Buss [CD-single] [Import]

Buss [CD-single] [Import]

Track Listings

1. Buss (Radio Edit)

2. Buss (Buss Jump Mix)

3. Moveup (Mah Vip Mix)

Editorial Reviews
Product Description
"buss" is the Second Single from Si Begg's Acclaimed "Director's Cut" LP and the Follow Up to Xfm-playlisted "Moveup". Featuring Vocals by Miss MC, the Track Exploits Begg's Trademark Disregard for Genre and Classification. It Fuses Techno, UK Garage, Electro, Broken Beats and Hip Hop to Create a Unique Sound, which Has Seen the Single Picked Up Pre-release by Xfm's John Kennedy.

Tracks:

Kommt, ihr Toechter, helft mir klagen
Da Jesus diese Rede vollendet hatte
Herzliebster Jesu, was hast du verbrochen
Da versammleten sich die Hohenpriester / Ja nicht auf das fest / Da nun Jesus war zu Bethanien / Wozu dienet dieser Unrat / Da das Jesus merkete
Du lieber Heiland du
Buss und Reu
Da ging hin der Zwoelfen einer
Blute nur, du liebes Herz
Aber am ersten Tage der suessen Brot / Wo willst du, dass wir dir bereiten / Er sprach: Gebet ihn in die Stadt / Un sie wurden sehr betrubt / Herr, bin ich's
Ich bin's, ich sollte buessen
Er antwortete und sprach:
Wiewohl mein Herz in Traenen schwimmt
Ich willdir mein Herze schenken
Und da sie den Lobgesang gesprochen hatten
Erkenne mich, mein Hueter
Petrus aber antwortete
Ich will hier bei dir stehen
Da kam Jesus mit ihnen zu einem Hofe
O Schmerz! hier zittert das gequaelte Herz
Ich will bei meinem Jesu wachen
Und ging hin ein wenig
Der Heiland faellt vor seinem Vater nieder
Gerne will ich mich bequemen
Und er kam zu seinen Juengern
Was mein Gott will, das g'scheh' allzeit
Und er kam und fand sie aber schlafend
So ist mein Jesus nun gefangen / Sind Blitze, sind Donner in Wolken verschwunden
Und siehe, einer aus denen
O Mensch, bewein' dein Suende gross

Tracks:

Ach! nun ist mein Jesus hin
Die aber Jesum gegriffen hatten
Mir hat die Welt trueglich gericht't
Und wiewold viel falsche Zeugen herzutraten
Mein Jesus schweigt zu falschen Luegen stille
Geduld, Geduld!
Und der Hohepriester antwortete / Er ist des Todes schuldig / Da speieten sie aus in sein Angesicht / Weissage uns, Christe
Wer hat dich so geschlagen
Petrus aber sass draussen im Palast / Wahrlich, du bist auch einer von denen
Erbarme dich
Bin ich gleich von dir gewichen
Das Morgens aber heilten alle Hohenpriester / Was gehet uns das an / Und er warf die Silberlinge in den Tempel
Gebt mir meinen Jesum wieder
Sie heilten aber einen Rat
Befiehl du deine Wege
Auf das Fest aber hatte der Landpfleger / Lass in kreuzigen!
Wie wunderbarlich ist doch diese Strafe
Der Landpfleger sagte
Er hat uns allen wohlgetan
Aus Liebe will mein Heiland sterben
Sie schrieen aber noch mehr / Lass in kreuzigen! / Da aber Pilatus sahe / Sein Blut komme uber uns / Da gab er ihnen Barrabam los
Erbarm es Gott
Koennen Traenen meiner Wangen

Tracks:

Da nahmen Kriegsknechte / Gegruesset seist du, Judenkoenig / Und speieten ihn an
O Haupt voll Blut und Wunden
Und da sie ihn verspottet hatten
Ja! freilich will in uns das Fleisch und Blut
Komm, suesses Kreuz
Und da sie an die Staette kamen / Der du den Tempel Gottes zerbrichst / Desgleichen auch die Hohenpreister / Andern hat er geholfen / Desgleichen schmaeheten ihn
Ach, Golgatha, unsel'ges Golgatha
Sehet Jesus hat die hand
Und von der sechsten Stunde / Der rufet dem Elias / Und bald lief einer unter ihnen / Halt, lass sehen / Aber Jesus schriee abermals laut
Wenn ich einmal soll scheiden
Und siehe da, der Vorhang im Tempel zerriss / Wahrlich, dieser ist Gottes Sohn gewesen / Und es waren viel Weiber da
Am Abend da es kuehle war
Mache dich, mein Herze, rein
Und Joseph nahm den Leib / Herr, wir haben gedacht / Pilatus sprach zu ihnen
Nun ist der Herr zu Ruh gebracht
Wir setzen uns mit Traenen nieder

