3

2011

Naarden Holland

Paul Janse

Jared Sacks

2:44:31

Microphones: Bruel & Kjaer 4006, Schoeps
Digital Converters: DSD Super Audio/Meitner Grimm audio /DA
Speakers: Audiolab, Holland
Software: Pyramix Editing, Merging Technologies
Mixing Board: Rens Heijnis, custom design
Mastering Room: B+W 803d series speakers, Classe 5200 Amplifier
Cables: Van den Hul

The Netherlands Bach Society
Jos van Veldhoven - conductor

Evangelist - Gerd Türk
sopraan- Amaryllis Dieltiens, Siri Karoline Thornhill
contratenor -Tim Mead, Matthew White
tenor - Julian Podger, Charles Daniels
Kampen Boys Choir

cd 1 part 1
1 1 Kommt, ihr Töchter, helft mir klagen 7.51
2 2 Da Jesus diese Rede vollendet hatte 0.40
3 3 Herzliebster Jesu, was hast du verbrochen 0.51
4 4 Da versammleten sich die Hohenpriester 3.00
5 5 Du lieber Heiland du 0.54
6 6 Buß und Reu 3.58
7 7 Da ging hin der Zwölfen einer 0.40
8 8 Blute nur, du liebes Herz! 4.54
9 9 Aber am ersten Tage der Süßen Brot 2.11
10 10 Ich bin’s, ich sollte büßen 0.45
11 11 Er antwortete und sprach 2.57
12 12 Wiewohl mein Herz in Tränen schwimmt 1.19
13 13 Ich will dir mein Herze schenken 3.14
14 14 Und da sie den Lobgesang gesprochen hatten 1.04
15 15 Erkenne mich, mein Hüter 1.06
16 16 Petrus aber antwortete 1.02
17 17 Ich will hier bei dir stehen 1.02
18 18 Da kam Jesus mit ihnen zu einem Hofe 1.57
19 19 O Schmerz! Hier zittert das gequälte Herz 1.40
20 20 Ich will bei meinem Jesu wachen 4.50
21 21 Und ging hin ein wenig 0.43
22 22 Der Heiland fällt vor seinem Vater nieder 0.55
23 23 Gerne will ich mich bequemen 4.20
24 24 Und er kam zu seinen Jüngern 1.19
25 25 Was mein Gott will, das g’scheh’ allzeit 1.05
26 26 Und er kam und fand sie aber schlafend 2.23
27 27 So ist mein Jesus nun gefangen 4.34
28 28 Und siehe, einer aus denen 2.12
29 29 O Mensch, bewein’ dein Sünde groß 6.07
Total time 69.51
cd 2 part 2
1 30 Ach! Nun ist mein Jesus hin! 3.21
2 31 Die aber Jesum gegriffen hatten 1.01
3 32 Mir hat die Welt trüglich gericht’ 0.42
4 33 Und wiewold viel falsche Zeugen herzutraten 1.08
5 34 Mein Jesus schweigt zu falschen Lügen stille 1.43
6 35 Geduld! 3.53
7 36 Und der Hohepriester antwortete 1.59
8 37 Wer hat dich so geschlagen 0.53
9 38 Petrus aber saß draußen im Palast 2.22
10 39 Erbarme dich 6.11
11 40 Bin ich gleich von dir gewichen 1.04
12 41 Des Morgens aber hielten alle Hohenpriester 1.47
13 42 Gebt mir meinen Jesum wieder 2.37
14 43 Sie hielten aber einen Rat 2.11
15 44 Befiehl du deine Wege 1.05
16 45 Auf das Fest aber hatte der Landpfleger 2.19
17 46 Wie wunderbarlich ist doch diese Strafe! 0.53
18 47 Der Landpfleger sagte 0.15
19 48 Er hat uns allen wohlgetan 1.09
20 49 Aus Liebe will mein Heiland sterben 4.47
21 50 Sie schrieen aber noch mehr 1.42
22 51 Erbarm es Gott! 1.00
23 52 Können Tränen meiner Wangen 6.37
24 53 Da nahmen die Kriegsknechte 1.08
25 54 O Haupt voll Blut und Wunden 2.35
Total time 54.38
cd 3 part 2 (continued)
1 55 Und da sie ihn verspottet hatten 0.57
2 56 Ja freilich will in uns das Fleisch und Blut 0.40
3 57 Komm, süßes Kreuz 6.40
4 58 Und da sie an die Stätte kamen 3.25
5 59 Ach, Golgatha, unselges Golgatha! 1.22
6 60 Sehet, Jesus hat die Hand 3.09
7 61 Und von der sechsten Stunde an 2.23
8 62 Wenn ich einmal soll scheiden 1.30
9 63 Und siehe da, der Vorhang im Tempel zerriß 2.34
10 64 Am Abend da es kühle war 1.57
11 65 Mache dich, mein Herze, rein 5.53
12 66 Und Joseph nahm den Leib 2.28
13 67 Nun ist der Herr zur Ruh gebracht 2.02
14 68 Wir setzen uns mit Tränen nieder 5.48
Total time 40.56

