Frans Brüggen, Orchestra of the Eighteenth Century, Nederlands Kamerkoor - Johann Sebastian Bach: Matthäus-Passion (2002)
Frans Brüggen, Orchestra of the Eighteenth Century, Nederlands Kamerkoor - Johann Sebastian Bach: Matthäus-Passion (2002)
EAC | FLAC | Image (Cue & Log) ~ 671 Mb | Total time: 160:14 | Scans included
Classical | Label: Philips | # 473 263-2 | Recorded: 1996
EAC | FLAC | Image (Cue & Log) ~ 671 Mb | Total time: 160:14 | Scans included
Classical | Label: Philips | # 473 263-2 | Recorded: 1996
Hardly is the ink – yes, some of us still use the stuff – dry from my review of a St Matthew Passion performed by the Netherlands Bach Society conducted by Jos van Veldhoven, than another Netherlands-based recording turns up, this one directed by Frans Bruggen. By the time readers see this review they will know that I enjoyed the rival performance, while stopping short of recommending it as an out-and-out winner. Bruggen’s version provides some interesting comparisons with the other, more of detail than of concept. Both are live recordings from the same premises in Utrecht – Bruggen in 1996, van Veldhoven in 1997; both share a lively sense of drama and have broadly corresponding views about the pacing of it, and both field forces of similar though not identical strengths. Bruggen, for example, prefers a string body of 5.4.3.2.1 for each of the orchestras as against the 4.3.3.1.1 of the other. My own preference here is for Bruggen’s choice, which invariably offers sturdier support and a more apparent, effortlessly eloquent aural framework. Miraculously, only two or three musicians are common to both recordings. Where on earth would Dutch music-making be without omnipresent violinist Alda Stuurop, cellist Richte van der Meer, or bass Peter Kooy? Continuo player Margaret Urquhart, on the other hand, offers variety within ubiquity, being allotted a double-bass for van Veldhoven and a violone for Bruggen. Again, my preference is for Bruggen’s judgement in these matters and, by and large, his continuo groups are the more impressive. And Bruggen scores again over the other in the more sharply defined phrasing and articulation he requires from his players. Van Veldhoven has a more fluid concept of phrasing, and sometimes this is strikingly effective, but occasionally Bach’s melodic contours are allowed to drift, thus becoming flaccid and enervating.
Bruggen, so far, comes out on top but there are also some weaknesses which redress the balance. The most serious of them is the solo singing of his second soprano, Mona Julsrud. Her “Blute nur, du liebes Herz” is a sorry affair in which her technique and vocal range fall well short of what is required. Kristinn Sigmundsson, who sings the role of Christ, has a very fine, resonant voice and, though occasionally I found him unfocused, his performance is noble and at times awesome in the forthrightness of its declamation. There is the greatest difference imaginable between the vocal colours and inflexions of the two rival Evangelists. Both Gerd Turk (van Veldhoven) and Nico van der Meel are affecting story-tellers, but there the similarity ends, the latter having such a light, airy voice that he calls to mind a French haute-contre. Van der Meel’s performance is absolutely gripping – his tale is one of mystery, urgency and of commanding importance. We are inescapably drawn in to his narrative which he declaims with sensibility and a wide range of inflective nuance. His account of St Peter’s denial is realized with consummate artistry.
Where the other soloists are concerned it is as much a matter of personal taste as anything. Maria Cristina Kiehr turns in a fine performance for Bruggen – her “Aus Liebe will mein Heiland sterben” is meek, intimate and ethereal – but, even so, only just has the edge on van Veldhoven’s mainly excellent Johannette Zomer. Andreas Scholl (van Veldhoven) is matched, not by a countertenor, but by a contralto, Claudia Schubert, in the Bruggen recording. Her “Buss und Reu” and affectingly halting “Erbarme dich” are darkly expressive and sublimely lyrical, respectively. I liked her “Ach, nun ist mein Jesu hin” rather less, however, the piece furthermore providing a rare instance of indifferent choral singing. It is the price we must pay for a live recording and, though examples of poor ensemble are few enough, those that do creep in – No. 36 is another – are nevertheless unwelcome. Of the remaining soloists, Wilke te Brummelstroete is rewarding in her “Konnen Tranen meiner Wangen” (No. 61), Ian Bostridge and Toby Spence effective, Harry van der Kamp resonant but hollow-sounding, and seemingly less concerned with textual content than his confederates, and Peter Kooy, satisfying as ever – his “Mache dich”, in both recordings of the Passion, is sung with affection and understanding for both music and text, though the piece gets off to a shaky start and is, perhaps, slightly less lyrical than van Veldhoven.
