Kagel's conundrum is this: Saint Bach is either a unique musical phenomenon, perhaps the only instance of such divinely made (not just inspired) music, thus rendering him incomparable and even incommensurable to all other composers, or Bach's saintliness is a possibility that any composer might attain and thus "Saint Bach" is a representation of "the composer" him/herself in his/her fullest attainment. If this is the case, what other composers might Kagel also be a saint? Himself? As I said, Kagel confronts us with the most challenging epistemological conundrum any recent composer to my knowledge has laid down. And I suspect attentive listeners will be wrestling with his conundrum for generations to come, either infuriated by its seeming audacity, or humbled by its remarkable devotion. In any case, some of those infuriated and humbled listeners will return to Kagel's music with a culminating sense of marvel at its emotion and elegant design that will seem at times to be Bach's music itself wearing an astonishingly contemporary garb.
Anne Sofie Von Otter, Hans-Peter Blochwitz, Roland Hermann, Peter Oggisch, Gerd Zacher, Stuttgart Sudfunkchor, Limburger Cathedral Boys Choir, Hamburg Radio Chorus, Stuttgart Radio Symphony Orchestra, Mauricio Kage / Conductor
It has haunted René Jacobs since childhood: first as a boy soprano in Ghent, then as a countertenor, he has constantly frequented the supreme masterpiece that is the 'St Matthew Passion'. Jacobs uses the layout of the Good Friday Vesper service from Bach's time, with choirs front and back, rather than side-by-side. He also gives us extra soloists to complete the bi-choral effect. For Bach, the two halves were 28 metres apart. At that distance, coordination difficulties begin to appear between the speed of light, and the speed of sound, and we cannot determine how Bach dealt with this problem. However the wonders of SACD multichannel surround sound can at last give an impression of what Bach intended for St Thomas’ Church in Leipzig.
Fifteen years after his recording of Bach’s three Sonatas for viola da gamba and harpsichord (on hm, with Rinaldo Alessandrini), Paolo Pandolfo returns to this repertoire a new approach: the fruit of active and concentrated years of consideration, study and research into the inherent possibilities of his instrument. Given the basic differing natures of these two instruments, the performance of these works very often turns – in Pandolfo’s words – into a “musical argument”, rather than what is demanded by the music’s essential nature: a “musical conversation” in which the score achieves “transparency and eloquence”.
Here, again, Brilliant Classics has licensed recordings of the passions, masses and other works. The St. Matthew and St. John passions are good recordings by the Brandenburg Consort and the King's College Choir; I find these two passions to be a bit weak, and this is a shame.
Since 1727, JS Bach's "Great Passion" has gripped the hearts and uplifted the minds of audiences all over the globe. Nearly three centuries after its premiere, the work has lost none of its power to evoke feelings of compassion for all those who suffer. Its mix of urgent story-telling, meditative arias and mighty choruses sets St Matthew's account of Christ's betrayal, trial and execution eloquently and emotionally.
With The All-Baroque Box we realize one of our fondest dreams: harnessing the deep catalogue of Archiv Produktion (supplemented on occasion by Decca L oiseau lyre recordings) to create a comprehensive collection of great music from Monteverdi to Bach. The music ranges from huge Baroque (Missa Salisburgensis, Venetian polychoral, Charpentier Te Deum) to intimate Baroque (the Goldberg Variations, Bach cello suites, solo cantatas) overwhelming in its impact and emotional content.