Amazon.com essential recording

The St. Matthew Passion, Bach's monumental retelling of the story of the Last Supper and the arrest and execution of Jesus, typically runs from two-and-a-half to three hours. Yet this performance makes the time... well, not exactly fly past (consider the subject matter), but it's not tedious for even a second. Much of the credit for this goes to the marvelous Evangelist, Ian Bostridge. He's an outstanding narrator: the clear tone and diction, skillful timing, and intense involvement with words that made him a famous lieder singer are all in evidence; his part consists of nothing but recitative, yet he holds your interest unfailingly. Franz-Josef Selig gives a more dramatic reading of Jesus than you usually hear these days--he may be a bit too "operatic" for some listeners, but he really communicates his character's very human anguish and sorrow. Similarly, soprano Sibylla Rubens, tenor Werner Güra, and bass Dietrich Henschel sometimes unleash a bit too much vibrato for some tastes, but their singing is full-throated and attractive and they're very sensitive to the nuances in the text and music. Superstar countertenor Andreas Scholl is the standout--he combines unearthly purity with very earthly feeling and blends beautifully with the baroque instruments. The real stars of the record, however, are Philippe Herreweghe and his remarkable choir and orchestra. This conductor and his musicians (especially his radiant choir, Collegium Vocale) have always been superb at conveying warmth, devotion, and contemplation, but intense joy, anguish, or anger have sometimes seemed beyond them. Not here: they cover the full emotional range of this work--from reverent reflection to anguished remorse to churning fury--without ever crossing the line into melodrama or sacrificing clarity.

On top of all this, you get a CD-ROM chock full of interesting and well-organized information (in English, German, and French): texts as well as an overview with a timeline of Bach's life, a discussion of how the work is put together, marvelous graphics, sound clips, and an extensive interview with Herreweghe himself. A superb accompaniment to a superb release. --Matthew Westphal

Customer Reviews:

Beautiful.......2007-02-03

Do not hesitate for a moment to purchase this CD/CD ROM package. I researched thoroughly the many recordings of this work, and I am very pleased to have decided on this one. It is a gorgeous, moving recording.

a voice teacher and early music fan.......2007-01-08

Bach (1685-1750), a Lutheran, was specifically asked by St. Thomas' Church, Leipzig, to supply a non-theatrical Passion. In this context passion stands for the act of passive suffering, of watching and occasonally empathising in the suffering of Christ, a development which began in the Middle Ages when the church took steps to popularise the Bible. When sung, the role of the Evangelist would be taken by a tenor and that of Jesus by a bass. As various instruments were added they began to be associated with certain roles and as with opera any dramatic action in the text occurred during the recitative. The chorus has two functions: to participate in the action and then to reflect upon it, such reflections provided by the chorales which were familiar Lutheran hymns.
The St. Matthew Passion was composed for the Good Friday service at the St. Thomas Church in Leipzig in 1727. As time went on Bach revised and added other pieces and subsequently this Passion became the grandest and the largest of his works. He used a Double Chorus, included a third soprano group for the opening and close of Part One, two orchestras split so that they either accompanied the first or the second chorus, four soloists who carry specific parts and a number of other singers who have other roles. The Gospel of Matthew, Chapters 26 and 27 plus traditional Lutheran chorales and meditative poems (by Henrici also known as Picander) provide the text.The Evangelist narrates the action scene by scene.
Although the work as a whole is somewhat heavy and sombre there are some lighter moments to treasure, and none more delightful than the soprano aria in Part One "Ich will dir mein Herze schenken" (I will give my heart to Thee). Part two contains the best known and loved aria from the work "Erbarme dich,mein Gott" (Have mercy, my God) for alto and violin obligato and pizzicato bass. The death is terse but dramatic as is the earthquake following with the heartrending crying "Walrlich dieser ist Gottes Sohn gewesen" (Truly this was the Son of (God). It all ends with a Sarabande-like chorale bidding Jesus to rest in peace.
The packageing of this edition is outstanding; the booklet includes absolutely all the documentation that one may need to fully comprehend this monumental work of Bach's. In addition, the the 3 CD's, there is a CD-Rom that explains the entire procedure for the production of this recording (in 3 languages:French,English and German).
The performance itself is excellent and beyond reproach. Ian Bostridge is all that one would desire in a tenor Evangelist; a joy just to hear his voice. Andreas Scholl gives one of the most emotional performances I have ever heard from him; he tends to be somewhat 'laid-back' in some renditons, but not in this one. Just my opinion; all you Scholl fans, don't get excited!!!!!I suggest you allow yourself an entire day to explore this wonderful musical experience.

The True Drama of the St. Matthew Passion.......2006-04-11

There are gratefully many recordings of Bach's great St. Matthew Passion from which to choose, and the approaches to this long and mighty work of inspiration are varied. While this listener cut his teeth of the old Klemperer recording now re-mastered from the LP days to CD, this recording under the sensitive and commanding control of Philippe Herreweghe has become the recording most favored for return listenings, especially during the Holy Week. Herreweghe obviously knows the work from intense study, a fact that gives him all the stamina to make the overall Passion work both musically and dramatically.

