🍒 Best Recorded St Matthew Passion |

Most Liked Casino Bonuses in the last 7 days 🖐

Filter:
Sort:
CODE5637
Bonus:
Free Spins
Players:
All
WR:
60 xB
Max cash out:
$ 500

artorama.ru › Johann-Sebastian-Bach-composer-What-are-some.


Enjoy!
Bach, J S: St Matthew Passion, BWV (page 1 of 15) | Presto Classical
Valid for casinos
Best Recorded St Matthew Passion |
Visits
Likes
Dislikes
Comments
Bach Matthaus Passion - Richter. BEAUTIFUL!! - St. Matthew Passion

CODE5637
Bonus:
Free Spins
Players:
All
WR:
60 xB
Max cash out:
$ 500

Bach's “St. Matthew Passion” is bursting with drama, pictorial Berlin made the recording in and Harmonia Mundi released it in , but.


Enjoy!
Valid for casinos
Visits
Likes
Dislikes
Comments
Bach, Matthäus Passion BWV 244. Herreweghe

CODE5637
Bonus:
Free Spins
Players:
All
WR:
60 xB
Max cash out:
$ 500

Conducted by Sir Stephen Cleobury, the Bach St Matthew Passion with the Choir of of soloists led by one of the finest Evangelists of our time, James Gilchrist.


Enjoy!
Valid for casinos
Visits
Likes
Dislikes
Comments
Bach - St Matthew Passion BWV 244 - Van Veldhoven - Netherlands Bach Society

CODE5637
Bonus:
Free Spins
Players:
All
WR:
60 xB
Max cash out:
$ 500

Masaaki Suzuki and the Bach Collegium Japan return to the St. Matthew Passion​, 20 years after their first recording.


Enjoy!
Valid for casinos
Visits
Likes
Dislikes
Comments
J.S. Bach - St. Matthew Passion, BWV 244 / Aria: \

💰

Software - MORE
CODE5637
Bonus:
Free Spins
Players:
All
WR:
60 xB
Max cash out:
$ 500

So Bach and music lovers the world over harken! Put your digital quill pens to the web-paper and indulge me with your favorite St. M recordings. My favorite St. Matthew is Herreweghe's first set on Harmonia Mundi - great drama, pacing and vocal Erb was perhaps the greatest Evangelist of all time.


Enjoy!
Valid for casinos
Visits
Likes
Dislikes
Comments
Johann Sebastian Bach - Matthäus - Passion / St Matthew Passion (BWV 244)

💰

Software - MORE
CODE5637
Bonus:
Free Spins
Players:
All
WR:
60 xB
Max cash out:
$ 500

Bach's “St. Matthew Passion” is bursting with drama, pictorial Berlin made the recording in and Harmonia Mundi released it in , but.


Enjoy!
Valid for casinos
Visits
Likes
Dislikes
Comments
St Matthew Passion - Matthäus-Passion BWV 244 - (Complete) (Full Concert) (J. S. Bach)

💰

Software - MORE
CODE5637
Bonus:
Free Spins
Players:
All
WR:
60 xB
Max cash out:
$ 500

Author Topic: Bach's St. Matthew Passion (Read times) I think something more mainstream would be best and then move onto McCreesh. However, the soloists in all three of the recordings, the Herreweghe and.


Enjoy!
Valid for casinos
Visits
Likes
Dislikes
Comments
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - \

💰

Software - MORE
CODE5637
Bonus:
Free Spins
Players:
All
WR:
60 xB
Max cash out:
$ 500

When looking at the various recordings of the St. Matthew Passion, there's I will do my best to fairly evaluate this set while not giving it special.


Enjoy!
Valid for casinos
Visits
Likes
Dislikes
Comments
Bach St Matthew Passion Karl Richter (Best Quality)

💰

Software - MORE
CODE5637
Bonus:
Free Spins
Players:
All
WR:
60 xB
Max cash out:
$ 500

Bach's “St. Matthew Passion” is bursting with drama, pictorial Berlin made the recording in and Harmonia Mundi released it in , but.


