| Johann Sebastian Bach (1685-1750) - Matthäus-Passion, BWV 244 (1989) |
| Cover Front | Album | ||||||||||||||||||
|
|
|
|
||||||||||
| Track List | |||||
| 65:48 | |||||
| 01 | Chorus: Kommt, ihr Töchter, helft mir klagen / Choral: O Lamm Gottes, unschuldig | 06:59 | |||
| 02 | (Evangelista, Jesus): Da Jesus diese Rede vollendet hatte | 00:35 | |||
| 03 | Choral: Herzliebster Jesu, Was hast du verbrochen? | 00:38 | |||
| 04 | (Evangelista) Da versammleten sich die Hohenpriester / (Chori) Ja nicht auf das Fest / (Evangelista): Da nun Jesus war zu Bethanien / (Chorus) Wozu dienet dieser Unrat / (Evangelista, Jesus): Da das Jesus merkete | 02:51 | |||
| 05 | Recitativo (Alt): Du lieber Heiland du | 00:52 | |||
| 06 | Aria (Alt): Buß und Reu | 04:13 | |||
| 07 | (Evangelista, Judas): Da ging hin der Zwölfen einer | 00:35 | |||
| 08 | Aria (Sopran): Blute nur, du liebes Herz | 04:42 | |||
| 09 | (Evangelista): Aber am ersten Tage Der Süßen Brot / (Chorus): Wo willst du, daß wir dir bereiten / (Evangelista, Jesus): Er sprach: Gehet hin in die Stadt / (Evangelista): Und sie wurden sehr betrübt / (Chorus): Herr, bin ich's | 01:54 | |||
| 10 | Choral: Ich bin's, ich sollte büssen | 00:42 | |||
| 11 | (Evangelista, Jesus, Judas): Er antwortete und sprach | 02:33 | |||
| 12 | Recitativo (Sopran): Wiewohl mein Herz in Tränen schwimmt | 01:17 | |||
| 13 | Aria (Sopran): Ich will dir mein Herze schenken | 02:56 | |||
| 14 | (Evangelista, Judas): Und da sie den Lobgesang gesprochen hatten | 00:53 | |||
| 15 | Choral: Erkenne mich, mein Hüter | 00:50 | |||
| 16 | (Evangelista, Petrus, Jesus): Petrus aber antwortete und sprach zu ihm | 00:51 | |||
| 17 | Choral: Ich will hier bei dir stehen | 00:51 | |||
| 18 | (Evangelista, Jesus): Da kam Jesus mit ihnen zu einen Hofe | 01:27 | |||
| 19 | Recitativo (Tenor): O Schmerz! Hier zittert das gequälte Herz / Choral: Was ist die Ursach' aller solcher Plagen | 01:57 | |||
| 20 | Aria (Tenor): Ich will bei meinen Jesu wachen / Chorus: So schlafen unsre Sünden ein | 04:56 | |||
| 21 | (Evangelista, Jesus): Und ging hin ein Wenig | 00:37 | |||
| 22 | Recitativo (Bass): Der Heiland fällt vor seinem Vater nieder | 00:53 | |||
| 23 | Aria (Bass): Gerne will ich mich bequemen | 04:01 | |||
| 24 | (Evangelista, Jesus): Und er kam zu seinen Jüngern | 01:07 | |||
| 25 | Choral: Was mein Gott will, das g'scheh allzeit | 00:57 | |||
| 26 | (Evangelista, Jesus, Judas): Und er kam und fand sie aber schlafend | 02:25 | |||
| 27 | Aria (Duett: Sopran, Alt): So ist mein Jesus nun gefangen / Chorus: Laßt ihn, haltet, bindet nicht / (Chori): Sind Blitze, sind Donner in Wolken verschwunden? | 05:27 | |||
| 28 | (Evangelista, Jesus): Und siehe, Einer aus denen, die mit Jesu ware | 01:48 | |||
| 29 | Choral: O Mensch, bewein dein Sünde groß | 06:01 | |||
| 49:51 | |||||
| 01 | Aria (Alt): Ach! nun ist mein Jesus hin / Chorus: Wo ist denn dein Freund hingegangen | 03:29 | |||
| 02 | (Evangelista): Die aber Jesum gegriffen hatten | 00:51 | |||
| 03 | Choral: Mir hat die Welt trüglich gericht' | 00:39 | |||
| 04 | (Evangelista, Testis I/II, Pontifex): Und wiewohl viel falsche Zeugen herzutraten | 01:02 | |||
| 05 | Recitativo (Tenor): Mein Jesus schweigt zu falschen Lügen stille | 01:15 | |||
| 06 | Aria (Tenor): Geduld! Wenn mich falsche Zungen stechen | 03:34 | |||
| 07 | (Evangelista, Pontifex, Jesus): Und der Hohepriester antwortete / (Chori): Er ist des Todes schuldig / (Evangelista) Da speieten sie aus / (Chori): Weissage uns, Christe | 01:54 | |||
| 08 | Choral: Wer hat dich so geschlagen | 00:42 | |||
| 09 | (Evangelista, Ancilla I/II, Petrus): Petrus aber sass draussen im Palast / (Chorus): Wahrlich, du bist auch einer von denen / (Evangelista, Petrus): Da hub er an, sich zu verfluchen | 02:18 | |||
