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Bach - St Matthew Passion, BWV244

4.0 out of 5 stars 1 customer review

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Product details

  • Audio CD (18 Dec. 2008)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Label: Challenge Classics
  • ASIN: B000EBGF0O
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 457,144 in Music (See Top 100 in Music)

Track Listings

Disc: 1

  1. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24 - Johann Sebastian Bach
  2. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  3. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  4. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  5. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  6. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  7. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  8. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  9. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  10. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  11. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  12. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  13. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  14. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  15. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  16. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  17. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  18. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  19. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  20. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  21. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  22. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  23. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  24. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  25. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  26. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  27. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  28. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  29. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  30. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  31. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  32. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  33. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  34. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  35. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  36. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  37. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  38. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  39. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  40. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  41. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  42. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  43. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  44. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24

Disc: 2

  1. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  2. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  3. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  4. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  5. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  6. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  7. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  8. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  9. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  10. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  11. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  12. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  13. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  14. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  15. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  16. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  17. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  18. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  19. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  20. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  21. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  22. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  23. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  24. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  25. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  26. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  27. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  28. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  29. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  30. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  31. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  32. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  33. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  34. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  35. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  36. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  37. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  38. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  39. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  40. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  41. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  42. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  43. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  44. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  45. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  46. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  47. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  48. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  49. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  50. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  51. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 24
  52. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 244
  53. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 244
  54. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 244
  55. St. Matthew Passion (Matthäuspassion), for soloists, double chorus & double orchestra, BWV 244

Product Description

CC 72232; CHALLENGE CLASSICS - Olanda; Classica vocale Sacra Oratori

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Top Customer Reviews

Format: Audio CD
This is a solid recording with a quality choir, Baroque-sensitive orchestra with appropriate instruments, and a conductor who makes good use of dynamics, tempi and the tensions in the story. The soloists are individual and expressive. Thoroughly enjoyable from start to finish.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 5.0 out of 5 stars 5 reviews
8 of 8 people found the following review helpful
5.0 out of 5 stars Exquisitely characterized, radiantly beautiful, deeply concentrated ... 8 April 2006
By Pater Ecstaticus - Published on Amazon.com
Format: Audio CD
... as we might expect from Ton Koopman and his Amsterdam Baroque Orchestra & Choir, who have truly made the music of Bach their own through the decades. This recording is - I have to admit - only my first honestly serious excursion into the (fugal) musical world - and, especially in this case, its underlying religious dimensions - of Johann Sebastian Bach, known to some as the 'fifth evangelist', especially here in the Netherlands, where his Matthaeus Passion is being performed all over the country the weeks before Easter.
If the reader may permit me, I would like to say I have found I am only able to truly approach this music by really forcing myself to 'learn to listen to music' all over again (having been immersed in Mahler's symphonies too deeply) with a necessary great deal of patience as this fugal baroque music requires on the one hand a keen ear for the details of the many melodies, as well as a long span of attention - especially a work on as grand a scale as this Matthaeus Passion.
Now that I have had the luck to have found myself a working place in the magnificent Dom church in Utrecht (not a cathedral anymore since the Reformation) - where the Matthaeus Passion is performed each year, as in so many places in the Netherlands - this has been for me just the right 'excuse', or better: the necessary extra 'push in the right direction', to really try to immerse myself into one of Bach's greatest works.

ABOUT THE RECORDING/PERFORMANCE itself, which seems to be in the tradition of the Historically Informed Performances. But whatever the 'tradition' in which it 'fits', this performance speaks with the deepest love and dedication towards this music, making - to the ears (and heart) of this particular listener - an absolutely convincing argument. The beautifully naturally recorded sound has all of the instruments embedded in the warm aura provided by the sympathetic acoustics of the recording venue, the St. Joris (St. George) church in Amersfoort. The recording is live, which may have added to the drama, but luckily there is very little audience noise indeed, and then only very distant, never distracting one's attention.
This performance is mellifluous, naturally flowing and dramatically concentrated (fitting on two CD's; total playing time: appr. 2h 34min), gripping one's attention from beginning to end. The playing and singing, while mellifluous, is at the same time exquisitely characterized and with a - at least to the ears of this particular listener - nicely appropriate sense of forward dramatic momentum, offering the best of both worlds maybe: radiant beauty as well as freshness.
The instrumentalists' voices, while being allowed to bloom to the full, are always at the service of the 'storytelling' or 'drama', making the recording - at least to my ears - truly one 'aus einem Guss' and really holding one's attention from beginning to end. The choir sounds 'large', but I am unable to compare with other recordings (I would like to hear Sir Eliot Gardiner, Nikolaus Harnoncourt or Philippe Herreweghe), so I will by saying that I truly love what I hear, as the singing is incisive and clear, but with rounded tone. Almost all of the same is true for all of the soloists, I believe, their characterization always being astutely intelligent and dramatic.
This performance, to my ears, speaks of great love and dedication - maybe even devotion - of this conductor (and performers) towards this music. I am sure this particular (historically informed) recording ranks way up there with the very best recordings of this work. I would like to recommend this beautifully packaged 2-CD set (including 64 page booklet with an essay by Bach scholar Christoph Wolff) to anyone without reservation.
9 of 10 people found the following review helpful
5.0 out of 5 stars My top choice 18 Aug. 2009
By Shami Ghosh - Published on Amazon.com
Format: Audio CD
Of the two extant Bach passions, the Matthew is probably more famous and popular than the John, a popularity it has enjoyed since Mendelssohn first revived it in the middle of the nineteenth century. It has to stand not only as one of Bach's greatest works, but also, I would say, as one of the highest points of European cultural achievement. Whether or not you're Christian (or even religious), listening to this will make you feel religious about music, if nothing else, and it certainly brings out the profundity and pure human feeling (and the narrative tension and drama) of the gospel text. Needless to say, there are a huge number of recordings; this review is concerned with both the DVD and CD of Koopman's performance in March 2005.

