugues in the Mass on Gardiner, something I really enjoy. Rilling on the other hand is using mostly modern instruments but scaled down at or near the HIP level. The sound given to him by Hanssler is wonderfully rich and detailed and I can follow everything in the work.

On my second listen-through of the Mass I decided to do the Kyrie on all three sets and start with the Shaw, ending up with the Gardiner just to see if I had judged things right. I had, however, this time I noticed that I was able to follow the Gardiner better (this right after listening to the Rilling). So, I guess it turns out that the Rilling will be my mainstay followed by either the Gardiner or Shaw. But, knowing myself I will probably remain loyal to the Rilling as I enjoyed it the most. Now if only Gardiner would re-record the piece with state-of-the-art sound.

 

Rilling 1988 B minor Mass

Uri Golomb wrote (July 22, 2003):
Doanyone on these lists know how I might be able to purchase (or at least hear) Rilling's second (1988) recording of the B minor Mass? (That's the recording marked V-4 on: http://www.bach-cantatas.com/Performers/Rilling-Rec7.htm; soloists are Soprano - Ulrike Sonntag; Alto - Marjana Lipovsek; Tenor - Howard Crook; Bass - Andreas Schmidt). I am doing a comparison of Rilling's two other recordings (1977 and 1999), which I already have. These are strikingly different, and I would be very interested in examining the 1988 version, which chronologically comes in the middle. As far as I'm aware, however, it is no longer available.

Riccardo Nughes wrote (July 22, 2003):
[To Uri Golomb] There are 2 used copies for sale at amazon.de markeplace: Amazon.de

If the sellers ship abroad you can buy it from them (In the past I bought some items from amazon.de marketplace without any problem).

 

BWV 232 Rilling Interview

Thomas Braatz wrote (January 8, 2004):
I have just learned that radio station WFMT FM, which should be available on the web, will be broadcasting a very recent interview with Helmuth Rilling who has come to Valparaiso University in Indiana, USA, to present (conduct) a performance of the B minor Mass this Sunday. The interview (possibly some questions will relate to BWV 232) is scheduled for broadcast today (January 8th) at 8:00 pm Central Standard Time. In conjunction with the inauguration of a Bach Institute at this university (the performance of the B minor Mass is a part of this,) Christoph Wolff will be giving a public lecture on Bach. As yet there is no information whether this lecture will be recorded and broadcast at a later time.

 

Rilling's B minor Mass (1st recording, 1977)

Neil Halliday wrote (March 19, 2004):
Every now and again, a recording comes along that seems to fit like a glove. This one portrays the clarity and presence of instrumental colour, in conjunction with strong choral and solo vocal singing, that is typical of Rilling's best recordings. (Some of my favourites from the Rilling cantata cycle seem also to have arisen from around the year of this recording).

An example of this is at the very beginning of the work, in the clearly heard descending B minor scale from the 1st violins immediately before the 1st entry of the fugal subject. In none of my other four versions can I hear this complete scale, above the double forte choir. (However, I have noticed that Hickox's violins are more incisive in the 'Et incarnatus est', and this is probably the one movement where he actually has more impact than Rilling. As well, in some other movements they sound quite similar, notably the 'Gratias agimus').

The power of the 1st Kyrie builds up relentlessly as it progresses, not because of any particular variation in dynamics from Rilling, but simply because of the ensemble's accurate and audible 'piling up' of all the musical lines that occur in Bach's score; consequently, one is caught up in the irresistable momentum of the music. (The speed is similar to Hengelbrock and Richter).

The entire Gloria is powerful, and a delight, including a very moving 'Qui tollis'.

An interesting feature that occurs in the Domine Deus (duet S,T), which I have only heard in this recording, is the treatment of the flute part; namely, the (slurred) pairs of semiquavers are treated (appogiatura-like) with the first of the notes becoming a demi-semi-quaver, and (consequently) the second note becomes a dotted semi quaver. It's quite charming, and allows the flute part both to stand out from the rest of the ensemble, and to be clearly heard in all its detail.

Likewise, I cannot fault the Credo. This recording is overall the finest recording of the Mass that I have at present. The soloists (Augér, Hamari, Kraus, Nimsgern) are all very appealing in their various arias and duets.

 

Concert Review: Mass in B Minor - H. Rilling

Douglas Cowling wrote (April 13, 2010):
This week, Helmut Rilling led the Toronto Symphony in a performance of the Mass in B minor which was both exciting and unfashionable. With the growing influence of the OVPP hypothesis, it's rare to find a first rate performance with a large choir (150 voices) and modern symphony orchestra: strings were 8-8-6-4-3 with bassoon a 2 in most of the choruses. That's a larger ensemble than Karl Richter used in the 1960's.

But the impeccable ensemble under Rilling reminded me over and over again of the grand old Archiv recordings. The chorus was all young singers and Rilling moved the large choir through quicksilver tempos that the average symphony chorus would have struggled with. And of course the bass line in the Sanctus was deliciously majestic.

There were times when the large string body threatened to swamp the winds and voice: I'd forgotten that the arias of the Gloria largely have strings playing in their lower register. But in a happy gesture, Rilling had all the instrumental soloists stand -- including the horn in "Quoniam".

