Da versammleten sich die Hohenpriester / Ja nicht auf das fest / Da nun Jesus war zu Bethanien / Wozu dienet dieser Unrat / Da das Jesus merkete
Du lieber Heiland du
Buss und Reu
Da ging hin der Zwoelfen einer
Blute nur, du liebes Herz
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
Ich bin's, ich sollte buessen
Er antwortete und sprach:
Wiewohl mein Herz in Traenen schwimmt
Ich willdir mein Herze schenken
Und da sie den Lobgesang gesprochen hatten
Erkenne mich, mein Hueter
Petrus aber antwortete
Ich will hier bei dir stehen
Da kam Jesus mit ihnen zu einem Hofe
O Schmerz! hier zittert das gequaelte Herz
Ich will bei meinem Jesu wachen
Und ging hin ein wenig
Der Heiland faellt vor seinem Vater nieder
Gerne will ich mich bequemen
Und er kam zu seinen Juengern
Was mein Gott will, das g'scheh' allzeit
Und er kam und fand sie aber schlafend
So ist mein Jesus nun gefangen / Sind Blitze, sind Donner in Wolken verschwunden
Und siehe, einer aus denen
O Mensch, bewein' dein Suende gross
Track Listings (23) - Disc #2
Ach! nun ist mein Jesus hin
Die aber Jesum gegriffen hatten
Mir hat die Welt trueglich gericht't
Und wiewold viel falsche Zeugen herzutraten
Mein Jesus schweigt zu falschen Luegen stille
Geduld, Geduld!
Und der Hohepriester antwortete / Er ist des Todes schuldig / Da speieten sie aus in sein Angesicht / Weissage uns, Christe
Wer hat dich so geschlagen
Petrus aber sass draussen im Palast / Wahrlich, du bist auch einer von denen
Erbarme dich
Bin ich gleich von dir gewichen
Das Morgens aber heilten alle Hohenpriester / Was gehet uns das an / Und er warf die Silberlinge in den Tempel
Gebt mir meinen Jesum wieder
Sie heilten aber einen Rat
Befiehl du deine Wege
Auf das Fest aber hatte der Landpfleger / Lass in kreuzigen!
Wie wunderbarlich ist doch diese Strafe
Der Landpfleger sagte
Er hat uns allen wohlgetan
Aus Liebe will mein Heiland sterben
Sie schrieen aber noch mehr / Lass in kreuzigen! / Da aber Pilatus sahe / Sein Blut komme uber uns / Da gab er ihnen Barrabam los
Erbarm es Gott
Koennen Traenen meiner Wangen
Track Listings (16) - Disc #3
Da nahmen Kriegsknechte / Gegruesset seist du, Judenkoenig / Und speieten ihn an
O Haupt voll Blut und Wunden
Und da sie ihn verspottet hatten
Ja! freilich will in uns das Fleisch und Blut
Komm, suesses Kreuz
Und da sie an die Staette kamen / Der du den Tempel Gottes zerbrichst / Desgleichen auch die Hohenpreister / Andern hat er geholfen / Desgleichen schmaeheten ihn
Ach, Golgatha, unsel'ges Golgatha
Sehet Jesus hat die hand
Und von der sechsten Stunde / Der rufet dem Elias / Und bald lief einer unter ihnen / Halt, lass sehen / Aber Jesus schriee abermals laut
Wenn ich einmal soll scheiden
Und siehe da, der Vorhang im Tempel zerriss / Wahrlich, dieser ist Gottes Sohn gewesen / Und es waren viel Weiber da
Am Abend da es kuehle war
Mache dich, mein Herze, rein
Und Joseph nahm den Leib / Herr, wir haben gedacht / Pilatus sprach zu ihnen
Nun ist der Herr zu Ruh gebracht
Wir setzen uns mit Traenen nieder
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, n... more »ot 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« less
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
CD Reviews
St. Matthew Passion Reborn
R. Gerard | Pennsylvania USA | 03/04/2002
(5 out of 5 stars)
"In 1989 Gardiner interpreted Bach's St. Matthew Passion for the label, DG Archiv. Despite the-Gardiner-recording's evident bland, frigid, and impersonal aura (which to some people is called "period style performance"), this recording was called a standard- the rendition of the Matthauspassion to which all others would be compared.
