Though liturgy had presented a place in the week’s services for each evangelist’s version of Christ’s Passion, those of St. Matthew and St. John had for a long time won first claim on the attention of composers. This was partly because Palm Sunday and Good Friday were the main days in Holy Week (and the days appointed for those Passion settings), but also because these two are the most inspiring stories, the most stimulating to a composer. St. Matthew’s story is particularly detailed, and its incident allows great scope for meditation; almost every event poses a question in posterity’s mind, which can be expressed and perhaps answered in posterity’s voice, by some form of arioso or aria. Other German composers of the St. Matthew Passion had provided many of these: Bach’s are fewer than usual, but very considerable in length, so that his seems the most monumental Passion setting of all — an impression deepened by the sublime quality of almost every meditative number. The monumental effect is heightened because Bach’s St. Matthew Passion is laid out for double chorus and double orchestra, as well as soloists, and a third chorus of sopranos only in the first and last numbers of part one, but nowhere else. Bach graded the music of his three choirs in difficulty: what he calls Coro I has the more demanding and subtle music; Coro Il, who were amateurs, are less taxed. Nowadays Bach’s St. Matthew Passion is all too often performed with two choirs of some 200 voices apiece, and to appreciate Bach’s care in apportioning the tasks of his choirs it is as well to remember that he copied out no more than eight vocal parts to suffice both choirs, which means not really more than four singers per part, two choirs of 16 voices at most apiece — and they were not all efficient voices either: in 1730 Bach submitted a report to the Leipzig town council on the requirements of “a well-appointed church music, with certain modest reflections on the decline of the same”. After explaining that singers in these days have to perform music of all kinds, in all styles, from all countries (today choirs know this problem still better), often written for virtuoso professionals, he concludes that the singers at his disposal must be categorized as follows: “17 usable, 20 not yet usable, and 17 unfit”. His instrumentalists numbered 28, and he commented, “modesty forbids me to speak at all truthfully of their qualities and musical knowledge. Nevertheless it must be remembered that they are partly retired persons and partly not at all in such practice as they should be”. The first performance of Bach’s St. Matthew Passion took place, almost certainly, on 15 April, 1729, in St. Thomas’s Church, Leipzig, and we would have thought it terrible to listen to, one suspects from reading Bach’s remarks which refer precisely to the people who performed it. There were other singers and instrumentalists in Leipzig, and we might suppose that they were all pressed into service for the first performance of what most people feel is the greatest piece of sacred music in the world. For Leipzig in 1729 Bach’s St. Matthew Passion was an also-ran; the event of that Good Friday was a Passion by Gottfried Frober, a promising candidate for the cantorship of the New Church, and it was there that most people went. Leipzig was musically reactionary, and Bach’s music sounded to them absurdly modern and extravagant, even unecclesiastical. In 1732 Christian Gerber recalled a performance of a modern Passion setting, which may well have been Bach’s St. Matthew Passion: “when this theatrical music began, all these people were thrown into the greatest bewilderment, looked at each other and said, ‘What will come of this?’ An old widow of the nobility said, ‘God save us, my children! It’s just as if one were at an opera comedy’. But everyone was genuinely displeased by it and voiced just complaints against it” Bach’s choral requirements have been mentioned. He used solo voices, picked from the choir, not imported, for the Evangelist, Jesus, two Maids, two false witnesses, Pilate’s wife, Peter, Judas, Pilate, Caiaphas, two priests, and at least four soloists for arias — conceivably 18 voices (Bach was to declare that only 17 were to be trusted). His orchestras, disposed each with one choir in two organ lofts, numbered flutes, oboes (changing to oboi d’amore, and oboi da caccia which we call cor anglais) , bassoons, strings, and keyboard instruments he had only one organ in use but may also have used at least one harpsichord. Among his strings he required two solo violinists, a solo ‘cello, and a solo viola da gamba (which is similar to a ‘ceilo but with more strings to its bow). St. Thomas’s Church is not big but spacious, and its acoustics in 1729 were very favourable to quick music for double chorus (as in “Sind Blitzen und Donner”). The Good Friday service in St. Thomas’s was a long one. It began at 1.45 p.m., and consisted as follows: Chorale: Da Jesus an dem Kreuze stund
Passion Music, first part
Chorale: O Lamm Gottes
Chorale: Herr, Jesu Christ, dich zu uns wend
Sermon
Passion Music, second part
Motet, Ecce quomodo moritur justus (by Jacobus Gallus)
Passion Collect
Chorale: Nun danket alle Gott Blessing. Each of the chorales consists of several verses, the sermon will have been some 45 minutes long, and Bach’s setting lasts about three and a half hours. Bach probably gave the St. Matthew Passion on several Good Fridays. His original set of parts, but not the score, has survived; what does exist is his manuscript full score made in the 1740s when he had inserted “O Mensch, bewein” in place of the plain G major chorale “Jesum lass ich nicht von mir”, at the end of part one. A feature of this manuscript is that the words of holy scripture are written in red ink. We know that Bach must have been dissatisfied with the manner in which his greatest work was performed on that Good Friday in 1729; his memorandum bluntly tells us so. We know also that musicians in the 1960s make music in ways altogether different from their eighteenth-century colleagues: our instruments are made, fitted, and played quite otherwise; even our amateur singers use a different vocal technique; and all of us have lost touch with interpretative methods that were completely spontaneous to Bach’s Leipzigers. Our organs are noisier, our violins play with vibrato all the time, our singers and our woodwinds produce a woollier though more alluring sound; Bach’s musicians, on the other hand, added trills and grace-notes (though probably not cadenzas, which Handel’s Messiah requires) that he did not need to write down, and everybody took it for granted that a melody, when repeated, never sounded twice the same; it had always to be varied more or less. We cannot hope, and would not want, to perform the St. Matthew Passion as the Leipzigers of 1729 heard it; we can only try to make the music sound as nearly as we are able, after careful study and thought, like what we believe Bach would have wished. END

