JS Bach - St Matthew Passion
£16.10
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Label: Kings College Cambridge
Cat No: KGS0037
Format: Hybrid SACD
Number of Discs: 2
Genre: Vocal/Choral
Release Date: 27th March 2020
Contents
Artists
James Gilchrist (tenor)Matthew Rose (bass)
Sophie Bevan (soprano)
David Allsopp (countertenor)
Mark le Brocq (tenor)
William Gaunt (bass)
Choir of King’s College, Cambridge
Academy of Ancient Music
Conductor
Stephen CleoburyWorks
St Matthew Passion, BWV244Artists
James Gilchrist (tenor)Matthew Rose (bass)
Sophie Bevan (soprano)
David Allsopp (countertenor)
Mark le Brocq (tenor)
William Gaunt (bass)
Choir of King’s College, Cambridge
Academy of Ancient Music
Conductor
Stephen CleoburyAbout
Sound/Video
Paused
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1Part 1: No.1 Chorus & Chorale: Kommt, ihr Töchter, helft mir klagen
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2Part 1: No.2 Evangelist: Da Jesus diese Rede vollendet hatte
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3Part 1: No.3 Chorale: Herzliebster Jesu, was hast du verbrochen
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4Part 1: No.4 Evangelist: Da versammleten sich die Hohenpriester
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5Part 1: No.5 Recitative: Du lieber Heiland du
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6Part 1: No.6 Aria: Buß und Reu
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7Part 1: No.7 Evangelist: Da ging hin der Zwölfen einer
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8Part 1: No.8 Aria: Blute nur, du liebes Herz
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9Part 1: No.9 Evangelist: Aber am ersten Tage der süßen Brot
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10Part 1: No.10 Chorale: Ich bins, ich sollte büßen
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11Part 1: No.11 Evangelist: Er antwortete und sprach
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12Part 1: No.12 Recitative: Wiewohl mein Herz in Tränen schwimmt
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13Part 1: No.13 Aria: Ich will dir mein Herze schenken
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14Part 1: No.14 Evangelist: Und da sie den Lobgesang gesprochen hatten
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15Part 1: No.15 Chorale: Erkenne mich, mein Hüter
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16Part 1: No.16 Evangelist: Petrus aber antwortete und sprach zu ihm
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17Part 1: No.17 Chorale: Ich will hier bei dir stehen
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18Part 1: No.18 Evangelist: Da kam Jesus mit ihnen zu einem Hofe
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19Part 1: No.19 Recitative & Chorale: O Schmerz! Hier zittert das gequälte Herz
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20Part 1: No.20 Aria & Chorus: Ich will bei meinem Jesu wachen
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21Part 1: No.21 Evangelist: Und ging hin ein wenig
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22Part 1: No.22 Recitative: Der Heiland fällt vor seinem Vater nieder
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23Part 1: No.23 Aria: Gerne will ich mich bequemen
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24Part 1: No.24 Evangelist: Und er kam zu seinen Jüngern
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25Part 1: No.25 Chorale: Was mein Gott will, das g’scheh allzeit
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26Part 1: No.26 Evangelist: Und er kam und fand sie aber schlafend
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27Part 1: No.27 Aria and Chorus: So ist mein Jesus nun gefangen
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28Part 1: No.28 Evangelist: Und siehe, einer aus denen
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29Part 1: No.29 Chorale-Chorus: O Mensch, bewein dein Sünde groß
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30Part 2: No.30 Aria and Chorus: Ach, nun ist mein Jesus hin
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31Part 2: No.31 Evangelist: Die aber Jesum gegriffen hatten
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32Part 2: No.32 Chorale: Mir hat die Welt trüglich gericht’
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33Part 2: No.33 Evangelist: Und wiewohl viel falsche Zeugen herzutraten
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34Part 2: No.34 Recitative: Nein Jesus schweigt
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35Part 2: No.35 Aria: Geduld! Wenn mich falsche Zungen stechen
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36Part 2: No.36 Evangelist: Und der Hohepriester antwortete
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37Part 2: No.37 Chorale: Wer hat dich so geschlagen
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38Part 2: No.38 Evangelist: Petrus aber saß draußen im Palast
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39Part 2: No.39 Aria: Erbarme dich, mein Gott
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40Part 2: No.40 Chorale: Bin ich gleich von dir gewichen
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41Part 2: No.41 Evangelist: Des Morgens aber hielten alle Hohepriester
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42Part 2: No.42 Aria: Gebt mir meinen Jesum wieder
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43Part 2: No.43 Evangelist: Sie hielten aber einen Rat
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44Part 2: No.44 Chorale: Befiel du deine Wege
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45Part 2: No.45 Evangelist: Auf das Fest aber hatte der Landpfleger Gewohnheit
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46Part 2: No.46 Chorale: Wie wunderbarlich ist doch diese Strafe
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47Part 2: No.48 Recitative: Er hat uns allen wohlgetan
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48Part 2: No.49 Aria: Aus Liebe will mein Heiland sterben
