Composer: Johann Sebastian Bach
Performer: Peter Schreier, Carolyn Watkinson, Alastair Miles, Andreas Schmidt, Edith Wiens, Westminster Symphonic Choir, American Boychoir, Trinity Church Choir
Orchestra: New York Philharmonic Orchestra
Conductor: Kurt Masur
Format: FLAC (tracks)
Label: New York Philharmonic
Release: 2017
Size: 662 MB
Recovery: +3%
Scan: cover
The Passion According to Saint Matthew, BWV 244 (Live)
Part I
01. No. 1: Kommt, ihr Töchter, helft mir klagen (Chorus)
02. No. 2: Da Jesus diese Rede vollendet hatte (Evangelist, Jesus)
03. No. 3: Chorale: Herzliebster Jesu, was hast du verbrochen (Chorus)
04. No. 4: Da versammleten sich die Hohenpriester (Evangelist)
05. No. 5: Recitative: Du lieber Heiland du (Alto)
06. No. 6: Aria: Buß und Reu (Alto)
07. No. 7: Da ging hin der Zwölfen einer (Evangelist, Judas)
08. No. 8: Aria: Blute nur, du liebes Herz (Soprano)
09. No. 9: Aber am ersten Tage der süßen Brot’ (Evangelist)
10. No. 10: Chorale: Ich bin’s, ich sollte büßen (Chorus)
11. No. 11: Er antwortete und sprach (Evangelist, Jesus)
12. No. 12: Recitative: Wiewohl mein Herz in Tränen schwimmt (Soprano)
13. No. 13: Aria: Ich will dir mein Herze schenken (Soprano)
14. No. 14: Und da sie den Lobgesang gesprochen hatten (Evangelist, Jesus)
15. No. 15: Chorale: Erkenne mich, mein Hüter (Chorus)
16. No. 16: Petrus aber antwortete (Evangelist, Jesus, Peter)
17. No. 17: Chorale: Ich will hier bei dir stehen (Chorus)
18. No. 18: Da kam Jesus mit ihnen zu einem Hofe (Evangelist, Jesus)
19. No. 19: Recitative: O Schmerz! hier zittert das gequälte Herz (Tenor, Chorus II)
20. No. 20: Aria: Ich will bei meinem Jesu wachen (Tenor, Chorus II)
21. No. 21: Und ging hin ein wenig (Evangelist, Jesus)
22. No. 22: Recitative: Der Heiland fällt vor seinem Vater nieder (Bass)
23. No. 23: Aria: Gerne will ich mich bequemen (Bass)
24. No. 24: Und er kam zu seinen Jüngern (Evangelist, Jesus)
25. No. 25: Chorale: Was mein Gott will, das g’scheh allzeit (Chorus)
26. No. 26: Und er kam und fand sie aber schlafend (Evangelist, Jesus, Judas)
27. No. 27: Aria: So ist mein Jesus nun gefangen (Soprano, Alto, Chorus II)
28. No. 28: Und siehe, einer aus denen (Evangelist, Jesus)
29. No. 29: Chorale: O Mensch, bewein dein’ Sünde groß (Chorus)
Part II
30. No. 30: Aria: Ach, nun ist mein Jesus hin! (Alto, Chorus)
31. No. 31: Die aber Jesum gegriffen hatten (Evangelist)
32. No. 32: Chorale: Mir hat die Welt trüglich gericht’ (Chorus)
33. No. 33: Und wiewohl viel falsche Zeugen herzutraten (Evangelist, High Priest, Witness I, II)
34. No. 34: Recitative: Mein Jesus schweigt zu falschen Lügen stille (Tenor)
35. No. 35: Aria: Geduld, Geduld! (Tenor)
36. No. 36: Und der Hohepriester antwortete (Evangelist, High Priest, Jesus)
37. No. 37: Chorale: Wer hat dich so geschlagen (Chorus)
38. No. 38: Petrus aber saß draußen im Palast (Evangelist, Maid I, II, Peter)
39. No. 39: Aria: Erbarme dich, mein Gott (Alto)
40. No. 40: Chorale: Bin ich gleich von dir gewichen (Chorus)
41. No. 41: Des Morgens aber hielten alle Hohenpriester (Evangelist, Judas)
42. No. 42: Aria: Gebt mir meinen Jesum wieder! (Bass)
43. No. 43: Sie hielten aber einen Rat (Evangelist, Pilate, Jesus)
44. No. 44: Chorale: Befiehl du diene Wege (Chorus)
45. No. 45: Auf das Fest aber hatte der Landpfleger Gewohnheit (Evangelist, Pilate, Pilate’s Wife, Chorus)
46. No. 46: Chorale: Wie wunderbarlich ist doch diese Strafe! (Chorus)
47. No. 47: Der Landpfleger sagte (Evangelist, Pilate)
48. No. 48: Recitative: Er hat uns allen wohlgetan (Soprano)
49. No. 49: Aria: Aus Liebe will mein Heiland sterben (Soprano)
50. No. 50: Sie schrieen aber noch mehr (Evangelist)
51. No. 51: Recitative: Erbarm es Gott! (Alto)
52. No. 52: Aria: Können Tränen meiner Wangen (Alto)
53. No. 53: Da nahmen die Kriegsknechte (Evangelist)
54. No. 54: Chorale: O Haupt voll Blut und Wunden (Chorus)
55. No. 55: Und da sie ihn verspottet hatten (Evangelist)
56. No. 56: Recitative: Ja! freilich will in uns das Fleisch und Blut (Bass)
57. No. 57: Aria: Komm, süßes Kreuz (Bass)
58. No. 58: Und da sie an die Stätte kamen (Evangelist)