Author Since: Mar 11, 2019

  1. Johann Sebastian Bach (1685-1750) – St. Matthew Passion BWV244
    Oratorio in two parts for soloists, double choir and orchestra
    Click to activate the English subtitles for the presentation (00:00–07:26)
    Part one
    Kommt, Ihr Töchter, Helft Mir Klagen (00:00)
    Da Jesus Diese Rede Vollendet Hatte (11:45)
    Herzliebster Jesu, Was Hast Du Verbrochen (12:40)
    Da Versammleten Sich Die Hohenpriester (14:09)
    Ja Nicht Auf Das Fest (14:42) – Da Nun Jesus (15:00)
    Wozu Dienet Dieser Unrat (15:41) – Da Das Jesus Merkete (16:17)
    Du Lieber Heiland Du (18:10) – Buss Und Reu (19:15)
    Da Ging Hin Der Zwölfen Einer (24:06) – Blute Nur, Du Liebes Herz (24:51)
    Aber Am Ersten Tag Der Süssen Brot (30:05) – Wo Willst Du (30:19)
    Er Sprach_ Gehet Hin (30:44) – Ich Bin's, Ich Sollte Büssen (32:47)
    Er Antwortete Und Sprach_ Der Mit Der Hand Mit Mir (34:21)
    Wiewohl Mein Herz (38:19) – Ich Will Dir Mein Herze Schenken (39:50)
    Und Da Sie Den Lobgesang (43:54) – Erkenne Mich, Mein Huter (45:18)
    Petrus Aber Antwortete (47:10) – Ich Will Hier (48:29)
    Da Kam Jesus (50:22) – O Schmerz! (52:29)
    Ich Will Bei Meinem Jesu (55:35) – Und Ging Hin Ein Wenig (1:01:50)
    Der Heiland Fällt (1:02:43) – Gerne Will Ich Mich Bequemen (1:04:05)
    Und Er Kam Zu Seinen Jüngern (1:10:41)
    Was Mein Gott Will (1:12:16) – Und Er Kam (1:14:20)
    So Ist Mein Jesus Nun Gefangen (1:17:25)
    Und Siehe, Einer Aus Denen (1:23:25)
    O Mensch, Bewein Dein Sunde Groß (1:26:11)