Herreweghe draws sumptuous playing from his Collegium Vocale Orchestra and Chorus, keeping the period sound intact while adding the contemporary trend for finding the operatic aspects of the work in the lead of all the other recordings. Of course he has an extraordinary group of soloists who give definitive performances. The leading actor is the Evangelist who guides us through the arrest and assassination the Jesus according to the Gospel of Matthew: Ian Bostridge not only has a beautiful tenor voice, rich and warm, but he also offers perfect enunciation of the text and delivers his comments with the exact amount of propelling drama. The role of Jesus is strongly delivered by Franz-Josef Selig and matches his competition (Fischer-Dieskau, Quasthoff and Goerne included!) in conveying both the agony and the transcendence of Bach's lines.

Add to this strong matrix the exquisite singing of Andreas Scholl and the solo work by Sibylla Rubens, Werner G?ra, Dietrich Henschel, Dominik Worner, Elisabeth Hermans, Susan Hamilton and Frits Vanhulle and the beauty of the drama is perfect. This is truly the most dramatic performance of Bach's most dramatic Passion and one to cherish for years. Highly Recommended. Grady Harp, April 06

My favorite too!.......2005-09-17

I own six different St. Matthew Passion recordings, and this is my favorite. Herrweghe gets it right. I am not a stickler for HIP, but prefer it. In my opinion this is the most balanced high quality HIP treatment of the St. Matthew available. Get it!

Excellent work - but problems with sound level.......2005-05-29

I have no complaints about the performance, with the exception of two points: (1) the bass can at times sound too sharp and loud; (2) there is a bit of showing off, desire to impress the listener. Otherwise the work is awesome, but I am irritated by the recording quality. I thought that I would get used to it, but as I continue to listen to it, it irritates me more and more. The sound level is unequal. It is either too low, or annoyingly too high. I simply cannot just turn on the CD and listen through without adjusting volume levels all the time. Music becomes too quiet, then it bursts into sudden loudness, sharp, unpleasant sounds, which is extremely vexing. This is the main reason for my not listening to this recording more often. To add insult to injury, the bonus CD does not work on my computer, but freezes and muddles up. If I knew about this, I wouldn't have bought these CDs. Fortunately, I have also Herreweghe I, which I prefer to this one. But my all time favourite is - HARNONCOURT.

Bach: Matthus-Passion / Wilhelm Furtwngler (Mono 1954 recording)

Average customer rating:

Depth and Tragedy
Bring back the passion
For personal reasons...

Bach: Matthus-Passion / Wilhelm Furtwngler (Mono 1954 recording)

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Furtwangler Conducts Beethoven - Beethoven: symphonies no 3,4,5, & 9, Leonore
Furtwangler Conducts Brahms - Complete Symphonies, etc / North German RSO, Berlin PO
Recordings 1942-1944, Vol. 2
Schumann: Sinfonie Nr. 4
Recordings 1942-1944, Vol. 1

ASIN: B000002S68
Release Date: 2001-03-06

Tracks:

Kommt, Ihr Tochter - Choral: O Lamm Gottes Unschuldig
Da Jesus Diese Rede Vollendet hatte
Herzliebster Jesu
Da Versammelten Sich Die Hohenpriester
Ja Nicht Auf Das Fest
Da Nun Jesus War Zu Bethanien
Wozu Dienet Diesir Unrat?
Da Das Jesus Merkete, Sprach Er Zu Ihnen
Du Lieber Heiland Du
Buss' und Reu
Da Ging Hin Der Zwolfen Einer
Blute Nur, Du Liebes Herz!
Aber Am Ersten Tage
Wo Willst Du
Er Sprach: Gehet Hin In Die Stadt
Ich Bin's, Ich Sollte Bussen
Er Antwortete Und Sprach: Der Mit Der Hand
Wiewohl Mein Herz In Tranen Schwimmt
Und Da Sie Den Lobgesang Gesprochen Hatten
Erkenne Mich, Mein Huter
Petrus Aber Antwoetete Und Sprach Zu Ihm
Da Kam Jesus
O Schmerz!/Was Ist Die Ursach
Ich Will Bei Meinem Jesu Wachen/Mit Chor: So Schlafen Unsere Sunden Ein
Und Ging Hin Ein Wenig
Der Heiland Fallt
Und Er Kam Zu Seinen Jungern
Was Mein Gott Will
Da Kam Er Zu Seinen Jungern
So Ist Mein Jesus Nun Gefangen/Mit Chor: Lasst Ihn, Haltet, Bindet Nicht!
Zu Der Stund' Sprach Jesus Zu Den Scharen
O Mensch, Bewein Dein Sunde Gross

Tracks:

