Bach's St. Matthew Passion is considered the most monumental Passion ever
composed. Bach wrote the work in the 1729 time frame, six years after
he arrived at Leipzig. He collaborated with a C.F. Henrici, a man of
literature who worked under the pseudonym of Picander.
The Passion had a long history before Bach composed music. There are four
Passions based on the particular Evangelist: John, Luke, Matthew, or Mark.
When Bach composed his St. Matthew Passion, praise was not the immediate
reaction. Much response was negative concerning whether Bach's music was
an appropriate vehicle for such a pious undertaking. At this point in
time, the St. Matthew Passion has the reputation of being one of the
greatest sacred choral works ever composed. I know of one review
periodical which calls the work the greatest classical composition in the
entire field. Bach uses a double chorus and orchestra which are integral
parts of the work's architecture and enhances its majestic nature.
When looking at the various recordings of the St. Matthew Passion, there's
an obvious quickening of tempo as the versions become more recent. For
example, Klemperer's EMI set requires three well-filled discs, while the
recent issue from Jeffrey Thomas and his American Baroque Orchestra has
three partly filled cd's. This difference is immediately apparent with
the opening chorus of the work. Klemperer takes over 11 minutes, while
the majority of versions released over the past 15 years are in the 6 to
8 minute range. There has been much debate concerning whether the slower
or faster tempos are more historically accurate, and I assume this debate
will continue well into the future. I'm not particularly concerned with
historical accuracy; the performers will do as they please, and I will
judge the results on musical grounds. If I find Klemperer's opening chorus
excessively slow or the others too quick, considerations of historical
accuracy will play no part in my conclusion.
The impetus for this posting is the new Harnoncourt set from Teldec. For
the review project, I am using only period instrument recordings excepting
for the Klemperer set. I did decide to include Klemperer because my
perception is that his modern instrument set is the most revered within
that category. I will do my best to fairly evaluate this set while not
giving it special consideration for any reason. I am also including the
Christoph Spering set on Opus 111 which is an arrangement by none other
than Felix Mendelssohn who was the driving force in bringing back Bach's
St. Matthew Passion to the attention of the public. The list of versions
to review and their particulars are as follows:
Philippe Herreweghe I - Harmonia Mundi 901155/57 originally issued in 1985.
Vocal Soloists are Howard Crook, Ulrik Cold, Barbara Schlick, Rene Jacobs,
Hans-Peter Blochwitz, and Peter Kooy.
Herreweghe II - Harmonia Mundi 951676/78 issued in 1999. Vocal soloists
are Ian Bostridge, Franz-Josef Selig, Sibylla Rubens, Andreas Scholl,
Werner Gura, and Dietrich Henschel.
John Eliot Gardiner - Archiv 427648 issued in 1989. Vocal soloists are
Anthony Rolfe Johnson, Andreas Schmidt, Barbara Bonney, Ann Monoyios, Anne
Sofie von Otter, Michael Chance, Howard Crook, Olaf Bar, and Cornelius
Hauptmann.
Masaaki Suzuki - BIS 1000/02 issued in 1999. Vocal soloists are Gerd Turk,
Peter Kooy, Nancy Argenta, Robin Blaze, Makoto Sakurada, Chiyuki Urano,
Midori Suzuki, Yoshie Hilda, Kirsten Sollek-Avella, Jun Hagiwara, and
Tetsuya Odagawa.
Christoph Spering - Opus 111 30-72/73 originally issued in 1992. Vocal
soloists are Wilfried Jochens, Peter Lika, Angela Kazimierczuk, Alison
Browner, Markus Schafer, and Franz-Joseph Selig.
Otto Klemperer - EMI 63058 originally issued in 1962. Vocal soloists are
Peter Pears, Dietrich Fischer-Dieskau, Elisabeth Schwarzkopf, Christa
Ludwig, Nicolai Gedda, and Walter Berry.
Jeffrey Thomas - Koch International 37424 issued in 2000(recorded in 1996).
Vocal soloists are Catherine Bott, Tamara Matthews, Judith Malafronte, Dana
Marsh, Jeffrey Thomas, Benjamin Butterfield, David Munderloh, William
Sharp, Nathaniel Watson, and James Weaver.
Jos van Velderhorn - Channel Classics 11397 originally issued in 1997.
