Easter is coming II - which recording of St. Matthew Passion?

Why not try one of the other passions for a change.

Johannes Passion by Herreweghe or by Dunedin/Butt or the new Markus Passion from Reinhard Keiser on Mirare. These are IMHO at least on the same level as the Mattheus Passion, albeit differently.

It's just that I'm much more familiar with the Matthew Passion; I enjoy the St John Passion in recordings by Egarr and Pierlot and find it's a very different, more intimate, work than the bigger Matthew Passion.

EJ

EJ, last night I listened to the Jacobs recording last night.  This was my purchase from last year so it was a good opportunity to listen and enjoy again.  Today I have headed into another direction with a Matthäus Passion with Karl Münchinger that I haven't listened to for maybe two decades.  It is really a different approach with slower tempos that may approach or exceed Klemperer.  I find when you go from a two hour Matthäus Passion to a three hour interpretation it changes from a performance to an event.  Very taxing in either way but I somehow like the perspective of the slower versions.  Definitely not for everyone and certainly you have to be in the right mindset to appreciate it.  Today turned out to be perfect as I really have the time to spend with this and no need to feel rushed.  There is always shortcomings and highlights for every recording but I really thought the reverence here was ideal.  It just felt right and the soloists all seem to be ideal as well.  What amazed me was how rhythmic the chorus sections were and how much more the diction was pointed.

Not sure where I'll head to next and I still have to decide on what new purchase to make this year?

Johann Sebastian Bach:  Matthäus Passion

Peter Pears, Hermann Prey, Elly Ameling, Marga Höffgen, Fritz Wunderlich, Stuttgarter Kammerorchester, Karl Münchinger

Recorded in 1964 at the Ludwigsburg Church of Schloss in Stuttgart

Brand new recording of the AAM's Matthew Passion. Will take time to assimilate (and report on) the performance, but the soloist line-up headed by James Gilchrist as the evangelist and Matthew Rose as Christ is promisingly mouthwatering. After Jacobs, another performance with a female alto.

EJ

Quick comment on the version: this new recording follows the 1727 score, not the familiar version of 1736. I was present when Egarr directed the Bach Society for the first time in Naarden, in 2007, and at the time wasn't bowled over - it felt more Johannes Passion than Matthew Passion. This recording sounds more polished and far better judged than that event (and I have had time to digest...), but confirms the impression that this version is leaner than we are accustomed to. 

EJ

Johann Sebastian Bach:  St. Matthew Passion, BWV 244

Amaryllis Dieltiens, Siri Karoline Thornhill, Tim Mead, Gerd Türk, Julian Podger, Charles Daniels, Kampen Boys Choir, The Netherlands Bach Society, Jos van Veldhoven 

Listened on Monday March 30th

Johann Sebastian Bach:  St. Matthew Passion, BWV 244

Peter Pears, Dietrich Fischer-Dieskau, Elisabeth Schwarzkopf, Christa Ludwig, Philharmonia Orchestra, Otto Klemperer

Listened on Tuesday March 31st

Johann Sebastian Bach:  St. Matthew Passion, BWV 244

Irmgard Seefried, Hertha Töpper, Dietrich Fischer-Dieskau, Kieth Engen, Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter 

Listened on Wednesday April 1st

Johann Sebastian Bach:  St. Matthew Passion, BWV 244

Gerd Türk, Peter Kooij, Nancy Argenta, Robin Blaze, Bach Collegium Japan, Masaaki Suzuki 

Listened on Thursday April 2nd

Johann Sebastian Bach:  St. Matthew Passion, BWV 244

Christoph Pregardien, Michael Schade, Christine Schäfer, Dorothea Röschmann, Arnold Schoenberg Chor, Wiener Sängerknaben, Concentus Musicus Wien, Nikolaus Harnoncourt

Today

This morning listened to Herreweghe's revolutionary first recording, from the mid 80s. It is a committed, melodious Matthew Passion, with a great line-up. This was my first love, although sadly in all these years I haven't learned to appreciate René Jacobs' peculiar alto.

EJ

Bach's Matthäus Passion is really the "great passion."  This is the term that Bach's son, Carl Philipp Emanuel termed it as.  I have gone through seven now since last Saturday.  I have another 12 waiting in the wings (including a St. Matthew & St. John on vinyl).  A massive undertaking to think one can absorb and contemplate this work in a single day.  I really wish I had more time and could spend maybe six months or a year just listening, studying, and writing about this work alone.  Since I simply do not have the time I can only just gloss over this as there is too much to say otherwise.

One should take the macro approach first after all and then work more deeply with a fine tooth comb to uncover what lay beneath the surface.  I have yet to pick my next two purchases of this work but I know generally that I will be heading back further in time rather than within the last decade anyway.  Maybe a 30 year old and a 50 or 60 year old?

Overall though, to be fair I can say none are perfect from beginning to end but each has remarkable strengths which may not be apparent initially if you only look for a narrow outcome.  Whether that be the soloists (or a single soloist), the instrumentation, an aria, a choir, a tempo (both overall or on individual portions) or a combination of any of these or more.  Again, when you have 68 or so sections to this work it isn't really possible to speak of every part equally.  

