Bach: St. John Passion, BWV 245

On this CD:

1. Johannespassion (St. John Passion), BWV 245
Composed by Johann Sebastian Bach
Performed by Egbert Junghanns, Annette Markert, Christiane Oelze, Andreas Scheibner, Saxoniae Virtuosi, Christoph Genz
Conducted by Ludwig Guttler

Tracks:

Brandenburg Concerto No. 4 In G Major, S. 1049 (Allegro)
Gabrieli: In Decachordo Psalterio
Chorale Prelude: Wachet Auf (Sleepers, Awake), S. 645
Violin Concerto No. 2 In E Major, S. 1042 (Allegro)
Toccata And Fugue In D Minor, S. 565
Mass In B Minor, S. 232 (Et Resurrexit) (And He Has Risen)
Two-Part Invention No. 14 In B Flat Major, S. 785
Brandenburg Concerto No. 5 In D Major, S. 1050 (Allegro)
Cantata No. 57, S. 57 (1740): Selig Ist Der Mann (Blessed Is The Man)
Italian Concerto In F Major, S. 971 (Allegro)
Brandenburg Concerto No. 2 In F Major, S. 1047 (Allegro Assai)
Well-Tempered Clavier Book 1, S. 846 (Prelude No. 1 In C Major)
St. Matthew Passion, S. 244 (Chorale)
Concerto For Two Violins In D Minor, S. 1043 (Allegro)
Passacaglia And Fugue In C Minor, S. 582
St. Matthew Passion, S. 244 (Chorale)
Cantata No. 211 (1732) 'Coffee Cantata' S. 211 (Baritone Solo)
St. John Passion, S. 245 (I Follow Thee Also, My Saviour, With Gladness)
Magnificat In D Major, S. 243 (Chorus)
Brandenburg Concerto No. 3 In G Major, S. 1048, (Allegro - Complete)
Vivace; Largo Ma Non Tanto: Allegro - Dieter Vorholz
Allegro - Dieter Vorholz
Adagio; Allegro Assai - Dieter Vorholz

Customer Reviews:

Excellent!.......2006-07-01

We are using this series of CDs in our homeschool music program - they are fantastic! We especially love this one about Bach - what an awesome man! The story of his life is told in a way that is very interesting and holds the children's attention while also using various pieces of his music in the narration. It is done VERY well! My children are gaining a tremendous amount of knowlege and appreciation for music through this CD and so are my husband and I!

Average customer rating:

Heartfelt Bach
A Very Unique Experience
This recording saved my life
opened the door....
Beautiful

Morimur

Manufacturer: ECM Records
ProductGroup: Music
Binding: Audio CD

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Perotin / The Hilliard Ensemble
Ricercar / Easter Cantata
Josquin Desprez: Motets & Chansons
Mnemosyne / Garbarek, Hilliard Ensemble
Machaut: Messe de Notre Dame / The Hilliard Ensemble

ASIN: B00005ND3J
Release Date: 2001-09-25

Tracks:

Auf meinen lieben Gott
Den Tod...
Allemanda
Christ lag in Tobesbanden
Corrente
Den Tod niemand zwingen kunnt
Sarabanda
Wo soll ich fliehen hin
Den Tod...
Ciaccona
Christ lag in Tobesbanden
Dein Will gescheh'
Befiehl Du Deine Wege
Jesu meine Freude
Auf meinen lieben Gott
Jesu Deine Passion
In meines Herzens Grunde
Nun lob', mein Seel', den Herren
Den Tod...
Ciaccona fur Violine solo und vier Stimmen nach einer Analyse von Helga Thoene
Den Tod...

Amazon.com's Best of 2001

In 1994, explains the booklet that accompanies Morimur, Professor Helga Thoene made the surprising discovery that the monumental "Ciaccona" from Bach's Partita in D minor for solo violin was built around various chorale themes hidden in the music. From the texts of these "secret" chorales and other symbolic musical devices, she deduced that the "Ciaccona" was an epitaph for Bach's wife, Maria Barbara. The revelation might have remained an intriguing (and touching) footnote to Bach scholarship if baroque violinist Christoph Poppen hadn't had the bright idea of taking Professor Thoene's discovery off the library shelves and placing it triumphantly in the concert hall. On this disc, his performance of all five movements of the whole Partita (BWV 1004) is interspersed with the various chorales hidden inside the "Ciaccona," sung with breathtaking precision by the Hilliard Ensemble. The double whammy comes at the end when the "Ciaccona" is performed again, this time with the singers bringing out the secret melodies. Poppen's playing is excellent, both sweet-toned and vibrant, while the Hilliards have never sounded better: the combination of the two is spine-tingling. It is as if Maria Barbara's proper epitaph has finally been realized, and a moving and wonderfully stimulating recording created in the process. --Warwick Thompson

Customer Reviews:

Heartfelt Bach.......2005-07-09

Beautiful performances, convincing thesis that Bach wrote the Chaconne in tribute to his recently deceased wife. Are there chorales with meaning connecting through text to Bach's music? Listen to this and decide for yourself--have a box of tissues handy. An underground best seller in classical music.

A Very Unique Experience.......2004-09-13

"Morimur," as you can read (ad nauseum) on the rest of the page, is the product of an astonishing amount of Bach scholarship on the part of Professor Helga Thoene, a noted Bach scholar. It is important to note two things: 1) Thoene's research applies ONLY to the Partita II D Minor, not to the Six Solos from which it comes as a whole, and 2) The CD contains ONLY the Partita and associated chorales, NOT any of the other Six Solos. Morimur is a truly intriguing experience, quite unlike anything else in all of Bach's music. Thoene has reconstructed a number of "chorale fragments" within the monumental "Ciaccona" movement of the Partita, making the claim that the presence of these fragments in the music validates the belief that the Ciaccona was originally meant as a musical epitaph for Bach's first wife, Maria Barbara, who died suddenly and was buried while Bach was away. Thoene provides a number of musical examples from the score to the Ciaccona that demonstrate her theory in action, and these examples are critical for a layperson (such as myself) to come to an understanding of her theory (which can only be proven by studying the WRITTEN music, not listening to the Ciaccona itself). The disc contains the entire D Minor Partita, played wonderfully by Baroque violinist Christoph Poppen, as well as the associated chorales whose fragments appear in the Ciaccona, sung by the Hilliard Ensemble. The disc concludes with a magical second performance of the Ciaccona by Poppen (a completely different performance, not just a simple copy of his earlier, unaccompanied performance on the disc). As he plays this most difficult and monumental of string works, the Hilliards sing the chorale fragments atop his melody, putting Helga Thoene's research into practical use. The effect is dazzling and moving, opening new horizons for this piece that listeners will never forget. The Hilliards balance perfectly with the violin, never overwhelming it, but always making themselves heard. As for Poppen, he is wilfully expressive and brings a unique voice to the Ciaccona and to the Partita D Minor as a whole, and it is a shame that he has not recorded the remainder of the Six Solos. This is certainly a unique disc, one that will challenge the way many people view the Ciaccona and the omnipresence of symbolism in Bach's music.