Vocal soloists are Gerd Turk, Geert Smits, Johannette Zomer, Andreas
Scholl, Hans Jorg Mammel, and Peter Kooy.
Nikolaus Harnoncourt - Teldec 81036 issued in 2001. Vocal soloists
are Christoph Pregardien, Matthias Gorne, Christine Schafer, Dorothea
Roschmann, Bernarda Fink, Elisabeth von Magnus, Michael Schade, Markus
Schafer, Dietrich Henschel, and Oliver Widmer.
Spering's recording can exist because of Mendelssohn's revival of the St.
Matthew Passion on March 11, 1829 in Berlin. Did Mendelssohn make many
changes to the work? Actually, he made more cuts than anything else;
Mendelssohn dumped more than half the arias. Another revival of the
work in 1841 restored four of the arias, and it is the 1841 version which
Spering performs. The Spering notes provide great detail concerning any
and all changes from Bach's score; it's a superb reference for cd liner
notes. I should also relate that the recitatives take on greater meaning
in Mendelssohn's revival. Bach used the recitative to convey changes of
mood; Mendelssohn, as befitting his time, uses it to *express* emotion.
With this in mind, the elimination of some of the arias becomes easier to
understand. Now on to the music itself.
The opening Chorus is magnificent and very powerful music. For me, it
represents the last steps of Jesus as he is led to his crucifixion. The
man has been humiliated, tortured, and brought down thoroughly. Even so,
he must endure the walk to where his life will end, carrying the resting
place of his destruction. He hardly has any energy left, his head is
bleeding with the blood getting into his eyes, the burden of the wooden
cross he carries is overwhelming, and fellow humans along the way are
mocking and condemning him. Jesus is experiencing the downfall one
achieves when competing without sufficient resources against the bases
of power. He has exceeded his grasp and is paying dearly.
In my opinion, the Chorus well expresses my take on the music's meaning.
There is a very heavy and rhythmic pulse that keeps going and going; it
almost seems unbearable. I can easily picture Jesus trudging over the dry
land, each step taking another slice of life away from him. In essence,
the music grabs the listener by the throat and doesn't let go; any
performance which does not fully realize this will likely not be very
rewarding. If the Chorus offered no more than I described, it would still
be a great beginning to the Passion. But there is a whole other side to
the text and music which is uplifting and creates the musical contrast that
makes the Chorus a masterpiece. That other side is the redemption that has
been made possible through Christ's impending crucifixion. Another point
of contrast is Jesus as man compared to Jesus as the son of God, the
innocent lamb who is sacrificed to save humanity.
Klemperer is ever so slow, but that's not my problem with his performance.
His pulse gives me little sense of inevitability, and he tends to
accentuate everything which results in a slight degree of caricature. I
find his reading to be somewhat out of proportion. Suzuki is better with
fine pulse and strength. However, I feel there is a dour and smoothed
quality which holds it back from being one of the best versions. Gardiner
takes me another step up with a quick seven minute performance which the
music can well handle. Although Gardiner does very well with his bass
lines and pulse, it's the uplifting quality of his reading which is most
attractive.
Jeffrey Thomas must think that Jesus had a lively step on that fateful day;
at just six minutes, Thomas takes Jesus off to the races. Just pcture it
and it looks absurd. I hope this isn't a sign that Thomas is going to be
tempo challenged. Spering is very good with his pacing, bass lines, and
momentum. His Chorus Musicus left me with mixed feelings; at times they
are wonderful, at times they over-emote. The earlier Herreweghe recording
is superb. While Herreweghe carries the full weight of the burden and even
gives the music a desperate quality, he also finds all the rays of light
and combines them into a magical listening experience. The more recent
Herreweghe is just a touch less effective; the earlier issue's more raw
quality enhances the sense of desperation.
Harnoncourt's major appeal to me is the urgency that runs through his
performance and creates an exciting atmosphere. Veldhoven has a sluggish
quality although the performance is not a slow one. Overall, Herreweghe
I has my strongest affection closely followed by II. Gardiner and
Harnoncourt are excellent alternatives, and Spering and Suzuki are very
rewarding. Klemperer and Veldhoven are moderately enjoyable; Thomas is a
non-starter as his speed is excessive and other aspects of his reading are
ordinary.
