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
J.S. Bach's Johannes-Passion, or St. John Passion, BWV 245 – one of just two surviving Bach Passion works out of an original four or five – is, simply put, a headache for editors and performers wishing to recreate the authentic, stamped-and-approved original work. There is no such beast: the work was performed at least four times during Bach's lifetime, and for each new presentation he overhauled the music, adding numbers, deleting numbers, changing numbers, so that today we really have four different St. John Passions through which to pick and choose our way. Happily enough, however, Bach misses the mark in not a single one of those numbers, and the director can hardly go wrong selecting from such a wealth of fine material. The St. John Passion was first heard on April 7, 1724 (Good Friday), and then reproduced for Leipzig churchgoers in 1725, sometime in the early 1730s (perhaps 1732), and then again in 1749. Perhaps in part because of its sometimes bewildering compositional history and the fact that its texts were not really conceived as a single entity (Bach seems to have arranged the texts himself from a number of disparate sources, and sometimes his efforts – which seem to have been hasty ones – are not altogether graceful), the St. John Passion has never been a sweepingly popular work like the St. Matthew Passion, BWV 244. But it is a monumental work that must have made quite an impression indeed at its first performance, early on in Bach's tenure as Cantor of Leipzig.
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”.
"I know of few more engaging first movements of No. 3 and not one version of No. 6 which so lovingly draws the listener into the secret motivic associations of this most marvellous of consort pieces…." ~Grammophone
…It was unusual for composers working in the Lutheran tradition to compose a Missa tota and Bach's motivations remain a matter of scholarly debate. The Mass was never performed in totality during Bach's lifetime; the first documented complete performance took place in 1859. Since the nineteenth century it has been widely hailed as one of the greatest compositions in history, and today it is frequently performed and recorded…
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).
Telemann's connection with Darmstadt is typical of a composer who cast his net widely on the path to becoming Germany's most acclaimed composer. Appointed to his Frankfurt post in 1712 Telemann was shrewd enough to realize that to 'get on' he needed to write music for the best. In instrumental terms, he was lucky enough to be based less than 20 miles from the Darmstadt court of Ernst Ludwig VII, a music-loving nobleman who had at his disposal a fine orchestra of musicians, many recruited from Paris, trained by the court Kapellmeister, Johann Christoph Graupner (known largely through his turning down the cantorate at St Thomas's Leipzig before Bach was reluctantly found to be an acceptable choice).