Bach, J S: Mass in B minor, BWV232 Cantus Cölln, Konrad Junghänel

"this is a meticulous, at times, breathtaking performance which will delight the connoisseur."

• The Observer (1 Feb 2004)

"In movements such as the 'Cum sancto spiritu', Junghanel's soloists conjure miracles of dancing virtuosity; and the 'Pleni sunt coeli' and 'Osanna' are delightfully airborne....this luminous, beautifully balanced performance is now the one to go for."

• The Daily Telegraph (31 Jan 2004)

"Cantus Cölln and period orchestra cuts right to the heart of Bach's scintillating score and contains many moments of spine tingling elation,..."

• The Scotsman (23 Jan 2004)

Performance with solo voices, which has become the trademark of Cantus Cölln, should not be seen as a dogmatic position in this version of the B minor Mass, but as an alternative style of interpretation. It allows the often extremely complicated contrapuntal web of Bach's polyphonic style to be presented with great clarity. Hence it becomes possible to hear interrelations that are usually drowned in generalised sonic exhilaration. In such movements as the 'Et incarnates' and the 'Crucifixus' the personal emotional statement becomes much more individual and striking. What is more, the altered performing conditions result in new, unexpected and surprising balances and sonorities.

The members of the Cantus Cölln are all singers with successful careers as soloists, but everyone who has heard it has been struck by the extraordinary homogeneity of the ensemble which has not, however, sacrificed the specific vocal qualities of its individual members. According to the periodical Diapason, it is one of the outstanding revelations in recent years in the field of early music. Its performances throughout Europe (the festivals of Herne, Stuttgart, Utrecht, Innsbruck, Breslau, etc.) and abroad (North America, Asia) have confirmed its reputation, as have the recordings that the Cantus Cölln have been making for several years.

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