J.S. Bach: St. Matthew Passion / The Netherlands Bach Society, Museum Catharijneconvent [Hybrid SACD, SACD]

The Netherlands Bach Society has been performing the St. Matthew Passion during Holy Week in the Great Church in Naarden since 1921. This fine recording was made during the 2010 performances conducted by the society's director, Jos van Veldhoven.

Bach wrote the St. Matthew Passion for two groups of singers and instrumentalists (Coro I and Coro II--"choir," not "chorus"). In van Veldhoven's view, the two groups are not equal participants. Coro I tells the Biblical story, and Coro II (for the most part) comments on it. When the two sing and play together, Coro II largely doubles Coro I. "Rather than a symmetrical double-choir composition," van Veldhoven says, "the result is a complex, assymetrical single-choir Passion." This understanding is reflected in van Veldhoven's choice of performing forces and their layout. The singers in Coro I comprise five vocal soloists and eight ripienists; Coro II has only the four vocal soloists. In performance, the two groups were placed on widely separated stages--a perspective that is duplicated in the recording.

In an accompanying essay, van Veldhoven explains that his interpretation has been influenced by Daniel Melamed's 2005 book, Hearing Bach's Passions. After listening to this performance, I was moved to read the Melamed's volume, which I recommend without reservation to all lovers of Bach's passions. In a highly well written and accessible manner, Melamed illuminates many of the current issues surrounding the passions, including their performing forces, place in the liturgy, multiple versions, and what it means to listen to them today.

Van Veldhoven leads a superb team of vocalists and instrumentalists in a perfectly structured and paced performance. The movements flow inexorably from one to the next. The tempos maintain both the spiritual and dramatic character of the work. The performing forces provide both weight and clarity. Nothing is quirky. Not a single element is out of place. All the soloists are excellent. Peter Harvey shines as Jesus and in the bass arias in Coro I. Gerd Turk is a fine evangelist. The recorded sound is vivid and lifelike. (I listen in SACD stereo.)

The recording's presentation is the cherry on the sundae. Like the Netherlands Bach Society's recordings of the St. John Passion St John Passion (Hybr), Christmas Oratorio Bach: Christmas Oratorio, and B-Minor Mass , this one is presented in cooperation with the Museum Catharijneconvent in Utrecht. The three CDs are accompanied by a 192-page book that contains essays about the work and the performance, complete text and English translation, and extensive illustrations of the Passion drawn from the museum's collection.

Classics Today rates this performance 10/10 for artistic and sound quality. Its reviewer writes that "this exceptionally well balanced, thoughtfully paced reading, vividly brought to life by the performers and recording team, deserves a place among the reference versions." BBC Music Magazine calls it "an astonishingly effective version" and has named it choral CD of the month. Gramophone (June 2011) describes it as a "sophisticated, incisive and emotionally graphic account" and praises its "supreme recorded sound." It is now my number one choice. It really makes me wish that I could be in Naarden some Good Friday.

As with most SACDs, the recording quality is superb. But in addition, the music itself is so lovely. Highly recommended!