Search - Bach, Collegium Vocale, Herreweghe :: St Matthew Passion

A voice teacher and early music fan

George Peabody | Planet Earth | 05/15/2010

(5 out of 5 stars)

"ANOTHER REISSUE OF THIS EXCELLENT RECORDING (AT A LOWER PRICE) WITH SUPERSTAR PERFORMERS.



There is no doubt that the forces Herrweghe has employed here are some of the best in the 'Passion' business. Aside from this, however, one cannot eliminate the fact that there are several other notable recordings of this work that stand on their own merit, which for the most part are as 'good' or as 'bad' as this one. The three that I own which includes this one(all reviewed by me on Customer reviews) 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 recording, whose soloists are superb etc. etc. etc. So it all really amounts to what YOU hear and what turns YOU on!



Johann Sebastion 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 art 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(Ian Bostridge) and that of Jesus by a Bass (Selig). 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 were familiar Lutheran hymns.



The St. Matthew Passion was composed for Good Friday service at St.Thomas Church 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 Choir, included a Third Soprano group for the opening and closing of Part One, two orchestras split so that they either accompanied the first or the 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 poems (by Henrici) provide the text. The Evangelist narrates the actions scene by scene.



Although the work as a whole is somewhat heavy and sombre, there are some lighter moments to enjoy, and none more delightful than the soprano aria in Part One sung skillfully by Sibylla Rubens: 'Ich will dir mein herze schenken' (I will give my heart to thee). Part Two contains one of the best known and best loved arias 'Erbarme dich,mein Gott' (Have mercy on me, my God) for alto, violin obligato and pizzicato bass; beautifully rendered by Andreas Scholl. Scholl, who I find is a bit laid-back for my taste, outdid himself in this delivery for it was truly wonderful! The death is terse but dramatic as is the earthquake following with the heartrending cry 'Wahrlich diesen 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. All of the soloists the are very fine and Herreweghe does a great job of pulling it all together in one cohesive and glorious production!



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



You should allow yourself a lengthy time perious to explore, experience and absorb all of this information; OR JUST SIT BACK AND ENJOY THIS TRULY INSPIRATIONAL MUSIC OF THE GREATEST OF THE GREATS: JOHANN SEBASTIAN BACH!





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