Kagel's conundrum is this: Saint Bach is either a unique musical phenomenon, perhaps the only instance of such divinely made (not just inspired) music, thus rendering him incomparable and even incommensurable to all other composers, or Bach's saintliness is a possibility that any composer might attain and thus "Saint Bach" is a representation of "the composer" him/herself in his/her fullest attainment. If this is the case, what other composers might Kagel also be a saint? Himself? As I said, Kagel confronts us with the most challenging epistemological conundrum any recent composer to my knowledge has laid down. And I suspect attentive listeners will be wrestling with his conundrum for generations to come, either infuriated by its seeming audacity, or humbled by its remarkable devotion. In any case, some of those infuriated and humbled listeners will return to Kagel's music with a culminating sense of marvel at its emotion and elegant design that will seem at times to be Bach's music itself wearing an astonishingly contemporary garb.
Anne Sofie Von Otter, Hans-Peter Blochwitz, Roland Hermann, Peter Oggisch, Gerd Zacher, Stuttgart Sudfunkchor, Limburger Cathedral Boys Choir, Hamburg Radio Chorus, Stuttgart Radio Symphony Orchestra, Mauricio Kage / Conductor
Fifteen years after his recording of Bach’s three Sonatas for viola da gamba and harpsichord (on hm, with Rinaldo Alessandrini), Paolo Pandolfo returns to this repertoire a new approach: the fruit of active and concentrated years of consideration, study and research into the inherent possibilities of his instrument. Given the basic differing natures of these two instruments, the performance of these works very often turns – in Pandolfo’s words – into a “musical argument”, rather than what is demanded by the music’s essential nature: a “musical conversation” in which the score achieves “transparency and eloquence”.
Filmed in the architectural splendour of Graz's Gothic-Baroque cathedral, leading Bach authority Nikolaus Harnoncourt conducts the famed Tölz Boys Choir and his Vienna Concentus Musicus, playing on period instruments, in the most dramatic of all Passion settings. "In this performance we have attempted to realize Bach's wishes in the most authentic manner possible" (Nikolaus Harnoncourt). "A unique occasion" (Kurier).
Most of us come to the Saint John Passion knowing the Saint Matthew Passion first. The bigger and more elaborate Saint Matthew, which came along three, or possibly five years later (there is controversy about the date), has tended to cast a shadow in which the earlier work is swallowed up, and this has been so ever since Mendelssohn's Saint Matthew performance in 1829 marked the beginning of the public rediscovery of J.S. Bach. (The professionals had never forgotten.) But if the Saint John is smaller in scale than the Saint Matthew, it is hardly the lesser work in quality, though it would of course be silly to claim that the master of the Saint Matthew Passion had not learned from the experience of setting Saint John. But the most interesting differences between these two towering attestations of faith are differences in intention. Read Matthew 26-27, Mark 14-15, Luke 22-23, and John 18-19, and you get four tellings of the last days in the life of Jesus that differ in tone, emphasis, and detail…
Conducted by Nikolaus Harnoncourt. A fantastic concert celebrating the coming of Christmas, recorded live at one of Austria's finest baroque monasteries. Soloists are Christine Schafer, Anna Korondi, Bernarda Fink, Ian Bostridge, Christopher Maltman. With the Concentus Musicus Vienna and the Arnold Schoenberg Choir.
Here, again, Brilliant Classics has licensed recordings of the passions, masses and other works. The St. Matthew and St. John passions are good recordings by the Brandenburg Consort and the King's College Choir; I find these two passions to be a bit weak, and this is a shame.