| 10 | Aria (alt): Erbarme dich, mein Gott | 06:43 | |||
| 11 | Choral: Bin ich gleich von dir gewichen | 00:53 | |||
| 12 | (Evangelista, Judas): Des Morgens aber hielten alle Hohepriester / (Chori): Was gehet uns das an? / (Evangelista, Pontifex I/II): Und er warf die Silberlinge in den Tempel | 01:43 | |||
| 13 | Aria (Bass): Gebt mir meinen Jesum wieder | 02:52 | |||
| 14 | (Evangelista, Pilatus, Jesus): Sie hielten aber einen Rat | 02:01 | |||
| 15 | Choral: Befiehl du deine Wege | 00:57 | |||
| 16 | (Evangelista, Pilatus, Uxor Pilati, Chori): Auf das Fest aber hatte der Landpfleger Gewohnheit / (Chori): Lass ihn kreuzigen | 02:09 | |||
| 17 | Choral: Wie wunderbarlich ist doch diese Strafe | 00:38 | |||
| 18 | (Evangelista, Pilatus): Der Landpfleger sagte | 00:14 | |||
| 19 | Recitativo (Sopran): Er hat uns allen wohlgetan | 01:05 | |||
| 20 | Aria (Sopran): Aus Liebe will mein Heiland sterben | 05:18 | |||
| 21 | (Evangelista): Sie schrieen aber noch mehr / (Chori): Lass ihn kreuzigen / (Evangelista, Pilatus): Da aber Pilatus sahe / (Chori): Sein Blut komme über uns / (Evangelista): Da gab er ihnen Barrabam los | 01:50 | |||
| 22 | Recitativo (Alt): Erbarm es Gott | 00:56 | |||
| 23 | Aria (Alt): Können Tränen meiner Wangen | 06:48 | |||
| 41:09 | |||||
| 01 | (Evangelista): Da nahmen die Kriegsknechte / (Chori): Gegrüßet seist du, Jüdenkönig / (Evangelista): Und speieten ihn an | 01:00 | |||
| 02 | Choral: O Haupt voll Blut und Wunden | 01:46 | |||
| 03 | (Evangelista): Und da sie ihn verspottet hatten | 00:52 | |||
| 04 | Recitativo (Baß): Ja freilich will in uns das Fleisch und Blut | 00:31 | |||
| 05 | Aria (Baß): Komm, süßes Kreuz, so will ich sagen | 06:06 | |||
| 06 | (Evangelista): Und da sie an die Stätte kamen / (Chori): Der du den Tempel Gottes zerbrichst / (Evangelista): Desgleichen auch die Hohenpriester / (Chori): Andern hat er geholfen / (Evangelista): Desgleichen schmäheten ihn auch die Mörder | 03:25 | |||
| 07 | Recitativo (Alt): Ach Golgotha | 01:25 | |||
| 08 | Aria (Alt): Sehet, Jesus hat die Hand / Chorus: Wohin? | 03:17 | |||
| 09 | (Evangelista, Jesus): Und von der sechsten Stunde an / (Chorus): Der rufet dem Elias / (Evangelista): Und bald lief einer unter ihnen / (Chorus): Halt! laß sehen / (Evangelista): Aber Jesus schriee abermal | 02:03 | |||
| 10 | Chorus: Wenn ich einmal soll scheiden | 01:08 | |||
| 11 | (Evangelista): Und siehe da, der Vorhang im Tempel zerriß / (Chori in unisono): Warlich, dieser ist Gottes Sohn gewesen / (Evangelista): Und es waren viel Weiber da | 02:27 | |||
| 12 | Recitativo (Baß): Am Abend, da es kühle war | 01:57 | |||
| 13 | Aria (Baß): Mache dich, mein Herze, rein | 05:57 | |||
| 14 | (Evangelista): Und Joseph nahm den Leib / (Chori): Herr, wir haben gedacht / (Evangelista, Pilatus): Pilatus sprach zu ihnen | 02:30 | |||
| 15 | Recitativo (Sopran, Alt, Tenor, Baß): Nun ist der Herr zur Ruh gebracht / Chorus: Mein Jesu, gute Nacht | 01:36 | |||
| 16 | Chorus: Wir setzen uns mit Tränen nieder | 05:09 | |||
|
|
||||||||||||||||||||||||||||||||
| Notes |
| Evangelist: Anthony Rolfe Johnson, Tenor
Jesus: Andreas Schmidt, Baritone Pilate's Wife: Barbara Bonney, Soprano First Witness: Michael Chance, Countertenor Second Witness: Howard Crook, Tenor High Priest: Olaf Bar, Baritone Pilate: Olaf Bar, Baritone Judas: Cornelius Hauptmann, bass Pontifex: Cornelius Hauptmann, bass Maids: Gill Ross; Ruth Holton, Sopranos Ann Monoyos, Soprano Anne Sofie von Otter, Contralto Lisa Beznosiuk: Flute Anthony Robson: Oboe Elizabeth Wilcock: Violin Alison Bury: Violin Richard Campbell: Viola da Gamba Alastair Mitchell; Andrew Watts: Bassoon Timothy Mason; Richard Campbell; Richard