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Favorite St. Matthew's Passion

83K views 281 replies 94 participants last post by  Juannareyes 
#1 ·
I have read everywhere how, along with his Mass in D Minor (which I love), St. Matthews is perhaps Bach's other greatest musical achievement and is considered by many to be the topper-most summit in all western music. Indeed a lofty statement! So I decided the time has come to imbibe in this fountain of musical majesty... but where to begin?

So Bach and music lovers the world over... harken! Put your digital quill pens to the web-paper and indulge me with your favorite St. M recordings. And don't be shy: Tell me why! :tiphat:

...if you don't mind.
 
#186 · (Edited)
Brahmsianhorn writes, "I can't understand why Jochum does not get mentioned more. It is absolutely gorgeous."

Jochum is a favorite conductor of mine, too. Yet, as I recall, back in the 1980s, when I first began to discover classical music, I asked a composer friend of mine (& notable teacher of composition), which conductor or conductors he'd most recommend for Bach's choral works? At the time there were no period recordings of the choral works in the catalogue (as Gardiner's hadn't arrived yet), and to my surprise, he replied there wasn't a single recording that he could recommend. I remember asking him about Jochum at the time--whose Brahms, Bruckner, & Beethoven he'd thought highly of--& he replied that Jochum's Bach was "beautiful", but that his "conducting style" was "all wrong for Bach". When I pressed him further, he eventually ended up recommending Peter Schreier's 1st recording of the Mass in B minor on Eurodisc (now Berlin Classics), stating that Schreier had a better understanding of Baroque style than Jochum. (At the time, Schreier hadn't started his Bach choral series for Philips.)

Since then, Schreier has became one of my go-to conductors for Bach choral music, and is usually a top choice among modern instrument versions. However, I prefer his two excellent Mass in B minor recordings and Christmas Oratorio to his St. Matthew Passion.



Listening to Jochum's St. Matthew Passion today for the first time in many years, it is very beautiful, I agree, but stylistically, I agree with my friend that it's often too slow & overly romantic in parts. Surely Bach shouldn't be conducted as if he were Brahms? Granted, the soloists are first rate, & better than what you often get today...:



Unfortunately, I don't really have a favorite recording of the St. Matthew Passion. On the period front, I agree with others that Herreweghe's two recordings are good: and https://www.amazon.com/Bach-J-S-St-...6QAVMDM5DFM&psc=1&refRID=01WPG11336QAVMDM5DFM: with a slight preference for his second recording. If nothing else, Herreweghe consistently hires first rate singers on his Bach recordings. Though his soft-hued, rather feminine approach to Bach can leave me less than enthusiastic at times (as I tend to prefer my Bach to be more dynamic, incisive & transparent). I've also liked Veldhoven's recording in the past, but the last time I listened to it, I thought his tempi were too fast in places. I had a similar (but stronger) reaction to Paul McCreesh's Archiv recording. John Butt & the Dunedin Consort are very good too, but maybe a bit underpowered in the chorus, in parts (though brilliantly sung).

I suppose if I were forced to pick four period recordings that I could most get behind, I'd choose Nikolaus Harnoncourt's two St. Matthew Passions, Ton Koopman's 2nd live recording, and Butt's contrapuntally vivid OVPP performance on Linn hybrid SACD. For me, Harnoncourt had a special affinity for this work. I'm slightly partial to his pioneering 1970 recording, the one with boy soloists, instead of sopranos--though admittedly they carry with them a different set of problems (from professional singers). Nor am I always keen on Harnoncourt's tendency to over stress dynamic accents. So, I guess I'm still waiting for a St. Matthew Passion recording that I can totally rave about.

Harnoncourt 1--




Harnoncourt 2--



Koopman's performance can be watched on You Tube:



https://www.amazon.com/Matthew-Pass...&sr=1-3&keywords=ton+koopman+bach+st.+matthew

John Butt, Dunedin Consort:

Among today's Bach conductors, I'd say Eric Milnes is the most likely to do a magnificent recording of the St. Matthew Passion--one that I could rave about--that is, if his energies weren't so focused on his present brilliant, landmark OVPP Bach cantata series, with Montreal Baroque. Another might be Philippe Pierlot and the Ricercar Consort.

