Customer Reviews

Bach - Magnificat / Ton Koopman, Deborah York, Orlanda Velez Isidro, Bogna Bartosz, Jorg Durmuller,Klaus Mertens, Amsterdam Baroque Orchestra, Leipzig

5 star:		(3)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

This generous DVD has the Bach Magnificat (in its lesser-known earlier E flat major version, BWV 243a, employing recorders and E flat trumpets), Bach's slightly bland cantata Meine Seele erhebt den Herrn, BWV 10, and Johann Kuhnau's Magnificat in C major. Kuhnau was Bach's predecessor as Thomaskantor in Leipzig, and his setting of the Magnificat is quite impressive, alternating ceremonial choral passages, fully scored with trumpets and drums, with more intimate, melodic solo pieces. This is definitely worth repeated listening. The concert was filmed during the Leipzig Bachfest 2003, in the St. Thomas Church. Chorus and orchestra are placed in the choir over the altar, fairly high above the heads of most of the audience. This may seem strange at first glance, but it most likely re-enacts performance practice at the composers' time. The setting does not impair at all the recording's very good acoustics, but one might wonder about the experience of the audience, who could not really see the proceedings and may have had a strange sound picture in the resonant church. The camera work is quite outstanding. Also a concession to "authenticity" are the interpolations of German hymns between the movements of the Magnificat, both Kuhnau's and Bach's. Thus Bach's oratorio has 16 "movements", as opposed to the commonly heard Latin version of 12, Kuhnau's has 4 interpolations. For those who prefer the traditional liturgy unadorned by Protestant hymns, it is easy to skip between numbers. Koopman and his Amsterdam Baroque Orchestra of course use period instruments. This is a group of outstanding professionals, the Choir included, who excel in every respect. Tempi are exceedingly brisk, but every nuance is observed, every note gets its due value, and the interpretations are first-rate. Moreover, the conductor and his forces are visibly inspired by the locale and the occasion: this is a joyful production to treasure.

This performance give me the shivers. Although the pace is somewhat fast, it is, for me, a beautiful experience. I particularly love Bogna Bartosz, the alt as well as the tenor, Jörg Dürmüller. Well, everybody is performing at an extremly high level. Please listen to this heavenly music!

Koopman's conducting style may turn you off, but that is not what this disc is about. Period instruments performing the lesser known version of Bach's Magnificat, stunning dvd recording, nice camera work, quality singing and NORMAL soloists, ie no screamers here, all provide for a very nice experience of watching this performance. It is FAR NICER for us than the audience, which is far removed from the performers area. This is how Bach might actually have performed in the ThomasKirche in Leipzig. The price is reasonable, and the extras in this disc make it all a bargain. Koopmans recording on dvd of several of Bach's cantatas is similarly well done, and worth the watch/listen. James Rawie

This, along with Koopman's outstanding St. Matthew Passion on DVD and Gardiner's Bach Cantata DVD ranks as one of the most engaging performances of baroque religious music on DVD. The visuals of the conductor, the performers, and the venue all serve to heighten the sense of being there, especially if you are playing this in a good home theater with surround sound. What's more, the Kuhnau Magnificat is no mere filler, but a moving masterpiece in its own right.

Eulogiums to Koopman won't bias me! His fans may give me a bit of stick for what I'm going to write here, but I don't think this is Bach at his best - quite the reverse!
To begin with, Koopman should take more care of his own image: at least someone should tell him that. To look like Rowan Atkinson is already quite bad for a maestro; but to conduct "Magnificat" looking like "Mr. Bean" or "Johnny English" is simply atrocious! I even gather that, so frantic that he is, if he used one, the baton could turn up a lethal weapon in his hands!
Then, there is this (infamous) question about the tempo which Koopman so firmly believes to be the appropriate one to perform Bach - namely "Magnificat"...
In spite of all the historical researches, I'm yet to see a concluding proof that this was the tempo Bach had in mind when he composed "Magnificat"; and my doubts are even greater when I think about the lyrics and their spirit: just looking at the prayer, I simply can't imagine the Blessed Virgin saying it in 'full speed' to Saint Elisabeth!
We read in Luke, 1:42.46, "Et [Elisabeth] exclamavit voce magna, et dixit [...] Et ait Maria [...]". The latin verb 'aio' means 'to say yes', 'to affirm', 'to say', 'to determin', 'to state'. In the context, it is clearly used in contrast with the verb 'exclamo', which means 'to scream', 'to raise one's voice', 'to exclaim'. Mary didn't 'exclaim in high voice, and said' the "Magnificat": She simply 'stated' it...
The teaching of the exegetists, either Catholics or Protestants, confirms this. I am a Catholic myself but I will give to the reader one of the best Protestant exegetists I know to confirm what I'm writing here: J. McNicol, "Luke's Gospel", in F. Davidson (ed.), "The New Bible Commentary", London 1954 (a classic of the kind, I might add).
I suspect that there is in Koopman and in the others who think like him a very serious misunderstanding about the true meaning of 'joy'. In a religious sense, 'joy' means 'happiness'; 'happiness' brings 'peace'; 'peace' is the state of rest of the soul on a true good. Mary simply 'stated' the "Magnificat" because She was in peace - better still, She had Peace (with a capital 'P'): She had in Her womb the greatest good there is in the whole universe, God...
Luke's own words are a very strong argument against the tempo chosen by Koopman to conduct "Magnificat". "Magnificat" is to be performed with something like a quiet joy - if the reader prefers, with a contained happiness. Had Bach conceived it in a 'just make it snappy' tempo, he would have been a very cold-hearted man - and this I find extremely hard to believe.
Furthermore, I have been very carefully checking Koopman in other Bach masterpieces and I have observed that he always puts up an extraordinary amount of speed in all of them - even in "Matthaeus Passion"! Imagine: "Matthaeus Passion"!!! Need I say more?...
I'm very sorry, but this particular performance of Bach's "Magnificat" is definitely WRONG! And I'm giving it here one star because I can't give it here five moons!