A SINGLE-CHOIR PASSION?

Bach's St Matthew Passion is almost always described as a double-choir composition for two choirs and two orchestras. Two large ensembles play in dialogue, and the score presents a symmetrical structure. The scoring of the two groups of singers and players is identical, and each ensemble has four soloists for the arias. On the stage one often sees two equal groups of singers, and an orchestra likewise divided exactly into two. The Evangelist and Jesus are often the only exceptions to this impressive symmetry.

There are reasons enough, however, to look at the score in another way. Firstly, there is the Bible story itself, which is told entirely in Coro I (Bach speaks of Coro, by which he means all the singers and players of one ensemble, not just the choir). In his score, Bach even distinguishes the Evangelist's part in Coro I by writing it in red ink. The role of Coro II, besides its contribution to the cries of the crowd in the story and to the chorales, is limited to delivering commentary. In the organisation of the score as well there are considerable distinctions: almost all the important arias are to be found in Coro I - and there are twice as many as in Coro II - and the composition technique reveals major differences. In contrast to the great wealth of instrumental solos in Coro I, the writing for Coro II is much simpler: the instruments often double other parts, and instrumental solos are almost entirely absent. The score as a whole gives a strong impression of hierarchy, rather than equality or symmetry.

We know that the St Matthew Passion was not written all at once, but was the result of a long period of adaptation and polishing. Whether there was a first version for single choir, we can only guess, but an early version for double choir is documented. A notable aspect of the latter is the fact that Coro I and II have a common bass line. In the definitive version, this umbilical chord was cut through and the children became independent. Consequently, it is interesting to raise the question whether we are dealing with identical twins, or two groups each with their own identity. In order to answer this question adequately, we must realise that Bach still deployed his singers in the typical eighteenth-century division of concertino and ripieno. The vocal soloists (concertino) form the nucleus of the ensemble, singing the arias, choruses and chorales, if necessary (or desired) reinforced by ripieno singers to strengthen or fill out the sound. The ripieno singers usually have no independent task and may even be omitted. In that case, the 'choir' consists entirely of soloists.

It is interesting to note precisely what Bach does with this tradition in his first large-scale Passion, the St John Passion. He writes parts for the concertino (arias, recitatives, choruses and chorales) and for the ripieno (only choruses and chorales). But then we suddenly have the intriguing example of the bass aria Mein teurer Heiland. Beside the solo singer, Bach gives the ripieno an independent role, making it indispensable since it no longer simply reinforces the soloists. In this manner, at several points in the single-choir St John Passion a sort of double-choir effect is created when two groups of singers and players enter into a dialogue. Bach makes a musical discovery, and in so doing he changes the traditional role of the ripieno, emancipating it and giving it independence.

In the case of the St Matthew Passion, it is interesting to look at Coro I as a soloists' choir and Coro II as a ripieno group. Rather than a symmetrical double-choir composition, the result is a complex, asymmetrical single-choir Passion.

Many believe that the reason for the complex organisation of the St Matthew Passion must be sought in the libretto by Christian Friedrich Henrici, alias Picander. His text employs two groups of people, the 'daughters of Zion' as distinct from 'the faithful'. Consequently, Bach translated this into two musical ensembles which enter into dialogue and react to one another, without being each other's equal. Genuine double-choir writing is found only at dramatic points such as Sind Blitze und Donner.