This recording saved my life.......2004-08-19

The poetry of Christ lag in Todesbanden speaks for itself. If Bach's transmission through pure music does not reach you through this recording, then you are either tone-deaf or have no soul. I can add nothing of great value to the wonderful comments that have prefaced mine, although I have been meaning to write a review of this for some time. It must suffice to say that as a violinist well-acquainted with the unaccompanied sonatas, this recording came as a veritable revelation- giving me the strength to put my life back together while I studied deeper into all the sonatas and partitas. I had always wondered why it was called a chaccone! Now I know....thank you.

opened the door...........2004-07-15

What is extraordinary on this CD is Christoph Poppen's exposition of Bach. Profoundly "beautiful" yes, but more than that, it opened the door for me to Bach. Now, many Bach pieces later, by so many gifted people, I return to this site to recommend this work to others and to thank Mr. Poppen (and ECM).
It would be wonderful if he were to record ALL of Bach's sonatas/partitas for violin - with ECM. The quality of what he has achieved here calls out for that.

Beautiful.......2004-04-10

I find the interplay of the voices and violin on this recording to be stunningly beautiful and strongly recommend it. It is one of my most listened to recordings and also one of my most recommened.

Tracks:

Hallelujah - Ambrosian Singers
I Know That My Redeemer Liveth - Ambrosian Singers
Pie Jesu - Victoria De Los Angeles
In Excelsis Deo - Teresa Berganza
Jesu Bleibet Meine Freude - Choir Of King's College Cambridge
Ave Maria - Philip Ledger
Zadok The Priest - Coronation Anthem - Choir Of King's College, Cambridge
Wie Lieblich Sing Deine Wohnungen - Phiharmonia Chorus
Sanctus Fortis - Richard Lewis
Agnus Dei - Dame Janet Baker
Cujus Animam Gementem - Robert Gambill
Lacrimosa - New Philharmonia Orchestra
Ave Maria - Gerald Moore
Ingemisco - Confutatis - Dies Irae - New Philharmonia Chorus

Tracks:

Panis Angelicus - Elisabeth Schwarzkopf
Herrscher Des Himmels, Erhore Das Lallen - Choir Of King's College, Cambridge
Ouverture - L'Adieu Des Bergers - Choeurs Rene Duclos
Libera Me Domine - Dietrich Fischer-Dieskau
Ave Verum Corpus, K618 - Swedish Radio Chorus
Die HImmel Erzahlen Die Ehre Gottes - Jose Van Dam
Komm, Holder Lenz! - Chor Der Deutschen Oper Berlin
Lord God Of Abraham - New Philharmonia Chorus
And Then Shall Your Light Break Forth - New Philharmonia Chorus
Miserere Mei, Deus - Stephen Cleobury
Erbarme Dich, Sein Gott - Julia Hamari
O Haupt Voll Blut Und Wundern - Julia Hamari
Ich Folge Dir Gleichfalls - Lisa Otto
Ach Herr, Lass Dein Lieb' Engelein - Lisa Otto

Customer Reviews:

A wonderful and varied compilation of Sacred Choral Works.......2001-08-13

This is a 2 CD set and is one of my favorites. While this CD contains several pieces that the general public probably hears often (Handel's Messiah, Bach's Jesu Bleibet mein freund) it also contains some not well known pieces. Of particular quality is the recording of Gregorio Allegri's MISERE MEI DEUS, a piece composed at the end of the Renaissance era. This piece, lasting roughly 13 minutes, is a master stroke of pure choral music. The piece is repetitive but Allegri builds up to a fantastic ending. Also of note is the glorious recording of Mozart's AVE VERUM CORPUS, Hadyn's DIE SCHOPFUNG, and Brahm's EIN DEUTCHES REQUIEM. A MUST for any choral music fan.

Average customer rating:

A Communication between Alien Worlds
Absolutely amazing
Inspiring
sophisticated
keep it open

Lambarena-Bach to Africa

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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African Voices

ASIN: B000002A94
Release Date: 1995-10-24

Tracks:

Jesus bleibet meine Freude
Sankanda
Mayingo
Herr, unser Herrscher
Mabo Maboe
Bombe
Pepa Nzac Gnon Ma
Mamoudo Na Sakka Baya Boudouma Ngombi
Agnus Dei
Ikoukou
Inongo
Okoukoue
Lhr Lieblishste Blicke, ihr freudige Stunden
Jesus bleibet meine Freude

Customer Reviews:

A Communication between Alien Worlds.......2006-12-01

Electrifying...first let me say that this is among the 10 top CD's in my
entire music collection. Let me explain what this music is NOT. It is not a group of African singers and musicians performing Bach. No, instead it is the response of African musicians listening to the music of Bach and talking back in their own tonal language. First we hear melodies of Bach - tame and civilized - played on the traditional instruments, perhaps organ or piano or violin. On hearing Bach, the Africans join in and respond with their own raw, primeval, earth-centered music. Think of a bird which changes its song and rhythm in response to a classical flute melody and you get the idea. A treat not to be missed.

Absolutely amazing.......2006-04-06

I have truly enjoyed this CD. As a Gabonese woman myself hearing the mix of traditional gabonese sounds, tribal language, and sounds and the heavenly music of Bach is truly...heaven. I do understand that such a mix could be an atrocity for some classical music fans but just forget Bach alone and try to picture his music beinf celebrated by some people who before had maybe never heard of him... jst enjoy the coming ogether of two cultures... Pierre Akendengue is brilliant, simply brilliant!

Inspiring.......2005-08-28

As a classically trained celleist and person who simply loves classical music- This album has been a tremendous insparation, opening my eyes to the true possibilities of music. The mix of the traditional music of Africa and Bach shows how cultures, from complete and totoal opposit ends of the world can come together and culturally unite. I would highly recommend this album to anyone who wants to see the true potential of Bach.

sophisticated.......2005-08-06

The work in this record is amazing and incredibly sophisticated.
The blend is almost unthinkable, but after you listen to this CD you feel the musical magic that was created at that early days of the 29th century, where two opposite worlds meet to surprise our senses with new sounds.
A real banquet for a music lover!

keep it open.......2005-03-28

We are all one world. Combining the sounds and rhythms of different cultures and eras can be a beautiful thing. This album does it well. With an open mind, you'll find yourself swept away, only to be brought back by the natural motion of your tapping foot or your swaying body.

