The closing item in the program of the 29th edition of the Internationales Bachfest Schaffhausen, a performance of Bach’s Mass in B minor with René Jacobs and his Berliner combo of the Akademie für alte Musik and the RIAS Kammerchor took place in the most important church in Schaffhausen’s old town, the St. John’s Church. I have written about the challenge of finding the right venue for the performance of Bach’s choral music. Again I am not sure that a church setting is automatically the right answer – even if these works were meant to be performed in churches we more or less know. St. John’s is a big venue, larger than some concert halls – and its acoustic is less resonant than many a religious space used for musical performances, and yet it is still challenging for solo singers. My personal opinion – go for the small venue. I don’t think Bach had much of a choice, as in “If we don’t perform these cantatas in the Kirche Trogen in Switzerland, then I quit”, first because he never went to Switzerland (I’m joking, but really those acoustics are to die for), second because he was hired to provide music for a particular church, regardless of how good the acoustics were and, third, we can assume that, even if he made the best he could, the quality of actual performances were not up to his very high standards. In the case of the Mass in B minor, there isn’t evidence that Bach ever heard it performed at all.
Back to St. John’s Church in Schaffhausen. As heard this afternoon, the hall provided a pleasant glow around the orchestra and chorus, but wasn’t so kind to solo singers. That said, let’s talk about the chorus first. Bach wrote the Mass in B minor mostly for a 5-voice chorus (two sopranos), but for the last part, where he employs double chorus. I am not sure that he clearly indicated that what we call “arias” and “duets” were meant for solo voices, but – even if he didn’t, it’s easy to guess because they a) are not meant for the complete chorus and b) have the same kind of accompaniment an aria in a cantata would have. This might sound obvious, but if you have listened to René Jacobs’s last recording of this work, you’ll notice that there is far more solo singing going on than one is used to find in any performance (except if we’re talking about Joshua Rifkin’s). The solo quintet would sing whole numbers or just pop up in parts of a number traditionally performed by the chorus alone or they would just join the chorus, not in the Rifkin-ian sense of blending in but being very much hearable above it. There is no rule about how many singers should be singing passages meant for the chorus in Bach – and many a knowledgeable author has written about this. In the case of this performance in Schaffhausen, this involved a lot of moving about. First the “main chorus” was placed in front of the orchestra together with the soloists, while a line of “ripienists” sat behind the orchestra. For the double-chorus items, soloists were sent “upstage”, what brought about the advantage of having the tenor and the flautist next to each other in the Benedictus.
Now that we cleared the logistics, let’s talk about the playing and singing themselves. For a while, René Jacobs’s 1992 recording (always with the RIAS Kammerchor and the Akamus) of the Mass in B Minor used to be my go-to CDs for the BWV 232. Listening to it today, I realize how undemonstrative and unfussed Jacobs was back then. It is a performance that takes a while to produce its effect. At first, it sounds almost too “comfortable”. This afternoon’s performance (and the 2022 recording) couldn’t be more different – it grips the audience from bar one, with its sense of forward movement and its dramatic accents. One might think that it was operatic as some of Jacobs’s Bach are, but, no, it did move forward albeit in a natural way, each turn of phrase well-shaped, in a balletic rather than athletic approach. With one exception – the fastest Sanctus I have ever heard. These musicians managed to keep all clean and precise, but still it felt a bit coming out of nowhere.
The 1992 CDs had rather substantial-voiced singers in Hillevi Martinpelto, Bernarda Fink, Matthias Görne, Franz-Josef Selig – and I missed them today. I’ve never understood the idea of Sunhae Im as a Bach soprano. I heard her sing the Weichnachtsoratorium in Vienna nine years ago and she sounded operetta-ish to my ears. The news that she was replacing Robin Johannsen made me curious to see if there had been any development since then. I am afraid not. She was very hard to hear and her high notes did not blossom at all. Marie-Claude Chappuis’s high register was far more hearable and she tackled the fioriture with gusto, but wasn’t helped by the acoustics lower in her range – and her phrasing is rather choppy. In Qui sedes, countertenor Benno Schachtner showed admirable flexibility, and yet he sounded small-scaled and a tad monochrome in the Agnus dei, even with the rather flowing tempo. Judging from his singing this afternoon, maybe the Bach phase of Sebastian Kohlhepp is coming to an end. His tenor now sounds a bit too complex for this writing and, even if he acquitted himself commendable, the honeyed ductility one hears in a Prégardien (the father back then and the son these days) is no longer there. And then there was Andreas Wolf, totally unfazed by the acoustics, singing his very long florid lines on the breath, producing rich low notes and absolutely clear high notes. If he had not been a tad ahead of the beat in one single moment, his Et in spirictum sanctum could stand as the dictionary example of this aria. Bravo.
Even if the playing of the Akademie für alte Musik (other than a squawky French horn) left nothing to be desired, the crowning glory of this performance was the RIAS Kammerchor. This was truly superior choral singing, all voices perfectly blended, absolutely clear in their divisions, the sound was in itself exquisite. Yet I have to single out the tenors. I have rarely heard a chorus in a historically informed performance with such a solid group of tenors. Bravi.