Bach Collegium Japan, Masaaki Suzuki - J.S. Bach: Matth?us-Passion
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Music CD Cover
Artist: Bach Collegium Japan, Masaaki SuzukiPerformer: Chiyuki Urano
Composer: Chiyuki Urano
Performer: Jun Hagiwara
Performer: Peter Kooij
Conductor: Peter Kooij
Performer: Tetsuya Odagawa
Composer: Johann Sebastian Bach
Conductor: Masaaki Suzuki
Performer: Alfredo Bernardini
Orchestra: Bach Collegium Japan Orchestra
Performer: Midori Suzuki
Performer: Nancy Argenta
Performer: Yoshie Hida
Performer: Gerd Turk
Performer: Makoto Sakurada
Performer: Keiko Watanabe
Performer: Natsumi Wakamatsu
Edition: Music CD
Format: Import
CD Release Date: 2000-02-14
Music Label: Bis
Soundtracks:
Music CD 1
- Part 1. 1. Chor Mit Choral. Kommt, ihr T?chter, belft mir klagen...
- Part 1. 2. Rezitativ. Da Jesus diese Rede vollendet hatte...
- Part 1. 3. Choral. Hersliebster Jesu, was hast du verbrochen...
- Part 1. 4a. Rezitativ. Da versammleten sicht die Hohenpriester...
- Part 1. 4b. Chor. Ja nicht auf das Fest...
- Part 1. 4c. Rezitativ. Da nun Jesus war zu Bethanien...
- Part 1. 4d. Chor. Wozu dienet dieser Unrat?...
- Part 1. 4e. Rezitativ. Da das Jesus merkete, sprach er zu ihnen...
- Part 1. 5. Rezitativ. Du lieber Heiland du...
- Part 1. 6. Arie. Bu? und Reu...
- Part 1. 7. Rezitativ. Da ging hin der Zw?lfen einer...
- Part 1. 8. Arie. Flute nur, du liebe Herz!...
- Part 1. 9a. Rezitativ. Aber am ersten Tage...
- Part 1. 9b. Chor. Wo willst du, da?wir dir beriten...
- Part 1. 9c. Rezitativ. Er sprach: Gehet hin in die Stadt...
- Part 1. 9d. Rezitativ. Und sie wurden sehr betr?bt...
- Part 1. 9e. Chor. Herr, bin ich's?
- Part 1. 10. Choral. Ich bin's, ich sollte b??en...
- Part 1. 11. Rezitativ. Er antwortete und sprach: Der mit der Hand...
- Part 1. 12. Rezitativ. Wiesohl mein Herz in Tr?nen schwimmt...
- Part 1. 13. Arie. Ich will dir mein Herze schenken...
- Part 1. 14. Rezitativ. Und da sie den Lobgesang gesprochen hatten...
- Part 1. 15. Choral. Erkenne mich, mein H?ter...
- Part 1. 16. Rezitativ. Petrus aber antwortete und sprach zu ihm...
- Part 1. 17. Choral. Ich will vei dir stehen...
- Part 1. 18. Rezitativ. Da kam Jesus mit ihnen zu einem Hofe...
- Part 1. 19. Rezitativ. O Schmerz! Hier zittert das gequ?lte Herz...
- Part 1. 20. Arie. Ich will bei meinem Jesu wachen...
- Part 1. 21. Rezitativ. Und ging hin ein wenig...
- Part 1. 22. Rezitativ. Der Heiland f?llt vor seinem Vater nieder...
- Part 1. 23. Arie. Gerne will ich mich bequemen...
- Part 1. 24. Rezitativ. Und er kam zu seinen J?ngern...
- Part 1. 25. Choral. Was mein Gott will, das g'scheh allzeit...
- Part 1. 26. Rezitativ. Und er kam und fand sie aber schlafend... / Und als er noch redete, siehe, d
- Part 1. 27a. Arie. So ist mein Jesus nun gefangen...
- Part 1. 27b. Chor. Sind Blitze, sind Donner in Wolken verschwunden?...
- Part 1. 28. Rezitativ. Und siehe, einer aus denem, die mai Jesus waren...
- Part 1. 29. Choral. O Mensch, bewein dein S?nde gro?...
- Part 2. 30. Arie. Ach! nun ist mein Jesus hin!...
- Part 2. 31. Rezitativ. Die aber Jesum gegriffen hatten...