For my taste, Koopman is the best of the greats of Bach choral conducting; his tempi are suitably brisk, but do not attain the (for me) sometimes disturbingly fleet tempi of Gardiner and Herreweghe. In this performance, the tempi are sometimes a bit faster than in his earlier recording. Overall, I would prefer this one, primarily because of the choice of performers: Joerg Duermueller and Ekkehard Abele are better in their roles (Duermueller has to be one of the best evangelists I've heard), and Cornelia Samuelis gives a performance that is far more historically sensitive and appropriate for the religious nature of this music than Barbara Schlick in Koopman's earlier version; her performance of 'Aus Liebe', and the duet with Bogna Bartosz ('So ist mein Jesus nun gefangen') are among the highlights of this recording. Here, there's a female singer (Bogna Bartosz) for the alto parts, where earlier Koopman used a countertenor (Kai Wessel); they're both excellent, as are both singers who do the bass arias and solo parts. I have to say that I prefer Christoph Prégardien in the earlier recording to Paul Agnew's sometimes overstated and excessively dramatic renderings in this one. I'd go with the new version mainly for the better evangelist and soprano, and a somewhat better Jesus.

Comparing Koopman to other conductors, of the historically-informed-performance crowd, the big names seem to be Herreweghe 1998 St. Matthew Passion and Gardiner St. Matthew Passion, both of whom are, for my taste, occasionally a bit too brisk for the Matthew. I have a further beef with Gardiner that people who don't know German might not notice: some of his singers (Anthony Rolfe Johnson included) have a German pronunciation that does not sound quite right to me, as a person who has spent a long time studying German literature. Gardiner's approach works a lot better, for my taste, in the John, and for that, I find it's really hard to choose between him and Koopman. In general, I don't listen much to the older performances on modern instruments, but I have to say that Peter Schreier (sadly apparently no longer available) and Helmuth Rilling St. Matthew Passion both deserve a mention as outstanding performances (of which I prefer Schreier); Klemperer's passion is one that has clearly survived the horrors of WWII, and while it's an outstanding artistic document of its own time, it does not, for me, quite represent what I feel Bach's music should.

I should note that, having followed some of the scholarly debate between Rifkin, Parrott, and Koopman, and Gloeckner on whether one voice per part or a larger choir is more appropriate for this work, I am not convinced that Bach's own practice was more likely to have been one voice per part (I find Gloeckner's 2011 piece on the issue a very important blow against the OVPP argument), though it is probably unlikely that he would have had mass choirs of the modern sort either. That being said, they key to a recording is whether or not it works: if the singers doing each voice don't really hold up, then a OVPP recording won't match one with a full choir, and conversely, a full choir might well blur the music out of recognition. The reason why I prefer the Koopman to McCreesh's recording St. Matthew Passion (though in all fairness, I should say I've only heard clips of the latter) is not ideological or academic; although the clarity and general impression of OVPP does sound great in the choral pieces, I find myself getting a bit put off by the style of too many of McCreesh's singers in the solos. And though McCreesh's instrumental forces are excellent, like Koopman's, his tempi are occasionally a little slow (I know, I'm very picky!). Also, the size of the choir really makes much more of a difference in a live concert--and the placement of singers (Bach's singers would generally have been up in the galleries, with the organist, and actually behind most of the congregation) is also a major factor; since I tend to listen to music on my headphones, the effects are slightly lost for me.
5.0 out of 5 stars I used it as my meditation on Good Friday. 7 April 2015
By Thomas Mitchell - Published on Amazon.com
Format: Audio CD Verified Purchase
This version with Ton Koopman, was exactly the type of Matthew Passion I was hoping for. I used it as my meditation on Good Friday.
5.0 out of 5 stars Five Stars 7 May 2015
By Max Rosskopf - Published on Amazon.com
Format: Audio CD Verified Purchase
Exactly what I wanted to be delivered by.
thank you
M.Roßkopf
0 of 1 people found the following review helpful
5.0 out of 5 stars If you enjoy Baroque music this is awesome 4 Mar. 2013
By Bassius - Published on Amazon.com
Verified Purchase
I downloaded this for a class, so that i could study it. The performance is fantastic. Everyone sounds great and the spirit of baroque improvisation is audible in the realizations of the figured bass. It's a great recording. and VERY worth the price.
buy it
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