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J.S. Bach: Matthäus-Passion
 
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J.S. Bach: Matthäus-Passion

29 janvier 2010 | Format : MP3

EUR 25,99 (TVA incluse le cas échéant)
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Titre
Durée
Popularité  
30
1
7:27
30
2
0:43
30
3
0:45
30
4
2:57
30
5
1:01
30
6
4:35
30
7
0:38
30
8
4:51
30
9
2:06
30
10
0:48
30
11
2:41
30
12
1:22
30
13
3:33
30
14
1:02
30
15
0:57
30
16
1:00
30
17
0:59
30
18
1:27
30
19
1:55
30
20
5:03
30
21
0:38
30
22
0:58
30
23
4:30
30
24
1:08
30
25
1:00
30
26
2:15
30
27
4:28
30
28
2:04
30
29
5:51
Disc 2
30
1
3:37
30
2
0:57
30
3
0:44
30
4
1:08
30
5
0:57
30
6
3:39
30
7
1:59
30
8
0:49
30
9
2:10
30
10
6:02
30
11
1:00
30
12
1:47
30
13
2:50
30
14
2:01
30
15
1:01
30
16
2:21
30
17
0:42
30
18
0:15
30
19
1:09
30
20
4:51
30
21
1:53
30
22
1:06
30
23
5:59
30
24
1:05
30
25
1:59
Disc 3
30
1
0:54
30
2
0:43
30
3
5:20
30
4
3:12
30
5
1:30
30
6
3:19
30
7
2:02
30
8
1:04
30
9
2:22
30
10
1:48
30
11
6:10
30
12
2:26
30
13
1:51
30
14
5:40
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Format: CD
Bien que l'un des pionniers de l'interprétation sur instruments anciens, Kuijken cherche encore et toujours. Dans cette St Matthieu publiée en 2009 il se rallie à la thèse d'une interprétation avec un chanteur par partie, c'est à dire où les solistes chantent aussi les chœurs. Mais il ne s'agit surtout pas d'un document musicologique. Dans une humilité idéale où les interprètes, hommes et femmes, s'effacent derrière le message religieux; dans une intimité, une intériorité qui parle à l'humanité de chaque auditeur, tout y est admirable: le souci de dire, de laisser parler le texte, de choisir des tempos ni pompeux ni inutilement virtuoses; l'écoute entre musiciens chambristes; une narration à plusieurs voix - qui n'ont jamais rien d'exhibitionniste; une fuidité et d'une cohérence rare, loin de l'agitation vaine d'autres versions baroqueuses ou des stars d'opéra égarées au temple... Kuijken avait donné cette version en concert à Radio-France il y a quelques années, et je me souviens du recueillement du public quittant l'auditorium après avoir tant reçu... Un des jalons essentiels de l'interprétation "historiquement informée" de cette Passion, après Harnoncourt 1974, Leonhardt, Gardiner (dans une optique plus extravertie) et l'admirable Suzuki (malgré une soprano flageolante).
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Amazon.com: HASH(0x90848144) étoiles sur 5 2 commentaires
17 internautes sur 21 ont trouvé ce commentaire utile 
HASH(0x90864b04) étoiles sur 5 Understated Brilliance 18 janvier 2012
Par R. Gerard - Publié sur Amazon.com
Format: CD
This latest reading of the Saint Matthew Passion by Sigiswald Kuijken is one in a line of so-called one-voice-per-part (OVPP) recordings. The practice of using OVPP is one Bach almost certainly used to perform the vast majority of his concerted vocal works, including the cantatas. On a practical level, Bach barely had the forces to sustain large, multi-voice-per-part choirs (save for some special occasions and holiday masses). On an aesthetic level, Bach's north German contemporaries and musical forbears seemed to have preferred the OVPP approach, given the prevalence of counterpoint and the clarity of line OVPP can provide. Today, performing Bach OVPP is a practice reintroduced to modern audiences by musicologist Joshua Rifkin (recommend his 1980s recording of the B-Minor Mass), popularized by Andrew Parrott (recommend his book _The Essential Bach Choir_), and applied to by various conductors like Konrad Junghanel, John Butt, Marc Minkowski, sometimes Philippe Herreweghe (see his latest recording of motets), and Paul McCreesh, who provided us with the first Saint Matthew using the OVPP approach. It was controversial. Though it had it's strong points, namely in the skill of the evangelist, the recording lacked drama and forces sounded anemic. It was subsequently bettered by John Butt's recording with the Dunedin Consort for Lynn Classics, notable for recreating the exact instrumental forces needed for Bach's 1742 performance, for example, a harpsichord continuo for the second choir. And I daresay that Kuijken's new recording comes out on top.

It is the kind of recording that lets Bach's music speak for itself. Dunedin Consort is to be praised for the urgent narration of the evangelist, but Kuijken takes a different, understated approach with is a bit more convincing. It is ecclesiastical work on a serious subject. A recording which seeks to emulate Bach's original forces (sans the voices of boy trebles and altos) does best to also emulate the mood and atmosphere for which Bach composed.