Ach, Nun Ist Mein Jesus Hin!/Mit Chor: Wo Ist Denn Dein Freund Hingegangen?
Die Aber Jesum Gegriffen Hatten
Unk Der Hoheprester Stand Auf Und Sprach Zu Ihm
Und Der Hohepriester Antwortete
Da Speieten Die
Wer Hat Dich So Geschlagen
Petrus Aber Sass Draussen Im Palast
Da Hub Er An, Sich Zu Verfluchen
Erbarme Dich, Mein Gott
Jesus Aber Stand Vor Dem Landpfleger
Befiehl Du Deine Wege
Auf Das Fest Aber Hatte
Der Landpfleger Sagte
Er Hat Uns Allen Wohlgetan
Aus Liebe Will Mein Heiland Sterben
Sie Schrieen Aber Noch Mehr
Erbarm' Es Gott!
Da Nahmen Die Kriegsknechte Des Landpflegers
O Haupt Voll Blut Und Wunden
Und Da Sie Ihn Verspottet Hatten
Und Da Wurden Zween Morder Mit Ihm Gekreuziget
Desgleichen Schmaheten Ihn Auch Die Morder
Ach, Golgatha
Und Von Der Sechsten Stunde
Wenn Ich Einmal Soll Scheiden
Und Siehe Da, Der Vorhang Im Tempel Zerriss In Zwei Stuck
Am Abend, Da Es Kuhle War
Und Joseph Nahm Den Leib
Nun Ist Der Herr Zur Ruh' Gebracht
Wir Setzen Uns Mit Tranen Nieder

Customer Reviews:

Depth and Tragedy.......2005-04-15

This recording embodies everything I love about Furtwangler's artistry with great clarity. If I had to pick two words to describe it, I would choose honesty and strength. Furtwangler's interpretation of the St. Matthew Passion (a work he dearly loved ever since his childhood) is nothing if not honest. He doesn't stop at rendering the score with beauty and pathos (as, for example, Karajan does), he dwells on each and every word of the Passion story, expressing them with incredible power. Furtwangler leaves nothing to chance: it is clear that over the decades he thought deeply over even the smallest details. This is another thing I love about his artistry: he was never satisfied with just achieving moments of inspiration, he demanded from himself that every moment have integral significance within the whole. The sense of architecture here is overpowering; for example, after the chorale wenn ich einmal so scheiden (delivered with a radiance that has to be heard to be believed) comes a moment that has to stand as one of the greatest in recorded music, when the chorus says "truly, he was the Son of God". The expression achieved cannot be put into words, it has such a powerful effect.
Even if the execution and the recording were poor, this would be worth buying for Furtwangler's visionary way with the score; thankfully though, both are on the whole excellent. The only minor quibbles one could have might be the audience noise (noticeable, but not overwhelming) and some of the vocalists (I have never been a great fan of Hoffgen (she seems so wobbly to me), and sometimes the choir is a little on the hazy side). Other than these truly minor points, the only situation I could imagine a person not liking this performance is if they had certain preconceived notions about what Bach is supposed to sound like, rather than taking this on its own terms. However, I feel that the greatness of a performance should stand on its own, and not rely on anything else (for example, on historical research). I would venture to say Furtwangler's recording of the St. Matthew Passion amply meets this requirement.

Bring back the passion.......2005-03-12

Oh, my God. Literally. If you are wondering what happened to the passion of Bach's Passions, try this recording. The opening chorus, which Klemperer treats with such magisterial beauty, here will rip you to shreds. The orchestral phrasing, perhaps especially in the woodwinds, is stunning throughout and seems to want to walk right out of the CD and embrace the listener with sorrow and grace. As a bonus, the sound quality is quite a bit better than on the Maestro's other recordings.

For personal reasons..........2004-05-15

.... I give this 5 stars. If you are primarily interested in period performance Bach, this is not for you. If you are interested in modern instrument Bach with reduced forces and a strong sense of baroque style (Woldike, Richter), this is also not for you.

This is in the romantic tradition of the 19th century, and it is not a complete performance -- there are cuts -- but I think it must approach what Mendelsohn offered his audience when he performed this work, and launched a Bach revival that continues to this day. (There is, in fact, a modern recording of the version used by Mendlesohn, but I have yet to hear it.)

This is a broadly paced, reverential performance, beautifully performed. It is not in the hyper-inflated style of Beecham's MESSIAH out of Berlioz, but one does sense that Bruckner would have approved of this performance: sehr feierlich.

