Bach's Mass in B Minor: What is best CD out there?

If you want the recording Aida_w mentions, and it is not available in the US, then check the UK Tower Records website which is:

http://www.towerrecords.co.uk/

They will ship to the US from the UK store. It is not much more for regular air mail shipping.

I have bought quite a few "unavailable" CDs this way.

The Collegium Vocale under the direction of Philippe Herreweghe come the closest to capturing the beauty and devotional spirit of Bach's choral works. How? Difficult to say exactly, but the fact that Herreweghe combines authentic instrumentation, etheric choral tone, period-sized forces, fine soloists and stately rhythms (no windshield wiper tempi here, as you will hear in the Gardiner) doesn't hurt. The Collegium Vocale/Herreweghe also have quite successfully recorded Bach's Magnificat and Easter Oratorio.

I mean no disrespect to anyone; but how does anyone know what does or does not capture the way the work sounded in the year 1750. Is there a 253 year old recording available; or is there anyone still alive from 1750 who went to a performance, who can attest to these claims?? All there is are self-anointed "experts".

The only facts I know of is; in 1750 it was a lot harder, or next to impossible in some areas to put together an orchestra of highly trained musicians and singers. There was also not a very good supply of quality instruments in a single area. So unless there are mistakes by some musicians and some instruments sound a little off, it probably is not historically correct.

It is just as likely, that if Bach were alive today, he would say...."With all the wonderful and superior equipment and musicians you have today, why are you playing my music on that old crap??"

Now, I do like the sound of many "historically correct" recordings. But has anyone ever insisted that their dentist use original instruments?

Well said, Sugarbrie!! The "authentic" stuff is often only interesting musicologically. Most of these recordings are bloodless, flimsy, thin and emotionless. Regarding the point of "not so good musicians" you are not correct, I'm afraid. The orchestras played on extraordinarily high levels (a Stradivari was not worth a million or more!!), as did the singers. Just look into the notes of the solo partitas: today a specialist's lifetime effort, in the time of Bach selfunderstood in the repertoire.
The fact that poor Johann Sebastian had to put up with the misfortune of being a teacher/conductor at the Thomaskirche with all its drawbacks is the reason for many "authentic" readings to copy these difficulties (strange, I agree). But it doesn't mean Bach would not have liked to hear his choral works in appropriate manner like he for sure heard his Brandenburg Concertos f.e.. In this respect the Hengelbrock
b minor Mass recording is the most "authentic": perfect in every way and realizing all we know about phrasing, dynamics, rhetoric gesture etc. of Bach's music. The live concert of this piece I attended a couple of weeks ago was even better than the CD. The choir sang by heart (!), the soloists were choir singers, in the orchestra there was an incredible musical intelligence which means that during every second everybody on the stage knew what each musician did at that very second, a "togetherness" very rarely heard and seen. There are only very few ensembles out there who perform like that. Only this way, however, the spirit of Bach's work is reflected to the fullest. Of course there is no such thing as a 253 year old recording but we have sources galore how the musicians used to play at the time AND how Bach wanted the musicians to perform!

I actually mostly agree Aida....
My comment on hard to get good musicians is based on some personal letters that exist from some of the old masters, where they complain to friends on the lack of good players (in some places). Mozart was a big complainer. Beethoven was never happy with the quality of pianos.

Actually orchestras and choruses in that era were very small compared with today. I am sure partly due to supply.

Try playing a Stratavari with the old gut strings in a drafty old church or building with no environmental controls. See how long it stays in tune.

Many old works were considered unplayable in their day. Now any conservatory student can play them. Many solo works were composed for one particular soloist. It would have been harder for others. Now there are lots of people who can perform or sing them no problem.