Helen DonathBach: St. Matthew Passion

The great North German choral tradition goes back to the 16th and 17th Centuries; especially noteworthy is the sacred music of Heinrich Schutz, whose compositions included three 'dramatic' unaccompanied Passions, the finest and last of a venerable tradition. Following the premier of his Dafne (the first German opera) in Torgau, Schutz traveled to Venice in 1628. There, he studied at first hand the developments in dramatic music under the guidance of Claudio Monteverdi. Thus, the development of sacred Church music (especially the oratorio), of dramatic music for the theater (the newly created opera) and of a new expressiveness in instrumental music (the polyphonic and concertato styles) are joined in a direct lineage that extends from Italy to northern Germany. Each of these elements found their way into Schutz's late period compositions. His music, largely to German texts, are the embodiment of Luther's attempts to establish the German vernacular as a literary and liturgical language, and exemplifies the Protestant and humanistic concept of musica poetica in perhaps its finest form until Bach.As the Cantor of the Thomaskirche in Leipzig, Bach was often called upon to arrange performances of Schutz's sacred music. The prolific Bach family was influential in north German music for centuries; Johann Sebastian was thoroughly infused with the spirit of Lutheran sacred music. It is hardly surprising that in 1727 Bach felt compelled to set the somber St. Matthew Passion into a monumental musical edifice rather than face setting the annual Good Friday Passion anew each year. This represented the last major new composition for the Leipzig congregation. The few large sacred pieces of the future, such as the B Minor Mass, are essentially adaptations of music written for other occasions. Bach had wearied of the numerous and protracted struggles with the Leipzig town fathers and it was this slightly embittered but determined Bach who created a composition representing a summing-up of his art. Bach would resort to this creative tactic again. The B minor Mass, the Art of Fugue are other examples of great compendium works. Bach may well have been the first composer with a strongly developed sense of musical historicity, in an era when music was written "for use" and then routinely discarded and quickly forgotten. It is ironic that Bach, himself, was nearly forgotten by history. Only with the 1829 revival of the work in Leipzig by Felix Mendelssohn was the great St. Matthew Passion and its composer removed from limbo.Unlike Richter's recently released DVD performances of the B Minor Mass and Brandenburg Concertos, this St. Matthew Passion is not a hybrid performance incorporating old and new techniques. Rather, it is firmly in the 19th Century performance tradition. Using massive double choruses (including children), the Munchener Chorbuben and the Munchener Bach-Chor, and the large Munchener Bach-Orchester, Richter creates a "sublime monumentality". The singing style is emotional, even over-wrought, when called for by the text. Violins are liberal in their use of vibrato. Woodwind soloists play with an operatic legato smoothness. Cellos sob expressively. This is really big brawny Bach, reminiscent of Klemperer's classic 1962 EMI recording of the St. Matthew Passion. Tempos are nearly as slow and grand as a live recording I have that was conducted by Furtwangler in the early 1950s. If you are only familiar with the authentic performance style of John Eliot Gardiner's fine 1989 Arkiv recording, for example, this performance will be a musical body blow. Questions of authenticity aside, it is this stately Bach that has the longer history. It is its unflinching theatricality that I find most appealing. This Passion contains the greatest of all human emotions. The music reflects it. I find nothing wrong in embracing Bach's profundity if it is done well. This performance, recorded 15-23 May 1971 in Munich at the Bavaria Atelier, is superb. Therefore, it is well worth your serious consideration. Joining the aforementioned artists are the superb tenor Peter Schreier as the Evangelist, a role he practically owned. Soprano Helen Donath is excellent as is bass Walter Berry. There are no weak links in this cast. Video direction by Hugo Kach is theatrical in a calm, understated way. The film looks and sounds fine in all respects.This 2 DVD set has a picture format of NTSC shot full screen with a 4:3 aspect ratio. Region code is 0 worldwide. The picture appears digitally remastered and looks fine. Sound formats are LPCM stereo and DTS Digital Surround Sound. Both are clear and spacious with DTS providing ambiance from the rear speakers. Menus are in English. Subtitles are in English, French, Spanish, German and Chinese. Total time of the 2 discs is 197 minutes. There are some extras including DGG promos.A superb old-style performance. Recommended for those who like big, emotional Bach.Mike Birman

Being by far no erudite (Electrical Engineer for that matter), my approach to listnening seeks the raw emotional connection whith music, afraid what mandatory distance is required for a more rational critique may deprive me of it.That said, I was presented last year with an excellent compendium for the Matthaus Passion by a slightly different cast, which can also be found here  Bach J.S: Matthaus Passion .Being now more familiar with major chorals and arias, the experience of not only listening, but suddenly watching faces - only guessed at before - for voices or players, was simply overwhelming. Video added a new blow over an already sensitive substrate, letting me drained and numb.It may be argued from a more musicaly informed point of view, whether this is the best rendering for the masterwork, whether Richter's approach brings to the forefront the true composer's inspiration, whether the selected cast was the best and so forth.One may at least rest assured this version's performers meet required credentials, consequently making this - ultimate or not - a first rate work.Add to this the impeccable misse en scene in the form of a gentle hill, an impossing cross governing the skies, carefully managed lighting, framing, and intimate rendition for the most soul-wrenching arias, for a truly unique visual and listening experience.....8 years later, having played this set many many times, and having searched about Richter, Schreier and all other soloists, as well as various reviews and discussions from different sources, some reflections come to mind.That we are sharing just an instant in time for example. Richter died in 1981, Schram (bartone playing Jesus) left in 2004 and Berry (bass, the great protagonist of the trailing parts) died in 2000. Helen Donath (soprano) is 74, while alto Julia Hamari, responsible for arguably the most touching arias like Peter's lament is currently 72.I met Richter and Bach's organ works in the early 70's and adopted his tempo and vision as a personal reference. His version of the less known Prelude and Fugue BWV 532 (as compared with the tocatta and fugue BWV 565) runs an accelerated tempo which changes in my humble view what could be an unremarkable piece into an explosion of power and discourse.Richter view was not allways shared and it is said he died an embittered man in an hotel only 56 years old, but I prefer to believe he was well aware of a deserved recognition.This particular rendition of Bach's monumental St Peter Passion will allways be a reference to gauge other efforts, no matter whether a more cannonical approach may better suit purist's tastes. I believe at this level of artistic competence there are no wrong approaches, but different views which can only enrichen.

For those who are fans of this Bach choral work, here it is performed to high standard, benefitting greatly from Karl Richter's masterful interpretation. Personally this is not one of my favourite choral classics although it also benefits from some fine chorales. For me I find there are a few too many recitatives and at a run time 3 hrs 17 mins, I find it rather long. Having said that, the visual direction is extremely good and orchestra and singers perform very well.

This is a great recording, with modern instruments, of this great Passion. The only "historical" instrument I've seen is a wonderful viola da gamba wich is used in two arias.I've enjoyed twice this blu-ray, first obviusly with the Passion itself, then with the very well made documentary with excerpts of the rehearsals and some educational and insight points of view of the conductor, John Nelson, about this great Passion, J.S. Bach and his music.I think all players performed very well and that this is, in my opinion, a well balanced performance. All soloists are great, and I think that the bass who sing the arias and the evangelist did oustanding interpretations.The image is in high definition, with a lot of cameras, and the sound is perfect.Please excuse my English. English is not my mother tongue, but I've seen that this blu-ray had any reviews and I think it deserves at least this humble opinion.

Excellent.

Very slow by comparison, but very majestic. I thing Bach would have approved of the speed. There was no indication of speed in them thar days.

Just as you would expect from the genius of Richter. For me he is the only interpreter of Bach's choral music.