Tracks:

St. Matthew Passion, BWV 244 - Arias And Choruses: Part 1 : 1. Chorus : Kommt, ihr Tochter, helft mir klagen - Chorale : O Lamm Gottes, unschuldig
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 1 : 3. Chorale : Herzliebster Jesu, was hast du verbrochen
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 1 : 6. Aria (alto) : Buss und Reu
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 1 : 8. Aria (soprano) : Blute nur, du liebes Herz
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 1 : 17. Chorale : Ich will hier bei dir stehen
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 1 : 20. Aria (Tenore) : Ich will bei meinem Jesu wachen - Chorus : So schlafen unsre Sunden ein
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 1 : 22. Recitative (Basso): Der heiland fallt vor seinim Vater nieder
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 1 : 23. Aria (Basso): Gerne will ich mich bequemen
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 1 : 25. Chorale : Was mein Gott will, das g'scheh allzeit
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 2 : 39. Aria (Alto) : Erbarme dich, mein Gott
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 2 : 42. Aria (Basso) : Gebt mir meinen Jesum wieder
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 2 : 46. Chorale : Wie wunderbarlich ist doch diese Strafe
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 2 : 52. Aria (Alto) : Konnen Tranen meiner Wangen
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 2 : 65. Aria (Basso) : Mache dich, mein Herze, rein
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 2 : 67. Recitativo (Soprano, Alto, Tenore, Basso) : Nun ist der Herr zur Ruh gebracht - Chorus : Mein Jesu, gute Nacht
St. Matthew Passion, BWV 244 - Arias And Choruses: Part 2 : 68. Chorus : Wir setzen uns mit Tranen nieder

Amazon.com essential recording

John Eliot Gardiner's reading of the Matthew Passion is conceived and executed on the highest level, an example of period practice that is unlikely to be bettered any time soon. The performance as a whole vibrates with life: soloists are first-rate, and wonderfully well chosen for their respective parts, and the work of chorus and orchestra is exemplary. The recording, made in 1988 in the spacious ambience of Snape Maltings (England), is well balanced and exceptionally vivid. --Ted Libbey

Customer Reviews:

i stand corrected.......2007-06-28

i heard a performnce of the st matthew passion when i was 17 that steered me so far away from enjoying bach that i thought i was a lost cause. in the course of my undergraduate studies i performed and listened to various compositions by bach and finally became addicted to the monteverdi choir and all of their recordings. i still remained steadfastly against matthew, despite being told that i was crazy to not think it was simply one of the greatest pieces ever written. as a result of my love for gardiner and his choir; as well as the fact that i was singing the alto solos in my studies, i purchased this cd. wow. not only is the recording superb and the choir brilliant but the sheer genius behind the piece is unbelievable. the first six measures take the listener to a place that is not of this world. The countertenor sings so clearly and beautifully it doesn't sound human. i recommend this recording to anyone who loves bach and appreciates great choral music, but also to those who need a good place to start.

a voice teacher and early music fan.......2007-06-24

After hearing this recording, I was very happy that I chose to get the Cleobury rendition of 1994(also a DVD) mostly because of the soloists Gardiner chose to use. This must have been early in von Otter's career because her renditions were quite unemotional and dull. Fortunately Gardiner did use Michael Chance for the beautiful and very intense 'Erbarme dich, Mein Gott' for he sings it with great emotional investment as he does in the Cleobury recording. Even the Herreweghe disc has much better soloists; such as Ian Bostridge and Andreas Scholl.
BUT the Gardiner chorus is truly great!!It sings with much spirit; his tempos are very upbeat, but unfortunately one does not hear enough of the chorus on this recording, which is only highlights.
I actually bought it to compare Chance's 1988 rendition of "Erbarme" to the 1994 Cleobury disc; sounds the same; just as intense and as perfectly implemented.

actually pretty good.......2006-05-23

I am not fond of Gardiner in most of his Bach recordings, too rhythmical, fast and played with technical brilliance rather than with heart or spirit.

I however like his Christmas Oratorio, Johannes Passion and (strangely enough also) his Mattheus Passion very much.

Yes you have that peculiar loud and clipped singing now and then, but only at places where it's appropriate.
I find it refreshing too as an alternative to Herreweghes more consistent (and intimate) view.
With Gardiner there are more dramatic, theatrical mood swings and I don't find them cheap...I think Gardiner really shows some genuine spirit and involvement here.
The orchestral sound is a lot warmer sounding than most of his more recent Bach recordings and his rather disappointing Mass in B recording.

Some tempi are too brisk, true, but who needs only similar performed recordings in his library?

It took me a while to appreciate Gardiner's Mattheus and now I think it is one of the best recordings, next with Herreweghe I (still my favorite), Herreweghe II, Brueggen and Veldhoven. (Harnoncourt's Mattheus has some beautifull passages too - Bernarda Fink especially is excellent)

don't be disappointed.......2005-07-18

Only when you do not buy this version of the Mattheus Passion will you be disappointed. The very fact that this is the best recording of the Passion I know drove to write a review.

The Mattheus Passion is probably the most often performed large orchestral work in the Netherlands. Every year around Eastern concert halls great and small perform version in quality great and small. One of the best known performances is the one in Concertgebouw. This version recorded version can fill the gap for the rest of the year.