In the next segment, we go back in time to the beginning of Jesus'
downfall. He knows he is about to be betrayed, his disciples are getting
into a lather over next to nothing, and the general populace is getting
reading to turn on him. The segment includes Matthew, Jesus, a gorgeous
choral, two very short and rousing choruses, an alto recitative, and a
concluding alto aria of serenity and mystery.
Velderhorn's Matthew and Jesus are fine, and the choruses are very
effective. The big problem is the alto aria which is an instrumental
mess - no serenity and no mystery. It's too fast, too choppy, and too
indistinct. No matter how good Andreas Scholl might be, he can't possibly
save this performance.
Herreweghe I is a major improvement. As effective in the other areas
as Velderhorn, Herreweghe's aria is outstanding. Rene Jacobs may not
have the pure tonal beauty of Scholl, but he is a perfect match for the
aria's music. Both he and Herreweghe bring an eerie atmosphere to the
proceedings, and it fits just right; Jesus' life is turning upside down.
Herreweghe II outshines the earlier issue slightly. Once again, Andreas
Scholl is the alto, and he shines through beautifully. However, I still
prefer Jacobs. Where the newer issue has advantages concerns Matthew and
Jesus, represented by Ian Bostridge and Franz-Joseph Selig. Bostridge has
a fantastic voice and Selig is much more effective than Ulrik Cold for
Herreweghe I or Geert Smits for Velderhorn.
Gardiner's Evangelist, Anthony Rolfe Johnson, can stand up to Bostridge
quite well. Also, the choruses are excellent for Gardiner. The aria is
not as effective, and the source of the problem is Anne Sophie von Otter.
She sounds lovely as always, but I detect little identity with the moods
of the music. I end up feeling that she has not added value to the aria,
sounding somewhat generic.
Suzuki has Gerd Turk as Matthew and Peter Kooy as Jesus; they are a fine
duo. The choral work is outstanding, but the aria has the same problem
as in Gardiner's version. Robin Blaze also sounds generic although
pleasureable; in addition, he hoots a couple of times. I'd place Suzuki's
performances at Gardiner's level.
Harnoncourt reaches the heights and the low end in this segment. Having
Christoph Pregardien and Matthias Goerne as Matthew and Jesus is as good
as it gets. Also, the aria is even better than Herreweghe I as Harnoncourt
fully brings out the eerie quality in the music and Bernarda Fink is the
expressive equivalent of Jacobs but with a better voice. The flip-side is
that the gorgeous chorus isn't so gorgeous in Harnoncourt's hands; he's too
forceful and misses much of the choral's beauty. Overall, he's better than
Suzuki and Gardiner, but a notch below Herreweghe I.
Klemperer continues his slow ways, particularly in the first choral which
is mesmerizing. Fischer-Dieskau as Jesus is superb, but I don't have a
warm spot for Peter Pears as Matthew. Christa Ludwig has the honors in the
recitative and aria; she is very expressive, although I feel that Bernarda
Fink outshines her this time around. Klemperer joins Harnoncourt in giving
excellent peformances of this segment.
Jeffrey Thomas and company do quite well except for the alto recitative and
aria. Thomas is a fine Evangelist and William Sharp is effective as Jesus.
The chorals are sung very well. However, none of this is superb, and
Judith Malafronte, the alto, is either placed too far forward or she is
projecting too strongly. Overall, this issue is better than Velderhorn's
but not by much.
Spering is at Thomas' level. His Evangelist and Jesus are steady, and
the choruses are moderately expressive. The main differences in this
Mendelssohn version is that a soprano replaces the alto in the recitative
and the aria makes use of the organ. I don't find the soprano alternative
to be significant, but the organ is a very deep and attractive addition.
The singers, soprano Angela Kazimierczuk and alto Alison Browner are worthy
but not special.
The segment just finished largely involved states of mind and expectations
about future events. In the next segment, 'action' takes place as Judas
betrays Jesus; he is offered and accepts 30 pieces of silver from the High
Priests to insure that Jesus is brought to justice. Participants in this
segment include Matthew, Judas, and a soprano aria where Judas is compared
to a serpent.
I've always found Judas to be an interesting character. In one sense,
he is simply a self-serving traitor who deserves the serpent designation.