Stephanie Blythe - Handel & Bach Arias / David Daniels · Ensemble Orchestral de Paris · John Nelson

Average customer rating:

When I directed her in muscials in High School, I knew she was special
What a superb CD!!
A Blythe Spirit and a Magical Duet With David Daniels
La Reina!
Solid baroque

Stephanie Blythe - Handel & Bach Arias / David Daniels · Ensemble Orchestral de Paris · John Nelson
George Frideric Handel , Johann Sebastian Bach , John Nelson , Stephanie Blythe , David Daniels , and Ensemble Orchestral de Paris
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Handel: Opera Arias; David Daniels
Sento Amor; David Daniels;
Handel: Giulio Cesare in Egitto
Songs by Mahler, Handel & Peter Lieberson

ASIN: B00005A9NK
Release Date: 2001-11-06

Tracks:

Serse: Recitativo: Frondi Tenere
Serse: Aria: Ombra Mai Fu
Hercules: Recitative And Aria: Where Shall I Fly?
Semele: Recitative: Awake, Saturnia
Semele: Aria: Iris, Hence Away
Giulio Cesare In Egitto: Aria: Al Lampo Dell'armi
Giulio Cesare In Egitto: Recitativo Ed Aria: Dall'ondoso Periglio... Aure, Deh, Per Pieta
Giulio Cesare In Egitto: Aria: Priva Son D'ogni Conforto
Giulio Cesare In Egitto: Recitativo E Duetto: Madre!... Son Nata A Lagrimar - Stephanie Blythe/David Daniels/Martin Isepp
Saint Matthew Passion, BWV 244: Aria: Erbarme Dich, Mein Gott
Saint Matthew Passion, BWV 244: Aria: Konnen Tranen Meiner Wangen
Saint John Passion, BWV 245: Aria: Von Den Stricken Meiner Sunden
Saint John Passion, BWV 245: Aria: Es Ist Vollbracht! - Stephanie Blythe/Emmanuelle Haim/Jerome Hantai
Mass in b, BWV 232: Agnus Dei

Amazon.com

This is a lovely recording. Stephanie Blythe's voice must be one of the most beautiful to be heard today: smooth as silk, warm as velvet, pure, dark, almost masculine at times, even in quality across a big range down to F-sharp. She can spin out endless phrases without strain. Her intonation is impeccable, her expressiveness heartfelt, simple, and direct. The program is a string of priceless jewels, opening with the famous "Ombra mai fu" from "Serse" (better known as Handel's Largo) and closing with the Agnus Dei from Bach's B minor Mass. However, with the exception of Juno's furious outburst of jealousy from Handel's Semele, the dramatic "Where shall I fly?" from his Hercules, and one fast, light aria from Giulio Cesare, everything is slow and primarily mournful. This seems to be in the nature of the contralto repertoire, but it does generate a certain sameness despite all attempts to create variety.

One of the highlights is the heartrending mother-son duet between Cornelia and Sesto from Giulio Cesare with the splendid countertenor David Daniels, but Blythe includes both Cornelia's and Cesare's arias, fulfilling a wish no doubt cherished by many great contraltos, but impossible to realize on stage. She seems more at home in Handel's worldly arias than in Bach's sacred ones, some of which--notably the "Erbarme dich" from the St. Matthew Passion--sound a little too operatic. The violinist who plays the wonderful obbligato here is not named (and often inaudible); the fine wind soloists in the St. John Passion are also unidentified. The orchestra is good but rather stiff, the rhythm pedantic, the style, with normal tuning, semi-baroque. This is underscored by the truly baroque gamba solo in St. John. However, the beauty of the singing triumphs over all misgivings. --Edith Eisler

Customer Reviews:

When I directed her in muscials in High School, I knew she was special.......2005-07-08

I was Stephanie's teacher in High School and directed her in several theatrical productions. Not only was she an immensely talented actress, her voice always took my breath away. The other instructors and myself knew that Stephanie had "IT" and would someday be recognized for all the beauty her voice contains. I have seen her perform live and each and every time am amazed at the depth and feeling in her voice. This cd will not disappoint.

What a superb CD!!.......2005-02-27

WOW,

I bought this CD after I discovered this artist totally by accident (well, I usually do not listen to the vocal selections on the sampler CD from the British magazine "The Gramophone"). I guess that it was either fate or luck that made me listen to her selection of Wagner Lieder.

As I have always been a fan of alto/contralto's, I find Stephanie Blythe's voice to be smooth, creamy, solid, and very thrilling!!! I really like all of the Handel arias (which are top notch!!), and I will spend more time with the Bach.

This Virgin Classics CD is up to Virgin's usual high standard of recording, though I do wish that her voice was more centered between the right and left channels. Then again, my new system still needs some dialing in in my room.

I would highly recommend this CD to anyone who likes vocal music, opera, and best of all, for people who simply like stellar singing!!!

Well worth the 5 stars!!!

A Blythe Spirit and a Magical Duet With David Daniels.......2004-09-02

Contralto Stephanie Blythe has a warm, fluid voice that reminds me immediately of countertenor David Daniels, especially since she sings more accurately in the mezzo-soprano range. What they have in common is an artful blending of male and female vocal characteristics that produces a strong sound, rich and seductive. Dramatically she is not quite at his level yet, but it is a tribute to her interpretative talents that she can convincingly sing both Cesare and Cornelia in "Giulio Cesare in Egitto" in the four beautiful arias here. The disc's high point is in fact, a mother-son duet performed with Daniels, "Madre!...Son nata a lagrimar". Their voices meld together wonderfully. What I find intriguing is how his higher, more nuanced voice brings out the dramatic intensity of the piece, while Blythe's superb lower register brings out a lovely contrast since her voice dips deeper than Daniels'. It is as perfect a match as you'll hear in the Baroque world.

The remainder of the Handel arias displays her exceptional range, especially the plaintive "Ombra mai fù" from "Serse" and the vocal agility she displays in "Iris, Hence Away" from "Semele". The second half of the disc features four arias from Bach's "Passions", all more spiritual in tone than the Handel pieces but not as interesting dramatically. She still sounds lovely, but a certain monotony creeps into the last half-hour since these arias seem to create the same dream-like atmosphere and consequently do not require her to utilize her interpretative skills fully. John Nelson conducts the Ensemble Orchestral de Paris effectively, and perhaps to embody the spirit of the Bach pieces, the disc was recorded in a church, the Eglise Notre Dame du Liban in Paris. It is an impressive recital debut and makes one look forward to Stephanie Blythe's next work.

La Reina!.......2003-10-13

Stephanie Blythe is a name honored in the circles of the music cognescenti where she is considered nearly without peer as the reigning contralto of the day. In this very generous sampling of arias by Handel and Bach the reason for such admiration/devotion becomes readily apparent. Blythe may be called a 'contralto' and, indeed, she has that lush dark burnished tone so often conjured by the contralto roles in opera and oratorio. But she has an amazing range that allows her to effortlessly scale the contralto to mezzo to lyric to coloratura like few other singers. Only Marilyn Horne comes to mind as one with the beauty of voice in tandem with impeccable musicianship and technique for comparison.