What surprises me, listing to the Passion for about 6 years now, is how over time the chills down my spine increase during this quite long work. Nearly all of the major choral parts give me a sensation as only music can give you; something like a cold shiver at the base of my skull (back-side).

If you are ready for such auditive mind altering experiences: get this version of the work and close the curtains, disable all communication devices (mobile, fixed telephone, PDA etc.) and take 3 hours off (take off for 3 hours).

Among the top 4.......2005-03-31

The Matthauspassion of J.S. Bach is among the world's greatest masterpieces of music, and Gardiner's Monteverdi Choir is one of the most professional choirs singing today, so right there we're starting off with an advantage.

The great opening Chorus for double-chorus and a children's choir of trebles is a masterpiece within a masterpiece. (Gardiner uses a children's chorus containing girls, an unusual choice.)

However, there are problems.

Gardiner seems more concerned with the choral parts --sticking to the strengths of his ensemble-- than the solo movements. The choruses, chorales and turbae (the short choral statements where the chorus speaks for the crowd, e.g. "crucify him!") are done well and with energy, smoothness, ensemble, and beautiful chording. But Gardiner seems to hurry through the solos to get to the choruses.

In my humble opinion, the Passion has both a dramatic character as well as a reflective character. When you hear it for the first time, it's the drama that grabs you. On subsequent hearings (esp. if you subscribe to the religious and spiritual beliefs presented in this work) it is the reflection that appeals to one, certainly to me. And at the time of this recording, Gardiner seems not to have been sympathetic to the reflective character of the work. If you're preoccupied with "Let's not get sentimental about this," this is what you'd produce. May I be forgiven for imagining that this is British Stiff Upper-Lip taken a little too far?

The tempi are a tad too fast in general.

However, look on the bright side:

Gardiner emphasizes the drama beautifully. This is a good choice for young people exploring Bach for the first time.

The soloists are excellent, especially Cornelius Hauptmann, who does a wonderful job of "Mache Dich mein Herze rein," --make Thou my heart pure. In spite of Gardiner's hurrying, Hauptmann sings a tender, heartfelt aria that is a highpoint of the work.

Other beautiful moments are
1. the contralto aria "Buss und Reu," where Bach's representation of teardrops are performed beautifully,

2. the solo+chorus number Ïch will bei meinem Jesu wachen. (Count the number of entries of the choral interjection, whose translation is roughly "So rest my cares . . ." there should be exactly 11, one for each remaining disciple.)

3. the chorale, O Mensch, bewein dein Sundre gross. Unforgettable;

4. the last piece, a lullaby and a dirge for the dead Jesus.

Arch

Average customer rating:

The Very Best of Christa Ludwig

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

The Very Best of Renata Scotto
Very Best of
The Very Best of Lucia Popp
The Very Best of Victoria de los Angeles
Very Best of

ASIN: B0000AHEAX
Release Date: 2003-09-02

Tracks:

Ah, Scostatil... Smanie Implacabili
Prendero Quel Brunettino
E Amore Un Ladroncello
Mira, O Norma... Si, Fino All'ore Estreme
Liber Scriptus... Dies Irae
Elsa! Wer Ruft?... Entweihte Gotter!
Mir Ist Die Ehre Widerfahren
Fischerweise
An Die Musik
Der Musensohn
Ave Maria
Die Forelle
Fruhlingsglaube
Erikonig
Er, Der Herrlichste Von Allen
Du Ring An Meinem Finger
An Meinem Herzen
Och Mod'r, Ich Well En Ding Han!
We Kumm Ich Dann De Pooz Erenn?
Dein Blaues Auge, Op. 59/8
Standchen Op. 106/1
Vergebliches Standchen Op.84/4

Tracks:

Du Lieber Heiland Du... Bub' Und Reu'
Erbarme Dich, Mein Gott
Ach, Golgatha...Sehet, Jesus Hat Die Hand
Abscheulicher!...Komm, Hoffnung
In Quali Eccessi...Mi Tradi Quell'alma Ingrata
Das Irdische Leben
Ich Atmet' Einen Linden Duft
Wo Die Schonen Trompeten Blasen
Von Der Schonheit
Im Treibhaus
Schmerzen
Traume
Mild Und Leise

Average customer rating:

Piccoloists take note

Take Wing: Lois Bliss Herbine, Piccolo

Manufacturer: Crystal Records CD713
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Indie Music | Stores | Music
ASIN: B00067BWMM
Release Date: 2004-10-01

Tracks:

