A reference version!

The "St. John Passion" is welcome reissue of a nearly fiftieth recording (made since 1965), and is, I think, a reference in the interpretation of this masterpiece of Bach.
Firstly, since the name of Nikolaus Harnoncourt is quoted, we know that we have to do a version seeking to place closer to what could be the time of Cantor. This is reflected, among others, the exclusive use of period instruments (milder tone and clearly less bright than those who were born in the following centuries and I think particularly his "soft" baroque flutes and that of violins, softer and without vibrato) some of which are hardly used today (viols, etc.). Such bias gives this co-directed by Harnoncourt recording and Gillesberger a particular color due to the great diversity of instruments used, their "lived" (them, evidence that we have left the instrument makers of the Baroque! ), and an orchestra all in all rather small, ideal for restoring the "pathos" of the room, and to pass without difficulty recitatives with Arie.
This aesthetic choice is not without consequences in accordance with implementation of the Passion at the time and place at which it was held for the first time, the shrill voices are ensured particularly by children. If the particular timbre of their voice remains enchanting, it is regrettable less narrowly in some songs, especially in "Herr, unser Herrscher" which opens the work (in their defense, tenors are not always in that same unforgettable song). It also feels less well controlled breathing, which sometimes affects the phrasing in the pieces to the child-soloist. These imperfections are to bring to account the quality of children's choirs of our time, probably lower than in the eighteenth century. But do not quibble over what is, after all, a detail. The instrumentalists, choir and soloists are doing very well, so much for giving us a few moments of grace. This interpretation 1965 is simply outstanding.
The reduced character of the orchestra, and the bias of authenticity perfectly serve the music of Bach. These choices are, I think, an integral part of the musical drama being played. If the recitatives were unexceptional (as sung here, I mean), and Arie's "Choral" is almost unforgettable. The songs, sometimes very short (10 seconds ...), sometimes much more conventional length, accentuate the "pathos", the gravity and solemnity of the whole. By listening to this masterpiece, I could not help but compare with "Minor Mass", later, the same composer ... As these sacred works are different ... The Minor Mass is very impressive by its orchestration and scholarly contrapuntal construction of some songs. Rather, the "Passion" is more intimate, and fugal passages are few, leaving more reflected a hierarchy between the different desks. Obviously, this difference is explained by the different functions of the two pieces, the differences in Protestant and Catholic religious rituals, production conditions and execution of the two works, their liturgical function, or the use of textual material "official" in the case of the Mass and that of an original textual material in respect of the Passion. All this of course explains the radical differences between the two works. But this comparison shows that the genius of Bach was adapting without difficulty, in the same genre - sacred music - to what was asked. Produce an intimate music, but as rich as its most impressive creations, while being a completely different spirit; this is one of Bach's genius facets.

Note that the complete booklet is present: German texts are offered as well as their English translation. No French version ... which would not be troublesome if the English translation did not belong to a register if sustained, that its meaning is sometimes obscure, for which I am poor English. At least do we have the right to a few pages of explanations about the work, in the language of Molière. The About Martin Geck is interesting, even if we may regret the absence of essential information, such as the fact that Bach corrected his score several times over the decades, before finally returning this Passion in a very close version of original, shortly before his death. The version we have here is the first.

This registration, despite his age, has not aged, which shows the relevance of the aesthetic choices of Harnoncourt, and which validates the aesthetic approach of the movement "baroque musicians." Listening to these two discs was for me a revelation, and tunes like "In meines Herzens Grunde" accompany almost all my days for about one month I purchased this "Passion".