    Part two
    Ach, Nun Ist Mein Jesus Hin (1:37:24) – Die Aber Jesum Gegriffen (1:42:53)
    Mir Hat Die Welt (1:44:03) – Und Wiewohl Viel Falsche Zeugen Herzutraten (1:45:32)
    Mein Jesus Schweigt (1:46:57) – Geduld, Wenn Mich Falsche Zungen Stechen (1:47:58)
    Und Der Hohepriester (1:52:53) – Da Speieten Sie (1:54:55)
    Wer Hat Dich So Geschlagen (1:55:43) – Petrus Aber Saß Draußen Im Palast (1:57:19)
    Da Hub Er An, Sich Zu Verfluchen (1:58:43) – Erbarme Dich, Mein Gott (2:00:15)
    Bin Ich Gleich Von Dir Gewichen (2:07:38) – Des Morgens Aber (2:09:16)
    Und Er Warf Die Silberlinge (2:10:33) – Gebt Mir Meinen Jesum Wieder! (2:11:27)
    Sie Hielten Aber Einen Rat (2:15:39) – Befiehl Du Deine Wege (2:18:33)
    Auf Das Fest Aber Hatte (2:20:12) – Wie Wunderbarlich (2:23:02)
    Der Landpfleger Sagte (2:24:26) – Er Hat Uns Allen Wohlgetan (2:24:40)
    Aus Liebe Will Mein Heiland Sterben (2:26:00) – Sie Schrieen Aber Noch Mehr (2:30:45)
    Erbarm' Es Gott! (2:33:24) – Können Tränen Meiner Wangen (2:34:50)
    Da Nahmen Die Kriegsknechte (2:44:30) – O Haupt voll Blut und Wunden (2:45:44)
    Und da sie ihn verspottet (2:49:01) – Ja! Freilich Will In Uns Das Fleisch Und Blut (2:50:10)
    Komm, süßes Kreuz (2:50:53) – Und da sie an die Stätte (2:57:32)
    Desgleichen schmähten ihn (3:01:57) – Ach, Golgatha (3:02:15)
    Sehet, Jesus hat die Hand (3:03:50) – Und von der sechsten Stunde (3:08:28)
    Wenn ich einmal soll scheiden (3:11:21) – Und Siehe Da (3:13:41)
    Am Abend, Da Es Kühle War (3:16:46) – Mache dich, mein Herze, rein (3:19:22)
    Und Joseph nahm den Leib (3:29:42) – Nun ist der Herr (3:33:05)
    Wir setzen uns mit Tränen nieder (3:35:25)

    Sopran : Elisabeth Schwarzkopf
    Alt : Christa Ludwig
    Tenor : Peter Pears / Nicolai Gedda
    Bariton : Dietrich Fischer-Dieskau
    Bass : Walter Berry
    Philarmonia Choir and Boys of Hampstead Parish Church Choir
    Wilhelm Pitz ( Choir Master / Chef de Choeur)
    Director : OTTO KLEMPERER
    Recorded in 1961

    COMMENTAIRE COMPLET : VOIR DEUXIÈME COMMENTAIRE
    ien que la liturgie ait réservé une place dans les offices de la Semaine Sainte aux versions de la Passion du
    Christ de chaque évangéliste, celles de Saint Matthieu et de Saint Jean ont retenu toujours en premier lieu l'attention des compositeurs. Une des raisons en est que le Dimanche des Rameaux et le Vendredi Saint étaient les jours principaux de la Semaine Sainte (et les jours désignés pour ces mises en scène des Passions), mais une autre raison tien aux caractères mêmes de ces Passions qui inspirent davantage et sont plus stimulantes pour un compositeur.

    Le récit de Saint Matthieu est particulièrement riche en détails et ses différents incidents laissent une grande place à la méditation; chaque événement ou presque pose une question qui est exprimée ou qui trouve sa réponse sous forme d'arioso ou d'aria. D'autres compositeurs allemands de Passions selon Saint Matthieu en ont écrit beaucoup: ceux de Bach sont moins nombreux mais beaucoup plus longs, si bien que sa Passion apparaît comme la plus importante de toutes ces compositions — impression renforcée par la qualité sublime de presque tous les numéros de méditation. L'effet monumental est encore accru par l'agencement même de la Passion selon Saint Matthieu: double choeur et double orchestre, aussi bien que solistes, et un troisième chœur de sopranos dans les premier et dernier numéros de la première partie. Bach répartit la difficulté de sa musique entre ses trois choeurs: il donne à ce qu'il appelle Coro I la musique la plus difficile et la plus importante; le Coro II, qui était formé d'amateurs, est moins mis à l'épreuve.

    Nous savons que Bach ne dut pas être très satisfait de la manière dont fut exécutée sa plus grande oeuvre ce Vendredi Saint 1729; son memorandum nous le dit de façon très nette. Nous savons également que les musiciens de maintenant jouent d'une manière tout à fait différente de celle de leurs collègues du XVII e siècle: nos instruments sont fabriqués, ajustés et joués tout à fait autrement; même nos chanteurs amateurs utilisent une autre technique vocale; et nous sommes tous aujourd'hui très éloignés des méthodes d'interprétation entièrement spontanées des Leipzigois de Bach.

