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J.S. Bach: Nur jedem das Seine, BWV 163

Netherlands Bach Collegium

Classical - Released November 14, 2021 | Brilliant Classics

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Bach: Cantates pour l'Épiphanie: BWV 72, 81, 155 & 156

Montreal Baroque

Classical - Released November 1, 2013 | ATMA Classique

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J.S. Bach : Matthäus-Passion, BWV 244 (Passion selon saint Matthieu)

Philippe Herreweghe

Classical - Released July 31, 2007 | harmonia mundi

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J.S. Bach : St. Matthew Passion, BWV 244

John Eliot Gardiner

Masses, Passions, Requiems - Released March 3, 2017 | SDG

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Award - Gramophone: Recording of the Month - 5 Sterne Fono Forum Klassik
Recorded live at Pisa Cathedral in 2016, this recording of Bach's St. Matthew Passion, BWV 244, is of a piece with the touring Bach Cantata Pilgrimage recordings released in the early 2000s: it is rich yet lively, sung with precision yet a total sense of commitment in the moment. The singers -- the Monteverdi Choir of 30 with soloists all drawn from the choir, except for Jesus (Stephan Loges) and the Evangelist (James Gilchrist) -- performed from memory, and the feeling that the text is being communicated directly is even greater than is usual with Gardiner. An unusual feature of the recording is that the soloists are not single per part; the soprano solos are taken by no fewer than five different singers. Several (try Hannah Morrison in "Aus liebe") are lovely, and the effect of a space between the congregational chorales and the focus on an individual soloist is fascinating. The hair-trigger alertness of the chorus in the big numbers like "Sind Blitze, sind Donner in Wolken verschwunden?" is also extremely compelling. Gardiner and the Monteverdi Choir offer Bach with the luxury of old-fashioned Romantic versions combined with the agility of historical performance, and they've never done the combination better than they do here. © TiVo
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J.S. Bach: Matthäus-Passion BWV 244

Gustav Leonhardt

Sacred Vocal Music - Released January 2, 1990 | deutsche harmonia mundi

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Bach: Matthäus-Passion

Dresdner Kreuzchor

Classical - Released October 15, 2021 | Eterna

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J.S. Bach: St. Matthew Passion, BWV 244

Gaechinger Cantorey

Classical - Released March 5, 2021 | Accentus Music

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"The St. Matthew Passion by Johann Sebastian Bach is one of the greatest works in the history of music. Whenever I study this epochal composition, I always ask myself the question: How can a work of music, which is performed each year in thousands of performances, has been scientifically and artistically interpreted for decades, and worshiped for centuries, remain a new, contemporary, and at the same time universal and supreme idea? It can be achieved if that which is defined as established and comprehensive, and appears or is accepted as unshakeable, is set in motion without capping the connections to the work itself and its musical- historical, intellectual and theological foundations", says Hans-Christoph Rademann about one of the monumental sacred works of music history. In November 2020, Rademann and the Gächinger Cantorey ensemble and chorus, together with an extraordinary group of soloists, set out to lend a new and fresh perspective to Bach's timeless masterpiece of raging choirs, intimate chorales, and emotionally charged arias, which, with its drama and pictorial quality, allows the listener to experience the well-known Passion story again and again as something completely new and unheard-of. © Accentus Music
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Bach: St. Matthew Passion

Choir of King's College, Cambridge

Classical - Released March 27, 2020 | Kings College Cambridge

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The retirement of the knighted Stephen Cleobury as the director of the Choir of King's College, Cambridge, in 2019 brought with it various valedictory events, including this Easter 2019 live performance of Bach's St. Matthew Passion, BWV 244. The big Bach works aren't necessarily in the wheelhouse of the English collegiate choirs, but Cleobury and the choir have performed the St. Matthew Passion on various occasions, including at least once with Sophie Bevan, the present fine soprano soloist. All of the soloists are strong, obviously welcoming the chance to participate in what was something of a landmark in English choral music. Lovers of the Cambridge choirs will want this in their collections regardless, but how about general followers of the St. Matthew Passion and its performances? Certainly, this is quintessentially English Bach, although the all-male boys-and-men choir of about 25 members is probably closer to what Bach intended than the warmer small adult groups that are the norm these days. If you're looking for a sense of awe at the events of the Crucifixion, this may not be the place to find it, but Cleobury's careful work may grow on listeners. In a rather cavernous King's College acoustic, he achieves good separation of the work's double choirs, and the lengthy instrumental introductions of the work's glorious arias are sharp and full of detail that connects to the vocal line. Although this is not an intensely dramatic St. Matthew Passion, it is one that unfolds according to its own logic, and it will reward multiple hearings. © TiVo
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Herz und Mund und Tat und Leben - Bach: Cantatas BWV 6-99-147