I've not yet heard Rene Jacobs recording, which has received good reviews (although I wasn't entirely crazy about Jacobs' Mass in B minor).




My two cents.
 
#203 ·
Sorry about MTP for the St Matthew Passion by the way -- that was unintended. It reminds me of once when I abbreviated the Concertgebouw as CGB and someone who speaks Dutch told me that this was just ridiculous!

Right, so people just made cuts in the mid 1950s like that. In fact I rather what he does with the music at the end, from Am Abend, da es kuhle war -- someone once told me that this is what was played at his funeral, I don't know if it's true or not.
 
#204 ·
I can appreciate different approaches to Bach, but my favorite version is Herreweghe's 1984 recording. In general I think the HIP movement has been pretty successful when it comes to Baroque music, and I tend to lean towards that approach though not exclusively.
 
#205 ·
to Brahmsianhorn -> (Mengelberg) - Yes, the Dutchman could sometimes have that EFFECT on a listener; the best of his recordings can be engrossing, and it would be somewhat difficult to argue that the Concertgebouw of his time was NOT at it's greatest, even w/o the benefit of Stereo, multi-channel microphones, etc. There are very good REASONS why the legacies of Mengelberg & Furtwangler … specifically in the SMP (and other repertoire, of course) … have stood the test of time.
 
#207 · (Edited)
Sure. It's been available almost continuously during the CD era, in several incarnations.

It's a pretty commonly recommended recording, but I don't care for it. It has nothing to do with its lack of HIP-ness. I just don't hear much drama in Richter's conducting, and his soloists are pretty variable. The worst, unfortunately, is mezzo Hertha Töpper, and the mezzo has a lot of very important singing in the St. Matthew; her "Erbarme dich" leaves a big hole in the performance.

Perversely, I actually prefer the recording Richter made in 1979, shortly before he died, for its stronger soloists, particularly Janet Baker, who has everything that Töpper lacks.
 
#209 ·
-> Bill Kasimer & DavidA - Thanks, and looks like there are two, very-DIFFERENT characterizations of what Richter achieved; i.e., Bill much-prefers the later Richter, and conversely, DavidA prefers the earlier one! It's a shame to hear that Ms. Topper was disappointing; from what I remember of her reputation, she usually rated high marks (although can't remember the sources of them). …. Thus, I suppose when we consider MODERN recordings, there's not a clear-cut favorite? … since WM and WF, of the oldest ones, deserve a place of their own?
 
#211 ·
-> Bill Kasimer & DavidA - Thanks, and looks like there are two, very-DIFFERENT characterizations of what Richter achieved; i.e., Bill much-prefers the later Richter, and conversely, DavidA prefers the earlier one!
I should tell you, though, that I don't know anyone else who prefers the later Richter recording. I know a number of people who aren't particularly fond of the earlier one, but that doesn't mean that they prefer the later. There was actually another Richter recording made between those two, but it's never been widely available outside of Japan. I heard it once and remember little about it, except that I culled it shortly afterwards.

Thus, I suppose when we consider MODERN recordings, there's not a clear-cut favorite?
Certainly not for work of the scope of the St. Matthew. But if you're looking for a modern instrument recording in good sound, you might consider Rilling's Hanssler recording or Solti's on Decca. Another one I like is Corboz's - I find it a bit tame, but the soloists are really fantastic.

since WM and WF, of the oldest ones, deserve a place of their own?
Yes, but I'd never recommend either to someone who doesn't already own several versions,
 
#210 ·
Well, BTW, am a bit of a "newcomer" to this entire site - so, has there, in the past, been any discussions 'bout Bach's "St. John Passion"? It was a while (yeah, a LONG one, haha) ago, that I bought the old Seraphim set, with Karl Forster and the very-remarkable, but short-lived tenor - Fritz Wunderlich.
 
#218 · (Edited)
Just thinking of the versions I have of what I consider one of the greatest of all works of music ever written:

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Version that introduced me to the work. Richter at his best in traditional version before he got too lugubrious

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Romantic version of the work as Karajan used to conduct on Good Friday. Indulgence

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Superb singing but feel Gardiner just misses out on the spiritual dimension somewhat

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Very fine first version from Herreweghe

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Harnoncourt puts a lifetimes experience into the work - might be the best all-round bet?

Continued next post...........
 
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