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  Исполнитель(и) :
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  Наименование CD :
   Mattheus - Passion (Philippe Herreweghe)

Год издания : 1999

Компания звукозаписи : Harmonia mundi

Время звучания : 2:41:16

К-во CD : 3

Код CD : HMC 901676.78

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Sacred Music (Master Works)      

Mattheus-Passion BWV 244, Herreweghe

About BWV 244 on 'bach-cantatas.com'

см. исполнение

========= from the cover ==========

The Saint Matthew Passion

Of the various types of Passion to be found in the course of musical history first in the Roman Catholic context, and then above all in the Lutheran - only two were still extant at the beginning of the 18th century:

- the Passion Oratorio, which is a kind of oratorio freely based on a poetic text inspired by the Passion of Christ, but independent from the canonic narrative of the New testament;

- the Passion in the oratorio style, which is based directly on the Gospel version of the event as recounted by one of the four Evangelists. The original text is used with interpolations of free poetic passages and, in the Lutheran Passions, of texts drawn from the liturgical repertoire of the Kirchenlieder (chorales).

It is to the second form, the Passion in oratorio style, that Bach's Passions belong. The origins of this genre are not to be sought in the old Italian oratorio (called historia), which was of a devotional, non-liturgical character. They are, in fact, to be found in the development and impetus given to the liturgical Passion (sung during the rites of Holy Week) when around 1640 the canonic texts taken from the Scriptures, or paraphrases of Biblical texts, were expanded by the addition of freely invented verses (so-called "madrigalesque" poems) and chorales. A document of the period (1754) tells us that Bach wrote "five Passions, one of which was for double chorus". This was the St Matthew Passion (The Passion according to Saint Matthew, BWV 244), which was performed at least four times (but each time in a "different" version) in 1727, 1729,1736 and 1744. The most recent studies show that the first performance of the St Matthew Passion took place in 1727 (on 11 April in the Church of St Thomas's in Leipzig). It is, however, very possible that several parts of it date from earlier years. This is certainly clearly documented in the case of the great figured chorale 0 Mensch, bewein dein' Sunde gross (No. 29), which had already appeared in the second version of the St John Passion (Passion according to Saint John, 1725) where it serves as the opening chorus.

The text of the St Matthew Passion was written by Christian Friedrich Henrici (1700-1764), a poet working in Leipzig and better known under the pseudonym of Picander. But research on the origins of the text has shown that this "libretto" was the fruit of a complex manipulation in which Bach himself took part, at least with regard to the choice of the chorales. In his work Henrici made use of an earlier Passion which had been printed in 1725. The autograph score and the original parts in which the most sublime and important monument in the history of Protestant music has come down to us are those of a relatively "late" version presented in Saint Thomas's on 30 March 1736 during the Vespers service of Good Friday. Resting on the great infrastructure of the Gospel of St Matthew (Ch. 26, 1-75; Ch. 27, 1-66), Henrici compiled an edifice comprised of 28 "madrigalesque" pieces which Bach elaborated in different formal and stylistic ways. Within this framework Bach inserted 12 simple chorales (Nos. 3,10,15,17,25, 32, 37,40,44,46, 54,62), to which should be added those inserted into Nos. 1 and 19 and the great figured chorale concluding Part I (No. 29). On the basis of the "moments" into to which Matthew's narrative is divided, it is possible to distinguish a series of "episodes" in Bach's setting (which provides for two vocal and instrumental choirs): two of them form the first part of the work, while the second part is in four episodes grouped into two pairs. Between one episode and another there are the chorales (Nos. 17, 29, 54, 62), two of which possess a special structural peculiarity: No. 29, a grandiose figured chorale, has the function of concluding the first part of the Passion, while No. 54, a chorale in a simple style, but exceptionally divided into two stanzas, separates the two couples of episodes of the second part. The whole Passion is crowned by a magnificent chorus (No. 68) which is the counterpart to the Impressive chorale prologue. The situation may be set out as follows:

In organising this material Bach certainly had a system of vectors, of threads of the argument, of images and symbols in mind, which were to be fused into a superior entity and be made manifest unveiled, with the ecstatic clarity of a last sermon, of a spiritual testament. To the words of the Gospel, and with respect for a liturgy seen as militant thought and edifying action, the full force of the message it incarnated is to be brought home. The Evangelist moulds Matthew's great narrative design in sober and unadorned recitative, while the figure of Christ, eschewing the banalities of the commonplace (i.e. the solution of recitativo secco), acquires a position that is different from that of the other "characters", the soliloquentes, thanks to the constant use of a declamatory style, rich in mystical pride and prophetic truth, accompanied by the strings almost always in series of chords. Clothed in musical figures fraught with symbolic connotations which thereby suggest an immediate correspondence between the contents of the text and the vehicle of the word, the recitative is often a message directed to the faithful and destined to transcend the literal sense of the narrative by assuming an autonomous musical form. This is what happens - to give only one example - at the moment of the earthquake (No. 63a) where the words of the Evangelist are subjected to the resounding tumult of the continuo, the sound effects go far beyond the limits of a purely harmonic support and become a veritable depiction of a palpable event, poetry and the imitation of nature.

Needless to say, in the presence of a larger number of protagonists the musical form is stylistically that of the motet in four-part polyphonic writing, often developed according to the technique of the double chorus. The carefully calculated interventions of the turba (19 in all), are counterbalanced by the 12 stylistically simple Kirchenlieder, five of which have the same melody taken from a secular song by Hans Leo Hassler (1601). Beside these simple compositions we find three distinct, large-scale compositions in which a chorale melody is used in different ways. The most striking of these compositions is the one that concludes the first part of the Passion, O Mensch, bewein dein' Sunde gross, already used in the second version of the St John Passion, but which comes from an even earlier (lost) Passion composed in Weimar.

If these chorales have the virtue of prolonging with penetrating dramatic intensity the rite of the reading of the verses, it is during the "madrigalesque" pieces that the believer will find within himself the sense of reflection and contrition. Seven of the 28 pieces written by the poet (Nos. 1,19, 27, 30, 59, 60, 67) present the allegorical figure of the "Daughter of Zion" in dialogue with the "Chorus of the Faithful", particularly exalted in the grandiose opening number. The symmetry of Hitch's architectural design leads to a conclusion of similar grandeur (No. 68), an authentic "tombeau" vibrant with affliction.

There is a total of 26 solo interventions, composed of recitatives and arias. In ten cases the 14 arias are preceded by a recitative {arioso) with obbligato instruments. In these pages, as in the choral pieces and the narrative episodes given to the Evangelist, the soliloquentes and the turba, the slightest element contains a wealth of original substance. And yet, one can only qualify as incommensurable the warmth, the striving for the absolute and even the tumult of the senses that spring from this mass of sound, so balanced and yet so vibrant, so solid and clear and yet so adventurous, so well regulated on Christ's last hours, radiating so much piety and yet so attentive to the representation of a tragic event which is at the centre of the story - of our story as anxious pilgrims -and which a religion has invested with the mystery of the Redemption.

-Alberto Basso (translated by Derek Yeld)

  Соисполнители :

Dietrich Henschel (Bass Voice)
Franz-Josef Selig (Bass Voice)
Ian Bostridge (Tenor Voice)
Sibylla Rubens (Soprano Voice)
Werner Gura (Tenor Voice)