Collegium Vocale Gent

Classical - Released September 1, 2023 | Phi

Hi-Res Booklet Distinctions 4F de Télérama
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Trinitatis: Bach Cantatas

Damien Guillon

Classical - Released March 31, 2023 | Alpha Classics

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Bach: St. Matthew Passion, BWV 244 by Otto Klemperer

Otto Klemperer

Classical - Released March 4, 2023 | Alexandre Bak - Classical Music Reference Recording

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J., J.-Ch., J.-M Bach : Motetten

Vox Luminis

Sacred Vocal Music - Released May 18, 2015 | Ricercar

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Read the graphics carefully: no motets by Johann Sebastian Bach (except for one piece generally attributed to Johann Christoph Bach, but possibly the work of J.S.) are included here. Instead there are works by three of J.S. Bach's ancestors in the 17th century, including the very first composer in the 250-year Bach musical clan, Johann Bach (1604-1673). It's usually the Bach sons whose music is recorded, and all three of these composers qualify as obscure. Considering the fact that J.S. Bach set himself the task of compiling this music and obviously admired some of it, there will be reason enough for many buyers to acquire this Outhere release. There are certainly flashes of the characteristic Bach genius in a few of these works. Try the Johann Michael Bach motet Halt, was du hast (CD 1, track 7), and note the complexity with which the chorale Jesu, meine Freude is treated: it's hard not to think that the younger Bach had this in mind when he approached the chorale himself in the motet medium. The music on the album traces the passage of Italian styles across Germany while remaining firmly rooted in the chorale tradition, and the composers' flexibility in combining these elements must have had a general impact on the most talented Bach of them all. The performances of the small Vox Luminis choir with the Scorpio Collectief -- a quintet of winds and brasses with organ continuo -- are generally sparse, with one voice per part. This is questionable in music that took the great cathedral choirs of Venice for its performance model, but it's listenable and puts across the stylistic distinctions effectively. Recommended for Bach fans.© TiVo
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Johann Sebastian Bach: The Complete Works for Keyboard, Vol. 7: Orgelbüchlein, BWV 599-644 (with choir)

Benjamin Alard

Choral Music (Choirs) - Released October 14, 2022 | harmonia mundi

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With its forty-five chorale preludes, the Orgelbüchlein bears witness to a mastery of the art of improvisation on the organ, as the congregation heard it at the time before singing the hymn in its turn. It was a tempting experiment to revive this primary function: by collaborating with the combined forces of the Ensemble Vocal Bergamasque and the Maîtrise de Notre-Dame de Paris, Benjamin Alard gives the "little organ book" its full significance and expressive power. © harmonia mundi
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Bach: Cantatas 54, 82 & 170 "Widerstehe", "Ich habe genug" & "Vergnügte Ruh"

Iestyn Davies

Classical - Released December 30, 2016 | Hyperion

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Mendelssohn & Bach: Matthäus-Passion

The Bach Choir Of Bethlehem

Classical - Released March 22, 2024 | Les Productions Analekta Inc.

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Bach, J.S.: Cantatas, Vol. 3 - Bwv 24, 71, 88, 93, 131, 185 and 177