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49Part 2: No.50 Evangelist: Sie schrieen aber noch mehr
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50Part 2: No.51 Recitative: Erbarm es Gott
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51Part 2: No.52 Aria: Können Tränen meiner Wangen
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52Part 2: No.53 Evangelist: Da nahmen die Kriegsknechte des Landpflegers
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53Part 2: No.54 Chorale: O Haupt voll Blut und Wunden
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54Part 2: No.55 Evangelist: Und da sie ihn verspottet hatten
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55Part 2: No.56 Recitative: Ja freilich will in uns das Fleisch und Blut
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56Part 2: No.57 Aria: Komm, süßes Kreuz, so will ich sagen
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57Part 2: No.58 Evangelist: Und da sie an die Stätte kamen
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58Part 2: No.59 Recitative: Ach Golgatha, unselges Golgotha
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59Part 2: No.60 Aria & Chorus: Sehet, Jesus hat die Hand
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60Part 2: No.61 Evangelist: Und von der sechsten Stunde an
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61Part 2: No.62 Chorale: Wenn ich einmal soll scheiden
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62Part 2: No.63 Evangelist: Und siehe da, der Vorhang im Tempel zerriß
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63Part 2: No.64 Recitative: Am Abend, da es kühle war
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64Part 2: No.65 Aria: Mache dich, mein Herze, rein
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65Part 2: No.66 Evangelist: Und Joseph nahm den Leib
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66Part 2: No.67 Recitative & Chorus: Nun ist der Herr zur Ruh gebracht
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67Part 2: No.68 Chorus: Wir setzen uns mit Tränen nieder
Europadisc Review
This recording is a fitting tribute to Sir Stephen’s 37 years at the helm of one of the world’s great musical institutions, his last views on a work he had conducted countless times over the years. That experience shows in a deeply considered reading which, with orchestral playing provided by the Academy of Ancient Music, takes proper regard of period performance practice while being careful never to push things to extremes. The chorales, which form such an important part of the meditation on the unfolding narrative, are expertly paced, enunciation dazzlingly clear, and with no dawdling around at the pause signs that mark the ends of phrases. And how good it is to hear a choir of boys’ voices of such quality in this work! (Incredibly, it is now almost fifty years since the King’s College Choir, at the time under the direction of Sir David Willcocks, took part in Nikolaus Harnoncourt’s groundbreaking first recording of the St Matthew Passion in 1971.) In the many crowd scenes, and in the great choruses that frame Part 1 of the work as well as the heart-wrenching closing chorus, the Choir under Cleobury give a masterclass in how this music can be sung with a combination of clarity, involvement and a respect for the music’s long line, with the bright trebles sending a tingle down the listener’s spine. Happily, too, the girls and boys of the King’s College School Choir provide the ripieno chorale lines in the framing choruses of Part 1.
The soloists are a distinguished team, led by the clear-headed, benevolent Evangelist of James Gilchrist, and a Christus of exceptional authority and warmth in Matthew Rose: one of the most generous-toned exponents of the part, certainly in ‘period’ performances, since the great Karl Ridderbusch for Harnoncourt in 1971. There is just one quartet of soloists serving for both the Chorus 1 and Chorus 2 ariosos and arias, led by the radiant soprano of Sophie Bevan, a favourite visitor to King’s. Her performance of the Part 2 aria ‘Aus Liebe will mein Heiland sterben’ (arguably the emotional centre of gravity of the entire work) is unforgettable, with beautifully controlled dynamics and phrasing, yet delivering huge emotional impact, and winningly partnered by flautist Rachel Beckett and oboes da caccia Mark Baigent and Lars Henriksson. Other highlights include countertenor David Allsopp together with leader Bojan Čičić in a meltingly exquisite and ideally-paced account of ‘Erbarme dich’, and warm-toned bass William Gaunt in ‘Komm, süßes Kreuz’ (with Reiko Ichise on viola da gamba) and the glorious final aria ‘Mache dich, mein Herze, rein’, towards whose rich, low sonorities the whole piece seems to have been working as the body of Christ is lowered from the Cross and into the tomb.
Gaunt and Bevan also assume the parts of Pilate and Pilate’s wife, while other roles in the Passion narrative are taken by members of the choir. In the end, however, this is a performance that adds up to much more than the sum of its parts, one in which the work’s meditative qualities are emphasised over (but not to the exclusion of) the unfolding drama. There is heft where necessary (in the trial scenes of Part 2, for example), and a sense of forward drive too, but things are never rushed (nor should they be, given the Chapel’s fabled acoustic). Emotions are always given enough space and depth to unfurl. There are other performances that make more of the antiphonal division of choirs, or of individual moments in the drama. But this is an account that can speak powerfully and stylishly both to purists and traditionalists, and it will certainly appeal to the many admirers of the ‘King’s sound’ around the globe at this time. In it there seems to be the wisdom of a lifetime, conveyed by some of today’s finest performers, with thoughtful booklet notes by John Butt, no less, in a work that never ages.
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