- Part 2. 32. Choral. Mir hat die Welt tr?glich gericht'...
- Part 2. 33. Rezitativ. Und weiwohl viel falsche Zengern...
- Part 2. 34. Rezitativ. Mein Jesus schweigt...
- Part 2. 35. Arie. Geduld! Wenn mich falsche Zungen stechen...
- Part 2. 36a. Rezitativ. Und der Hohepriester antwortete...
- Part 2. 36b. Chor. Er ist des Todes schuldig!
- Part 2. 36c. Rezitativ. Da speieten sie aus in sein Angesicht...
- Part 2. 36d. Chor. Weissage uns, Christe...
- Part 2. 38a. Rezitativ. Petrus aber sa? drau?en im Palast...
- Part 2. 38b. Chor. Wahrlich, du bist auch einer von denn...
- Part 2. 38c. Rezitativ. Da hub er an, sich zu verfluchen...
- Part 2. 39. Arie. Erbarme dich...
- Part 2. 40. Choral. Bin ich gleich von dir gewichen...
- Part 2. 41a. Rezitativ. Des Morgens aber hielten alle Hohepriester...
- Part 2. 41b. Chor. Was gehet uns das an?...
- Part 2. 41c. Rezitativ. Und er warf die Silberlinge in den Tempel...
- Part 2. 42. Arie. Gebt mir meinen Jesum wieder!...
- Part 2. 44. Choral. Befiehl du deine Wege...
- Part 2. 45a. Rezitativ. Auf das Fest aber...
- Part 2. 45b. Chor. La? ihn kreuzigen!
- Part 2. 46. Choral. Wie wunderbarlich ist doch diese Strafe!...
- Part 2. 47. Rezitativ. Der Landpfleger sagte: Was hat er denn ?bels getan?
- Part 2. 48. Rezitativ. Er hat uns allen wohlgetan...
- Part 2. 49. Arie. Aus Liebe, aus Liebe will mein Heiland sterben...
- Part 2. 50a. Rezitativ. Sie schrieen aber noch mehr und sprachen:
- Part 2. 50b. Chor. La? ihn kreuzigen!
- Part 2. 50d. Chor. Sein Blut komme ?ber uns und unsre Kinder.
- Part 2. 50e. Rezitativ. Da gab er ihnen Barrabam los...
- Part 2. 51. Rezitativ. Erbarm es Gott!...
- Part 2. 52. Arie. K?men Tr?nen meiner Wangen...
- Part 2. 53a. Rezitativ. Da nahmen die Kriegsknechte des Landpflegers Jesum zu sich...
- Part 2. 53b. Chor. Gegr??et seist du J?denk?nig!
- Part 2. 53c. Rezitativ. Und speieten ihn an...
- Part 2. 54. Choral. O Haupt voll Blut und Wunden...
- Part 2. 55. Rezitativ. Und da sie ihn verspottet hatten...
- Part 2. 56. Rezitativ. Jafreilich will in uns das Fleisch und Blut...
- Part 2. 57. Arie. Komm s??es Kreuz, so will ich sagen...
- Part 2. 58a. Rezitativ. Und da sie an die St?tte kamen mit Namen Golgatha...
- Part 2. 58b. Chor. Der du den Tempel Gottes zerbrichst...
- Part 2. 58c. Rezitativ. Desgleichen auch die Hohenpriester spottetet sein...
- Part 2. 58d. Chor. Andern hat er geholfen und kann ihm selber nicht helfen...
- Part 2. 58e. Rezitativ. Desgleichen schm?heten ihn auch die M?rder...
- Part 2. 59. Rezitativ. Ach Golgatha, unselges Golgatha!...
- Part 2. 60. Arie. Sehet, Jesus hat die Hand...
- Part 2. 61a. Rezitativ. Und von der sechsten Stunde an...
- Part 2. 61c. Rezitativ. Und bald lief einer unter ihnen...
- Part 2. 61d. Chor. Halt! la? sehen, ob Elias komme und ihm helfe?
- Part 2. 61e. Rezitativ. Aber Jesus schriee abermal laut und verschied.
- Part 2. 62. Choral. Wenn ich einmal soll scheiden...
- Part 2. 63a. Rezitativ. Und siehe da, der Vorhang im Tempel zerri? in zwei St?ck...
- Part 2. 63b. Chor. Wahrlich, dieser ist Gottes Sohn gewesen.
