Stephen Heersink wrote concerning Gardiner's Bach Mass:

>Similar problems occur with the passion and resurrection phrases.  It
>sounds like someone doesn't understand the liturgical significance of
>the works their singing or the notes they're playing.

The B minor mass has *no* liturgical significance.  It is a show piece
which Bach compoesed for no intention other than to get a job.  The Roman
liturgy had no "practical" meaning for Bach.  (Of course I am sure he
understood it, but he would have never written a Roman mass for actual
liturgical use).  Furthermore, the word "liturgy" means a "prescribed form
of public worship".  Liturgy is the rubrics by which we conduct worship.
I think what Stephen is trying to say is that the singers might not
understand the "theological" significance of the words they're (sic)
singing.Although I find no such error, as it were, in the Gardiner
recording of the b minor, I think that it is important that we use the
correct terminology.

David Stewart wrote:

>I wish I could tell you.  I only have 310 CDs so far.  No Bach cantatas
>whatsoever.

What a loss. I highly encourage you to expose yourself to this amazing body
of literature. Start with some of Herwegghe's recordings.

Tedd A Jander wrote:

>I read an article in the Summer 1999 issue of Early Music America, about a
>version of Bach's Mass in B by Joshua Rifkin from 1982 that had one person
>per part.  No information was given about a record label, price, etc.  of
>the recording or if the recording is available.

It is still available on Nonsuch.

>The main point of the article was whether or not Rifkin's approach
>is correct as far as some Bach scholars are concerned.  Anyway, my main
>question is this, has anyone heard this recording or heard of this approach
>to Bach's Mass? I'd be curious to hear this version.

I find it seriously lacking.  It simply doesn't have the span and grandeur
that the piece needs.  One must remember again that Bach probably never
heard the b minoe performed in his lifetime.  It was composed (compiled
might be a better term) as an audition piece for the position of
Kappellmeister to the court of Dresden).  I doubt very seriously if he
intended such a piece to be performed this way.  We know enough about
Bach's available forces to realize that even he found them too small and
inadequate in both size and quality.  Why would he consign so major an
undertaking to soloists only.  I think that the Rifkin practice is a failed
experiment.

Kevin Sutton