We can now work out many details in our picture of a 'single-choir' St Matthew Passion. As already mentioned, the Bible story itself is almost entirely told in Coro I. At many points in the Passion, Bach has Coro II react with rhetorical questions or poetic commentary. Good examples are the interruptions ‘Lasst ihn’ and ‘haltet’ in the duet between the soprano and alto So ist mein Jesum nun gefangen, and the commentary with texts from the Song of Songs in the opening aria of the second part, Ach, nun ist mein Jesus hin. But perhaps the finest example is the very opening of the Passion. It is a large-scale lament for Coro I, Kommt, ihr Töchter, in which Coro II is limited to dramatic cries such as ‘Wen?’ and ‘Wie?’, and further mainly doubling of the vocal and instrumental parts of Coro I as a true - though independent - ripieno.

It is quite clear that Coro I always takes the lead in the Passion, while Coro II interrupts and offers commentary. When the two do sing and play together, Coro II mainly doubles Coro I, as in the final movement of the first part, O Mensch, bewein dein Sünde gross. At that moment, the singers and players of Coro II form a genuine ripieno. Nowhere in the Passion is the music introduced by Coro II. Genuine double-choir passages are limited to occasional opening bars of large-scale choruses and of course the previously mentioned Sind Blitze und Donner. Once or twice Bach demonstrates his operatic side and employs real double-choir writing to intensify the drama, as in Er ist des Todes schuldig.
The fact that the entire story is told in Coro I makes the St Matthew Passion comparable in many respects to the St John Passion. Double-choir arias such as Ich will bei meinem Jesu wachen and Sehet Jesus hat die hand are really of the same type as Eilt nach Golgatha and Mein teurer Heiland in the single-choir St John Passion.

Some parts of the St Matthew Passion already existed before Bach adapted them for use in the Passion. The final movement Wir setzen uns mit Tränen nieder, for example, was once part of funeral music for one of Bach's previous employers. In that case, he wrote for a single group of singers and players. But it was hardly difficult for Bach to rearrange the piece for two groups by giving the echoes to Coro II and simply doubling the parts elsewhere. Moreover, the single-choir funeral music included a number of movements that were for 'double choir' from the very beginning, in the sense that commentary was provided by independent ripieno singers.

Finally, a short word about the concrete choices I had to make for the performances. My endeavour was to make the assymetry described above audible in the sound of the ensembles. I therefore decided to add eight ripieno singers to the soloists in Coro I, in order to create a fuller sound. Apart from several minor solo roles, these ripieno singers only sing in the choruses and chorales.
For Coro II I opted for a group of soloists: just four singers perform everything that crosses their paths: arias, choruses and chorales. The fact that Bach frequently has the instruments in Coro II double the singers perhaps indicates a smaller ensemble. It is thanks to the inventivity of Bach that the four singers in Coro II have a double function: they are mostly (independent) ripieno singers, but a sudden solo upgrades them to genuine concertino singers.

Jos van Veldhoven

* An important source of inspiration for this train of thought was the book Hearing Bach’s Passions by Daniel Melamed (Oxford University Press 2005)

The St.Matthew Passion definitely belongs to the most demanding pieces of music, even for the finest musicians and singers,no conductor has fully mastered the task.At least not until now. (…) Jos van Veldhoven and his Netherlands Bach Society have previously presented the probably most virtuoso Mass in B-minor on CD. Rarely has such a major piece of art sounded so natural and obvious,from the first to the last bar. (…) Peter Harvey’s Christ in St.Matthew Passion is the most harmonious performance of the part I have ever heard. (…) Never has the amazing dissonance of the final choir sounded with such emotional quality. (…) With its excellent recording and artistically designed box,this record will be hard to surpass.
Opus Magazine, Sweden [highest points, six stars, for both artistic performance and sound quality.]

