Review of '""Bach Mass in B minor'', 15th Nov 2014
Bach’s Mass in B minor presents plenty of questions for those that research and perform
this great work; such as why did Bach compile some of his greatest works and revise
them (some more considerably than others) to set a complete Roman Catholic Mass
when he worked within a Protestant-Lutheran church? I wonder if such a work is a
statement of the universality of not only the Christian faith but all faith. It is a work of
immense symmetry, beauty and power and Jeremy Backhouse brought these important
elements alive with the Vivace Chorus’ performance on Saturday 15 November at
Guildford Cathedral.
It can be a difficult acoustic to navigate at Guildford Cathedral but the chorus, orchestra
and soloists were balanced with aplomb. The opening Kyrie was shaped with care, and
the central duet was sung with obvious delight by sopranos Alice Privett and Alys
Roberts.
The trumpets cut across the ensemble beautifully in the Gloria, and the chorus
coped well with the long lines and extended runs. What was most noticeable was the
clarity of the diction and the carefully graded dynamics that helped to bring a sense of
direction throughout the Gloria.
Laudemus te was at an enjoyable tempo, and we were
treated to a precise and articulate 'Gratias agimus tibi’. 1 particularly enjoyed the duet
between the soprano and tenor Alice Privett and Richard Dowling; their voices blended
well in a stylish account ofDomine Deus. The later Qui Sedes was bravely approached by
the countertenor Damian Glanclarski and perhaps he worked a bit too hard for the dance
to really come across. The bass aria could have been projected even more but was
nonetheless a pleasing performance by Lancelot Nomura.
The second half started with a wonderfully firm account of theCredo,; no ambiguity here
over the creed. The opening two choral movements were energetic with rhythmic
vitality. The duet was equally rich with rhythmic vitality and clear text, shaped diligently
throughout by the soloists and Jeremy Backhouse. Et incarnatus estand the
powerful Crucifixus that followed were controlled with care and paced with a sense of the
tortured harmonies. The chorus excelled here, in the centre of the Mass. Et
resurrexit was bravely sung, with its equally tortuous fast runs. The second bass aria Et
in Spiritum Sanctum was sung effortlessly by Samuel Queen with the obbligato oboes
d'amore parts adding a fitting plangent colour.
We were treated to such warmth in the Sanctus and the chorus sopranos in particular
gave such precision in their triplets. TheOsanna was triumphant and displayed how well
the Vivace Chorus can manage the demands of two-choir singing. The two solos
(Benedictus, Agnus Dei) were two poignant and expressive moments following the
intensity Backhouse achieved in the previous choral movements. Tenor Richard Dowling
and countertenor Damian Ganclarski sung with a warm tone, and stylish phrasing. The
flute solo was particularly impressive here. The final Dona nobis pacem showed all that
make the Vivace Chorus such an enjoyable choir to hear; there was a sense of
enjoyment on everyone'’s face, commitment singing through the chorus and they
surprised us all with a strong firm sound until the very last note.
Bravo to the Chorus, soloists, Brandenburg Sinfonia and particularly to Jeremy
Backhouse. It was clearly a labour of love for Bach to compile this complex work and
that love was evident in Jeremy’s strong leadership to bring together an enjoyable
evening of an important, great work of the choral repertoire.
Dr Steven Berryman
Bach Mass in B minor