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J.S. Bach: Adventskantaten

Philippe Herreweghe

Classical - Released August 1, 1997 | harmonia mundi

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Bach, J.S.: Cantatas, Vol. 13

Joanne Lunn

Classical - Released October 1, 2009 | SDG

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Bach: Cantatas BWV 29, 61 & 140

Nikolaus Harnoncourt

Cantatas (sacred) - Released November 13, 2009 | deutsche harmonia mundi

Distinctions 3F de Télérama
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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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Bach : St Matthew Passion (Matthäus-Passion)

René Jacobs

Masses, Passions, Requiems - Released October 7, 2013 | harmonia mundi

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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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Bach: Redemption

Anna Prohaska

Classical - Released June 26, 2020 | Alpha Classics

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Anna Prohaska asked Wolfgang Katschner and the Lautten Compagney at the outset of the coronavirus crisis whether they shouldn’t spontaneously organize a musical get-together in this period. This has now resulted in "Redemption". This is a sequence of music selected solely from Bach cantatas, compiled in keeping with the aforenamed conceptual association. "Redemption" has multiple meanings, for instance: can music give us consolation in times of sickness and crisis; can it open up emotional and contemplative spaces for us; is it redemptive for musicians to be the “instruments” in engendering music and therefore spirituality… ? Besides Anna Prohaska as soloist and three other singers, "Redemption" features a larger group of musicians – around twenty instrumentalists. These musicians serve a dual role: they expertly accompany the arias that Anna Prohaska sings and they also represent the concept of human interaction and a shared collective experience which has been missing during these times. © Alpha Classics
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J.S. Bach: St. Matthew Passion, BWV 244

Bach Collegium Japan

Classical - Released February 7, 2020 | BIS

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“A great joy”: this is how Masaaki Suzuki considers this, his second recording of the St. Matthew’s Passion, made twenty years after the first one, in the Saitama Arts Theatre in Japan in April 2019 for the BIS label. A great opportunity to revisit the work, as in the elapsed time, the conductor and his orchestra have nearly completely recorded Bach’s choral music, including the complete masses and secular and sacred cantatas. As is his custom, Suzuki works with European soloists for this new recording, like the splendid young German tenor Benjamin Bruns, playing the stupendous part of the Evangelist. There are other familiar soloists that feature here, such as Carolyn Sampson, Damien Guillon, Makoto Sakurada and Christian Immler. There is nothing monumental about this new intimate and refined version, which follows the fateful narrative with great sobriety. There is nevertheless a fervent level of impulse, as well as a certain innocence within this resolutely pared back Lutheran perspective - there is never any real search for theatricality. The exceptional instrumental quality of the soloists of the Bach Collegium Japan and the soft touches of the two choral ensembles is also worth highlighting. © François Hudry / Qobuz
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Bach : St Matthew Passion (Édition 5.1)

René Jacobs

Classical - Released October 7, 2013 | harmonia mundi

Hi-Res Booklet + Video Distinctions Choc de Classica - Choc Classica de l'année
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Bach: Weihnachts-Oratorium, BWV 248

Bachchor Mainz

Classical - Released October 12, 2018 | Naxos

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Bach: Was mein Gott will - Cantatas BWV 5, 33, 94, 111, 113, 135, 178

Christoph Spering

Classical - Released November 17, 2023 | deutsche harmonia mundi

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Bach: Cantatas 35 & 169 "Geist und Seele" & "Gott soll allein"

Iestyn Davies

Classical - Released February 4, 2022 | Hyperion

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J. S. Bach: The Motets

Rias Kammerchor

Choral Music (Choirs) - Released November 17, 2023 | EuroArts Music International

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J.S. Bach: Johannes-Passion

Philippe Herreweghe

Classical - Released July 31, 2007 | harmonia mundi

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Weihnachtsoratorium

La Petite Bande

Classical - Released November 21, 2014 | Challenge Classics

Distinctions 5 de Diapason
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Bach: Cantates pour la Pentecôte

Montreal Baroque

Classical - Released May 1, 2016 | ATMA Classique

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Bach: The Transcriptions by Stokowski (Toccata & Fugue, Passacaglia, Air on the G string ..)

Léopold Stokowski

Classical - Released September 16, 2021 | Alexandre Bak - Classical Music Reference Recording

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Bach: Christmas Oratorio

Orchestra Of The Age Of Enlightenment

Classical - Released November 3, 2013 | Hyperion

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Bach's Christmas Oratorio, BWV 248, consists of a set of six cantatas, each with recitatives, arias, and chorales. Moreover, some of the music for this most solemn of Christian events was borrowed by Bach from his own secular compositions. Yet it is a unified work, designated by Bach himself as an oratorio, and the biblical narration of the Christmas story is worked into the usual recitative-aria structure. There aren't any melodies in the work that are really among Bach's greatest hits, but the ingenuity of the work as a whole lies in the way it's somehow greater than the sum of its parts. That's the appeal of this version by conductor Stephen Layton, four of his favored soloists, the Choir of Trinity College, and the period-instrument Orchestra of the Age of Enlightenment: it respects the small scale of the parts but treats the whole with the weight it deserves. Credit for the balance must go to Layton, who has gotten splendid results from the youthful Cambridge choristers in a variety of common repertory works. They enunciate clearly, hit the pitches precisely, and generally seem excited by what they're doing. The always lively Orchestra of the Age of Enlightenment is a perfect partner for the choir, and the soloists engage with the text and convey the feeling that they're in the ballpark of the ones who originally performed the work. There are more daring performances of the Christmas Oratorio on all fronts, but few that make such a satisfying and musical impression.© TiVo
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J.S. Bach: Matthäus-Passion BWV 244

Gustav Leonhardt

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