    Nos orgues sont plus sonores, nos violons jouent continuellement vibrato, nos chanteurs et nos bois produisent un son plus feutré et cependant plus plaisant à l'oreille; les musiciens de Bach, d'autre part, ajoutaient des trilles et des fioritures (mais sans doute pas de cadences, ce que Haendel, par contre, demandait dans son Messie) et chacun trouvait tout à fait normal qu'une mélodie, quand elle était répétée, fut chaque fois différente; on devait toujours la varier plus ou moins.

    Nous ne pouvons espérer — et nous ne le voudrions pas d'ailleurs — exécuter la Passion selon Saint Matthieu comme elle fut entendue par les Leipzigois en 1729; nous pouvons seulement essayer de rendre la musique aussi proche que possible, après recherche et étude attentives, de ce que nous pensons être le voeu de Bach.

    Wonderful excerpts to discover the work :
    Kommt, Ihr Töchter, Helft Mir Klagen (00:00)
    Buss Und Reu (19:15)
    Blute Nur, Du Liebes Herz (24:51)
    Ich Will Bei Meinem Jesu (55:35)
    Gerne Will Ich Mich Bequemen (1:04:05)
    So Ist Mein Jesus Nun Gefangen (1:17:25)
    O Mensch, Bewein Dein Sunde Groß (1:26:11)
    Ach, Nun Ist Mein Jesus Hin (1:37:24)
    Erbarme Dich, Mein Gott (2:00:15)
    Gebt Mir Meinen Jesum Wieder! (2:11:27)
    Aus Liebe Will Mein Heiland Sterben (2:26:00)
    Können Tränen Meiner Wangen (2:34:50)
    O Haupt voll Blut und Wunden (2:45:44)
    Komm, süßes Kreuz (2:50:53)
    Sehet, Jesus hat die Hand (3:03:50)
    Mache dich, mein Herze, rein (3:19:22)
    Wir setzen uns mit Tränen nieder (3:35:25)

    Johann Sebastian Bach PLAYLIST (reference recordings) https://www.youtube.com/watch?v=VPPphQT6Gws&list=PL3UZpQL9LIxOLRwxl1dEfDrH3c8mX5UB1&index=2&t=537s

  2. Although I think there is no such a thing as "the best" interpretation, I must admitt that this is THE BEST Bach's St. Matthew Passion. I agree with Janus 770: Eternity and Inmortality are here in this performance. The Penguin Stereo Record Guide, many many years ago said about this performance that in the presence of its grandeur, "points of style and interpretation dwindle into insignificance". I am a freethinker but this Passion makes me come close to the idea of a God… Thanks to Otto Klemperer, the Great.

  3. Thanks for this fantastic interprétation.Merci pour votre post ,c'est une interprétation magnifique,qui pour moi est l'égal de Scherchen

  4. This interpretation is truly beautiful. Otto Klemperer knows all the unique features of the Passion: the enshrouding of Christ's voice in the ethereal strings, the melding of the chorus with the arias, the development of the chorales, the major within the minor keys… I agree with everyone here: this is the best.

  5. Many thanks to Felix Mendelssohn for re discovering this greatest master piece a year after the death of Ludwig Van Beethoven which got completely sunk during the "block and column harmonise music with occasional touch of the base of Mr Alberti " of the classical era.

  6. This is most certainly not only the longest but also the most beautiful and profound performance of the St Matthew Passion.

  7. Sin duda la mejor versión de todos los tiempos. Colosal, monolítica, germánica, romántica. He buscado y escuchado cuantas versiones andan por ahí y las hay buenas (Richter, Karajan, Gönnenwein), pero ninguna supera a esta. He buscado y escuchado cuantas versiones andan por ahí del aria "Können Tränen meiner Wangen" y del aria "Erbarme dich, mein Gott, um meiner Zähren willen" sin ir mas lejos y debo decir que todas están muy atrás de las de esta versión. Absoluta referencia, Bach-Klemperer durarán por siempre en esta grabación.

  8. OMG!! This is the version from heavens!! And the cast, couldn't be more perfect, Fischer-Dieskau and friends!!! Thank you whoever uploaded it!! Al these new musicians and young conductors listen and learn!!!!!!!!!