Tunnicliffe; Julie Lehwalder: Violincello Walerie Botwright; Judith Evans: Double bass Alastair Ross; Paul Nicholson: Organ London Oratory Junior Choir directed by Patrick Russell Notes, text and translations Essay: "Bach's 'Great Passion'" by Christoph Wolff Essay: "An Approach to Bach's 'Great Passion'" by John Eliot Gardiner Gramophone review: Bach's St Matthew Passion is a sacred drama on an unprecedented scale. He created it as an integral part of the Good Friday Vespers in the strict Lutheran stronghold of Leipzig where it was first performed, perhaps as early as 1727. At their most fundamental, the disparate elements comprising Bach's St Matthew Passion can be placed under distinct headings: the narrative element in which the Evangelist (tenor) and Christ (baritone) play the central role; a lyrical and contemplative element provided by the arias; a meditative and communal element provided by the chorales, the traditional hymn-tunes of Bach's time; and the choruses which comment on events taking place emphasizing their significance with immense, at times almost overwhelming, power. The interdependence of these diverse components is only fully realized in a performance which comprehends Bach's vast tableau in its entirety. John Eliot Gardiner has considered the work's structure very carefully seeing in each of its two parts a division into two scenes, creating an effect similar to that of the Stations of the Cross. I am not sure that I see it quite as dear-cut as that, but I warmly respond to the importance he attaches to theology and rhetoric, distancing himself as far as circumstances permit from perfunctory aspects of mere recording. Gardiner's approach to the St Matthew Passion is fervent and contains a vivid sense of theatre. He has not sought an approximation to the performing conditions that Bach had at his disposal at various times. We are far from certain about what they were, but know that they must often have been less than ideal. Instead, various quite sensible compromises have been made. The Monteverdi Choir consist of mixed voices and the solo team likewise. Bach certainly had no such choice available to him and might, indeed, not have wanted it, anyway. The orchestra of period instruments, on the other hand, would have seemed, at least on the face of it, familiar to him. The forces which Bach required to perform the St Matthew Passion are greater than those he assembled for almost any other of his compositions: two choruses, two orchestras, each with their own continuo organ, and another group of treble voices to sing the cantus firmus of the opening chorus. Gardiner seems to have based the size of his choral and instrumental groups on those cited in Bach's memorandum in 1730 to the Leipzig town council, For a well-appointed church music. Apart from one or two instances where I find it difficult to fall in with Gardiner's interpretation, this performance is impressive for the integrity which he shows towards the drama and for the uniformly high level of executancy, voices and instruments alike. It will come as no surprise to those familiar with Gardiner's performances that a distinctly individual presence can be felt to a greater or lesser extent throughout. To define it would be difficult but to spot it, less so. In short, it can most readily be discerned in matters of expression and perhaps occasionally, tempo. Gardiner's dynamic range is considerably wider than that of Nikolaus Harnoncourt (Teldec/ASV), Philippe Herreweghe (Harmonia Mundi) or Peter Schreier (Philips), for example; but he shares with Harnoncourt a feeling for theatrical gesture which some listeners will enjoy more than others. Christian Gerger's famous quotation attributed to an old lady of