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, just as the St. Matthew Passion should be. This, I feel, will be the St. Matthew Passion to which all others will be judged. I have yet to hear anything better.
The key to Herreweghe's success in his release is approach of legato instead of staccato, and by taking a look at the enlightening CD-Rom which is part of this grand St. Matthew Passion package, you'll see Mr. Herreweghe has the knowledge to proove his beautiful approach.
(Harmonia Mundi's attractive package includes: the complete libretto, the complete St. Matthew Passion on three discs, and "The Birth of the St. Matthew Passion: An Interactive Journey" CD-Rom with numerous biographies, histories, scholarly notes, the complete Passion with pop-up libretto, and synopsises of each number of the Passion.)
Herreweghe also posesses what Gardiner doesn't, an astute judgement of tempo.
In contrast to Gardiner's impersonality in his St. Matthew Passion, Herreweghe's sense of the work's spitual contemplation is evident throughout, and in effect, the Choir and Orchestra of the Collegium Vocale create a very absorbing recording which is never 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.
All of the arias are favorites here thanks to the fine soloists, among them: male alto, Andreas Scholl. The Soprano Sibylla Rubens has the appropriate "boyishness," cleanliness, and control for Bach. Her duet with School at the end of Part 1 ("So ist mein Jesus nun gefangen") is the most historically convincing, as well as beautiful, I have ever heard on record.
The double chorus is correctly sized according to Bach's own preferences. In fact, Gardiner's choirs are oversized. Only Herreweghe's uses the most realistic proportions.
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).
This is an overwhelmingly beautiful record, but Herreweghe also keeps in mind that this is sacred music, that is: it is written for the church, and he seems to balance everything out just perfectly.
Philippe Herreweghe's 3+1 CD set is strongly recommended to all Bach lover's alike. But if you still insist on hearing Gardiner's side of the story, buy Gardiner's Highlights of the St. Matthew Passion AND Herreweghe's Complete St. Matthew Passion."
A sublime recording with a great surprise
Cordel W. Harris | Fenton, MO United States | 11/21/1999
(5 out of 5 stars)
"It's hard to praise any particular aspect of this CD, since everything is so beautiful. This is, in my opinion, Bach's greatest work, one to rival Beethoven's Ninth (different genres and times, I know). The recording is spirited, moving, and sometimes overpowering. I believe that Herreweghe's interpretation truly does the work justice.
I did not expect to receive the CD-ROM with it. Perhaps I read the liner wrong. It is a pleasant surprise. The CD covers the life of Bach, the passion, the structure of the Passion, and the styles of singing within it. In addition, it has the full libretto --there is also a printed one-- and an interpretation of everything Bach was trying to accomplish with this work. As usual with HM works, everything is in English, French and German.
I especially enjoyed the section entitled "The Heart of the Work." It had an excerpt from all of the motets, chorales, interpretations, etc, along with who originally wrote it, the key, and the year written. In true European fashion, it is a keen analysis of the whole of The Passion Accoding to St. Matthew.
My recommendation is to listen to the whole thing once, go over the CD completely, and learn what is going on, then listen again. This was more than just a listening experience for me; it was a learning experience.
If you have any interest in this genre, buy this. Now. Harmonia Mundi is my favorite classical label; this work only confirms that."