But he is also a necessary link toward the redemption that is made possible
through the crucifixion; he has a role to play which is pre-determined.
Did Judas somehow feel a compulsion to betray Jesus to fulfill his role, or
was he just greedy and perhaps disillusioned by Jesus' actions? When Judas
asks the High Priests, "What will you give me if I deliver him to you", in
what manner does he ask for payment?
My opinion is that Judas was a despicable individual. Not only does he
try to create distance for himself from the group he belongs to in order
to save his skin; he also asks for compensation. To me, Judas represents
the friend, spouse, and community that is so favorable when times are good.
Yet, when you really need support during times of crisis, the Judas types
cut out and even assist your enemies.
The Thomas version has one major flaw - the Judas represented by Robert
Stafford who gives a poor interpretation. The way Stafford sees it, Judas
is just about begging for compensation. I feel that Judas is evil, not
whining. On the plus side, the soprano aria is exceptional. Thomas'
orchestral forces are urgent and poetic; Tamara Matthews has a lovely
and expressive voice filled with urgency. She's a hard act to follow.
Klemperer's Judas, John Carol Case, gets it right. He is assertive and
sure of himself, a person not to be taken lightly. Klemperer's aria is
well done and Elisabeth Schwarzkopf is as expressive as Tamara Matthews.
However, I find that Matthews has the better voice. On balance, both
versions of the betrayl of Jesus are of high quality.
Gardiner is even better and owes much to the soprano Ann Monoyios who
is pure magic in the aria. Her voice floats urgently with an exquisite
beauty; her aria is one of the highlights of my review process.
Herreweghe II is a disappointment, and it's on his shoulders. The
orchestral playing in the aria, although quick, is much too relaxed and
surface-bound. The urgency just isn't there. That's a shame since soprano
Sibylla Rubens is as fine as Tamara Matthews. I am impressed with these
sopranos.
Herreweghe I is a much better proposition than the more recent
interpretation and joins Gardiner in exalted territory. His Judas, Renaud
Machart, is very effective. More significant, the aria's tempo is much
slower than in Herreweghe II with a pacing that I find perfect. It's also
a very clean performance. Concerning the soprano, Barbara Schlick is
excellent. I never find her to have much tonal beauty, but nobody
expresses urgency as intensely as Schlick who is always on the edge.
Suzuki is almost up to the level of Gardiner and Herreweghe I. Suzuki has
a fine Judas, and his aria invites comparison with Herreweghe I. Soprano
Nancy Argenta is in better voice than I usually find, and her
expressiveness and urgency are excellent.
The Velderhorn version is a good one which compares well with Klemperer and
Thomas. There's nothing exceptional here but, again, I find an excellent
soprano in Johannette Zomer.
The Betrayl of Jesus segment is not one of Harnoncourt's better
interpretations. Everything is going very well until the soprano aria.
In the aria, Harnoncourt is a lttle rushed and it shows throughout the
piece. Also, Dorothea Roschmann, usually excellent, is too full-throated
for this music and does not sound particularly fetching. She is up against
fantastic soprano alternatives and doesn't meet the test. Overall, I find
the Harnoncourt at the level of Herreweghe II.
Spering is at the bottom as he's off to the races in the soprano aria. He
distorts and trivializes the music greatly. Spering's soprano, Evangelist,
and Judas do well, but it's all down the tubes with a very ill-conceived
aria.
Update: Herreweghe's recording from the 1980's has started off in
wonderful fashion; he has directed superbly, and his aria soloists can not
be bettered for matching the music's moods. Herreweghe's more recent set
and Gardiner are excellent overall. Harnoncourt and Suzuki have given me
much pleasure with Klemperer close to their level.
Thomas, Veldhoven, and Spering are shaping up as being challenged to match
the competititon. They have not yet risen to the top at any time, although
I have strong affection for Tamara Matthews for Thomas. I'm beginning to
get the feeling that the main news about the Spering release is *not* its
Mendelssohn revival version of 1841, but that it's simply not one of the
better performances of the Passion, regardless of the version used. Of
course, all this is subject to change as there's a wealth of music waiting
to be heard.
Part 2 will commence with the "Last Supper" segment as Suzuki calls it.
I'm itching to get to it and already famished; last suppers should be
memorable eating experiences.
Don Satz
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