Opening this recital (accompanied by John Nelson conducting the Ensemble Orchestral de Paris) she wisely selects the well-known 'Ombra mai fu' and allows first time listeners to bask in the beauty of tone and perfection of execution she brings to every subsequent work on this CD. Unlike other singers who attempt this repertoire Blythe shows no audible break in register as she soars into the passionate stratosphere of 'Where shall I fly' from Handel's "Semele" or plumbs the depths of Bach's touching arias from both the St Matthew and St John Passions.

As far as the perfect display of all her gifts in one piece then her duet with countertenor David Daniels in the 'Madre..Son nata a lagrimar' from Handel's "Guilio Cesare" is that pinnacle. This duet has to be one of the most beautiful baroque experiences ever captured on disc. A singer to watch and collect!

Solid baroque.......2003-09-03

Blythe has an excellent voice. She isn't Marilyn Horne or Ann Murray or Sarah Walker, but she's first class nonetheless, and this album is certainly worth having. The knock on Blythe, in my judgment, is that she lacks emotion and fire. She just sings, and the listener's mind might stray. The duet from Julius Caesar is the finest feature of the album, and is simply glorious. David Daniels is in a class all by himself.

Bach: St. John Passion / Gardiner, The English Baroque Soloists

Average customer rating:

transcendent
a voice teacher and early music fan
Bach is still rich, but he loses a lot here
The other great Bach Passion...
Saint John is not antisemitic

Bach: St. John Passion / Gardiner, The English Baroque Soloists
Johann Sebastian Bach , Anthony Rolfe Johnson , Nancy Argenta , John Eliot Gardiner , Neill Archer , Cornelius Hauptmann , The Monteverdi Choir , Michael Chance , The English Baroque Soloists , Richard Earle , Lisa Beznosiuk , and Pavlo Beznosiuk
Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music
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ASIN: B0000057CW
Release Date: 1990-10-25

Tracks:

Herr, Unser Herrscher
Jesus Ging Mit Seinen Jungern Uber Den Bach Kidron/Jesum Von Nazareth!/Jesus Spricht Zu Ihnen/Jesum Von Nazareth!/Jesus Antwortete
O Grosse Lieb, O Lieb Ohn' Alle Masse
Auf Dass Das Wort Erfullet Wurde
Choral: Dein Will Gescheh, Herr Gott, Zugleich
Die Schar Aber Und Der Oberhauptmann Und Die Diener Der Juden Nahmen Jesum
Aria (Alt): Von Den Stricken Meiner Sunden Mich Zu Entbinden
Simon Petrus Aber Folgete Jesu Nach
Aria (Soprano): Ich Folge Dir Gleichfalls Mit Freudigen Schritten
Derselbige Junger War Dem Hohenpriester Bekannt
Wer Hat Dich So Geschlagen
Und Hannas Sandte Ihn Gebunden Zu Dem Hohenpriester Kaiphas/Bist Du Nicht Seiner Junger Einer?/Er Leugnete Aber Und Sprach
Ach, Mein Sinn, Wo Willt Du Endlich Hin
Choral: Petrus, Der Nicht Denkt Zuruck
Choral: Christus, Der Uns Selig Macht
Da Fuhreten Sie Jesum Von Kaiphas Vor Das Richthaus/Ware Dieser Nicht Ein Ubeltater/Da Sprach Pilatus Zu Ihnen/Wir Durfen Niemand Toten/Auf Dass Erfullet Wurde Das Wort Jesu
Ach Grosser Konig, Gross Zu Allen Zeiten
Da Sprach Pilatus Zu Ihm/Nicht Diesen, Sondern Barrabam!/Barrabas Aber War Ein Morder
Arioso: Betrachte, Mein Seel, Mit Angstlichem Vergnugen
Aria: Erwage, Wie Sein Blutgefarbter Rucken

Tracks:

Und Die Kriegsknechte Flochten Eine Krone Von Dornen/Sei Gegrusset, Lieber Judenkonig!/Und Gaben Ihm Backenstreiche/Kreuzige, Kreuzige!/Pilatus Sprach Zu Ihnen/Wir Haben Ein Gesetz/Da Pilatus Das Wort Horete
Choral: Durch Dein Gefangnis, Gottes Sohn
Die Juden Aber Schrieen Und Sprachen/Lassest Du Diesen Los/Da Pilatus Das Wort Horete/Weg, Weg Mit Dem/Spricht Pilatus Zu Ihnen/Wir Haben Keinen Konig Denn Den Kaiser/Da Uberantwortete Er Ihn, Dass Er Gekreuziget Wurde
Aria: Eilt Ihr Angefochtnen Seelen - Wohin?
Allda Kreuzigten Sie Ihn/Schreibe Nicht: Der Juden Konig/Pilatus Antwortet
Choral: In Meines Herzens Grunde
Die Kriegsknechte Aber, Da Sie Jesum Gekreuziget Hatten/Lasset Uns Den Nicht Zerteilen/Auf Dass Erfullet Wurde Die Schrift/
Choral: Er Nahm Alles Wohl In Acht
Und Von Stund An Nahm Sie Der Junger Zu Sich
Aria (Alt): Es Is Vollbracht!
Und Neiget Das Haupt Und Verschied
Aria - Choral: Mein Teurer Heiland, Lass Dich Fragen - Jesu, Der Du Warest Tot
Und Siehe Da, Der Vorhang Im Tempel Zerriss
Arioso: Mein Herz, Indem Die Ganze Welt
Aria: Zerfliesse, Mein Herze
Die Juden Aber, Dieweil Es Der Rusttag War
Choral: O Hilf, Christe, Gottes Sohn
Darnach Bat Pilatum Joseph Von Arimathia
Ruht Wohl, Ihr Heiligen Gebeine
Choral: Ach Herr, Lass Dein Lieb Engelein

Customer Reviews:

transcendent.......2006-10-23

This is probably the greatest recording of the St. John Passion I have ever heard, and I have heard quite a few. The strings aren't screechy (as another review claimed); it's the timbre of the period instruments, and Gardiner uses their stridency to great effect, evoking a sense of urgency and consternation that would not be possible with modern stringed instruments. The oboes have a similar quality (and when they are combined with the strings in the first chorale it sounds almost like someone wailing in despair).

I love this recording. The soloists are beyond reproach, and the voicings are perfectly blended almost everywhere so the counterpoint is utterly clear. Most importantly, however, the tremendous depth of this music is not lost despite the intellectual rigor that Gardiner brings to the music.

