Audio CD review:
Hermann Schey, William Ravelli, Johann Sebastian Bach, Willem Mengelberg, Hubert Barwahser, Johannes den Hertog, W. Peddemors, Concertgebouw Orchestra Amsterdam, Philharmonic-Symphony Orchestra of New York, Piet Van Egmond - Bach: St. Matthew Passion

Hermann Schey, William Ravelli, Johann Sebastian Bach, Willem Mengelberg, Hubert Barwahser, Johannes den Hertog, W. Peddemors, Concertgebouw Orchestra Amsterdam, Philharmonic-Symphony Orchestra of New York, Piet Van Egmond - Bach: St. Matthew Passion

Band: Hermann Schey, William Ravelli, Johann Sebastian Bach, Willem Mengelberg, Hubert Barwahser, Johannes den Hertog, W. Peddemors, Concertgebouw Orchestra Amsterdam, Philharmonic-Symphony Orchestra of New York, Piet Van Egmond Title: Bach: St. Matthew Passion Rating: Release Date: 18 May, 2004 Media: Audio CD Tracks: 1: No. 1 Chorus: Kommt, Ihr Tochter, Helft Mir Klagen 2: No. 2 Recitative: Da Jesus Diese Rede Vollendet Hatte 3: No. 3 Chorale: Herzliebster Jesu, Was Hast Du Verbrochen 4: No. 4 Recitative: Da Versammelten Sich Die Hohenpriester 5: No. 5 Chorus: Ja Nicht Auf Das Fest 6: No. 6 Recitative: Da Nun Jesus War Zu Bethanien 7: No. 7 Chorus: Wozu Dienet Dieser Unrat? 8: No. 8 Recitative: Da Das Jesus Merkete 9: No. 9 Recitative: Du Lieber Heilan Du 10: No. 10 Aria: Buss Und Reu' 11: No. 11 Recitative: Da Ging Hin Der Zwolfen Einer 12: No. 12 Aria: Blute Nur, Du Liebes Herz! 13: No. 13 Recitative: Aber Am Ersten Tage Der Sussen Brot' 14: No. 14 Chorus: Wo Willst Du, Dass Wir Dir Bereiten 15: No. 15 Recitative: Er Sprach: Gehet Hin In Die Stadt; Chorus: Herr, Bin Ich's? 16: No. 16 Chorale: Ich Bin's, Ich Sollte Bussen 17: No. 17 Recitative: Er Antwortete Und Sprach: Der Mit Der Hand 18: No. 18 Recitative: Wiewohl Mein Herz In Tranen Schwimmt 19: No. 19 Aria: Ich Will Dir Mein Herz Schenken 20: No. 20 Recitative: Und Da Sie Den Labgesang Gesprochen Hatten 21: No. 21 Chorale: Erkenne Mich, Mein Huter 22: No. 22 Recitative: Petrus Aber Antwortete 23: No. 24 Recitative: Da Kam Jesus Mit Ihnen Zu Einem Hofe 24: No. 25 Recitative With Chorale: O Schmerz! Hier Zittert Das Gequalte Herz! 25: No. 26 Aria With Chorus: Ich Will Bei Meinem Jesu Wachen 26: No. 27 Recitative: Und Ging Hin Ein Wenig 27: No. 28 Recitative: Der Heiland Fallt Vor Seinem Vater Nieder 28: No. 30 Recitative: Und Er Kam Zu Seinen Jungern 29: No. 31 Chorale: Was Mein Gott Will, Das G'scheh' Allzeit 30: No. 32 Recitative: Und Er Kam Und Fand Sie Aber Schlafend 31: No. 33 Duet With Chorus: So Ist Mein Jesus Nun Gefangen; Chorus: Lasst Ihn, Haltet, Bindet Nicht! 32: No. 34 Recitative: Und Seihe, Einer Aus Denen, Die Mit Jesu Waren 33: No. 35 Chorale: O Mensch, Bewein' Dein' Sunde Gross 34: No. 36 Aria With Chorus: Ach, Nun Ist Mein Jesus Hin! 35: No. 37 Recitative: Die Aber Jesum Gegriffen Hatten 36: No. 39 Recitative: Und Der Hohepriester Stand Auf 37: No. 40 Recitative: Mein Jesus Schweigt Zu Falschen Lugen Stille 38: No. 42 Recitative: Und Der Hohepriester Antwortete; Chorus: Er Ist Des Todes Schuldig! 39: No. 43 Recitative: Da Speieten Sie Aus In Sein Angesicht; Chorus: Weissage Uns, Christe 40: No. 44 Chorale: Wer Hat Dich So Geschlagen 41: No. 45 Recitative: Pertus Aber Sass Drauben Im Palast 42: No. 46 Recitative: Da Hub Er An, Sich Zu Verfluchen 43: No. 47 Aria: Erbarme Dich, Mein Gott 44: No. 49 Recitative: Des Morgens Aber Hielten Alle Hohepriester 45: No. 54 Recitative: Auf Das Fest Aber Hatte Der Landpfleger; Chorus: Barrabam! Recitative: Pilatus Sprach Zu Ihnen; Chorus: Lass Uhn Kreuzigen! 46: No. 56 Recitative: Der Landpfleger Sagte: Was Hat Er Denn Ubels Getan? 47: No. 57 Recitative: Er Hat Uns Allen Wohlgetan 48: No. 58 Aria: Aus Liebe Will Mein Heiland Sterben 49: No. 59 Recitative: Sie Schrieen Aber Noch Mehr; Chorus: Lass Ihn Kreuzigen!; Recitative: Da Aber Pilatus Sahe, Dass Er Nichts Scheffete; Chorus: Sein Blut Komme Uber Uns Und Unsre Kinder!; Recitative: Da Gab Er Ihnen Barrabam Los 50: No. 60 Recitative: Erbarm' Es Gott! 51: No. 62 Recitative: Da Nahmen Die Kriegsknechte; Chorus: Gegrusset Seist Du, Judenkonig!; Recitative: Und Speieten Uhn An 52: No. 63 Chorale: O Haupt Voll Blut Und Wunden 53: No. 64 Recitative: Und Da Sie Ihn Verspottet Hatten 54: No. 67 Recitative: Und Da Wurden Zween Morder; Chorus: Der Du Den Tempel Gottest Zerbrichst; Recitative: Desgleichen Auch Die Hohenpriester; Chorus: Andern Hat Er Geholfen 55: No. 68 Recitative: Desgleichen Schmaheten Ihn Auch Die Morder 56: No. 69 Recitative: Ach, Golgatha 57: No. 71 Recitative: Und Von Der Sechsten Stunde An; Chorus: Der Rufet Den Elias; Recitative: Und Bald Lief Einer Unter Ihnen; Chorus: Halt, Lass Sehen, Ob Elias Komme; Recitative: Aber Jesus Schrie Abermals Laut Und Verschied 58: No. 72 Chorale: Wenn Ich Einmal Soll Scheiden 59: No. 73 Recitative: Uns Siehe Da, Der Vorhang Im Tempel; Chorus: Wahrlich, Dieser Ist Gottes Sohn Gewesen 60: No. 74 Recitative: Am Abend, Da Es Kuhle War 61: No. 76 Recitative: Und Joseph Nahm Den Leib 62: No. 77 Recitative With Chorus: Nun Ist Der Herr Zur Ruh' Gebracht 63: No. 78 Chorus: Wir Setzen Uns Mit Tranen Nieder 64: Ouverture: Grave, Allegre - Willem Mengelberg 65: Rondeau: Allegro - Willem Mengelberg 66: Sarabande: Andante - Willem Mengelberg 67: Bourrees I And II - Willem Mengelberg 68: Polonaise: Moderato - Willem Mengelberg 69: Menuet: Allegretto - Willem Mengelberg 70: Badinerie: Allegro - Willem Mengelberg 71: Air - Willem Mengelberg 72: Air - Willem Mengelberg 73: Vivace - Willem Mengelberg 74: Largo Ma Non Tanto - Willem Mengelberg 75: Allegro - Willem Mengelberg

Customer Reviews A New and Revolutionary Way to Hear Bach Then after reading the above reviews, I chanced it and bought Mengelberg's Bach. Having grown up on sterilized, so-called "authentic" performances of Bach, I always found him cold and uninteresting. And it was a revelation. This was Bach with love, Bach with emotion, Bach with the greatest depth of feeling, Bach that touched my heart and brought me to tears. I refuse to believe that there is any single "authentic" way to perform Bach anymore than that there is one "authentic" way to worship. The fanatics are not just out there in religion but also in musical performance. I judge a person by his actions, by what he or she does, by what she or he accomplishes regardless of the person's professed faith. And I judge musicians in the same way. Move me, touch me, bring me to tears, and make me know I am in the presence of great art, but don't preach to me a single path to musical salvation, especially when it is sterile and unfeeling. In additon to the "Passion," there are other Bach performances on here that are equally moving, equally wonderful. This set was a revelation. As philosopher Frederick Turner pointed out in THE CULTURE OF HOPE, "Sometimes the present creates the future by breaking the shackles of the past; but sometimes the past creates the future by breaking the shackles of the present. " Here is a revolution--in terms of today's moribund way of performing Bach and early music--and I would only hope that some contemporary musicians might try to break some of "the shackles of the present" and return Bach's humanity to him. . A major addition to the Naxos Historical Catalogue. Well, the wait was worthwhile! I doubt that the St Matthew Passion recording, wonderfully vivid for 1939, has ever sounded as well as in this 2004 remastering by Mark Obert-Thorn. Amongst the vast legacy of recordings from Mengelberg's Amsterdam years, this one had until now eluded me. You'll be aware of a few patches of blasting in the opening chorus, and a few clicks thereafter, but you'll soon feel comfortably enveloped in the grand ambience of the Amsterdam Concertgebouw. The recording is especially kind to the choir. So much for the recording quality, what of the performance? Commitment, sincerity, grandeur and reverence - words like this typify it. Don't expect metronomic totality to be sustained in each item. Indeed, so many are the kinks and bends in the music's flow that you'll wonder how such large forces directed by one diminutive conductor could maintain such perfect ensemble. Those who favor contemporary styles of Bach performance will need to forget all that. Repeated hearings might show that behind Mengelberg's idiosyncracies is a strong understanding of a great event and a commitment to making Bach's music reveal it directly. Complete St Matthew Passion performances were rare in the 1930s. Bruno Walter was one conductor who later regretted that he had conducted "cut" versions. This one lasts for about two and three-quarter hours. All Mengelberg's other Bach recordings are added to fill the third CD. The Legendary 1939 Mengelberg 'St. Matthew Passion' Willem Mengelberg (1871-1951), the long-time conductor of Amsterdam's Concertgebouw Orchestra and now known primarily because he was the first champion of Mahler's music outside Austria and Germany, had been conducting a yearly performance of Bach's mighty 'St. This performance