In summary, this is a St Matthew Passion which should please many readers. Bruggen’s interpretation is eloquent, thoughtful in matters of style and expressive content, and it benefits from a textural clarity which few competitors can rival. All aspects of Bach’s miraculous score are taken into account. Whether or not, in the end, this is my first choice, I am at the moment uncertain, but it is without question a performance that I shall want to hear many times over. Strongly recommended.– Nicholas Anderson
Performer:
Tenor [Evangelist] - Nico van der Meel
Bass [Jesus] - Kristinn Sigmundsson
Sopranos - Maria Cristina Kiehr, Mona Julsrud
Contraltos - Claudia Schubert, Wilke te Brummelstroete
Tenors - Ian Bostridge, Toby Spence
Basses - Peter Kooy, Harry van der Kamp
Soprano [Uxor Pilati] - Tannie Willemstijn
Soprano [Ancilla I] - Adinda de Nijs
Contralto [Testis I] - Kathrin Pfeiffer
Contralto [Ancilla II] - Ananda Goud
Tenor [Testis II] - Bruce Sellers
Bass [Pilatus] - Jelle Draijer
Bass [Petrus] - Kees Jan de Koning
Bass [Judas] - Lodewijk Meeuwsen
Bass [Pontifex I] - David Barick
Bass [Pontifex II] - Hans Pootjes
Boys’ Choir of St Bavo’s Cathedral, Haarlem
Nederlands Kamerkoor
Orchestra of the Eighteenth Century
Conductor - Frans Brüggen
Tracklist:
Johann Sebastian Bach (1685-1750)
Matthäus-Passion, BWV 244
CD1:
01. 1. Part 1. Chorus. Kommt, ihr Töchter, helft mir klagen
02. 2. Da Jesus diese Rede vollendet hatte
03. 3. Chorus. Herzliebster Jesu, was hast du verbrochen
04. 4. Da versammelten sich die Hohenpriester
05. 5. Recitativo. Du lieber Heiland du
06. 6. Aria. Buß und Reu
07. 7. Da ging hin der Zwölfen einer
08. 8. Aria. Blute nur, du liebes Herz
09. 9. Aber am ersten Tage der süßen Brot
10. 10. Chorus. Ich bin's, ich sollte büßen
11. 11. Er antwortete und sprach
12. 12. Recitativo. Wiewohl mein Herz in Tränen schwimmt
13. 13. Aria. Ich will dir mein Herze schenken
14. 14. Und da sie den Lobgesang gesprochen hatten
15. 15. Chorus. Erkenne mich, mein Hüter
16. 16. Petrus aber antwortete und sprach zu ihm
17. 17. Chorus. Ich will hier bei dir stehen
18. 18. Da kam Jesus mit ihnen zu einem Hofe
19. 19. Recitativo. O Schmerz
20. 20. Aria. Ich will bei meinem Jesu wachen
21. 21. Und ging hin ein wenig
22. 22. Recitativo. Der Heiland fällt vor seinem Vater nieder
23. 23. Aria. Gerne will ich mich bequemen
24. 24. Und er kam zu seinen Jüngern
25. 25. Chorus: Was mein Gott will, das g'scheh allzeit
26. 26. Und er kam und fand sie aber schlafend
27. 27. Aria. So ist mein Jesus nun gefangen
28. 28. Und siehe, einer aus denen
29. 29. Chorus: O Mensch, bewein dein' Sünde groß
CD2:
01. 30. Part 2. Aria. Ach, nun ist mein Jesu hin
02. 31. Die aber Jesum gegriffen hatten
03. 32. Chorus. Mir hat die Welt trüglich gericht
04. 33. Und wiewohl viel falsche Zeugen
05. 34. Recitativo. Mein Jesus schweigt zu falschen Lügen stille
06. 35. Aria. Geduld
07. 36. Und der Hohepriester antwortete
08. 37. Chorus: Wer hat dich so geschlagen
09. 38. Petrus aber saß draußen im Palast
10. 39. Aria. Erbarme dich
11. 40. Chorus. Bin ich gleich von dir gewichen
12. 41. Des Morgens aber hielten…
13. 42. Aria. Gebt mir meinen Jesum wieder
14. 43. Sie hielten aber einen Rat
15. 44. Chorus. Befiehl du deine Wege
16. 45. Auf das Fest…
17. 46. Chorus. Wie wunderbarlich ist doch diese Strafe
18. 47. Der Landpfleger sagte
19. 48. Recitativo. Er hat uns allen wolhgetan
20. 49. Aria. Aus Liebe will mein Heiland sterben
21. 50. Sie schrieen aber noch mehr
22. 51. Recitativo. Erbarm es Gott
23. 52. Aria. Können Tränen meiner Wangen
CD3:
01. 53. Da nahmen die Kriegsknechte
02. 54. Chorus. O Haupt voll Blut und Wunden
03. 55. Und da sie ihn verspottet hatten
04. 56. Recitativo. Ja freilich will in uns das Fleisch und Blut
05. 57. Aria. Komm, süßes Kreuz, so will ich sagen
06. 58. Und da sie an die Stätte kamen
07. 59. Recitativo. Ach Golgatha
08. 60. Aria. Sehet, Jesus hat die Hand
09. 61. Und von der sechsten Stunde an
10. 62. Chorus. Wenn ich einmal soll scheiden
11. 63. Und siehe da
12. 64. Recitativo. Am Abend, da es kühle war
13. 65. Aria. Mache dich, mein Herze, rein
14. 66. Und Joseph nahm de Leib
15. 67. Recitativo. Nun ist der Herr
16. 68. Chorus. Wir setzen uns mit Tränen nieder
Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 15. September 2014, 13:15
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Exact Audio Copy V1.0 beta 3 from 29. August 2011
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Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 15. September 2014, 14:50
Frans Brüggen / Bach- Matthäus-Passion, BWV 244 (Brüggen - 1996) Disc 3 of 3
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Read mode : Secure
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Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
Overread into Lead-In and Lead-Out : No
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==== Log checksum 0085DA13C20F592DEE1B371CB4B7180F5159BA39824ADCB43A963F904A893874 ====
Frans Brüggen, Orchestra of the Eighteenth Century, Nederlands Kamerkoor - Johann Sebastian Bach: Matthäus-Passion (2002)
Thanks to the original releaser