Much of "historically informed" performance, unfortunately, sounds academic, dry, and purely intellectual; while the performer often has an impressive cerebral understanding of the piece and its historical context, he or she is not able to transcend the intellect and get to the heart of the music. Gardiner can and does with this recording.

a voice teacher and early music fan.......2006-07-08

Johann Sebastion Bach (1685-1750), in planning his first Passion, had no model, and the defects of formal structure in the 'St. John Passion' are obvious, though their effect is negligible against the greatness of the music in all other respects. For example, after the somber and massive opening chorus, the action proceeds rapidly through the capture of Jesus to his appearing before the High Priest. The alto sings of the bondage of sin and the Evangelist has a brief sentence: 'Simon Peter followed Jesus with another desciple.' Next comes a second aria,"I follow You likewise with joyful steps.' Besides the long break in the narration, this second aria seems contradictory because Peter follows Jesus, not joyfully, but with apprehension, A much larger question concerns the repetition of certain choruses with only slight modification set to different texts. When it was thought that the work had been prepared for 1723 (it was actually first performed during Holy Week, 1724), some historians argued that these repetitions were the result of Bach's haste to complete the score, but it is clear that he had some positive intent. Apart from this odd feature, the choruses are wonderfully vivid, far exceeding in dramatic force anything in baroque or classical opera. Bach performed this work several times in his later years; evidently he did not regard it as being inferior to his 'St Matthew Passion'.
I have several recordings of this Passion, one of which is the DVD of the Choir of King's College with Stephen Cleobury, and I do enjoy listening to this disc more than any other version in my music library. John Eliot Gardiner seems to have a direct communication with Bach, himself. This recording was made in 1986 and Gardiners' subsequent Bach recordings attest to this. The Monteverdi Choir is well-trained and even though I personally prefer boy sopranos in early music, I do think the sopranos in this choir are very refined in tone quality and have a lightness of sound that blends very well with the rest of the choir. The diction of this group is clear and precise as it is with the soloists. The soloists are as follows: Anthony Rolfe Johnson (tenor-Evangalist); Stephen Varcoe (Bass-Jesus); Cornelius Hauptmann (Pilate and arias); major individual soloists: Nancy Argenta and Ruth Holton (sopranos); Michael Chance (alto); Neill Archer & Rufus Muller (tenors).I was interested to note that in Michael Chance's solo "Es ist volbracht!" Gardiner chose to use the Viola di gamba as opposed to the violoncello that is used in most other recordings. I prefer it because it seems to have a lighter sound than the cello and therefore is a greater accompanying instrument for the voice. Chance sings this solo magnificently; as is usual for him. The entire renditon is a pleasure to hear!!!!

Bach is still rich, but he loses a lot here.......2005-09-24

I doubt there is such a thing as a performance of the great, moving St. John Passion without some virtue. Gardiner's reading is swift, clean, and dramaatic. But the "authentic" overlay means that we also get scrawny strings and a meager chorus, scrappy winds, and rushed tempi. The vocal soloists are hardly stellar, with only Rolfe-Johnson being first-rate. To top it off, the sound is vintage nasty early digital from DG that makes voices and strings screechy in the upper registers.

The other great Bach Passion..........2004-03-11

Bach supposedly wrote 5 passions, two of which survive complete. Of one only the libretto survives, and supposedly pieces of one passion exist in one of Bach's Cantatas. The St. John's Passion is the earliest extant passion of Bach's (composed in the 1720s), and, seeing that the enormous and overwhelming St.Matthew Passion also still exists complete, it has lived in the shadow of its grand predecessor. Not to mention that Bach revised and rummaged through the St.John Passion throughout his life, so there can be no claim to a standard or definitive version (this is not the case with the St. Matthew Passion).

This Passion is great in its own right. If the St.Matthew Passion did not exist, this work could almost take its place. Right from the opening bars it will be evident that great music is on its way, and it doesn't let up throughout the entire piece.

Structurally, the work is almost identical to the St. Matthew Passion, in that it is made up of Recitatives, choruses, and arias. A character named "Evangelist" tells the details of the story in recatitive; arias typically express the feelings of individual characters; and the choruses provide emotional and spiritual reflection on the current scenes. The piece is meant for Christian consumption, and allows the listener to identify with Jesus' suffering and sacrifice through music. Music doesn't typically get more religious than this. However, the music is so amazing that it can be enjoyed even on a non-religious level.

John Eliot Gardiner, The English Baroque Soloists, and the Monteverdi Choir are all in top form here. The performances are impeccable.

The 76-page CD booklet contains a fascinating history of the passion form. It delineates the change in christianity away from a more Augustinian passion emphasizing redemption towards a more Fransiscan direct and immediate sympathy with Christ's suffering. This is the source of the Passion Play, and this tradition evolved into the form heard on Bach's incredible Passions (and the form is still going strong, controversially, at least according to recent box office sales).

Listeners who find the St. Matthew Passion to be an "I felt the earth move" kind of experience will not be disappointed whatsoever with the St. John Passion. Though it's not as grand or as esteemed, it contains music of the same high quality. Now if we could just find those other three Passions...

Saint John is not antisemitic.......2003-08-06

This Passion, like all Passions by J.S. Bach are church operas without any setting. The story is a real plot. The use of voices and chorus are operatical. The lyricism of the music and the singing is undeniable. We are here in total continuity with old biblical operas from the Midlle Ages and the Renaissance. The first important element is that Bach finds a refuge and a compensation in his music for the hardness and hardships of his life : the loss of a job, the next job which is far from being ideal and good in Leipzig, the mercantile city that is not exactly art-minded, the loss of a wife and his second wife who has to drop her singing career. Bach is thus personally motivated in his depicting of the suffering of Jesus. The second element is the tremendous fluidity of the language and the use of the music of the German language of the text to sustain and enhance the music itself. At this level we can even hear from time to time what will be characteristic of the great German deeply sombre and dramatic operas of the 19th century, from Beethoven to Wagner or even further on. I will not cover all aspects of this Passion but I will insist on two particular levels. Bach punctuates his Passion with the use of the chorus and this chorus gives the deep meaning of the Passion itself. This Passion has often been accused of being antisemitic. If we listen to the chorus carefully, we are far from that. The chorus is used in four different directions. First it takes the form of a psalm of a hymn and it opens to some kind of heavenlike reflection by the modern audience. Second it represents the crowd of the Jews or the High Priests. Then it becomes a chaotic canon or fugue on a popular music that wants to express the frenzy of the crowd, to illustrate the famous saying of Jesus : « Forgive them father because they do not know what they are doing ». This crowd is beside themselves, they have lost their selfcontrol. They are irresponsible. Third it may even represent the joy of a modern and popular crowd in front of the realization of the prediction like in « Sei gegrusset, lieber Judenkönig ! ». Finally it also represents the soldiers for example sharing Jesus's clothes. Then it expresses greed and totally unconscious brutality or beastlike cecity. There is no accusation against the Jews. They were manipulated by the high priests, by Pilate, and they also were out of their minds, in other words carrying out God's decision without knowing it. This explains the very strange declaration: « Der Held aus Juda siegt mit Macht, and schliesst den Kampf ». Jesus is a hero, Jesus wins the battle, Jesus conquers power and Jesus ends the fight, which means he gets the world on his side at the very moment of his death. No antisemitism at this moment since the fight is finished, hence there is no reason to fight against the Jews any more. And that's what the « Ruht wohl » means and expresses in a beautiful Tenebrae turned upside down into a lullaby, transforming the descent into darkness of the Tenebrae into an ascent into light of this famous piece of music and singing. Death becomes a desired passage from strife to calm humility and submission to the longed-for liberation and regeneration. In other words Bach is calling for peace on earth, peace and order, in Germany like elsewhere, human reasonable governing of things after the long period of war that is just in the process of coming to a close. Bach is a pacifist and a social peacemaker at the end of an extremely troubled period.

