本文发表在 rolia.net 枫下论坛Monumental Bach from an ancient tradition, April 17, 2006
Reviewer: Mike Birman (Brooklyn, New York USA) - See all my reviews
The great North German choral tradition goes back to the 16th and 17th Centuries; especially noteworthy is the sacred music of Heinrich Schutz, whose compositions included three 'dramatic' unaccompanied Passions, the finest and last of a venerable tradition. Following the premier of his Dafne (the first German opera) in Torgau, Schutz traveled to Venice in 1628. There, he studied at first hand the developments in dramatic music under the guidance of Claudio Monteverdi. Thus, the development of sacred Church music (especially the oratorio), of dramatic music for the theater (the newly created opera) and of a new expressiveness in instrumental music (the polyphonic and concertato styles) are joined in a direct lineage that extends from Italy to northern Germany. Each of these elements found their way into Schutz's late period compositions. His music, largely to German texts, are the embodiment of Luther's attempts to establish the German vernacular as a literary and liturgical language, and exemplifies the Protestant and humanistic concept of musica poetica in perhaps its finest form until Bach.
As the Cantor of the Thomaskirche in Leipzig, Bach was often called upon to arrange performances of Schutz's sacred music. The prolific Bach family was influential in north German music for centuries; Johann Sebastian was thoroughly infused with the spirit of Lutheran sacred music. It is hardly surprising that in 1727 Bach felt compelled to set the somber St. Matthew Passion into a monumental musical edifice rather than face setting the annual Good Friday Passion anew each year. This represented the last major new composition for the Leipzig congregation. The few large sacred pieces of the future, such as the B Minor Mass, are essentially adaptations of music written for other occasions. Bach had wearied of the numerous and protracted struggles with the Leipzig town fathers and it was this slightly embittered but determined Bach who created a composition representing a summing-up of his art. Bach would resort to this creative tactic again. The B minor Mass, the Art of Fugue are other examples of great compendium works. Bach may well have been the first composer with a strongly developed sense of musical historicity, in an era when music was written "for use" and then routinely discarded and quickly forgotten. It is ironic that Bach, himself, was nearly forgotten by history. Only with the 1829 revival of the work in Leipzig by Felix Mendelssohn was the great St. Matthew Passion and its composer removed from limbo.
Unlike Richter's recently released DVD performances of the B Minor Mass and Brandenburg Concertos, this St. Matthew Passion is not a hybrid performance incorporating old and new techniques. Rather, it is firmly in the 19th Century performance tradition. Using massive double choruses (including children), the Munchener Chorbuben and the Munchener Bach-Chor, and the large Munchener Bach-Orchester, Richter creates a "sublime monumentality". The singing style is emotional, even over-wrought, when called for by the text. Violins are liberal in their use of vibrato. Woodwind soloists play with an operatic legato smoothness. Cellos sob expressively. This is really big brawny Bach, reminiscent of Klemperer's classic 1962 EMI recording of the St. Matthew Passion. Tempos are nearly as slow and grand as a live recording I have that was conducted by Furtwangler in the early 1950s. If you are only familiar with the authentic performance style of John Eliot Gardiner's fine 1989 Arkiv recording, for example, this performance will be a musical body blow. Questions of authenticity aside, it is this stately Bach that has the longer history. It is its unflinching theatricality that I find most appealing. This Passion contains the greatest of all human emotions. The music reflects it. I find nothing wrong in embracing Bach's profundity if it is done well. This performance, recorded 15-23 May 1971 in Munich at the Bavaria Atelier, is superb. Therefore, it is well worth your serious consideration. Joining the aforementioned artists are the superb tenor Peter Schreier as the Evangelist, a role he practically owned. Soprano Helen Donath is excellent as is bass Walter Berry. There are no weak links in this cast. Video direction by Hugo Kach is theatrical in a calm, understated way. The film looks and sounds fine in all respects.
This 2 DVD set has a picture format of NTSC shot full screen with a 4:3 aspect ratio. Region code is 0 worldwide. The picture appears digitally remastered and looks fine. Sound formats are LPCM stereo and DTS Digital Surround Sound. Both are clear and spacious with DTS providing ambiance from the rear speakers. Menus are in English. Subtitles are in English, French, Spanish, German and Chinese. Total time of the 2 discs is 197 minutes. There are some extras including DGG promos.
A superb old-style performance. Recommended for those who like big, emotional Bach.