The soloists were Emily Hindrichs, soprano; Ingeborg Danz, mezzo-soprano; Lawrence Wiliford, tenor; Andrew Foster-Williams, baritone. All fine singers familiar from period instrument performances. Their well-focussed voices had no trouble rising above the orchestral textures. I wonder how a Fritz Wunderlich and Hertha Töpper would be received these day. There were even some surprising touches: the voices and instruments all adopted Lombard rhythms in "Domine Deus".

And I finally realized the link between the "Sanctus" and i's later addendum, the "Osanna". In the closing bars of the "Sanctus", the choral basses and trumpets thunder out a great D major fanfare which clearly Bach remembered decades later when he chose the unison theme for the opening of the "Osanna" -- the two should be in the same tempo.

Muniini K. Mulera [Toronto, Ontario] wrote (April 13, 2010):
[To Douglas Cowling] Thank you very much for sharing this,Doug. I am kicking myself for missing the performance, purely because I was not aware of it! Indeed I was thinking recently that I should send you a personal e-mail to inquire about Bach choral performances in the GTA. Would like to take some friends to live performances as a means of introducing them to the aural riches that Bach left us.

Thank you again.

 

Mass in B minor BWV 232: Details
Recordings:
1900-1949 | 1950-1959 | 1960-1969 | 1970-1979 | 1980-1989 | 1990-1999 | 2000-2009 | 2010-2019 | Individual Movements
General Discussions:
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 | Part 11 | Part 12 | Part 13 | Part 14 | Part 15 | Part 16 | Part 17
Systematic Discussions:
Part 1: Kyrie | Part 2: Gloria | Part 3: Credo | Part 4: Sanctus | Part 5: Agnus Dei | Part 6: Early Recordings | Part 7: Summary
Individual Recordings:
BWV 232 - C. Abbado | BWV 232 - Anonymous | BWV 232 - G.C. Biller | BWV 232 - F. Brüggen | BWV 232 - J. Butt | BWV 232 - S. Celibidache | BWV 232 - M. Corboz | BWV 232 - A. Eby | BWV 232 - G. Enescu | BWV 232 - E. Ericson | BWV 232 - D. Fasolis | BWV 232 - J.E. Gardiner | BWV 232 - C.M. Giulini | BWV 232 - N. Harnoncourt | BWV 232 - T. Hengelbrock | BWV 232 - P. Herreweghe | BWV 232 - R. Hickox | BWV 232 - R. Jacobs | BWV 232 - E. Jochum | BWV 232 - Ifor Jones | BWV 232 - K. Junghänel & Cantus Cölln | BWV 232 - H.v. Karajan | BWV 232 - R. King | BWV 232 - O. Klemperer | BWV 232 - S. Kuijken | BWV 232 - G. Leonhardt | BWV 232 - P. McCreesh | BWV 232 - M. Minkowski | BWV 232 - H. Müller-Bruhl | BWV 232 - S. Ozawa | BWV 232 - M. Pearlman | BWV 232 - K. Richter | BWV 232 - J. Rifkin | BWV 232 - H. Rilling | BWV 232 - H. Scherchen | BWV 232 - P. Schreier | BWV 232 - R. Shaw | BWV 232 - G. Solti | BWV 232 - M. Suzuki | BWV 232 - J. Thomas & ABS | BWV 232 - K. Thomas | BWV 232 - J.v. Veldhoven
Articles:
Mass in B Minor, BWV 232 [T. Noel Towe] | Bach’s B minor Mass on Period Instruments [D. Satz] | Like Father, Like Son [B. Pehrson]

Helmuth Rilling: Short Biography | Gächinger Kantorei Stuttgart | Frankfurter Kantorei | Figuralchor der Gedächtniskirche Stuttgart | Bach-Collegium Stuttgart | Oregon Bach Festival
Recordings of Vocal Work:
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 11 | Part 12 | Part 13
General Discussions:
Part 1 | Part 2 | Part 3 | Part 4 | Part 5
Cantatas:
Edition Bachakademie - Vols. 1-20 | Edition Bachakademie - Vol. 9 | Edition Bachakademie - Vol. 60 | Arleen Augér sings Bach - conducted by H. Rilling | Dietrich Fischer-Dieskau sings Bach - conducted by H. Rilling
Other Vocal Works:
BWV 232 - H. Rilling | BWV 243 - H. Rilling | BWV 244 - H. Rilling | BWV 245 - H. Rilling | BWV 248 - H. Rilling | Chorales - H. Rilling
Cantate Label:
Recordings of Vocal Works | General Discussions
Table of recordings by BWV Number

Recordings & Discussions of Other Vocal Works: Main Page | Motets BWV 225-231 | Mass in B minor BWV 232 | Missae Breves & Sanctus BWV 233-242 | Magnificat BWV 243 | Matthäus-Passion BWV 244 | Johannes-Passion BWV 245 | Lukas-Passion BWV 246 | Markus-Passion BWV 247 | Weihnachts-Oratorium BWV 248 | Oster-Oratorium BWV 249 | Chorales BWV 250-438 | Geistliche Lieder BWV 439-507 | AMN BWV 508-523 | Quodlibet BWV 524 | Aria BWV 1127

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Last update: żApril 24, 2010 ż11:17:21