Dorff: Sonatine de Giverny: Les fleurs ravissantes
Dorff: Sonatine de Giverny: Les jardins d'eaux
Dorff: Sonatine de Giverny: En ville
Krantz: Song of Spring with Little Variations and Fantasies
Elliot: Fantasy
Loeb: Preludes for solo piccolo Vol. 4: I Lento
Loeb: Preludes for solo piccolo Vol. 4: II Allegro Vivace
Loeb: Preludes for solo piccolo Vol. 4: III Poco allegro
Loeb: Preludes for solo piccolo Vol. 4: IV Moderato e sempre scherzando
Loeb: Preludes for solo piccolo Vol. 4: V Allegro risoluto
Loeb: Preludes for solo piccolo Vol. 4: VI Allegro energico
Loeb: Preludes for solo piccolo Vol. 4: VII Andante
Daugherty: The High and the Mighty: Movement I
Daugherty: The High and the Mighty: Movement II
Persichetti: Parable for Solo Piccolo, Op.125
Mager: Saltarello (The Falcon)
Buss: Night Flight

Album Description

Lois Bliss Herbine is flutist with Philadelphia's Orchestra 2001, Peter Nero's Philly Pops, and the Mann Festival Orchestra. Her flute and piccolo have been highlighted in orchestra soundtracks for specials on HBO and TNT and in weekly television and radio theme music. This compact disc features some of the best music written for piccolo solo. These are premiere recordings of all these works.

Customer Reviews:

Piccoloists take note.......2005-02-21

This is a rare and wonderful survey of modern music for piccolo, either alone or with various accompaniments. The music is all in the moderate range of modern style and should be accessible to the open-minded and attentive listener. The playing is technically flawless and stylistically tasteful. The recording quality is accommodating. Get this now if you are a flutist/piccoloist looking for well-composed modern sounds.

Average customer rating:

Just enough of the entire oratorio (Highlights)
If we must have maimed Bach...
Somewhat perfunctory
HUNGARIAN DELIGHT
An Outstanding Version of the St. Matthew Passion

Bach: St. Matthew Passion (Highlights)

Manufacturer: Naxos
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

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

Palestrina: Missa Papae Marcelli, Missa Aeterna

ASIN: B000001463
Release Date: 1995-05-09

Tracks:

St. Matthew Passion: Nr. 1, Chor mit Choral: Kommt, ihr Tochter, helft mir klagen!
St. Matthew Passion: Nr. 6, Arie (Alt): Buss' und Reu'
St. Matthew Passion: Nr. 8, Arie (Sopran): Blute nur, du liebes Herz!
St. Matthew Passion: Nr. 13, Arie (Sopran): Ich will dir mein Herze schenken
St. Matthew Passion: Nr. 20, Arie (Tenor): Ich will bei meinem Jesu wachen
St. Matthew Passion: Nr. 23, Arie (Bass): Gerne will ich mich bequemen
St. Matthew Passion: Nr. 27, Arie (Sopran and Alt) mit Chor: So ist mein Jesus nun gefangen!
St. Matthew Passion: Nr. 29, Choral: O Mensch, bewein dein Sunde gross
St. Matthew Passion: Nr. 39, Arie (Alt): Erbarme dich, mein Gott!
St. Matthew Passion: Nr. 42, Arie (Bass): Gebt mir meinen Jesum wieder!
St. Matthew Passion: Nr. 52, Arie (Alt): Konnen Tranen meiner Wangen nichts erlangen
St. Matthew Passion: Nr. 54, Choral: O Haupt voll Blut und Wunden
St. Matthew Passion: Nr. 65, Arie (Bass): Mache dich, mein Herze rein
St. Matthew Passion: Nr. 68, Chor: Wir setzen uns mit Tranen nieder

Customer Reviews:

Just enough of the entire oratorio (Highlights).......2003-05-25

This Naxos version of the St. Matthew Passion (Highlights) is a masterpiece of choral, duet and solo artistry.

Period instruments (recorder, oboe, strings) are used throughout.

The recording is clear and vibrant. The musicians are at their fullest. The composition is versatile, expressive and carries the story to a great degree. There is four-part harmony of ancient German hymns deftly placed at various intervals.

I especially enjoyed the soprano duets but the bass solos rival any others on any other CD. The diction (German) is the finest you can find on Amazon.

Given the subject matter of the CD, much is not most of it is in a minor key. The choir is very apt and delivers the content in fine fashion. The soprano section is strong and offsets and complements the other sections well.

This is truly a Naxos production of the highest order. It is the Hungarian Festival Choir and the Hungarian State Symphony Orchestra. Playing time is 75'13". It was recorded in February of 1993.

If we must have maimed Bach..........2001-10-18

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.

Somewhat perfunctory.......2001-06-25

This is a fairly good recording of the St. Matthew Passion, but it is fairly perfunctory, not as heart-felt as, say, the Rilling version. "You are playing the notes, but not the music" (Pablo Casals), it seems here, to me at least.