Nun hat Jos van Veldhoven die Reihe seiner großen Bachaufnahmen mit der Matthäus-Passion komplett gemacht – wiederum mit erlesenen Vokalisten und farbenreicher instrumentaler Arbeit. (...) Der Klang zeigt eine sehr schöne Räumlichkeit (...)Vielleicht kann man es so zusammenfassen: Jos van Veldhoven und seine Mitstreiter präsentieren eine wundervoll ausmusizierte Matthäus-Passion – mit gestalterischer Geduld und expressiver Leidenschaft. (...) Eine diskographisch also deutlich konkurrenzfähige Matthäus-Passion.
Klassik.com

(...) Kudos to Channel Classics for their sumptuous production standards. Not only is the packaging beautiful, but the sound engineering is to a high standard and based on some very original thinking about the potential of high definition sound.
Music Web

(...) Fortunately, this is not just an exciting performance from a conceptual standpoint, but it is also very well sung and played. (...) beautifully expressive throughout and captured in sound that is clear and truthful. (...) you have a listening experience that should please no matter how often you return to it. (...) Superb, and recommended unreservedly!
Audiophile Audition 5*

(…) Seine Tempi sinds angenehm, elegant und moderat, zuweilen aber auch durchaus spritzig und filigran, sehr gut kontrastierend. Die Choräle, immer ein Problem für sich, kommen sauber und in völlig richtigem Tempo. Die solistenpartien sind sehr gut besetzt, das Orchester spielt aufmerksam und mit technische Brillanz. Der Text ist großteils gut verständlich, der Evangelist Gerd Türk singt souverän. Und das Publikum verhält sich mucksmäuschenstill, kein Husten, kein Räuspern. (…)
Alte Musik Aktuell, CD des Monats

Jos van Veldhoven, who's proven himself on so many other recordings of major Bach works, including the above-mentioned releases on Channel Classics, makes excellent decisions here. (...) this exceptionally well balanced, thoughtfully paced reading, vividly brought to life by the performers and recording team, deserves a place among the reference versions. (...) And again, the packaging is stunning and a treat in itself--in all, a collector's dream, a listener's treasure.
Classics Today 10/10

Unequalled: voices vie under Jos van Veldhoven (...) Sensitive surround-sound recording retains admirabel balance between the eight parts, differentiated by timbre rather than numbers. (...) A new spatial and tonal experience from van Veldhoven.
BBC Music Magazine, Choral CD of the Month

(...) What makes this performance not just revolutionary but an absolute must-have for lovers of this music is the sheer quality of the performance from The Netherlands Bach Society. (...) If any recording warrants the ‘Outstanding’ tag, this does. (...) as a glorious, life-affirming and utterly irresistible piece of music-making, this is a league of its own.(...)
International Record Review: ‘Outstanding’

 

(…) das Continuo ist perfekt organisiert. Gerd Türck ‘spricht’ den Evangelisten mit beneidenswerter Ruhe (…)
Maerkische Allgemeine

(...) a wonderful achievement in both musical and technical terms by all concerned. (...) Channel’s superb 5.0 DSD recording reproduces their sound with the richness and glow of a Rembrandt canvas, while at the same time capturing the lovely acoustic of the Grote Kerk, Naarden in the Netherlands. (...) Whatever other recordings you may have in your library, Veldhoven’s inspired reading, with its exceptional blend of committed musicianship and scholarship should definitely be auditioned by all who love this work. (...) This is without doubt a top recommendation and anyone receiving this set, as an Easter gift, will surely be delighted.
SA-CD.net  *FIVE stars

(...) Het solisten-panel, het koor, en het orkest zingen en spelen op de toppen van hun kunnen en van wat mogelijk is, menselijkerwijs gesproken. Van deze muziek kun je nooit genoeg krijgen. Aanraakbaar bijna. Zou Bach het zo bedoeld hebben?
HVT

(...) Van Veldhoven is niet uit op effectbejag. Hij laat de Nederlandse Bachvereniging op hoog niveua musicieren.
Katholiek Nieuwsblad

Deze 'asymmetrische' benadering levert een frisse uitvoering op, die vooral in de details verrast.
Happinez

We maken kennis met een rustig vertelde, overwegend milde maar doorleefde interpretatie van een dirigent die zich van nature meer bij beschouwelijkheid thuis voelt dan bij het dramatische.
De Telegraaf

(...) een vorstelijke uitgave (...) Muzikaal van grote klasse, met aandacht voor details, maar vooral op de achtergrond de ernst van dit hele werk (...) Een monumentale uitgave.
Huisorgaan NKP ‘De Waarheidsvriend’

(...) misschien nog wel het grootste pluspunt: het grootse orkest, de welluidende solisten en de donderende koren zijn hier door van Veldhoven integraal op zijn kop gezet (...)
Leeuwarder Courant