Mike Birman更多精彩文章及讨论，请光临枫下论坛 rolia.net
Reviewer: Mike Birman (Brooklyn, New York USA) - See all my reviews
The great North German choral tradition goes back to the 16th and 17th Centuries; especially noteworthy is the sacred music of Heinrich Schutz, whose compositions included three 'dramatic' unaccompanied Passions, the finest and last of a venerable tradition. Following the premier of his Dafne (the first German opera) in Torgau, Schutz traveled to Venice in 1628. There, he studied at first hand the developments in dramatic music under the guidance of Claudio Monteverdi. Thus, the development of sacred Church music (especially the oratorio), of dramatic music for the theater (the newly created opera) and of a new expressiveness in instrumental music (the polyphonic and concertato styles) are joined in a direct lineage that extends from Italy to northern Germany. Each of these elements found their way into Schutz's late period compositions. His music, largely to German texts, are the embodiment of Luther's attempts to establish the German vernacular as a literary and liturgical language, and exemplifies the Protestant and humanistic concept of musica poetica in perhaps its finest form until Bach.
As the Cantor of the Thomaskirche in Leipzig, Bach was often called upon to arrange performances of Schutz's sacred music. The prolific Bach family was influential in north German music for centuries; Johann Sebastian was thoroughly infused with the spirit of Lutheran sacred music. It is hardly surprising that in 1727 Bach felt compelled to set the somber St. Matthew Passion into a monumental musical edifice rather than face setting the annual Good Friday Passion anew each year. This represented the last major new composition for the Leipzig congregation. The few large sacred pieces of the future, such as the B Minor Mass, are essentially adaptations of music written for other occasions. Bach had wearied of the numerous and protracted struggles with the Leipzig town fathers and it was this slightly embittered but determined Bach who created a composition representing a summing-up of his art. Bach would resort to this creative tactic again. The B minor Mass, the Art of Fugue are other examples of great compendium works. Bach may well have been the first composer with a strongly developed sense of musical historicity, in an era when music was written "for use" and then routinely discarded and quickly forgotten. It is ironic that Bach, himself, was nearly forgotten by history. Only with the 1829 revival of the work in Leipzig by Felix Mendelssohn was the great St. Matthew Passion and its composer removed from limbo.
Unlike Richter's recently released DVD performances of the B Minor Mass and Brandenburg Concertos, this St. Matthew Passion is not a hybrid performance incorporating old and new techniques. Rather, it is firmly in the 19th Century performance tradition. Using massive double choruses (including children), the Munchener Chorbuben and the Munchener Bach-Chor, and the large Munchener Bach-Orchester, Richter creates a "sublime monumentality". The singing style is emotional, even over-wrought, when called for by the text. Violins are liberal in their use of vibrato. Woodwind soloists play with an operatic legato smoothness. Cellos sob expressively. This is really big brawny Bach, reminiscent of Klemperer's classic 1962 EMI recording of the St. Matthew Passion. Tempos are nearly as slow and grand as a live recording I have that was conducted by Furtwangler in the early 1950s. If you are only familiar with the authentic performance style of John Eliot Gardiner's fine 1989 Arkiv recording, for example, this performance will be a musical body blow. Questions of authenticity aside, it is this stately Bach that has the longer history. It is its unflinching theatricality that I find most appealing. This Passion contains the greatest of all human emotions. The music reflects it. I find nothing wrong in embracing Bach's profundity if it is done well. This performance, recorded 15-23 May 1971 in Munich at the Bavaria Atelier, is superb. Therefore, it is well worth your serious consideration. Joining the aforementioned artists are the superb tenor Peter Schreier as the Evangelist, a role he practically owned. Soprano Helen Donath is excellent as is bass Walter Berry. There are no weak links in this cast. Video direction by Hugo Kach is theatrical in a calm, understated way. The film looks and sounds fine in all respects.
This 2 DVD set has a picture format of NTSC shot full screen with a 4:3 aspect ratio. Region code is 0 worldwide. The picture appears digitally remastered and looks fine. Sound formats are LPCM stereo and DTS Digital Surround Sound. Both are clear and spacious with DTS providing ambiance from the rear speakers. Menus are in English. Subtitles are in English, French, Spanish, German and Chinese. Total time of the 2 discs is 197 minutes. There are some extras including DGG promos.
A superb old-style performance. Recommended for those who like big, emotional Bach.
Mike Birman更多精彩文章及讨论，请光临枫下论坛 rolia.net