HUNGARIAN DELIGHT.......2000-10-19

Another Naxos value-for-money delight. This all-Hungarian performance encapsulates light and dark, passion and calm, beauty and tears. The full seventy-five minute selection is of the best loved arias and chorales from the whole. There are no stand-out star individual performers, just excellent, passionate individual contributions. The Hungarian Festival Choir and the Children's Choir do all that could be asked of them. The whole is a delightful and moving blend: a miniature masterpiece. It fills me with awe at the beauty of it all. Ungiven as I am to panegyrics, I unreservedly recommend it.

An Outstanding Version of the St. Matthew Passion.......2000-10-18

This is an absolutely outstanding version of the St. Matthew Passion. It is played on modern instruments but observes period practice emphasis on quick tempos and rhythmic drive. The recording is very good, with balances between orchestra, soloists and choir well managed. What lifts this version is, however, the outstanding team of soloists...especially bass Peter Koves and tenor Jozef Mukk. Both are excellent throughout, although the choir and orchestra hold their own in all respects.

The outstanding tracks (for me) are too numerous to mention, but if I am allowed to praise one individually it would be Koves singing "Mache dich, mein Herze rein" (Make thee clean, my heart, I will bury Jesus). His combination of control and passion are breathtaking...and worth the price of this CD alone.

Tracks:

St. John Passion, Aria, 'Es ist vollbracht'
Recitative, 'Du lieber Heiland'
Aria, 'Erbarme dich'
Samson, Aria, 'Return O God Of Hosts'
Jephtha, Aria, 'Scenes Of Horror'
Aria, 'He Was Despised'
Aria, 'O Thou That Tellest Good Tidings'
Christmas Oratorio, Aria, 'Bereite dich, Zion'

Tracks:

Cantata BWV 53: Aria, 'Schlage doch, gewunschte Stunde'
Cantata BWV 54: Aria, 'Widerstehe doch der Sund'
Cantata BWV 54: Recitative, 'Die Art verruchter Sunden'
Cantata BWV 54: Aria, 'Wer Sunde tut'
Cantata BWV 169: Sinfonia
Cantata BWV 169: Arioso, 'Gott soll allein mein Herze haben'
Cantata BWV 169: Aria, 'Gott soll allein'
Cantata BWV 169: Recitative, 'Doch meint es auch'
Cantata BWV 169: Aria, 'Stirb in mir'
Cantata BWV 169: Recitative, 'Doch meint es auch'
Cantata BWV 169: Chorale, 'Du susse Liebe'

Customer Reviews:

well conceived, but at times dry.......1999-12-28

Maureen Forester is one of Canada's best known and loved singers. She is a contralto, thus less showy or famous as say, John Vickers. Still she has lots to offer. I must begin by saying her very regal manner ( mostly a result of singing far more concerts and oratorio than staged opera ) can remove some of the life from a piece, as it does here in places. Her *Erbarme Dich* is an example. The piece is flowing and in a way, lifeless. It is a solemn plea for mercy, actually to be very emotionally felt, but here sounds lovely, but very hopeless, like the plea is not worth the effort for the desired effect will not be realized. Most of what she sings can be heard by another great contralto to whom Maureen was often compared, and that is Kathleen Ferrier. Those who are familiar with Ferrier will be somewhat disappointed, as Ferrier has far more emotion in what she does. However, comparing the two is very unjust to both. Ferrier lived at a time when performance practices were much different. She also has a very deep heavy sounding voice compared to that of Forester. Forester's sound is silky smooth, evenly produced, and well placed. It is never pushed. For those who want to hear this music in such a stately and regal manner, this is a very excellent recording to buy. If Maureen Forester is not your type of singer, then you will not enjoy it, even if you enjoy the music. However, at no time will you actually ever find a bad part to this recording. It is excellent, with a good grasp of the style of the music sung. So why give it a 4, you may ask. Simply, it was not as exciting as this music can and should be performed. The real crime is not done by the singer, but the standard of interpretation -- this music has become the property of the scholars and not the public, it has become a textbook reading for students of music, and not a living entity.

Average customer rating:

The Universe of Bach (Box Set)

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

Minuets | Ballets & Dances | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Improvisation | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music

Average customer rating:

More than music

Jochen Kowalski - Handel & Bach Arias
George Frideric Handel , Johann Sebastian Bach , and Jochen Kowalski
Manufacturer: Capriccio
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000001WRZ
Release Date: 1994-06-06

Tracks:

Mass in b: Aria
Mass in b: Aria
Matthaus-Passion: Recitativo/Aria
Matthaus-Passion: Aria
Matthaus-Passion: Recitativo/Aria
Messiah-Der Messias: Recitativo/Aria
Messiah-Der Messias: Aria
Israel In Egypt: Aria
Belshazzar: Aria
L'Allegro, Il Penseroso Ed Il Moderato: Aria

Customer Reviews:

More than music.......2001-04-02

I love this CD! Jochen Kowalski brings out more than a religious feeling here - he sings straight into my faith! Besides that, he is a great musician who phrases immaculatly and with beautiful tenderness. I especially love "O Thou that tellest" and "He was despised".