The mood here is somber, but it is not boring. It is contemplative, but not brooding. Apart from a homily, I could imagine this passion being the centerpiece of the Lutheran Good Friday liturgy. Bach's music here is clearly defined by Kuijken and his forces without sounding anemic. A huge contributing factor to this is reverberation of the recording, which emulates the sound of the interior of a large church. From the opening bars you can hear the forces are smaller than what you may be used to hearing, but the sound carries, utilizing the "sound-space" and acoustics nicely, as one might imagine it may have sounded in the St. Thomas Church in the early 18th century.

Critics have called McCreesh's reading fussy and too light where it should sound full. I rather agree. That is not the case here. The opening chorus sounds just right, small forces which can fill a whole church. The dialogue between the "Faithful" and "Zion" is effective and nicely spaced. We must remember that the first chorus fits within the "dialogue cantata" tradition. The choral interjections in "So ist mein Jesus nun gefangen" use the acoustics of the recording space to sound urgent, full and explosive. "Sind Blitze, sind Donner" is still a rolling, thundering fugue to the limit that it still sounds appropriate and believable as a church piece.

Regarding the soloists themselves, the evangelist tries to make no huge waves in vocalizing emotion, nor does Jesus. Rather the beauty and complexity of Bach's music, again, speaks for itself. The anti-religious Richard Dawkins once exalted the aria "Mache dich, mein Herze rein" (the last aria Bach scored for the same baritone who sings the part of Jesus) as a piece he admired greatly, as one must not be religious to appreciate the beauty of another human's [Bach's] genius. I get that feeling here.

While I admire that conductors of Bach are eager to put their stamp on interpretation on his works, it is refreshing to hear a recording of [in my opinion] his magum-opus that is within the spirit and intention of Bach -- who, like his north-German contemporaries, wrote not for posterity or a mention in modern musical-history books and classical record labels, but for the immediate concern, for a piece of contemplative music for a religious service.

I would highly recommend this recording. While my ears still favor above all else the St. Matthew Passion recorded by Philippe Herreweghe in the late 1990's for Harmonia Mundi, when I wish for a recording that perhaps most faithfully recreates Bach's sound-world, this Kuijken recording is the one I will turn to.

Perhaps Konrad Junghanel with Cantus Coelln, or Andrew Parrott with his Taverner Consort will be next to record this momentous work?
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x90864ea0) étoiles sur 5 A gorgeous and moving interpretation, with splendid sound to boot 13 octobre 2013
Par An Alexandria music lover - Publié sur Amazon.com
Achat vérifié
This is a lovely, beautifully recorded performance of one of the great masterpieces of Western religious music. Choral singers who may be expecting a massed choir will be surprised by the lightness and clarity of the Passion's many choruses. The MP3 version that I purchased contained no liner notes, so a reasonable guess is that Sigiswald Kuiken, La Petite Bande, and the unnamed singers on the recording follow the practice introduced by Joshua Rifkin of restricting choral passages to one singer per vocal line. The most persuasive argument in favor of the this practice is the remarkable clarity and beauty of the performances that adopt Rifkin's theory, including Rifkin's own pioneering and (at the time) extraordinary recording of the B-minor Mass.

Of course, one requirement for a successful performance is a cast of talented and compatible soloists. Rifkin's recording of the B-minor Mass certainly met that standard, and so does this splendid performance of the Matthew Passion. In my youth I enjoyed a moving performance of the Passion led by Otto Klemperer and featuring an all-star cast of soloists, including Peter Pears, Dietrich Fisher-Dieskau, Elizabeth Schwartzkopf, and Christa Ludwig. Moving as many of the solos were, after a while I found the performance tiring. The ponderous choral singing and the large size of the instrumental forces supporting the singers probably contributed to my fatigue. The fact is that much of the power of the Passion comes from the cumulative impact of the story it tells. If you find you cannot listen to the whole thing, you're certainly missing something.

The lightness, conversational speed, and transparency of this recording makes it a pleasure to listen to the entire composition. To be sure, some of the solos are more emotionally affecting as rendered by Christa Ludwig, for example, rather than her counterpart in this performance. Still, this is a compelling performance and can be strongly recommended to listeners who have never invested in a recording of the Passion, or indeed in any of the other large-scale Bach masterpieces.

I encountered this performance based on a recommendation from Amazon to purchase a fine recording led by Nikolas Harnoncourt. That MP3 recording, with Bernarda Fink and Concentus Musicus Wien, is also marvelous and remarkably inexpensive. However, before buying the Harnoncourt version I thought it would be interesting to listen to other Matthew Passions. After listening to bits of many of the most plausible versions that I did not already know I decided this recording seemed to me to offer the best combination of musicality and outstanding sound. To get a sense of this you can listen to track 29 on disc 1, track 10 on disc 2, or tracks 11 and 14 on the third disk. These are intensely lyrical, fluid, fleet, and listenable versions of some high points of the Passion.

Two comments on the commercial aspects of the MP3 version. First, it is extraordinarily cheap ... cheaper in nominal terms than the Klemperer LP version I purchased in the 1960s (!). Second, the package is disgracefully devoid of any indication of the contents of the MP3 file. Of course, there is no electronic file describing the contents, but in addition the labels do not even indicate the identities of the soloists or the names of the arias, recitatives, or choruses. Still, for less than $9.50 (my purchase price), it is an amazing bargain.
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