Search - Johann Sebastian Bach, Géza Oberfrank, Hungarian State Symphony Orchestra :: Bach: St. Matthew Passion (Highlights)

If we must have maimed Bach...

darragh o'donoghue | 10/17/2001

(5 out of 5 stars)

"Extracts from the huge operas of Wagner are notoriously dismissed as 'bleeding chunks', but the damage done to the work of JS Bach is even more violent, a composer for whom precise, intricate architecture and musical expression are synonymous. this violence is compounded in a narrative work like 'St Matthew passion', where the most 'extractable' bits have little to do with the story, which is carried by the less glamorous recitative. By removing the narrative power of the recitative, the impact of the many beautiful choruses and arias, commenting on the action and affirming Christian faith in this traumatic ritual, is diluted.However, the cash/credit-strapped like myself will have to make do with this set, especially since Naxos seem to have withdrawn their full 3-CD version. The compilers reverse the usual practice by favouring arias over choruses, presumably because the non-recitative choruses are pretty uniform, or maybe because the Hungarian State Choir aren't quite up to the soloists or musicians - the famous opening chorus, hurling us immediately into the anguish, piercing flutes shattering the grieving choir, is a little sluggish, although the mirroring final chorus, flute-free, in which confusion and despair have given way to resignation and hope, is much better.The arias, however, are little miracles of sensitive playing. These can be divided into two types: stark pieces, in which the soloist is accompanied by a single dominant instrument over a disturbing bass; or those with string or orchestral accompaniment. Some of these latter are like mini-Brandenburg concertos; no. 39, lamenting Peter's betrayal, mourning violins over descending bass, is as moving as Albinoni's similar 'Adagio'. These apparently simple pieces constantly change tempo and mood, so charged are they with emotion - the long lines of no. 6 interrupted by staccato weeping; no. 8, responding to Judas' introduction, has a bass slithering like a serpant; no. 27 breaks down the clarity of earlier arias to deal with Judas' betrayal, culminating in a jagged choral curse, spewing out the Hell they invoke. you could of course complain about what's left out (my own favourites are arias nos. 49 and 57, the latter a goose-pimpling viola de gamba solo), but hopefully this compilation will encourage listeners to seek out the whole Passion, and submit to one of the most overpowering experiences art can offer."