Having just acquired the new Boston Baroque recording on Telarc of Bach's
Mass in b, I decided to compare it to the other period instrument versions
I have:  Gardiner on Archiv, the first Herreweghe on Virgin, Leonhardt on
DHM, Hickox on Chaconne, Parrott on EMI, Rifkin on Nonesuch, Bruggen on
Philips, and King on Hyperion.  Although I know I also have Herreweghe's
2nd version on HM, I can't find it, so the nine above are it.  I'll review
each version essentially by section of the work and start with the Kyrie.

The Mass in b is a monumental work expressing, to me, the power,
invincibility and inevitability of the forces which create and maintain
all that is real, imagined, and possible.  Thinking that way, I see the
Kyrie eleison of the Kyrie as providing a microcosm of of the work; power,
inevitability, and invincibility hang heavily in the air.  A superb
performance of the Kyrie eleison must highlight these features, and a
strong bass line is essential to capture the mood.  Also, the chorus need
be strong and stretch for the heavens at times.  Each of the 9 versions is
strong on the first track, and three are special.  Gardiner's instruments
are the most pungent, giving the sensation of of each one going off on its
own trail yet blending perfectly together.  Rifkin is superb in providing
the most subtlety and also the inevitability of the life force.  King's is
the best balanced account, and easily has the best sound; there's a
crispness that's irresistable.

The second part of the Kyrie, the Christe eleison, is a relatively peaceful
request for mercy written as a duet, and it's a beautiful piece.  Again,
all the recordings do well.  Herreweghe's tempo drags a little, and one
shouldn't be slow when asking for mercy.  Rifkin is the fastest and gives
the proceedings a somewhat glib atmosphere.  King uses boy sopranos; I want
to be flexible, but the boys just don't sound as good as the adults and I
question innocent youth needing to ask for any mercy.  Four of the versions
stand out for a combination of fine tempo/flow, excellent/expressive voices
well blended, and the sense that the two singers encompass and highlight
the entire sound stage:  Parrott, Leonhardt, Gardiner, and Pearlman
(Gardiner just a little below).  Special soloist mention goes to Nicole
Heaston on Pearlman's recording; her gorgeous voice just soars in the sky.

The last part of the Kyrie, another Kyrie eleison, takes us back to the
requirements of the first track.  All the versions are at least good with
King, Gardiner, and Leonhardt best displaying the drama of the piece.
Leonhardt's account is quite slow, but he provides great drama and
anticipation.

So far, Gardiner is doing best with King and Leonhardt close seconds.
Herreweghe, Bruggen, and Hickox bring up the rear.  In my next posting,
I'll cover the Gloria.

Don Satz