- Intérprete: DIVERS
- Compositor: DIVERS
- CD de audio (29 de enero de 2010)
- Ten en cuenta: Necesita un material compatible con Super Audio CD
- Número de discos: 3
- Formato: Audiolibro, Cofre, CD, Sonido digital, SACD Híbrido - DSD, Super audio CD - DSD
- Sello: Challenge Classics
- ASIN: B0033627CM
- Ediciones a la venta: Música MP3
- Clasificación en los más vendidos de Amazon:
La Pasion San Mateo Bwv 244-Kuijken- Audiolibro, Cofre, CD, Sonido digital, SACD Híbrido - DSD, Super audio CD - DSD
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Descripción del producto
Descripción del producto
This Hybrid SACD recording of JS Bach's great choral masterpiece has been produced by one of the great early music partnerships of recent times, the vocal and orchestral ensemble La Petite Band and its artistic director Sigiswald Kuijken. Incorporating an approach based on recent scholarship, the St Matthew Passion is performed here with a small number of soloists and instrumentalists. This 3 disc set also comes with a 120-page booklet, featuring the lyrics plus translations into English.
Twenty years ago La Petite Bande, (at that time with conductor Gustav Leonhardt and Sigiswald Kuijken as concertmaster), released their first recording of Bach's St Matthew Passion. It was made with soloists, a chamber choir and an orchestra large enough to accommodate those vocal forces. Since then Kuijken's vision on this masterpiece has changed markedly, as ground-breaking musicological research of the last decades has led him to cut down the size of the ensemble used in performance. There is not a real choir anymore because the soloists perform also the choir parts, and the boy's choir that is used in most performances of this Passion is replaced here by a single soprano voice. In March of last year Kuijken and La Petite Bande released a critically acclaimed recording of Bach's B Minor Mass, which utilised similarly scaled-down musical forces.
La Petite Bande was founded in 1972 by Sigiswald Kuijken, and although it was not meant to become a permanent orchestra, the success of several recordings by the group under the direction of Gustav Leonhardt was such that it began to give concerts regularly. All its members are internationally renowned early music specialists.
Personnel: La Petite Bande (vocal and instrumental ensemble), Sigiswald Kuijken (violin & direction)
Soloists: Gerlinde Sämann, Marie Kuijken, Petra Noskaiová, Patrizia Hardt, Christoph Genz (Evangelist), Bernhard Hunziker, Jan Van der Crabben (Jesus), Marcus Niedermeyr
Lista de canciones:
1. St. Matthew Passion, BWV244 - La Petite Bande
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It is the kind of recording that lets Bach's music speak for itself. Dunedin Consort is to be praised for the urgent narration of the evangelist, but Kuijken takes a different, understated approach with is a bit more convincing. It is ecclesiastical work on a serious subject. A recording which seeks to emulate Bach's original forces (sans the voices of boy trebles and altos) does best to also emulate the mood and atmosphere for which Bach composed.
The mood here is somber, but it is not boring. It is contemplative, but not brooding. Apart from a homily, I could imagine this passion being the centerpiece of the Lutheran Good Friday liturgy. Bach's music here is clearly defined by Kuijken and his forces without sounding anemic. A huge contributing factor to this is reverberation of the recording, which emulates the sound of the interior of a large church. From the opening bars you can hear the forces are smaller than what you may be used to hearing, but the sound carries, utilizing the "sound-space" and acoustics nicely, as one might imagine it may have sounded in the St. Thomas Church in the early 18th century.
Critics have called McCreesh's reading fussy and too light where it should sound full. I rather agree. That is not the case here. The opening chorus sounds just right, small forces which can fill a whole church. The dialogue between the "Faithful" and "Zion" is effective and nicely spaced. We must remember that the first chorus fits within the "dialogue cantata" tradition. The choral interjections in "So ist mein Jesus nun gefangen" use the acoustics of the recording space to sound urgent, full and explosive. "Sind Blitze, sind Donner" is still a rolling, thundering fugue to the limit that it still sounds appropriate and believable as a church piece.
Regarding the soloists themselves, the evangelist tries to make no huge waves in vocalizing emotion, nor does Jesus. Rather the beauty and complexity of Bach's music, again, speaks for itself. The anti-religious Richard Dawkins once exalted the aria "Mache dich, mein Herze rein" (the last aria Bach scored for the same baritone who sings the part of Jesus) as a piece he admired greatly, as one must not be religious to appreciate the beauty of another human's [Bach's] genius. I get that feeling here.
While I admire that conductors of Bach are eager to put their stamp on interpretation on his works, it is refreshing to hear a recording of [in my opinion] his magum-opus that is within the spirit and intention of Bach -- who, like his north-German contemporaries, wrote not for posterity or a mention in modern musical-history books and classical record labels, but for the immediate concern, for a piece of contemplative music for a religious service.
I would highly recommend this recording. While my ears still favor above all else the St. Matthew Passion recorded by Philippe Herreweghe in the late 1990's for Harmonia Mundi, when I wish for a recording that perhaps most faithfully recreates Bach's sound-world, this Kuijken recording is the one I will turn to.
Perhaps Konrad Junghanel with Cantus Coelln, or Andrew Parrott with his Taverner Consort will be next to record this momentous work?