Record companies sometimes announce "major recording events"; they do so to
enhance profits whether there is really anything major going on or not from
a musical perspective. To me, a major recording event is in the mind of an
individual listener - all it takes is for the listener to possess great
anticipation about an upcoming recording.
This listener considers the new and second recording of Bach's St. Matthew
Passion from Philippe Herreweghe and Harmonia Mundi to be one of the major
recording events of the decade. Why? First, it's a large undertaking with
the Passion requiring a host of large forces. Second, Herreweghe's first
recording, over 10 years ago, set a standard for the work which has not
been equaled in recorded history, although one element of the set needed
improvement.
There is the notion advanced by some that additional recordings of a
particular work from the same conductor provide low marginal returns:
How different could the new recording be? It's a poor use of everyone's
time and effort. I've never agreed with that premise. For those who love
Furtwaengler's Beethoven, multiple interpretations are treasured. That's
how I feel about Herreweghe conducting Bach, particularly the St. Matthew
Passion.
The new recording is packaged in an extravagant manner, including the huge
box which easily could have been reduced in size significantly. But, it
does fit in my entertainment center. The box comes with a cd-rom disc
which contains most everything but the "kitchen sink". It has seven
chapters, and a person could spend all day on that cd soaking up the
insights and information included.
What made Herreweghe's first recording so good? Primarily, it was
Herreweghe and his choral forces. From the outset, it's clear that this
is a special recording. The opening chorus is performed superbly with a
high degree of drama and foreboding, strings stand out from the fabric
with a pugency that hits home, and the chorus is thrilling with a great
separation of sound. All elements of the work proceed as in the initial
chorus with one exception that I hinted at above. I didn't care for
the quality of Barbara Schlick's voice, although her expressiveness was
never in doubt.
The new recording does not represent a strong departure from the previous
one. Herreweghe provides us what he did before, although in a somewhat
smoother manner. Recorded sound is better now. In fact, I would say it
can not be bettered given current technology.
The major performance advantage of the new recording is the change of
soprano from Schlick to Sibylla Rubens. Ms. Rubens is sensational - she
brings all the expressiveness of Schlick but with a voice that could melt
the hardest soul. Having Andreas Scholl instead of Rene Jacobs is a small
advantage also in favor of the new recording.
Is the new set worth having if you already own the first? Yes. That's
because of Rubens, better sound, and the cd-rom. Will I ever listen again
to Herreweghe's first set? Definitely. There's a freshness and more
primitive quality to it which I will always find irresistable.
I heard from one source that the first set has been deleted by Harmonia
Mundi. Perhaps, but I noticed it's still listed on CDNOW. I think that
for those who love the work, particularly on period instruments, both sets
are essential to one's collection. Although Gardiner's version got some
rave reviews and a Gramophone award, his performance did not come close
to penetrating me compared to either Herreweghe version; in this case,
Gardiner tends to skim the surface, and his theatrical approach to Bach
is not appropriate to the work (just my view).
Don's Conclusions -
Original Herreweghe - Must Buy.
New Herreweghe -------Must Buy.
Gardiner Version -----Sample First.
Don Satz
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