Enjoy!
Valid for casinos
Visits
Likes
Dislikes
Comments
[Karl Richter] Bach: St. Matthew Passion, 1959

💰

Software - MORE
CODE5637
Bonus:
Free Spins
Players:
All
WR:
60 xB
Max cash out:
$ 500

Nikolaus Harnoncourt's third recording of the St. Matthew Passion is a towering achievement with wonderful singers and, when it first came out in.


Enjoy!
Valid for casinos
Visits
Likes
Dislikes
Comments
Bach - Matthäus-Passion BWV 244 + Presentation (recording of the Century : Otto Klemperer)

No matter how good Andreas Scholl might be, he can't possibly save this performance. I know of one review periodical which calls the work the greatest classical composition in the entire field. For me, it represents the last steps of Jesus as he is led to his crucifixion. I'm not particularly concerned with historical accuracy; the performers will do as they please, and I will judge the results on musical grounds. I hope this isn't a sign that Thomas is going to be tempo challenged. Matthew Passion, praise was not the immediate reaction. Even so, he must endure the walk to where his life will end, carrying the resting place of his destruction. The Spering notes provide great detail concerning any and all changes from Bach's score; it's a superb reference for CD liner notes. Klemperer and Veldhoven are moderately enjoyable; Thomas is a non-starter as his speed is excessive and other aspects of his reading are ordinary. This difference is immediately apparent with the opening chorus of the work. Harnoncourt's major appeal to me is the urgency that runs through his performance and creates an exciting atmosphere. Overall, Herreweghe I has my strongest affection closely followed by II. It's too fast, too choppy, and too indistinct. Klemperer takes over 11 minutes, while the majority of versions released over the past 15 years are in the 6 to 8 minute range. Spering is very good with his pacing, bass lines, and momentum. Veldhoven has a sluggish quality although the performance is not a slow one. Matthew Passion, there's an obvious quickening of tempo as the versions become more recent. Herreweghe I is a major improvement. John Eliot Gardiner - Archiv issued in Otto Klemperer - EMI originally issued in Jeffrey Thomas - Koch International issued in recorded in Jos van Veldhoven - Channel Classics originally issued in Nikolaus Harnoncourt - Teldec issued in Spering's recording can exist because of Mendelssohn's revival of the St. When Bach composed his St. I end up feeling that she has not added value to the aria, sounding somewhat generic. Robin Blaze also sounds generic although pleasureable; in addition, he hoots a couple of times. There is a very heavy and rhythmic pulse that keeps going and going; it almost seems unbearable. Another revival of the work in restored four of the arias, and it is the version which Spering performs. In my opinion, the Chorus well expresses my take on the music's meaning. Bach wrote the work in the time frame, six years after he arrived at Leipzig. Veldhoven's Matthew and Jesus are fine, and the choruses are very effective. Bach uses a double chorus and orchestra which are integral parts of the work's architecture and enhances its majestic nature. The more recent Herreweghe is just a touch less effective; the earlier issue's more raw quality enhances the sense of desperation. The aria is not as effective, and the source of the problem is Anne Sophie von Otter. Herreweghe II outshines the earlier issue slightly. I'd place Suzuki's performances at Gardiner's level. At this point in time, the St. Harnoncourt reaches the heights and the low end in this segment. I did decide to include Klemperer because my perception is that his modern instrument set is the most revered within that category. The man has been humiliated, tortured, and brought down thoroughly. He knows he is about to be betrayed, his disciples are getting into a lather over next to nothing, and the general populace is getting reading to turn on him. While Herreweghe carries the full weight of the burden and even gives the music a desperate quality, he also finds all the rays of light and combines them into a magical listening experience. I should also relate that the recitatives take on greater meaning in Mendelssohn's revival. Rene Jacobs may not have the pure tonal beauty of Scholl, but he is a perfect match for the aria's music. Klemperer is ever so slow, but that's not my problem with his performance. When looking at the various recordings of the St. Actually, he made more cuts than anything else; Mendelssohn dumped more than half the arias. Gardiner takes me another step up with a quick seven minute performance which the music can well handle. However, I still prefer Jacobs. He has exceeded his grasp and is paying dearly. Now on to the music