A monument in Bach recording history
Paulo Carminati | Northeast USA | 01/24/2000
(5 out of 5 stars)
"Finally, a recording of the Passion that dances! Herreweghe's recording should now be the benchmark by which all Bach recordings should be compared. No longer shall the continual argument of authenticity and performance practice limit the performance of Bach's music to mere scholastic rhetoric. Herreweghe most graciously remembers that all baroque music was some form of dance (try dancing to Klemperer's recording and you'll see what I mean) and that the rhythmic impulse in Bach's music is just as important as any harmony, melody or counterpoint. You will be hard pressed to find a more alive, soulful recording of Bach anywhere else. Imagine the intense drama and rich sonority of great conductors such as Fürtwangler and Klemperer, but without the suffocating and brutal self-flagellation. Herreweghe has found a way in which Bach can both breathe and explode at the same time. This recording is now the highlight of my extensive collection, and looks to be for a long time."
Finally, Justice to the Masterpiece
Robert | Concord, CA USA | 09/15/2001
(5 out of 5 stars)
"Finally Bach's Matthauespassion is treated right. Herrweghe's team of instumentalists, vocalists, and especially the stellar chorus by far surpasses those casted in Gardiner's recording which is now more than a decade old. From the year of Gardiner's release, the public found it lacking sensitivity in its tempi and its overall sound is just plain stiff, just what you would expect from period instruments. Not to mention the second chorus was annoyingly hushed to a whisper at times. Despite this, Gardiner's recording was made the standard for years.
The perfect St. Matthew Passion was hard to find: Kemplerer's was too slow, Gardiner's was too fast and "wooden", Karajan's was too romanticized, and Harnoncourt's was too monotonous and unpolished.
Now there is finally a contender. Herrweghe's recording is purely satisfying and is never tedious. His tempos are wisely chosen and the Harmonia Mundi sound quality is clear as a bell. The solists are unique. Ian Bostridge makes a perfect Evangelist and Andreas Scholl is plain awesome on the second stave. Like Gardiner, Herrweghe uses period instruments. However, these instrumentalists play feelingly and aid in projecting Bach's profession of faith strongly, yet sensitively, to the listeners. The second chorus rings with a powerful fervor that isn't found in Gardiner's. This recording is also more historically informed.
**The overall style is well balanced: It is played in period style (without sounding too stuffy), it is played with sympathy (without being overly-romanticized) and it is theatrically dramatic (without losing its sacred purpose).
The CD-Rom that is included is as well-packed as a 300+ page biography about the composer and his times.
**If you are still intent on hearing Gardiner's version though, I HIGHLY suggest buying Herrweghe's St. Matthew Passion FIRST, and then buying Gardiner's Highlights of the same work."
A great achievement
Robert | 07/25/2001
(5 out of 5 stars)
"Herreweghe has always been a reliable Bach interpreter, but every time I bought his CDs I found the performances somewhat wanting, especially in the most exhilarating pieces, like the Gloria in the B minor Mass. There's some kind of politeness in his conducting that holds the music when it should soar. But this version of the St Matthew Passion shows Herreweghe can also drive his forces to produce one of the most dramatically moving readings of this extraordinary work.Herreweghe has assembled a great group of soloists, led by the excelent Evangelist of Ian Bostridge, who infuses the narrative with the necessary dramatic aplomb, and the exceptional singing of Andreas Scholl, whose full-bodied countertenor voice add a certain dramaticality also to the arias. The choir is passionate throughout and the orchestra plays nicely.In almost any aspect, this version holds well against its main rival, Gardiner's now decade old recording. In some, Herreweghe definitely scores over Gardiner. He makes the second chorus interjections, kind of tame under Gardiner, sound much more urgent in parts like the opening chorus. For those who dislike period instruments, Herreweghe's shift toward more legato playing will be a bonus as well. But I miss the crisper articulation employed by Gardiner, which for me add to the pungency of the music, and particularly the way he manages to produce the most beautiful and transparent sound from his orchestra.Some people will always prefer the St Matthew Passion with the seriousness and gravity of Klemperer's extremely slow performance. Frankly, I admire the intense devotion in Klemperer's reading, but find it interminable and have to force myself to hearing it. With Herreweghe (or Gardiner), I'm always compelled to listen again to one of the greatest creations in the history of music."
Track Listings (29) - Disc #1