Customer Reviews:

Bargain price for the best of the best!.......2004-11-17

Below are the Amazon.com asin numbers for all four of the works in this box:

St. Mathew Passion - B0000057DG (1989)
St. John Passion - B0000057CW (1990)
Christmas Oratorio - B0000057D5 (1990)
Mass in b minor - B0000057CN (1990)

The numerous reviews already posted for each work say it all.

Many period instrument productions lack the interpretive element more commonly found in traditional performances. Not so with Mr. Gardiner. You don't just hear authentic music, you feel the passion and the poetry in it like never before.
I find no weaknesses to speak of in any of these recordings. The soloists are top notch, the choirs are well balanced, the orchestral playing is brilliant, the music breathes with spiritual and poetic inspiration, and the recorded sound is both detailed and atmospheric.

And you get it all in one convenient box at a price that is unbelievable.

My only quibble would be the documentation. You get decent essays on the music, but the text being sung is not included. But, these works are so mainstream that you can easily find free texts on the internet, and likely with better English translations than is commonly found in booklets that accompany CDs. I would recommend doing that even if the booklet did contain the texts.

Average customer rating:

This is not a great recording.
great version full of life
SUBLIME
A Passion for English.
The Great 'English' Passion

Bach: St. John Passion

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Bach: Violin Concertos, BWV 1041 & 1042; Double Concertos, BWV 1060 & 1043

ASIN: B00000425Q
Release Date: 1995-06-13

Tracks:

St. John Passion, BWV 245: Sire, Lord And Master (Chorus)
St. John Passion, BWV 245: Jesus Went With His Disciples (Recitative) et. al.
St. John Passion, BWV 245: O Generous Love! (Chorale)
St. John Passion, BWV 245: So That The Word Might Be Fulfilled (Recitative)
St. John Passion, BWV 245: Thy Will Be Done, O God Of Love! (Chorale)
St. John Passion, BWV 245: The Band Then, Together With The Captain (Recitative)
St. John Passion, BWV 245: To Release Me From This Prison (Contralto Aria)
St. John Passion, BWV 245: Simon Peter Also Followed (Recitative)
St. John Passion, BWV 245: I'll Follow Thee Also (Soprano Aria)
St. John Passion, BWV 245: Now That Same Disciple (Recitative)
St. John Passion, BWV 245: Ah, Who Would Dare To Smite Thee? (Chorale)
St. John Passion, BWV 245: Now Annas Sent Him Bound (Recitative) et. al.
St. John Passion, BWV 245: Ah! Take Flight Away From Human Sight (tenor aria)
St. John Passion, BWV 245: Peter, Who Denied His Lord (Chorale)
St. John Passion, BWV 245: Christ, Who Gave Us Life And Light (Chorale)
St. John Passion, BWV 245: Then Led They Jesus (Recitative) et. al.
St. John Passion, BWV 245: Ah, King Of Heaven (Chorale)
St. John Passion, BWV 245: And Pilate Said Unto Him (Recitative) et. al.
St. John Passion, BWV 245: Look Yonder, O My Soul (Bass Arioso)
St. John Passion, BWV 245: Consider, How His Body (Tenor Aria)

Tracks:

St. John Passion, BWV 245: And When The Soldiers (Recitative) et. al.
St. John Passion, BWV 245: Thy Bonds, O Christ, Have Set Us Free (Chorale)
St. John Passion, BWV 245: But The Jews Cried Out And Said (Recitative) et. al.
St. John Passion, BWV 245: Haste, Ye Souls (Bass Aria With Chorus)
St. John Passion, BWV 245: And There Crucified They Him (Recitative) et. al.
St. John Passion, BWV 245: Within My Heart, O Savior (Chorale)
St. John Passion, BWV 245: And Then Did The Soldiers (Recitative) et. al.
St. John Passion, BWV 245: When His Life Had Reached Its End (Chorale)
St. John Passion, BWV 245: And From That Hour (Recitative)
St. John Passion, BWV 245: The End Nigh! (Contralto Aria) et. al.
St. John Passion, BWV 245: My Dearest Savior (Bass Aria With Chorale)
St. John Passion, BWV 245: And Then, Behold (Recitative)
St. John Passion, BWV 245: My Heart, Behold How All The World (Tenor Arioso)
St. John Passion, BWV 245: With Torrents Of Weeping (Soprano Aria)
St. John Passion, BWV 245: The Jews, Therefore (Recitative)
St. John Passion, BWV 245: Help Us, Son Of God Most High (Chorale)
St. John Passion, BWV 245: And After This, Jospeh Of Arimathea (Recitative)
St. John Passion, BWV 245: Farewell, O Broken, Weary Body (Chorus)
St. John Passion, BWV 245: Lord Jesus, When We Come To Die (Chorale)

Customer Reviews:

This is not a great recording........2006-08-29

I must disagree with my fellow reviewers. Although I find Britten's general direction quite excellent, there are a few recording issues that interfere with the music. At points, the balance and the dynamics are erratic, which may simply be the fault of the technical engineers rather than the performers. Although the solo sections can be sublime, the choral sections suffer sloppy cutoffs and often incomprehensible diction.

great version full of life.......2001-09-16

I second everything said about this by the reviews above! This is a warm recording sung very well, it'sd a real treat this one. Pitty Britten didn't do the St Matthew Passion. This is a super buy

SUBLIME.......2001-03-12

I resisted buying and then listening to this version of one of my favorite pieces of choral music. Why? Firstly, I already own 2 other fine versions and I thought that a translation into English from German would distort what Bach had wanted. I was wrong: if anything, the English language helped me get "into" the text more...and understand, perhaps, a bit more of what Bach wanted us to feel while listening. I also do not usually like the sound of a boychoir. Bach had written the work for boychoir, but most recordings (and live performances) use an adult female choir. In this recording, conductor Benjamin Britten chose to use the Wandsworth School Boys' Choir and they are exemplary: their voices never get into that whiny trebel we are used to hearing and their enunciation of the English language is beyond reproach. All of the soloists employed are stars in their own right and many of them had worked together with and for Britten before this recording. Peter Pears, of course, was Britten's partner/muse/lover and he is superb as "Evangelist." If you have ever heard Pears sing, you know that his quality is one that cannot be compared with anyone else's. He is a singular artist. Britten has melded this entire, difficult, gorgeous work of Bach's into a very moving experience. The sound on this double CD set, recorded almost 30 years ago, is bright and full and rich. Do yourself a favor and buy this sublime music in this wonderful performance. HIGHLY RECOMMENDED!

