![]() As an instrumental conductor, Rilling isn’t as overtly flashy as you’ll find with some of the trendier period-instrument groups, but his mastery of Bach’s idiom is never in doubt, and while you can perhaps do better in individual works (including Rilling’s own last version of the B minor Mass), I can say with complete conviction that nothing here is less than very good as either performance or sound. Instrumental soloists are no less distinguished: Trevor Pinnock, Robert Levin, Evgeni Koroliev, Dmitry Sitkovetsky, and many others. The choral singing also is uniformly superb. For example, he has the best soloists of any major series of Bach vocal works–names like Arlene Auger, Juliane Banse, Matthias Goerne, Christophe Prégardien, Christine Schäfer–the list reads like a “who’s who” of major late-20th-century singers. He’s so strong in the basic qualities that matter most. In particular, Rilling’s unaffectedly musical, period-performance-influenced but undogmatic approach seems designed to sustain long-term listener satisfaction. ![]() ![]() As time goes on, Helmuth Rilling and the Bach-Collegium Stuttgart’s achievement only grows in stature, especially now that Teldec’s Bach Edition has vanished into Warner’s heedless maw. ![]()
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