Customer Reviews

Bach: St. Matthew Passion

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SUPERSTAR PERFORMERS ON THIS 1998 HERREWEGHE RECORDING!

There is no doubt in my mind that the forces Herreweghe has employed here are some of the best in the 'Passion' business. Aside from this, however, one cannot eliminate the fact that there are two other (and no doubt more) major recordings of this work that stand on their own merit,which, for the most part is as 'good' or as 'bad' as this one. The three that I own including this this one (I reviewed on customer reviews) and refer to are: Gardiner's 1988 recording with the outstanding Monteverdi Choir that sparkles and shines as only they can; the 1994 Cleobury King's College Choir, whose soloists are superb etc, etc. etc. So it all amounts to YOU, and what turns YOU on!

Johann Sebastian Bach (1685-1750), a Lutheran, was specifically asked by St. Thomas Church, Leipzig, to supply a non-theatrical Passion. In this context 'passion' stands for the act of passive suffering, of watching and occasionally empathizing in the suffering of Christ, a development which began in the Middle Ages when the church took steps to popularize the Bible. When sung, the role of the Evangelist would be a tenor(Bostridge on this recording) and that of Jesus by a Bass (Selig on this recording). As various instruments were added they began to be associated with certain roles and as in opera any dramatic action in the text occurred during the recitative. The chorus has two functions: to participate in the action and then to reflect upon it, such reflection provided by the chorales which were familiar Lutheran hymns.

The St. Matthew Passion was composed for the Good Friday service at St.Thomas Church in Leipzig in 1727. As time went on Bach revised and added other pieces and subsequently this Passion became the grandest and largest of his works. He used a Double Chorus, included a third soprano group for the opening and close of Part one, two orchestras split so that they either accompanied the first or second chorus, four soloists who carry specific parts and a number of other singers who have other roles. The Gospel of Matthew, Chapters 26 & 27, plus traditional Lutheran chorales and meditative peoms (by Henrici also known as Picander) provide the text. The Evangelist narrates the action scene by scene.

Although the work as a whole is somewhat heavy and sombre there are some lighter moments to treasure, and none more delightful than the soprano aria in Part One 'Ich will dir mein herze schenken'(I will give my heart to Thee), sung here by Sibylla Rubens. Part two contains one of the best known and much loved arias from the work 'Erbarme dich, mein Gott' (Have mercy,my God) for alto and violin obligato and pizzicato bass; beautifully rendered by Andreas Scholl. The death is terse but dramatic as is the earthquake following with the heartrending cry 'Wahrlich dieser ist Gottes Sohn gewessen' (Truly this was the son of God). It all ends with a Sarabande-like chorale bidding Jesus to rest in peace.

The performance, itself, is excellent and beyond reproach. Ian Bostridge is all that one would desire in a tenor Evangelist, which is a sense of the dramatic, clear precise diction and that empathic sonorous sound that is uniquely his. Andreas Scholl presents one of his most emotional performances; sometimes I find that he is too laid-back for my taste, but not in this recording!!!All of the soloists are excellent and Herreweghe does a great job of pulling it all together in one cohesive and glorious production.

The packageing of this edition is first-class; the booklet includes all the information that one may need to fully comprehend this monumental work of Bach's; in French, English and German.

You should allow yourself an entire day to explore and experience and absorb all of the information. OR JUST SIT BACK AND ENJOY THIS TRULY INSPIRATIONAL MUSIC OF JOHANN SEBASTIAN BACH.

In 1989 Gardiner interpreted Bach's St. Matthew Passion for the label, DG Archiv. To my ears it was dominated by a rather bland and impersonal aura. It was worthy of praise in many respects, but it was missing something of an "X factor."

Harnoncourt's release, while a pioneering effort nonetheless, was too rough around the edges, unrefined, and sounded as though layers of academic dust were caked onto it.

Now Gardiner's recording can join Harnoncourt's in the period instrument platitude dominated by stiffness, uneffected orchestras and soloists, and overbearing use of staccato. Herreweghe transcended this Historically-Informed stereotype in the 1980s when he released his rendition of Bach's St. Matthew Passion for Harmonia Mundi the first time, creating a more suave shape to the work as a whole. No longer was it "rough around the edges." His second release of the Passion, recorded here, has even more. It is delicate, clean, somber, yet dramatic. This is the St. Matthew Passion to judge the rest by. I have yet to hear anything better (although the more recent release by the Dunedin Consort on Linn Records is a very close second).

The original release included a CD-Rom complete with interviews with Herreweghe and a history of the St. Matthew Passion. Herreweghe discussed key points such as a more legato approach and the use of female choir members as opposed to boy trebles. While this re-release does not include this now-obsolete CD-rom, the package is still an attractive one with complete liner notes and libretto.

In contrast to Gardiner's impersonality in his St. Matthew Passion, Herreweghe's sense of the work as a meditative piece is evident throughout, and in effect, the Choir and Orchestra of the Collegium Vocale create an absorbing recording which is never somber nor tedious for a second, and Ian Bostridge's youthfully lithe Evangelist and Josef Selig's effective Christ finally make for a Matthauspassion where you don't find yourself skipping over the Recitatives.

It is still a drama (a "sacred drama" as it was called in the original accompanying CD-Rom) and Herreweghe has the upper hand compared to Gardiner. Herreweghe's tempi are more astute and propelling. Choral interjections are more forceful. Lamentations are more moving.

All of the arias are favorites here thanks to the fine soloists, among them: countertenor Andreas Scholl. The Soprano Sibylla Rubens has the appropriate "boyishness," cleanliness, and control for Bach. Her duet with Scholl at the end of Part 1 ("So ist mein Jesus nun gefangen") is the most convincing I have ever heard on record.

The double chorus is correctly sized according to the traditionalist reading of Bach's own "Draft for Well-Appointed Church Music." In fact, Gardiner's choirs are oversized. Of course, the most recent scholarship seems to favor the idea that Bach used only one singer per vocal line, a convincing theory that has been recorded into the St. Matthew Passion by Paul McCreesh and John Butt. Herreweghe uses three to four per vocal line, and for those still wanting a "full" choral sound without sacrificing authenticity, Herreweghe is the way to go (although you'll not be dissapointed by John Butt's ultra-historically-informed recording either).

Harmonia Mundi's sound quality is clear as a bell. Both orchestras and both choirs are equally audible making every chorale, chorus, and turbae chorus very dramatic indeed (compared to the relatively poor sound quality of the Gardiner recording where the second choir is barely audible, or sounds as though they're placed at the end of some long tunnel, causing Gardiner's forces to lose their "weightiness" in many parts).

Buy it and listen and prepare to be completely taken in.

Hello!

What can I say that the other reviewers hasn't, not much quite frankly. I'm a neophyte in the classical music world... I was overwhelmed, to tears sometimes, by the beauty of the music which must be, in part, because of the quality of the interpretation. You can't go wrong with this one!

Have a great day!

Fred