59. No. 59: Recitative: Ach, Golgotha, unsel’ges Golgotha! (Alto)
60. No. 60: Aria: Sehet, Jesus hat die Hand (Alto, Chorus II)
61. No. 61: Und von der sechsten Stunde an (Evangelist, Jesus)
62. No. 62: Chorale: Wenn ich einmal soll scheiden (Chorus)
63. No. 63: Und siehe da, der Vorhang im Tempel zerriß (Evangelist)
64. No. 64: Recitative: Am Abend, da es kühle war (Bass)
65. No. 65: Aria: Mache dich, mein Herze, rein (Bass)
66. No. 66: Und Joseph nahm den Leib (Evangelist)
67. No. 67: Recitative: Nun ist der Herr zur Ruh gebracht (Soprano, Alto, Tenor, Bass, Chorus II)
68. No. 68: Wir setzen uns mit Tränen nieder (Chorus)
Kurt Masur’s Leadership: Known for his robust and disciplined conducting style, Masur brought a distinctive orchestral weight and structure to this performance while striving to honor the Baroque ethos.
Peter Schreier as Evangelist: Schreier’s portrayal of the Evangelist is deeply moving, characterized by clarity, dramatic intensity, and an unparalleled sense of narrative urgency.
Modern Instrumentation: The use of the New York Philharmonic provides a rich, symphonic sound, offering a contrast to recordings performed with period instruments. This makes it a striking interpretation for those accustomed to historically informed performances.
Westminster Symphonic Choir: Their performance lends a powerful choral presence, contributing to the dramatic and devotional impact of the piece.
Comparison to Historically Informed Performances (HIP):
Orchestral Sound: Unlike HIP recordings that use period instruments (e.g., John Eliot Gardiner, Philippe Herreweghe), Masur’s interpretation utilizes the full modern sonority of the New York Philharmonic. This gives the recording a lush, almost Romantic feel, appealing to listeners who enjoy a grander orchestral texture.
Tempo and Phrasing: Masur’s tempos tend to be broader and more deliberate compared to the sprightlier pacing of HIP conductors. The result is a more contemplative atmosphere but at times can lack the lightness and agility that HIP recordings emphasize.
Choir and Soloists: The Westminster Symphonic Choir offers a larger choral sound compared to the leaner, more transparent choirs in HIP performances. This contributes to a sense of gravitas but can feel overwhelming for those accustomed to a chamber-choir aesthetic.
Comparison to Schreier’s Own Recordings:
Evangelist Role: Schreier had recorded the St. Matthew Passion in earlier sessions, both as Evangelist and conductor (e.g., with the Dresdner Kreuzchor and Staatskapelle Dresden). His collaboration with Masur maintains his signature clarity and emotional depth, but some critics feel the Evangelist’s subtle nuances are slightly overshadowed by the larger orchestral backdrop.
Expressive Depth: Schreier’s vocal delivery here is as compelling as ever, showcasing his expertise in Bach’s Evangelist role. Compared to his earlier self-conducted recordings, this version benefits from Masur’s broader orchestral perspective, adding a new dimension to Schreier’s interpretation.
Soloists Comparison:
Sylvia McNair (Soprano): Delivers a warm and lyrical performance, though her tone leans toward the operatic rather than the crystalline purity typical of period specialists like Emma Kirkby.
Florence Quivar (Alto): Offers a rich and emotive interpretation, standing in contrast to the lighter timbre often favored in HIP performances.
Anthony Rolfe Johnson (Tenor): A seasoned Bach interpreter, Rolfe Johnson’s arias are emotionally charged and technically refined.
Håkan Hagegård (Baritone) and Cornelius Hauptmann (Jesus): Their performances add gravitas, with Hauptmann providing a particularly compassionate portrayal of Jesus.
Strengths of the Masur/Schreier Recording:
For Traditionalists: Appeals to those who enjoy the weight and lushness of modern orchestral and choral forces.
Evangelist Masterclass: Schreier’s performance remains the emotional and narrative anchor, making this version indispensable for admirers of his artistry.
Choral Power: The Westminster Symphonic Choir delivers awe-inspiring climaxes in the grand choral movements.