itself. For the review project, I am using only period instrument recordings excepting for the Klemperer set. In the next segment, we go back in time to the beginning of Jesus' downfall. Henrici, a man of literature who worked under the pseudonym of Picander. If the Chorus offered no more than I described, it would still be a great beginning to the Passion. Both he and Herreweghe bring an eerie atmosphere to the proceedings, and it fits just right; Jesus' life is turning upside down. Jeffrey Thomas must think that Jesus had a lively step on that fateful day; at just six minutes, Thomas takes Jesus off to the races. The Passion had a long history before Bach composed music. Jesus is experiencing the downfall one achieves when competing without sufficient resources against the bases of power. Also, the choruses are excellent for Gardiner. Just pcture it and it looks absurd. Gardiner and Harnoncourt are excellent alternatives, and Spering and Suzuki are very rewarding. The choral work is outstanding, but the aria has the same problem as in Gardiner's version. Matthew Passion has the reputation of being one of the greatest sacred choral works ever composed. The earlier Herreweghe recording is superb. I find his reading to be somewhat out of proportion. Once again, Andreas Scholl is the alto, and he shines through beautifully. If I find Klemperer's opening chorus excessively slow or the others too quick, considerations of historical accuracy will play no part in my conclusion. His Chorus Musicus left me with mixed feelings; at times they are wonderful, at times they over-emote. I can easily picture Jesus trudging over the dry land, each step taking another slice of life away from him. Also, the aria is even better than Herreweghe I as Harnoncourt fully brings out the eerie quality in the music and Bernarda Fink is the expressive equivalent of Jacobs but with a better voice. The flip-side is that the gorgeous chorus isn't so gorgeous in Harnoncourt's hands; he's too forceful and misses much of the choral's beauty.{/INSERTKEYS}{/PARAGRAPH} That other side is the redemption that has been made possible through Christ's impending crucifixion. He hardly has any energy left, his head is bleeding with the blood getting into his eyes, the burden of the wooden cross he carries is overwhelming, and fellow humans along the way are mocking and condemning him. I will do my best to fairly evaluate this set while not giving it special consideration for any reason. However, I feel there is a dour and smoothed quality which holds it back from being one of the best versions. Another point of contrast is Jesus as man compared to Jesus as the son of God, the innocent lamb who is sacrificed to save humanity. She sounds lovely as always, but I detect little identity with the moods of the music. Did Mendelssohn make many changes to the work? The big problem is the alto aria which is an instrumental mess - no serenity and no mystery. He collaborated with a C. His pulse gives me little sense of inevitability, and he tends to accentuate everything which results in a slight degree of caricature. {PARAGRAPH}{INSERTKEYS}Matthew Passion is considered the most monumental Passion ever composed. Although Gardiner does very well with his bass lines and pulse, it's the uplifting quality of his reading which is most attractive. The impetus for this posting is the new Harnoncourt set from Teldec. With this in mind, the elimination of some of the arias becomes easier to understand. Matthew Passion to the attention of the public. There has been much debate concerning whether the slower or faster tempos are more historically accurate, and I assume this debate will continue well into the future. The opening Chorus is magnificent and very powerful music. The segment includes Matthew, Jesus, a gorgeous choral, two very short and rousing choruses, an alto recitative, and a concluding alto aria of serenity and mystery. As effective in the other areas as Veldhoven, Herreweghe's aria is outstanding. Suzuki is better with fine pulse and strength. In essence, the music grabs the listener by the throat and doesn't let go; any performance which does not fully realize this will likely not be very rewarding. Bach used the recitative to convey changes of mood; Mendelssohn, as befitting his time, uses it to express emotion. Much response was negative concerning whether Bach's music was an appropriate vehicle for such a pious undertaking. Matthew Passion on March 11, in Berlin. I am also including the Christoph Spering set on Opus which is an arrangement by none other than Felix Mendelssohn who was the driving force in bringing back Bach's St. But there is a whole other side to the text and music which is uplifting and creates the musical contrast that makes the Chorus a masterpiece.