BACH Mass in B minor
Recorded live Uppsala Cathedral 2014-03-08
Karin Dahlberg, Soprano
Helene Randa, Mezzo
Niklas Engquist, Tenor
Staffan Liljas, Bass
Conductor: Ulric Andersson
Collegium Cantorum is one of the choirs at Uppsala Cathedral. It was formed 1983 and has a broad repertoire stretching from choral symphonic polyphony to contemporary Nordic composers. In addition to participating in services the choir performs larger sacred works with soloists and orchestra. Through numerous international tours, Collegium Cantorum has become well renowned abroad.
Rebaroque in an early music ensemble is a musical ensemble that specializes in performing early music of the European classical tradition from the Baroque era and earlier. It was formed in 1998 and has since established itself as one of Scandinavia’s leading baroque orchestras. The repertoire includes orchestral works, opera and oratorio. The orchestra appears regularly with some of Sweden's foremost choirs.
Live recording is hazardous and not without minor disturbances. This recording is no exception. Recording choir music live always balances extreme dynamic range and musical emotion, with technical limitations and difficult environments. You often find the best acoustics in droughty churches with creaky furnishing, ant they always have a clutter of ancient electrical wiring. All this gives buzz, hiss and various kinds of disturbing noises with which make each recording session different. The magic of the performance, which seemed so indelibly imprinted in memory, often vanishes on the tape. The complex of hearing, vision, shared experience, and excitement has been reduced to a single aspect: sound. Therefore, the recording becomes technically a compromise between feel and sound. But a live recording is also uncompromisable. Rustle of music scores, coughs, shoes squeaking, radiators switching off, and cars passing by outside, always happen in the middle of a silent passage. All these ingredients are evidenced and exampled in this recording.
Still, we feel that live is always superior to studio recordings. This becomes inevitable if you, as we do, focus on the good qualities in performance and interpretation, and never let merciless technical perfection stand in the way of music. We think that the best performance can only be obtained in the right context and accurate environment, despite technical difficulties.
Simply put, recording is not a precise art. But then, neither is a concert.
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