№ п/п

Наименование трека



   1 01 Kommt, Ihr Tochter, Helft Mir Klagen         0:06:59 Part 1
   1 02 Da Jesus Diese Rede Vollendet Hatte         0:00:42  
   1 03 Herzliebster Jesu, Was Hast Du Verbrochen         0:00:44  
   1 04 Da Versammleten Sich Die Hohenpriester         0:02:59  
   1 05 Du Lieber Heiland Du         0:00:54  
   1 06 Buss Und Reu         0:04:21  
   1 07 Da Ging Hin Der Zwolfen Einer         0:00:33  
   1 08 Blute Nur, Du Liebes Herz         0:04:26  
   1 09 Aber Am Ersten Tage Der Sussen Brot         0:02:11  
   1 10 Ich Bin's, Ich Sollte Bussen         0:00:48  
   1 11 Er Antwortete Und Sprach:         0:02:58  
   1 12 Wiewohl Mein Herz In Tranen Schwimmt         0:01:18  
   1 13 Ich Will Dir Mein Herze Schenken         0:03:28  
   1 14 Und Da Sie Den Lobgesang Gesprochen Hatten         0:01:01  
   1 15 Erkenne Mich, Mein Huter         0:01:00  
   1 16 Petrus Aber Antwortete         0:00:59  
   1 17 Ich Will Hier Bei Dir Stehen         0:01:02  
   1 18 Da Kam Jesus Mit Ihnen Zu Einem Hofe         0:01:45  
   1 19 O Schmerz! Hier Zittert Das Gequalte Herz         0:01:40  
   1 20 Ich Will Bei Meinem Jesu Wachen         0:04:52  
   1 21 Und Ging Hin Ein Wenig         0:00:40  
   1 22 Der Heiland Fallt Vor Seinem Vater Nieder         0:00:58  
   1 23 Gerne Will Ich Mich Bequemen         0:04:15  
   1 24 Und Er Kam Zu Seinen Jungern         0:01:19  
   1 25 Was Mein Gott Will, Das G'scheh' Allzeit         0:01:10  
   1 26 Und Er Kam Und Fand Sie Aber Schlafend         0:02:21  
   1 27 So Ist Mein Jesus Nun Gefangen         0:04:34  
   1 28 Und Siehe, Einer Aus Denen         0:02:23  
   1 29 O Mensch, Bewein' Dein Sunde Gross         0:05:39  
   2 01 Ach! Nun Ist Mein Jesus Hin         0:03:48 Part 2
   2 02 Die Aber Jesum Gegriffen Hatten         0:00:57  
   2 03 Mir Hat Die Welt Truglich Gericht't         0:00:48  
   2 04 Und Wiewold Viel Falsche Zeugen Herzutraten         0:01:09  
   2 05 Mein Jesus Schweigt Zu Falschen Lugen Stille         0:01:12  
   2 06 Geduld, Geduld!         0:03:44  
   2 07 Und Der Hohepriester Antwortete         0:02:01  
   2 08 Wer Hat Dich So Geschlagen         0:00:53  
   2 09 Petrus Aber Sass Draussen Im Palast         0:02:14  
   2 10 Erbarme Dich         0:06:38  
   2 11 Bin Ich Gleich Von Dir Gewichen         0:01:10  
   2 12 Des Morgens Aber Hielten Alle Hohenpriester         0:01:39  
   2 13 Gebt Mir Meinen Jesum Wieder         0:02:49  
   2 14 Sie Hielten Aber Einen Rat         0:02:12  
   2 15 Befiehl Du Deine Wege         0:01:03  
   2 16 Auf Das Fest Aber Hatte Der Landpfleger         0:02:17  
   2 17 Wie Wunderbarlich Ist Doch Diese Strafe         0:00:48  
   2 18 Der Landpfleger Sagte         0:00:15  
   2 19 Er Hat Uns Allen Wohlgetan         0:01:05  
   2 20 Aus Liebe Will Mein Heiland Sterben         0:04:44  
   2 21 Sie Schrieen Aber Noch Mehr         0:01:51  
   2 22 Erbarm Es Gott         0:00:57  
   2 23 Konnen Tranen Meiner Wangen         0:06:46  
   3 01 Da Nahmen Kriegsknechte         0:01:06  
   3 02 O Haupt Voll Blut Und Wunden         0:02:13  
   3 03 Und Da Sie Ihn Verspottet Hatten         0:00:51  
   3 04 Ja! Freilich Will In Uns Das Fleisch Und Blut         0:00:37  
   3 05 Komm, Susses Kreuz         0:05:46  
   3 06 Und Da Sie An Die Statte Kamen         0:03:30  
   3 07 Ach, Golgatha, Unsel'ges Golgatha         0:01:37  
   3 08 Sehet Jesus Hat Die Hand         0:02:55  
   3 09 Und Von Der Sechsten Stunde         0:02:27  
   3 10 Wenn Ich Einmal Soll Scheiden         0:01:17  
   3 11 Und Siehe Da, Der Vorhang Im Tempel Zerriss         0:02:31  
   3 12 Am Abend Da Es Kuhle War         0:01:53  
   3 13 Mache Dich, Mein Herze, Rein         0:05:50  
   3 14 Und Joseph Nahm Den Leib         0:02:29  
   3 15 Nun Ist Der Herr Zu Ruh Gebracht         0:01:56  
   3 16 Wir Setzen Uns Mit Tranen Nieder         0:05:19  


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