the nobility, God save us.... it's just as if one were at an opera probably did not refer specifically to Bach's St Matthew Passion; but it did relate to similar works being performed in Saxony at around the same time, and it is important not to lose sight of dramatic, indeed often theatrical aspects of Bach's music influenced by secular custom. Gardiner breathes life into every section of the work and, unlike almost any other performance that I have known, manages to convey the optimism underlying Bach's profound testament to the Christian faith. The solo voices comprise an impressive group. Anthony Rolfe Johnson declaims the Evangelist's role with clarity and with all the subtle inflexion of a good story teller. Furthermore, his voice sounds smoother than it has sometimes done in recent recordings and his delivery even and well-controlled. Andreas Schmidt makes a fine Jesus, eloquent, restrained and authoritative, and I have little but praise for the other members of the solo cast. I found Anne Monoyios captivating in Blute nur, du liebes Herz (No. 8 in the Barenreiter edition) and Aus Liebe will mein Heiland sterben (No. 49) where she is beautifully partnered by a flute and two oboes da caccia. Howard Crook, who sings the tenor aria, is admirable in Geduld (No. 35) and is complemented here by sensitive oboe playing, in fact, almost throughout the work I found myself filled with admiration for the consistently alluring instrumental textures. Nowhere perhaps, can this better be illustrated than by the tender performance of Erbarme dich (No. 39) by Michael Chance, with Elizabeth Wilcock (solo violin). Chance's impeccable delivery, a wonderfully light pizzicato string continuo and a beautifully shaped, shimmering violin solo, produce a deeply affecting result. I liked the slightly brisker than usual tempo of Buss und Reu (No. 6) admirably sung by Anne Sofie von Otter, but felt that Gardiner pushes the soprano aria, Ich will dir mein Herze schenken, a little too hard. It is lyrically sung by Barbara Bonney, and she is exquisitely accompanied by two oboes d'amore, with a light-footed basso continuo; but its dance-like character (6/8) is diminished by a tempo which does not allow either for sufficient poise or punctuation. The Monteverdi Choir respond to Gardiner's direction with all the fervour and precision to which we have grown accustomed. Entries are usually clean, and notes and intervals pitched accurately though there are one or two weak entries in the first chorus of Part 2, Wo ist denn dein Freund hingegan (No. 30). The pacing of the chorales struck me as being ideal with plenty of definition. In the great opening chorus Gardiner's own choir are joined by the naturally youthful-sounding voices - small boys and not-so-small girls -of the London Oratory Junior Choir. I have long admired this choir but it is, nevertheless, in this movement of the work that I found myself at odds with Gardiner's interpretation. The gradual crescendo leading up to the first choral entry is too marked for me and seems unrelated to the rise and fall of the melody. I am not arguing for terrace dynamics but rather for finer shadings than some of the contrasts which occur here. Notwithstanding issues such as these, Gardiner's St Matthew Passion is a considerable achievement. Singing and playing of this order deserve to win many friends and Gardiner's mature and evidently deeply-felt account of the music is one which I shall want to hear many times over. Recorded sound is clear and appropriate though occasionally I found perspectives a little odd- the viola da gamba in the bass aria, Komm, susses Kreuz (No. 57), for instance, sounded a little too backward. Full texts included. Congratulations. |