Most Helpful Customer Reviews
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10 of 10 people found the following review helpful:
4.0 out of 5 stars
Just takes a little getting used to., 9 April 2006
By A Customer
I agree with the previous reviewer that the Herreweghe recording is magnificent, but I don't think it's fair to compare this - it's a completely different approach. The introductory chorus is startling in its starkness - where many other recordings begin with pounding strings and an ominous, powerful choir, this is much lighter in texture, but not in mood and it is this which becomes the dominant impression throughout. This is a recording where the passion is delivered by the musicians - all soloists are superb and the playing is first-rate. If you're only going to have one St. Matthew, the Herreweghe is the choice but this one gives you a new understanding of the work.
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30 of 34 people found the following review helpful:
3.0 out of 5 stars
Beautiful, although a bit too minimalistic, 3 Mar 2004
Strange one, this. McCreesh uses 8 soloists and no choir for his rendition of the St. Matthew passion. Chorus I and II each consists of 4 singers and the solo pieces are alottet to chorus I and II respectively in accordance with Bach's score. This makes the singers drown out in the rather large orchestral forces deployed in this piece. The orchestral phrasing is by far the best and most intimate and delicate I have heard in any recording of the St. Metthew Passion and the fact that the orchestra is tuned in a=418hz, uneven pitch, makes the individual counterpoints stand out audible, but not too overwhelming, just as I imagine Bach would have wanted it. Period Performance fans will love this. But the week side is the choruses, as the singers sounds too week, the lyrics are inaudible and the dynamics are (of course) too even. There isn't a true difference between a forte and a piano on this recording. A note on the tempo. As usual, Paul McCreesh picks a very high tempo and the whole thing is fitted onto two, not three CDs.I already own three St. Matthew Passion recordings besides this one (Gardiner, Herreweghe and Karajan), and if you (like me) really like the music a lot, this is worth hearing as it is certainly different and the orchestra is absolutely superb, but if you are looking for just one recording this piece, I would go for the unequalled Herreweghe recording (With Ian Bostridge and Dietrich Henschel, that is, not the 1985 version with Ulrik Cold as Jesus).
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2 of 2 people found the following review helpful:
4.0 out of 5 stars
Not your usual Passion..., 25 Nov 2008
Paul McCreesh's reputation is such that one must take seriously his and other authorities' proposition - made flesh, as it were, with this recording - that St Matthew Passion would have been performed by such small forces. And of course it contradicts 150 years of Bach performance by medium-sized and even massive choirs, so it comes as a shock to hear the sublime first chorus so spare, so lacking in familiar depth and textures. After this the rest of the Passion comes as less of a surprise, so be patient...
However, there's much more to the Passion than the choruses and chorales, and as musical story-telling this is of a very high order indeed. This comes from Paul McCreesh's drive and energy, and from Mark Padmore's compelling performance of the most challenging role, that of the Evangelist. It is impossible not to be drawn into the narrative, every time one hears it, to become not a listener but a silent witness to it.
All the soloists are exceptional, and well-cast, though I'm sorry to say I just don't like Magdalena Kozená's voice, the one element of this exceptional recording that grates on me.
It shouldn't be the only recording of St Matthew Passion in any collection, and I find myself listening to the lovely Harnoncourt recording (no, I know it's not everyone's choice) about three times as often as I listen to the McCreesh. I wouldn't be without it, though...
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