  9. This is a wonderfull masterpiece. Thanks for sharing this work and another pearls. One of the best channels in Youtube.

  10. Everytime I watch a documentary or read something about Klemperer, they fail to say how much he loved Bach's music, they hardly mention his Bach's recordings. This recording shows how important this music was to him.

  11. No sé si es la mejor o la peor. A mí es la que más me emociona, con diferencia sobre las demás. Seguramente será muy diferente a la que escuchó el propio Bach. Pero me gustaría saber qué opinaría él si la escuchara. Chi lo sa?

  12. With rushed, soulless Bach-lite all the fashion these days it is wonderful to hear this greatest of masterpieces given the performance it truly deserves.

  13. I don't believe there is a greater moment in all music than when "Wahrlich, dieser ist Gottes Sohn gewesen" is sung on this recording.

  14. Am a Fanatic Atheist. Believe in none such all. LOVE GODLINESS. JS BACH expresses it. Atheists hate me. Communists hate me. Sexual Liberates hate me. Woman's' and Men's' movements hate me. They ALL hate me. F them when it means ♪♫ ✨ ♪♫💫 ♪♫ beauty.

  15. Thank you so much. Bow down to you (not the god believe not of) (but love lots his worshippers , ha ha ha ) and godly musicians.

  16. this is gods Music……..Bach was not an Atheist…….no great Music has ever been composed by an Atheist……Facts and love from vienna Austria……..where it all began,,Haydn,,Mozart,,Beethoven,,schubert,,Brahms bruckner,,strauss fater+son,,etc………….

  17. THIS is the most beautiful, drawing, fervent, biggest performance of this work. Amazing. Very far beyond the second-rounders: Furtwangler Stockholm 1952, Bohm, Sawallisch, Jochum, Colin Davis. … Mengelberg 1939 Concertgeboughw is interesting but not so beautiful

  18. This performance was by me in my years of despair. Nothing was right except music. After many many years, although some kind of stability is gained, this music is still the only meaningful thing worth living for. Klemperer forever!

  19. I am hearing this performance for the first time. I relish the big-boned majesty, though I do not eschew the faster, leaner performances, either. Hoomeyow!!

  20. This may be the best large forces interpretation ever recorded. Every note pierces the tragic yet triumphant mystery that is the St Matthew Passion.

  21. Now here is a great recording to hear the work for the first time. I'm curious to know why this is an hour longer than others? 🙂

  22. The worst that I can say of this recording is that I wish that different singers had been used for the arias and for the "roles", such as Peter. Also, the arias are occasionally a bit slow for me. On the other hand, the slow tempi impart amazing depth, grandeur, and solemnity to the orchestral and choral parts. Hoomeyow!!

  23. Amazing – this has the power and melody of a modern performance and the lightness of touch of a period interpretation. What is not to like?

  24. After a thirty year diet of original instruments and tempi, this is an old world seeming new and wonderful.

  25. I think it was Edward Said who once wrote that Bach did not make music in order to praise God but to compete with him in the act of creation,

  26. If I was in a deserted island I would take the complete works of J.S.Bach, A.Webern and Trout Mask Replica by Captain Beefheart. I need nothing else than the divine music of bach, the minimalism of webern and the craziness of captain beefheart. You?

  27. Yo apenas era un niño de tres años cuando se grabó esta excepcional versión de la Pasión según San Mateo de J. S. Bach. Maravilloso testimonio para la posteridad!!

  28. This performance is grotesque on all fronts. Opeming chorus is played at half the correct tempo as are most choruses. The phrases are ridiculously long. Orchestra is way too large. Singers sing like they're performing a romantic period opera….the period in which Klemperer excelled.

  29. I live in the Far East, Japanese. I live in the edge of the earth, I feel like a Buddhist. ① The tempo is too slow. ② The conductor feels that he is not a Christian. ③ The first chord of the end, such as the last song of the first part or the final chorus, is too long. ④ He wanted the song to be incomplete like the work after the conversion of Schoenberg.