A Passion for English........2000-08-17

Ideally Bach's wonderful St.John Passion should be heard in the original German in order to fully appreciate the ideal marriage of text and music which makes Bach such a paragon of excellence amongst composers.There are some excellent versions available,and if I could gently push you in the direction of say Gardiner or Suzuki,then I would be satisfied that I've accomplished my good deed for the day.

However,sometimes it's nice to skip the language barrier and indulge yourself in a direct channel of communication via your own mother tongue.To that end,this 1971 performance under the sure-footed guidance of the esteemed composer Benjamin Britten is the best possible way to approach the marvels of the St.John without wrestling with translations as you go.

The recording is for the most part excellent,and is ideally full-bodied and intimate.There are a few thumps and bumps in the long opening chorale,"Sire,Lord and Master",but I don't feel this is too much of a distraction because of the panoply of beauty that awaits afterwards.

The all-important linking role of the Evangelist is given to Peter Pears,and no more sensitive interpreter of that crucial role will you find on record,I feel.He really does convey every emotional nuance of his recitatives quite brilliantly,and if you want a good example of his superb word-painting,just listen to the way he wrings all the heart-breaking tragedy of Peter's denial of Jesus out of just two words,"...wept bitterly",in No.18.Quite marvellous!

The choral element is given to the amazingly assured Wandsworth School Boy's choir under the direction of Russell Burgess,and it's hard to believe that they are (or were rather)just children.Many adult choirs would be hard-pressed to match their incredibly sensitive awareness of the emotion implicit in their chorales.Whatever these boys behaviour was like before or after this performance they were surely Angels on that day of the recording.From the lovely,"O generous love",No.7,to the famous and utterly sublime "Farewell,O weary broken body", their combined performance is a feast for the ears and balm for the heart.

The soloists I cannot praise highly enough.Perfectly matched as a quartet,and individually they are absolutely astonishing in their virtuosity.Perhaps the biggest bouquet should go to the soprano Heather Harper who is quite outstanding in,"I'll follow thee also", and "With torrents of weeping...".Quite honestly it's worth buying the disc for her performance of these two arias alone!

Yet who would miss hearing the lovely contralto Alfreda Hodgson in her beautiful rendition of "To release me from this prison".Extraordinarily moving,and another gem amongst all the other treasures on this disc.

The tenor Robert Tear needs no qualification from this humble reviewer.Everything he has done in his long career has been executed with consummate mastery of his craft,and his work on this particular recording is no exception.He is quite wonderful in conveying the bitter agony of the aftermath of Peter's denial in his aria,"Ah! take flight",and we REALLY "climb the grey hills in fearful desperation" with him,as we experience at first hand the desperate enormity of what the apostle has just done.

The Bass John Shirley-Quirk is a name known and loved by those who adore choral music,and he is the final member in this "dream-team" of soloists.In the St.John passion the bass arias are suffused with music of quite magical loveliness,and thank goodness they are in such a safe pair of hands here.One of the most heart-stoppingly gorgeous moments in the entire work is the introduction to,"Look yonder,O my soul".My respect for the English Chamber Orchestra is boundless after the way they so tenderly pave the way for J S-Q's vocal entry here.

To conclude then:you are going to have to make room for two St.John Passion's in your collection.First and foremost you must go to the German motherlode to experience this masterpiece as the composer originally intended.But for a performance that will really hit you where you live,and open a direct line into the heart and soul of a wonder upon the Earth you simply HAVE to buy this lovely,lovely record.

The Great 'English' Passion.......2000-08-16

Conductor-Composer Benjamin Britten and Imogen Holst took 15 years to mold this Bach Passion into a piece of reverence in Baroque music with an accurate and sublime English text. Britten as the conductor in this 1971 recording summons the brilliance of his cast, the Wandsworth Boy Choir, and the English Chamber Orchestra. This English version without a doubt rivals any of the German versions recorded with its regard for the technicality and grandeur of St. John's Passion.

Bach: St. John Passion / Suzuki, Bach Collegium Japan, et al

Average customer rating:

Bach by Suzuki is Sublime
Excellent
This is it
This is def one of the best
Absolutely wonderful!!

Bach: St. John Passion / Suzuki, Bach Collegium Japan, et al
Masaaki Suzuki , Ingrid Schmithusen , Yoshikazu Mera , Gerd Turk , Makoto Sakurada , Yoshie Hida , Chiyuki Urano , and Peter Kooij
Manufacturer: Bis
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

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General | Opera & Vocal | Styles | Music

Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music
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ASIN: B00000IMR7
Release Date: 1999-04-01

Tracks:

Part I - Chor. Herr, Unser Herrscher, Dessen Ruhm
Part I - Rezitativ (Evangelist, Jesus) - Chor - Rezitativ (Evangelist, Jesus) - Chor - Rezitativ (Evangelist, Jesus)
Part I - Choral. O Gro Lieb', O Lieb' Ohn'Alle Ma
Part I - Rezitativ (Evangelist, Jesus). Auf DaDas Wort ErfW
Part I - Choral. Dein Will' Gescheh', Herr Gott, Zugleich
Part I - Rezitativ (Evangelist). Die Schar Aber Und Der Oberhauptmann
Part I - Arie (Alt). Von Den Stricken Meiner S
Part I - Rezitativ (Evangelist). Simon Petrus Aber Folgete Jesum Nach
Part I - Arie (Sopran). Ich Folge Dir Gleichfalls Mit Freudigen Schritten
Part I - Rezitative (Evangelist, Magd, Petrus, Jesus, Diener). Derselbige JWar Dem Hohenpriester Bekannt
Part I - Choral. Wer Hat Dich So Geschlagen
Part I - Rezitative (Evangelist) - Chor - Rezitative (Evangelist, Petrus, Diener)
Part I - Arie. Ach, Mein Sinn
Part I - Choral. Petrus, Der Nicht Denkt Zur
Part II - Choral. Christus, Der Uns Selig Macht
Part II - Rezitative (Evangelist, Pilatus) - Chor - Rezitative (Evangelist, Pilatus) - Chor - Rezitativ (Evangelist...)
Part II - Choral. Ach, Gror K, GroZu Allen Zeiten
Part II - Rezitativ (Evangelist, Pilatus, Jesus) - Chor - Rezitativ (Evangelist)
Part II - Arioso (Ba. Betrachte, Meine Seel', Mit Angstlichem Vergn
Part II - Arie (Tenor). Mein Jesu, Ach! Dein Schmerzhaft Bitter Leiden
Part II - Rezitativ - Chor - Rezitativ - Chor - Rezitativ - Chor - Rezitativ
Part II - Choral. Durch Dein Gefnis, Gottes Sohn
Johannespassion, BWV 245: Part II - Rezitativ - Chor - Rezitativ - Chor - Rezitativ - Chor - Rezitativ
Part II - Arie (Ba Mit Chor. Eilt, Ihr Angefocht'nen Seelen

