Editorial Review:

Amazon.com essential recording:
The St. Matthew Passion, Bach's monumental retelling of the story of the Last Supper and the arrest and execution of Jesus, typically runs from two-and-a-half to three hours. Yet this performance makes the time... well, not exactly fly past (consider the subject matter), but it's not tedious for even a second. Much of the credit for this goes to the marvelous Evangelist, Ian Bostridge. He's an outstanding narrator: the clear tone and diction, skillful timing, and intense involvement with words that made him a famous lieder singer are all in evidence; his part consists of nothing but recitative, yet he holds your interest unfailingly. Franz-Josef Selig gives a more dramatic reading of Jesus than you usually hear these days--he may be a bit too 'operatic' for some listeners, but he really communicates his character's very human anguish and sorrow. Similarly, soprano Sibylla Rubens, tenor Werner Güra, and bass Dietrich Henschel sometimes unleash a bit too much vibrato for some tastes, but their singing is full-throated and attractive and they're very sensitive to the nuances in the text and music. Superstar countertenor Andreas Scholl is the standout--he combines unearthly purity with very earthly feeling and blends beautifully with the baroque instruments. The real stars of the record, however, are Philippe Herreweghe and his remarkable choir and orchestra. This conductor and his musicians (especially his radiant choir, Collegium Vocale) have always been superb at conveying warmth, devotion, and contemplation, but intense joy, anguish, or anger have sometimes seemed beyond them. Not here: they cover the full emotional range of this work--from reverent reflection to anguished remorse to churning fury--without ever crossing the line into melodrama or sacrificing clarity.

On top of all this, you get a CD-ROM chock full of interesting and well-organized information (in English, German, and French): texts as well as an overview with a timeline of Bach's life, a discussion of how the work is put together, marvelous graphics, sound clips, and an extensive interview with Herreweghe himself. A superb accompaniment to a superb release. --Matthew Westphal









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Disc 1:

1. Kommt, ihr Toechter, helft mir klagen
2. Da Jesus diese Rede vollendet hatte
3. Herzliebster Jesu, was hast du verbrochen
4. Da versammleten sich die Hohenpriester / Ja nicht auf das fest / Da nun Jesus war zu Bethanien / Wozu dienet dieser Unrat / Da das Jesus merkete
5. Du lieber Heiland du
6. Buss und Reu
7. Da ging hin der Zwoelfen einer
8. Blute nur, du liebes Herz
9. Aber am ersten Tage der suessen Brot / Wo willst du, dass wir dir bereiten / Er sprach: Gebet ihn in die Stadt / Un sie wurden sehr betrubt / Herr, bin ich's
10. Ich bin's, ich sollte buessen
11. Er antwortete und sprach:
12. Wiewohl mein Herz in Traenen schwimmt
13. Ich willdir mein Herze schenken
14. Und da sie den Lobgesang gesprochen hatten
15. Erkenne mich, mein Hueter
16. Petrus aber antwortete
17. Ich will hier bei dir stehen
18. Da kam Jesus mit ihnen zu einem Hofe
19. O Schmerz! hier zittert das gequaelte Herz
20. Ich will bei meinem Jesu wachen
21. Und ging hin ein wenig
22. Der Heiland faellt vor seinem Vater nieder
23. Gerne will ich mich bequemen
24. Und er kam zu seinen Juengern
25. Was mein Gott will, das g'scheh' allzeit
26. Und er kam und fand sie aber schlafend
27. So ist mein Jesus nun gefangen / Sind Blitze, sind Donner in Wolken verschwunden
28. Und siehe, einer aus denen
29. O Mensch, bewein' dein Suende gross

Disc 2:

1. Ach! nun ist mein Jesus hin
2. Die aber Jesum gegriffen hatten
3. Mir hat die Welt trueglich gericht't
4. Und wiewold viel falsche Zeugen herzutraten
5. Mein Jesus schweigt zu falschen Luegen stille
6. Geduld, Geduld!
7. Und der Hohepriester antwortete / Er ist des Todes schuldig / Da speieten sie aus in sein Angesicht / Weissage uns, Christe
8. Wer hat dich so geschlagen
9. Petrus aber sass draussen im Palast / Wahrlich, du bist auch einer von denen
10. Erbarme dich
11. Bin ich gleich von dir gewichen
12. Das Morgens aber heilten alle Hohenpriester / Was gehet uns das an / Und er warf die Silberlinge in den Tempel
13. Gebt mir meinen Jesum wieder
14. Sie heilten aber einen Rat
15. Befiehl du deine Wege
16. Auf das Fest aber hatte der Landpfleger / Lass in kreuzigen!
17. Wie wunderbarlich ist doch diese Strafe
18. Der Landpfleger sagte
19. Er hat uns allen wohlgetan
20. Aus Liebe will mein Heiland sterben
21. Sie schrieen aber noch mehr / Lass in kreuzigen! / Da aber Pilatus sahe / Sein Blut komme uber uns / Da gab er ihnen Barrabam los
22. Erbarm es Gott
23. Koennen Traenen meiner Wangen

Disc 3:

1. Da nahmen Kriegsknechte / Gegruesset seist du, Judenkoenig / Und speieten ihn an
2. O Haupt voll Blut und Wunden
3. Und da sie ihn verspottet hatten
4. Ja! freilich will in uns das Fleisch und Blut
5. Komm, suesses Kreuz
6. Und da sie an die Staette kamen / Der du den Tempel Gottes zerbrichst / Desgleichen auch die Hohenpreister / Andern hat er geholfen / Desgleichen schmaeheten ihn
7. Ach, Golgatha, unsel'ges Golgatha
8. Sehet Jesus hat die hand
9. Und von der sechsten Stunde / Der rufet dem Elias / Und bald lief einer unter ihnen / Halt, lass sehen / Aber Jesus schriee abermals laut
10. Wenn ich einmal soll scheiden
11. Und siehe da, der Vorhang im Tempel zerriss / Wahrlich, dieser ist Gottes Sohn gewesen / Und es waren viel Weiber da
12. Am Abend da es kuehle war
13. Mache dich, mein Herze, rein
14. Und Joseph nahm den Leib / Herr, wir haben gedacht / Pilatus sprach zu ihnen
15. Nun ist der Herr zu Ruh gebracht
16. Wir setzen uns mit Traenen nieder

Rating: - Expensive!
I wonder how the sudden $20 increase imposed in fall 2008 is justified - considering this recording was made 10 years ago and is so old that modern Macs can't even open the extras?

I notice the Herreweghe St John Passion has also just jumped twenty bucks.

What's going on?

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Rating: - Wonderful recording...CD-ROM too old for Macs
I'm a musicologist and former choral conductor, and I think this is an absolutely wonderful interpretation by all involved (I find Scholl's countertenor to be a bit harsh, but that's a small point.) I like the forcefulness of the back-and-forth between the two choirs in the first chorus..."Behold! Who? The Bridegroom." It has great rhetorical power, which is an important aspect of the chorus, exhorting the congregation to witness the Passion events.

MAC USERS BEWARE: this was produced back in '99, in the days of OS 9.
The CD-ROM won't work on Macs running OS X.
Macs just evolve too quickly I guess! ;o)

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Rating: - Beautiful
Do not hesitate for a moment to purchase this CD/CD ROM package. I researched thoroughly the many recordings of this work, and I am very pleased to have decided on this one. It is a gorgeous, moving recording.

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Rating: - a voice teacher and early music fan
BOSTRIDGE AND SCHOLL: THE STARS ON THIS DISC!!!

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 occasonally empathising in the suffering of Christ, a development which began in the Middle Ages when the church took steps to popularise the Bible. When sung, the role of the Evangelist would be taken by a tenor and that of Jesus by a bass. As various instruments were added they began to be associated with certain roles and as with 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 reflections provided by the chorales which were familiar Lutheran hymns.

The St. Matthew Passion was composed for the Good Friday service at the 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 the 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 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 and 27 plus traditional Lutheran chorales and meditative poems (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). Part two contains the best known and loved aria from the work "Erbarme dich,mein Gott" (Have mercy, my God) for alto and violin obligato and pizzicato bass. The death is terse but dramatic as is the earthquake following with the heartrending crying "Walrlich dieser ist Gottes Sohn gewesen" (Truly this was the Son of (God). It all ends with a Sarabande-like chorale bidding Jesus to rest in peace.

The packageing of this edition is outstanding; the booklet includes absolutely all the documentation that one may need to fully comprehend this monumental work of Bach's. In addition, to the 3 CD's, there is a CD-Rom that explains the entire procedure for the production of this recording (in 3 languages:French,English and German).

The performance itself is excellent and beyond reproach. Ian Bostridge is all that one would desire in a tenor Evangelist; a joy just to hear his voice. Andreas Scholl gives one of the most emotional performances I have ever heard from him; he tends to be somewhat 'laid-back' in some renditons, but not in this one. Just my opinion; all you Scholl fans, don't get excited!!!!!I suggest you allow yourself an entire day to explore this wonderful musical experience.

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Rating: - The True Drama of the St. Matthew Passion
There are gratefully many recordings of Bach's great St. Matthew Passion from which to choose, and the approaches to this long and mighty work of inspiration are varied. While this listener cut his teeth of the old Klemperer recording now re-mastered from the LP days to CD, this recording under the sensitive and commanding control of Philippe Herreweghe has become the recording most favored for return listenings, especially during the Holy Week. Herreweghe obviously knows the work from intense study, a fact that gives him all the stamina to make the overall Passion work both musically and dramatically.

Herreweghe draws sumptuous playing from his Collegium Vocale Orchestra and Chorus, keeping the period sound intact while adding the contemporary trend for finding the operatic aspects of the work in the lead of all the other recordings. Of course he has an extraordinary group of soloists who give definitive performances. The leading actor is the Evangelist who guides us through the arrest and assassination the Jesus according to the Gospel of Matthew: Ian Bostridge not only has a beautiful tenor voice, rich and warm, but he also offers perfect enunciation of the text and delivers his comments with the exact amount of propelling drama. The role of Jesus is strongly delivered by Franz-Josef Selig and matches his competition (Fischer-Dieskau, Quasthoff and Goerne included!) in conveying both the agony and the transcendence of Bach's lines.

Add to this strong matrix the exquisite singing of Andreas Scholl and the solo work by Sibylla Rubens, Werner G?ra, Dietrich Henschel, Dominik Worner, Elisabeth Hermans, Susan Hamilton and Frits Vanhulle and the beauty of the drama is perfect. This is truly the most dramatic performance of Bach's most dramatic Passion and one to cherish for years. Highly Recommended. Grady Harp, April 06