is legendary for a number of reasons. Matthew Passion' since 1899. This performance, broadcast over Dutch Radio on Palm Sunday of 1939, was to be his last. The horrors of World War II were about to rock Europe and his country was soon occupied by German troops. (Indeed, one of the soloists in this performance, bass Herman Schey, a Jew, spent the duration of the War in hiding inside Holland. ) This recording was the first to be made in its original German; a version in English, conducted by Serge Koussevitsky, had been made in Boston in 1937 but was in horrible sound. Also, this recording was made using an unusual process, the so-called Philips Miller system that used a black-coated celluloid film which was etched in the recording process by a sapphire stylus and then read back optically; a similar process had been in use in the film industry for a few years. The sound obtained was an advance on the usual recording processes then commonly in use. Indeed, a technically adequate recording made using the Philips Miller technique sounded as good as audiotape recordings made as late as the 1950s. It allowed for longer takes and obtained a much wider dynamic range than was common in the 1930s. This transfer, made by the redoubtable Mark Obert-Thorn, used pristine Dutch pressings. The performance presented here is controversial in these days of so-called authentic Baroque performance practice. It is in the grand manner that was common in its day. The chorus is huge, the orchestra is the full Concertgebouw. The manner of the performance is Romantic, even elephantine, but there is a grandeur and reverence that still makes its effect in these more 'enlightened' days of fleet performances with smaller forces. It may be helpful to think of this performance as operatic. There is no question that the points of the story of the Passion are made in dramatic fashion here. The cast of soloists is outstanding. Karl Erb is a dramatically apt Evangelist. Bass Willem Ravelli sings a manly and dulcet-voiced Jesus. The solo quartet - Jo Vincent, soprano; Ilona Durigo, contralto; Louis van Tulder, tenor, and Herman Schey, bass - are quite effective. The chorus, the combined Amsterdam Toonkunst Choir and the Zanglust Boys' Choir, are spectacular; my only complaint is that the forces are so large that when the chorus bursts in with the crowd interjections it fair makes one jump out of their chair. Mengelberg conducts with complete control, taking quite slow tempi much of the time while molding phrasing and dynamics in echt-romantisch style. There are some small cuts in the complete score. The largest cut begins at the middle of No. 49 and jumps to No. 54. No sung texts are included. I don't see this as a significant problem as I cannot imagine that this will be anyone's only recording of the Passion. I suspect this release will be valuable primarily to Bach enthusiasts, Mengelberg collectors (of which there is a growing number these days), and people with a musicological bent. But make no mistake, this is an extremely moving performance of this masterwork. I will admit that I am less than sold on current performance practice of this and similar works; maybe it's because I'm of a certain age and came to love these works in recordings that are now considered old-fashioned. So be it; I know I am not alone in this feeling. Included in this 3CD set are also recordings, again in the old-fashioned manner, of Mengelberg conducting the Orchestral Suite No. 2 in B Minor, BWV 1067 (rec. 1931), Telico's arrangement of the 'Air for the G String,' from Suite No. 3, BWV 1068 (rec. 1938), and the Concerto in D Minor for Two Violins, BWV 1010 (with Louis Zimmermann and Ferdinand Helman, violinists; rec. 1935), all with the Concertgebouw. Also included is a rarity, Mahler's arrangement of the Air for the G String played by the New York Philharmonic under Mengelberg and recorded in 1929, the last year he was their conductor. TT: 3CDs, 3:27:26 Scott Morrison. . You can see a complete list of all Hermann Schey, William Ravelli, Johann Sebastian Bach, Willem Mengelberg, Hubert Barwahser, Johannes den Hertog, W. Peddemors, Concertgebouw Orchestra Amsterdam, Philharmonic-Symphony Orchestra of New York, Piet Van Egmond discography, or go back to the Hermann Schey, William Ravelli, Johann Sebastian Bach, Willem Mengelberg, Hubert Barwahser, Johannes den Hertog, W. Peddemors, Concertgebouw Orchestra Amsterdam, Philharmonic-Symphony Orchestra of New York, Piet Van Egmond tabs