Tracks:

Part II - Rezitativ (Evangelist) - Chor - Rezitativ (Evangelist, Pilatus)
Part II - Choral. In Meines Herzens Grunde
Part II - Rezitativ (Evangelist) - Chor - Rezitativ (Evangelist, Jesus)
Part II - Choral. Er Nahm Alles Wohl In Acht
Part II - Rezitativ (Evangelist, Jesus). Und Von Stund' An Nahm Sie Der J
Part II - Arie (Alt). Es Ist Vollbracht!
Part II - Rezitativ (Evangelist). Und Neiget Das Haupt Und Verschied
Part II - Arie (Ba Mit Chor. Mein Teuer Heiland, LaDich Fragen
Part II - Rezitativ (Evangelist). Und Siehe Da, Der Vorhang Im Tempel Zerri
Part II - Arioso (Tenor). Mein Herz! In Dem Die Ganze Welt
Part II - Arie (Sopran). Zerflie, Mein Herze, In Fluten Den Zen
Part II - Rezitativ (Evangelist). Die Juden Aber, Dieweil Es Der R War
Part II - Choral. O hilf, Christe, Gottes Sohn
Part II - Rezitativ (Evangelist). Darnach Bat Pilatum Joseph Von Arimathia
Part II - Chor. Ruht Wohl, Ihr Heiligen Gebeine
Part II - Choral. Ach, Herr, LaDein' Lieb' Engelein
Appendix (Version II) - Arie (Ba Sopran). Himmel, Rei, Welt, Erbebe - BWV245a
Appendix (Version II) - Arie (Tenor). Zerschmettert Mich, Ihr Felsen Und Ihr H BWV245B
Appendix (Version II) - Arie (Tenor). Ach Windet Euch Nicht So, Geplagte Seelen - BWV245C

Amazon.com

The Bach Collegium Japan has outdone itself: this St. John Passion is among the very best recordings in a crowded field--and not just because it includes three rarely performed items from Bach's intermediate versions of the work. As the Evangelist, Gerd Türk doesn't ladle rich, creamy vocalism over Bach's recitative; rather, using a low, natural-sounding volume as his base level, he uses subtle (and occasionally sudden) shifts of volume and tempo to recount the narrative like a genuine storyteller. At times Türk's delivery approaches "speech-song", yet in the famously dramatic moments in which the Evangelist gets real melody--such as "und weinete bitterlich" ("[Peter] wept bitterly")--he gives us full-throated, lyrical singing. Bass Chiyuki Urano is a creditable (if slightly stolid) Jesus; the four soloists who sing the arias are marvelous--their pure, youthful tone and grown-up artistry make for the best renditions of these solos that this listener has heard. Masaaki Suzuki and the BCJ bring a sense of sincere contemplation to the performance (as opposed to the more energetic approach of Gardiner) without short-changing the work's genuine drama--whatever their religious persuasions may be, these musicians play and sing the St. John Passion as if they really believe. --Matthew Westphal

Customer Reviews:

Bach by Suzuki is Sublime.......2007-04-07

The internationally acclaimed HIP (Historically Informed Performance) instrumental and choral ensemble Bach Collegium Japan, under music director Masaaki Suzuki, delivers an outstanding performance of the St. John Passion by Johann Sebastian Bach. This superb 1998 BIS recording won a Cannes Classical Award in 2000. In his August 18, 2005 article for the highly respected, high brow, German nationwide weekly newspaper Die Zeit, "The Meistersingers from Tokyo: Conductor Masaaki Suzuki and his Japanese Bach Collegium left audiences speechless in a recent tour of Germany," Die Zeit journalist Wolfram Goertz writes, "Masaaki Suzuki was born in Kobe, in 1954. He is the conductor of the Bach Collegium Japan, a hand-picked group of musicians who since the group's formation in 1990 have dedicated themselves so unswervingly and competently to Bach's music that the western world has been left speechless. The jury of Germany's phonographic award, the Deutscher Schallplattenpreis, recently honoured Suzuki's team for the 27th sequel of its recordings all of Bach's cantatas. Now the troop is in Franconia to perform Bach's Mass in B Minor. After the concert the audience looked as if they couldn't quite believe what they'd just heard. Some were clearly asking themselves what on earth had happened to the world and its traditions that their beloved Bach could be delivered with such profundity, virtuosity and sincerity by, God forbid, the Japanese."

Excellent.......2006-11-10

Great recording by BIS, great performance by Suzuki. Includes arias normally not present in the other editions of the St. Johannes Passion such as "Ach, windet euch nicht so, geplagte Seelen" and "Himmel Reisse, Welte Erbebe" two precious diamonds which beauty would have been sufficient to award Bach as the greatest composer of "at least" his century. Thanks, thanks, thanks, JSB!

This is it.......2003-04-25

The "St John Passion" isn't the equal of the "St Matthew Passion," but let's not quibble. It's still amazing, as is this performance. All hail the Bach Collegium Japan and their Bach work. I also recommend their Cantatas cycle; matchless.

This is def one of the best.......2002-08-15

This is as good as [the] reveiwer mention above so it is a safe choice and should be many peoples first choise too.

For another VERSION (Bach made FOUR versions but only TWO survived complete) I suggest you check out Herreweghes last other version of St John.

By the way there is some nasty things about the Judes in this but the bible is written in that way.

Yes Bach wrote this but followed much of the bible and Bach was probably not an antisemitic person but Martin Luther obviously was that (at least it looks like this). Nothing is found about Bach and a link to some antisemitism so I think you should se this as the biblical story it is but if you be offended by that sort of thing be aware of it but dont let that put you off. If you ARE intrested to understand more about this read the NEW bible book and historical/theological aspects of this matter for futher information (no I am NOT religious but intrested in music and history).

Anyway is this one of the best Bach records ever and it is a lot of Bach records out so I think you understand this is an event and belongs to any distinguished record collection

Absolutely wonderful!!.......2002-07-14

I just listened to these CDs for the first time today and they completely blew me away. Everything about them is excellent. The soloists are top notch, the Chorus is very good and the music is wonderful. This St. John's grabs you from the first moment you put it on and holds your attention through the last note on CD 2. When I put on the first CD..it seemed that just a couple minutes had passed and yet the CD had played through and I was reaching for the second CD. It never occured to me that I would listen to both CDs start to finish, moving only to change CDs. I was completely engrossed in the performance.

Although I am a fan of Yoshikazu Mera and he was wonderful as usual, I have to say that Gerd Turk's narration impressed me the most. He is the perfect narrator for St. John's Passion.