- Part 2. 63c. Rezitativ. Und es waren viel Weiber da, die von ferne zusahen...
- Part 2. 64. Rezitativ. Am Abend, da es k?hle war...
- Part 2. 65. Arie. Mache dich, mein Herze, rein...
- Part 2. 66a. Rezitativ. Und Joseph nahm den Leib...
- Part 2. 66b. Chor. Herr, wir haben gedacht, da? dieser Verf?hrer sprach...
- Part 2. 66c. Rezitativ. Pilatus sprach zu ihnen: Da habt ihr die H?ter...
- Part 2. 67. Rezitativ. Nun ist der Herr zu Ruh gebracht...
- Part 2. 68. Chor. Wir setzen uns mit Tr?nen nieder...
Free Music Notes for J.S. Bach: Matth?us-Passion
Free Music Review: A leader of the pack...
Hit: 5 Stars
J.S. Bach's St. Matthew Passion is one of the highest achievements of western composition but also of humanity as a whole. It is an essential component of any classical collection (or any collection for that matter). Also, depending on what the listener is prepared to put into the listening experience it can be intensely moving and fulfilling (its length only contributing to the experience). If you don't own a recording of this work already, this recording is a good choice for you. I'll put it in the context of the other recordings I'm familiar with: one recording conducted by Herreweghe and another by Klemperer. Herreweghe's is more dramatic, which is a good or bad thing depending on your perspective. It is probably the best choice for first exposure to the SMP because of that drama - it is a more engaging first experience. But Suzuki's version here has its own set of merits. The tempi are generally brisk (like Herreweghe's) but in a few important places (such as Kommt, ihr tochter, the opening chorus) the pace is slightly slower, giving the listener a better chance to keep pace with this enourmously intricate double choir section. Suzuki's comments in the liner notes (but more importantly his interpretive decisions) indicate that his focus here is contemplation and devotion. The evangelist, Gerd Turk, preserves a sense of understatement in this music (I mean that as a compliment) - his performance is, I think, more in keeping with the sense of the work than is Bostridge's (under Herreweghe). Peter Kooij is an excellent soloist, though I think I slightly prefer the sound of Franz-Josef Selig on the other recording. The choral sound here is good - clean and focused (slightly more, in places, than in the Herreweghe). The balance with the orchestra is good. The remaining soloists are all solid. On an aesthetic level I dislike the "period instrument" sound and musicologically I reject the authenticist position, but if you prefer that approach then this recording is for you. If not, then Klemperer's recording (from 1962 I think) would be my choice (read my review of that recording for more information). But even so I can gladly recommend Suzuki's recording. If you don't own a recording of this work, this one is a fine choice. If you are looking for another recording, this one offers some things that others don't and is a worthwhile buy.
J.S. Bach: Matth?us-Passion Poster
From the first few seconds of the opening chorus, it's obvious that Masaaki Suzuki's reading of the St.?Matthew Passion isn't after the vivid sacred drama that John Eliot Gardiner or even Philippe Herreweghe go for--or the long-winded Teutonic gloom so often found in performances of earlier generations. Suzuki seems to be approaching the St.?Matthew as an occasion for devout contemplation of the Passion story rather than a reenactment of that story as music drama. There are some ferocious outbursts from the choir in the crowd scenes, but elsewhere there's gentleness, even delicacy, throughout this performance. Suzuki's marvelous Evangelist, Gerd T?rk, seems to give a meditative retelling of the Passion story rather than a theatrical narration: he's extraordinarily sensitive to the nuances of the text and melody--in particular, his moments without accompaniment are breathtaking. (If you want high drama from your Evangelist, however, you'll do better with Herreweghe's Ian Bostridge.) The soloists in the arias are quite respectable (if not quite on T?rk's level): very attuned to melodic contour--that is, to making music out of the melodies--but seemingly less concerned with making a strong emotional impact (no doubt a reflection of Suzuki's devotional conception of the performance). Soprano Nancy Argenta sounds somewhat shakier here than she did in the 1980s and 1990s, while countertenor Robin Blaze sounds more vocally and artistically mature with each new recording he makes. To those who look forward mainly to the churning emotion that can be found in this music, the Bach Collegium Japan's performance may seem dull, but (as with their St.?John Passion) on its own terms, it's both filled with musical beauty and suffused with genuine spiritual devotion. --Matthew WestphalClassical Music CDs
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