What I can say though this year is that I am finding that it is the character of the work that I am assessing first and foremost.  Yes, it is nice to have the ideal recording quality and one always hopes that the one with all the best sum of the parts also has a strong recorded quality outcome but just as I said earlier, none fail overall, only that the strengths on one may not be what you or I, as an individual would be looking for.

After listening this week and also being familiar with the others in my collection I've noticed a general trend in tempo (which really sets up the character first and foremost).  You have a rather large group of conductors who speed along, then a tiny group that pull back noticeably and then you have Otto Klemperer.

Not to generalize because with 68 sections in the work a conductor could have a quicker view of individual components and a slower view of others and this creates a totally different outcome than another conductor but the over timings could be similar.  But at the risk of generalizing to make a point I would venture to classify Klemperer as so unique unto himself alone.  Next is Munchinger & Richter (with Herreweghe somewhere on the fence) followed by the rest.  What you can not in the below timings of just a few examples is that as a listener there is a big difference between Klemperer and Munchinger/Richter of 27 minutes overall.  Then, if you take all other and say that the medium probably tends to around 162 minutes then you have another 35 minute drop or nearly an hour difference compared to Klemperer.   

The timings in themselves is not the important thing.  I only bring this in to illustrate the different conceptual views and note that what a difference overall it can make on the character of the work and the view of style and view of what this work means today as well as to those from the past. 

This year (and it changes every year through out ones life and your own periods of change or growth) I find more comfort in the tempos of the second group (Munchinger / Richter) than any of the others.  But when you shave off 30 or 40 minutes one way or add 25 the other way this is not a minor difference.

For this week alone I am going to go out on the limb an say that the Munchinger has affected me the greatest.  Not because it is the best but because with all its imperfections it shines with such character, rhythm, rawness and reverence.

If I have time I'll further this with my view on what are some of the specific highlights or low points of each of these.  As I age though I am concluding that the faster they go in a work like this the less pleasing it becomes for me.  Yes, it is slick and nimble but I do like depth and heart and seem to prefer less 'performance' and more soul.

All the Best,

Doug

EJ, it is so funny that this morning after much debate, I finally had Harnoncourt in one hand and this very Herreweghe in the other hand.  Tomorrow I will have the Herreweghe queued up and ready to go !

Doug, that is a spectacular collection of St Matthew Passions. I am on the verge of ordering Karajan's second (1972) recording. Have you heard it?

EJ

Inspired by this thread, I am listening to the Munchinger on CD now. I also have a 1970 Mauersberger on Eurodisc vinyl. I thought I had more. Any favorite version on vinyl (I guess I could get the Munchinger on vinyl)?

I only have Karajan's Mass in B minor so I think this would be a good find and I see there is a 1950 recording too.  Both the 1950 and 1972 version have an all star cast of soloists and the first might be worth getting for Kathleen Ferrier alone.  Thanks for pointing this one out.  I've not put it on my wish list.

Herreweghe's second (1998) recording is more polished, somewhat more dramatic. Bostridge is perhaps not everyone's tastes but I love his emphatic style. Andreas Scholl is in absolute prime voice, but sounds uncommitted. The choir is the selling point - they are fantastic, and guarantees a continued spot among the very best recorded versions (IMO).

EJ

So I have made a list of SMP's that I want eventually and this I am sure will continue to grow but how is it that the number one on the list (Herreweghe's 2nd version) pictured here seems to be unavailable now.  Well, you can find a few around but always at a steep premium in price.

In addition to what I have already, my goals then in rough order of newer and older (meaning I give myself one to two years to have all of these) then are as follows:

Phillipe Herreweghe (1998)

John Butt (2007) 

Sigiswald Kuijken (2009)

Richard Egarr (2014)

Ton Koopman (2005)

Riccardo Chailly (2009)

Nikolaus Harnoncourt (1970)

Mogens Wöldike (1959)

Willem Mengelberg (1939)

Hermann Scherchen (1953)

Herbert von Karajan (1950 & 1972)

Long term I will add Fritz Lehmann, Fritz Werner, Hermann Max, Günther Ramin...

So many more to add but I'll stop here as this will be enough of a job to round these up.  Many are very hard / or expensive and so I have to pace myself.  This year I'll aim for the first 3 or 4 in each group above.

 Johann Sebastian Bach:  St. Matthew Passion, BWV 244

Rene Jacobs, David Cordier, Christoph Pregardien, Markus Schäfer, Klaus Mertens, Tölzer Knabenchor, La Petite Bande, Gustav Leonhardt

Yesterday was Herreweghe (1984) and today Leonhardt (1989)

...actually both of these are very good and a nice high point,

Doug, I have the original issue of Herreweghe II, a beautiful box with a CD ROM that no recent computer can read  

From your list, I have the new Egarr (obviously) and consciously passed on the others except Koopman, who will probably be next, unless Pierlot decides to record the work. I would very much like to hear Suzuki and Leonhardt, although the thought of an exclusively male performance does not sound inviting.