Nathalie Stutzmann

Classical - Released January 1, 2000 | SDG

Bach's 199 surviving sacred cantatas form a repertoire of masterpieces that defy comprehension. It's not just that there are so many of them, it's that every one is unique, exemplified by the seven cantatas on the third volume of John Eliot Gardiner's Bach cantata pilgrimage, three for the Fourth Sunday after Trinity recorded at Tewkesbury Abbey and four for the Fifth Sunday after Trinity recorded at the Blasuiskirche in Muhlhausen. The Tewkesbury cantatas feature a celebratory central choral sung by the strong-voiced Monteverdi Choir in Ein ungefärbt Gemute, BWV 24, a stately aria sung by lush-toned alto Nathalie Stutzman in Barmherziges Herze der ewigen Liebe, BWV 185, and a dancing aria cum trio sonata sung by dulcet-toned soprano Magdalena Kozená accompanied by a wonderfully lyrical obligato bassoon in Ich ruf zu dir, Herr Jesu Christ, BWV 177. The Muhlhausen cantatas are even richer, with the mournful triple-time chorale that opens Aus dem Tiefen rufe ich, Herr, zu dir, BWV 131, and the doleful chorale fantasia for soloists and choir that opens Wer nur den lieben Gott lasst walten, BWV 93, plus the blissful duet in Siehe, ich will viel Fischer aussenden, BWV 88, sung with pure, clear tone by alto William Towers and soprano Joanne Lunn. While listeners unfamiliar with the cantatas may initially be intimidated by the size and variety of these works, the sheer beauty of Bach's inspired settings will keep pulling them back. As always in his Bach cantata pilgrimage, Gardiner stresses the bright and hopeful over the dark and despairing even in the gloomiest cantatas, and he elicits powerfully affecting but rhythmically flexible playing from the English Baroque Soloists even in the dourest movements. Despite the change in countries and venues, the digital sound here is close enough to spotlight the soloists and distant enough to encompass the ringing chorals. © TiVo
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J. S. Bach : Erbarme dich

A Nocte Temporis - Reinoud Van Mechelen

Classical - Released October 21, 2016 | Alpha Classics

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Bach, J.S.: Cantatas, Vol. 7 - Bwv 17, 19, 25, 50, 78, 130, 149

Malin Hartelius

Classical - Released January 1, 2000 | SDG

What is it about volume 26 of John Eliot Gardiner's cycle of the complete Bach cantatas that makes it special? Is it the works? All seven cantatas on this two-disc set have their individual beauties, but the last -- Ich liebe den Höchsten von ganzem Gemüte, BWV 174 -- starts with a magnificent Sinfonia based on the opening movement of the Third Brandenburg Concerto, only with oboes, horns, and organ, and thus has the added benefit of instant recognition. Is it the performances? As always, Gardiner obtains a bright tone and a robust performance from the English Baroque Soloists and the Monteverdi Choir, an approach that brings out the best in these seven mostly celebratory works. Or is it the sometimes out-of-tune singing and the occasionally out-of-tune playing? Most of the soloists are fine -- particularly cheerful soprano Lisa Larsson and chesty alto Nathalie Stutzmann -- and some are excellent -- especially soulful tenor Christoph Genz -- but they, along with the choir, do sometimes slip out of tune. And while most of the playing is first rate -- check out the clarity of the strings and the taste of the continuo -- there are moments when the strings or the winds slid out of tune. Still, since these are all live performances recorded with amazing clarity and presence at Holy Trinity Church in Long Melford in June 2000, these flaws are fairly insignificant compared with the performances' many strengths, and anyone who has enjoyed Gardiner's joyful and direct approach to Bach's cantatas will surely enjoy volume 26. © TiVo
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Barnaby Smith: Bach

Barnaby Smith

Classical - Released February 17, 2023 | VOCES8 Records

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Barnaby Smith is best known as the leader of the small ensemble Voces8, but he is also an accomplished countertenor who, in 2021, released a popular album of arias simply titled Handel. That whetted listener's appetites for more, and this 2023 release, similarly titled Bach, delivers. Smith's voice is perhaps even stronger than it was on the earlier release, though it's impressively creamy and sweet at the top, it isn't terribly powerful in the middle ranges. In Bach, power across the board matters less than in Handel, and Smith is beautifully suited to the warmth of the music. The program loosely traces the liturgical year in a way that allows Smith to feature a number of Bach's greatest hits, and this works well. The match between Smith and the Illyria Consort under leader and violinist Bojan Čičić is ideal; Čičić's is a small ensemble, and it fits the dimensions of Smith's voice perfectly. There are two complete cantatas, plus some well-known arias from the Mass in B minor, BWV 232, the Passion settings, and the Easter and Christmas oratorios. The version of the Cantata No. 82, BWV 82 ("Ich habe genug"), is the one for alto made by Bach himself in the 1730s, and Smith is memorable indeed. Smith is a student of Andreas Scholl and has the same orientation toward vocal beauty, even if not quite (yet) the blooming power. The future of countertenor singing is in good hands here in a Bach album of great general appeal.© James Manheim /TiVo