  30. ….I have never heard inappropriate tempi by Maestro Klemperer. He was able to convince an orchestra to hold the musical line til the last beat of the last bar. And he was fully aware of what he was demanding. Certainly no democratic conductor, but they must have been happy under his baton.
    RDS

  31. Esta es para mi gusto la mejor versión de esta obra. Lenta, pausada, dramática, triste, solo escuchen a las sopranos del 10:07 al 10:37 (me parece oír a las mujeres llorando por Jesús en el viacrucis) yo me pregunto cómo se hubiera escuchado con timbales y metales! Se que el maestro tenía la filosofía de que ésta instrumentación era para obras o momentos más festivos, se nota en el cambio dramático del kirye al gloria de la misa en si menor, no me mal entiendan, la obra es perfecta así como está. En fin, Dios lo bendiga dónde sea que esté maestro.

  32. Me imagino los vastos recintos de la Iglesia Luterana de Santo Tomas en Leipzig llenos de la majestuosidad de esta grandiosa musica. Me imagino a los fieles escuchando con reverencia el poderoso evangelio Biblico por medio del arte musical de su "cantor". Pero casi no me puedo imaginar que tiempos acelerados de versiones barrocas y auténticas hubieran tenido cabida dada la reverberancia y el eco de grandes recintos. Creo que los "tempi" escogidos por Klemperer van mas a mano con la profundidad de los hechos trágicos del sacrificio de Cristo y con las propiedades acústicas del recinto de la iglesia de Santo Tomás. Además, la profunda religiosidad de Bach queda mejor reflejada que en versiones mas rápidas. Esta música llena no solamente una necesidad estética sino de verdadera profundidad espiritual. Como decía el gran maestro: ¡Soli Deo Gloria!

  33. Deep an clear performance of Klemperer the great master of slow but deep tempo !!!!! Once Thanks for sharing and I keep hear it 🙂

  34. Una muestra de como la imponente masa sonora de una gran orquesta romántica ahoga la delicadeza y la jovialidad de la música barroca. Desfigura a Bach hasta convertirlo en un músico lento, pesado, moroso.

  35. Perhaps the supreme version of this work I ever heard. The "historical" versions (Gardiner, Koopman, Herrewegue, Suzuki, etc.), with their light tempi, sounds mechanical to me in comparison to this strong devotional reading. Klemperer was powerful but very subtle too.

  36. I usually prefer period instrument performances of Bach BUT Nicolai Gedda's "O schmerz" 52:30, and the aria that follows ("Ich will bei meinem Jesu") is to me the finest recording. His voice practically sears with white hot emotion. Beautiful!

  37. Call me crazy and uneducated as much as you want, but I feel the current "historical performance practices" is way off. So off it would be laughable if it didn't ruin every master piece we have. Bach was a deeply religious man. Did he really want to project strength and feeling of lightness, which isn't reflected in the text at all, in his vision of passion of the Christ? Or did he want us to hear the pain and sorrow of Jesus as he was flocked and left to die on a cross? Klemperer achieves the latter the most spectacular way. Makes me weep for poor Jesus, and I'm an atheist.

  38. Best sopranos ever i've heard of this recording on Herzliebster Jesu, just a little bit slow, but sopranos, wow

  39. Und Siehe, Einer Aus Denen (1:23:25) sounds bettter in this recording that in any I have heard. The slower tempo increases the tension and underlines the contrast between the delicate soprano voices, and the climactic anguished screams of the choirs. On the contrary, in O Mensch, Bewein Dein Sunde Groß (1:26:11) the tempo may have been a touch too slow. In matters of individual taste we will never find a final agreement. However, there is no doubt that Klemperer version (just like Karl Richter's) becomes a statement and a point of reference. You may prefer a different approach, faster tempo, period instruments, smaller ensembles, and it is fine. But this recording will remain a reality to be reckoned with. Like a stone cathedral.

  40. Johann Sebastian…no one else in the human history could write BWV244, but God himself. And this rendering is as deep as beautiful…

  41. Choruses sound very operatic with this Belcanto-like vibrato. The opening one is too slow. I'm not a big fan of the HIP stuff but this is at the other extreme – heavy German-Romantic interpretation, very much out of connection with Bach's aesthetics. For me, the best performance of this heavenly work is Karl Richter's. Peter Schreier's rendition is also very good.

  42. I heard this on a dutch radio station of all Bach a couple of days ago and realised what the HIP artists have robbed us of.

  43. I don't care if it's HIP or not. What matters is the quality. I've heard awful HIP versions, so as awful romanticized versions of ancient music…

  44. ….An Opus magnum performed by a cast of historic vocal icons under the baton of a giant among the great Maestri. Only OK could do it that way and be called Reference even decades after this recording.
    Mi piace moltissimo

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