EJ

...and you put up Leonhardt. Talk about providence! How is it?

Florestan,

I love this version from Richter. Very clear recording, beautiful sound. How did they manage that in 1958?

There are some incredibly beautiful parts in this version:

• A magnificant opening with the wonderful boys choir, they hold on their notes so long! (3:56-4:04)
• Herzliebster Jesu, was hast Du verbrochen (3) - very sensitive, beautiful choir
• Wonderful clear evangelist Ernst Häflinger & Jesus Kieth Engen, e.g. in "Da kam Jesus mit ihnen zu einem Hofe" (24) and in "Und er kam zu seinen Jüngern" (30).
  It's as if they are standing right in front of you - but this was recorded in 1958!!
• "Geduld" (41): Ernst Häflinger is in top shape. The organ (played by Richter himself?) sings like a bird, e.g. at 2:50!
• No: 46. "Da hub er an, sich zu verfluchen" - very moving story line of Petrus' grief
• "Wahrlich, dieser ist Gottes Sohn gewesen" (Choral in 73) - Everytime I play these 60 seconds of choir singing, it touches me deeply. Listen to this with a headphone in the dark!
• "Wie wunderbarlich ist doch diese Strafe" (55) another example of this wonderful choir. All four voices so clear!

Small critical remark: the young choir is so enthousiastic that they sing some chorals too loud, e.g. Erkenne mich, mein Hüter,Ich will hier bei Dir stehen. "Was mein Gott will, das g’scheh allzeit" sounds like a march.

Except for this, it is a deeply moving, heartfelt and emotional version of the MP.

On the site http://www.muenchener-bachchor.de/en/archive, one of the boys from the choir shares his personal memories:

The summer of 1958: Herkulessaal der Residenz in Munich, a large orchestra on the stage, many microphones and a director's stool with a gothic-shaped back. On it sat a properly attired young man who spoke to the choir and orchestra in a distinct Saxon accent and often telephoned with the recording engineer. With his ensemble, consisting of the Munich Bach Choir, the Munich Bach Orchestra and well-known soloists, Karl Richer recorded Bach's St. Matthew's Passion for the first time. As a Munich choirboy, I was allowed to sing along with the cantus firmus in the beginning and ending chorales of the first movement, and was quite excited. Richter's approach was strict and concentrated, but he was very patient with the childrens' entrances. This legendary Archiv Produktion recording is still in the catalog; it shows Richter's dramatic, spontaneous musicality. The Bach Choir sounded very youthful.

The multi-miking technique and Richter's personal engagement with the recording engineer may explain the excellent sound quality from almost 60 years ago.

Happy Easter!

Bert,

Very nice response.  When I have time I would like to respond further.

I am wondering if anyone has a recommendation for the recording with the best booklet / layout of the text?  In going through just the 7 or 8 last week I became quite aware of the disparity among recordings and the effort that did or did not go into the notes / program tracks etc.

My vote for the best booklet of the program / libretto (not the writing of someone about the Matthäus-Passion itself) goes to this 2001 Nikolaus Harnoncourt on Teldec.  The reason is it is the only one that I can think of that lays out the source (either biblical passage, strophes from existing hymns or free verses) of the text along with the German, English, and French of each track.  It also does this over two pages (left & right) and it is very well laid out and clear.  My only reservation is that the text is rather small (for me) and so I need my glasses and very good lighting.  I honestly cannot believe no one else has done it this way (at least I haven't seen any others yet).  This should be mandatory I would have thought.

This recording also supposably has the Full Autograph Score but I have yet to be able to get this feature to work.  Oh well, I hate computers anyway so I will be seeking out a good edition of the score and will follow the music in a proper way hopefully in the not to distant future.

Another interesting point I have started to realize (thanks to Bert's post above is that the likes of Karl Richter, Karl Münchinger, Otto Klemperer all use the traditional BWV numbering scheme with 78 sections or tracks while most others and especially all modern versions seem to use the Neue Bach-Ausgabe numbering system which provides 68 tracks on a recording. 

Florestan,

This Easter I sang the MP as member of Chor II for the first time, and we used the Peter's Edition partitur, so I'm familiar with the BWV numbering. Indeed the older records use the BWV numbering and I renumbered all later rips to BWV (which is easy in JRiver). 

After listening to at least 7 MP's recently, I noticed is there is no perfect MP. All versions are different, and the fantastic soprane on A is counterbalanced by the marvellous choirs on B or the perfect Evangelist on C.

For me this is very moving music, and Bach as devoted Cristian wrote this Passion to express his feelings on the tragic death of Christ. I prefer therefore the dramatical versions, and feel less attracted to the quick and superficial versions. But that's a matter of personal taste.

Another advice: the aria's of the soprano, tenor (the wonderful Christoph Prégardien) and basso in Koopman's 1992 version are the finest I ever heard.

Let me know which section in which version you like, and I will listen if I hear the same.

One thing I noticed: once you have sung the MP yourself, you hear more in each recording than ever before!