Track Listing

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
24. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 30. Aria. Sch! n
25. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 31. Die aber Jes
26. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 32. Choral. Mir
27. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 33. Und wiewohl
28. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 34. Recitativo.
29. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 35. Aria. Geduld
30. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 36a. Und der Hoh
31. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 37. Choral. Wer
32. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 38a. Petrus aber
33. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 40. Choral. Bin
34. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 41a. Des Morgens
35. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 42. Aria. Geht m
36. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 43. Sie hielten
37. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 44. Choral. Befi
38. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 45a. Auf das Fes
39. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 46. Choral. Wie
40. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 47. Der landpfle
41. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 48. Recitativo.
42. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 50a. Sie scheiee
43. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 51. Recitativo.
44. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2. No. 52. Aria. K�nnen

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
17. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2 (end). No. 67. Recita
18. St. Matthew Passion (Matth�uspassion), for soloists, double chorus & double orchestra, BWV 244 (BC D3b): Part 2 (end). No. 68. Chorus

Product Details

• Amazon Sales Rank: #122566 in Music
• Released on: 1999-11-16
• Number of discs: 4
• Formats: Enhanced, Import

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

Customer Reviews

St. Matthew Passion Reborn
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
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
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.