Brief reference "object" proposed: a classic case (thank you for the shelves!) But class (exit the "packaging" illusory and catchy)
This box contains a DVD on the genesis and operation of this and recording (essential viewing) 1 booklet well documented and 2 SADC.
On the DVD, René Jacobs, a tad hometown in appearance, proves particularly precise in his explanations and educator in his choices. For him, this capture is crucial, it is an asymptote of his musical life. We perceive in him a strong desire and a considerable amount of work before and during recording. And BACH, he knows. To cite just two examples, he left us one of the best recordings of the Mass in and also its participation in the LEONHARDT version of this work in which his superb lunar voice made wonders. In any case, see the DVD too short joint is almost essential to understand the choices and knowledge JACOBS sum stored by the musician integrates and, especially here in near "mission".
Regarding the present version, the key, expressed or not, questioning lies in the arrangement of the chorus and the orchestra part JACOBS front and one behind. In short, enough to surprise us!
We know that the Cantor designed this capital Passion for double chorus ensembles / orchestras. So much for the spirit of reflection and choice of René Jacobs.
Moreover, following extensive research of the famous musicologist German Konrad KÜSTER, the testimony of ST Thomas Sexton of the time and iconography found, it turns out that there were many at that time, a pair of organ in this church in Leipzig. A main organ and its platform at the east end of the nave, and a smaller, destroyed in 1740 and perched tribune understood, on the wall separating the nave from the choir of ST Thomas. Henceforth, the arrangement of soloists, choirs and instruments chosen by JACOBS becomes plausible and seems to have been used by JS BACH (in the first representation 1727). He takes the rest of this configuration organized around two organs in 1729 (Version called The Great Passion with 2 organs)
Obviously this form of bi-polarity strikes our habit: that of listening to a music and songs come from where passion, sometimes a little confused, a single spatial point, though stereo and stepped in the following order soloists, orchestra and chorus. So look rare iconographic media representations of Passions of the time to get a feel ... different from what is believed !!
The recording reveals excellent quality. The soundstage is wide, deep, clear and particularly legible. It will surprise some diabolically and divinely more! Spatialization obtained, that you feel you instruments and singers 'jump' sometimes the ears like a hologram ... even for the most distant who have a surprising respect for their spécifiques.Le term tones may appear hackneyed, but you feel immersed in the music. We are perhaps Thomas ST.
Given his experience, René Jacobs has particularly 'cared' choirs and soloists. They will tell a story, the story of the last moments of Jesus. So it comes back, fortunately for the basic kind of the Passion and absolute respect for the score.
Despair, suffering, doubt, the slow rise to execution are sung here with force and talent.
The tenor Werner Gura is an evangelist extraordinary, a true pillar of the narration. It is a Johannes Weisser, bass, showing us a Jesus lived almost physically and suffering.
And what about the wonderful "Erbarme dich" sung with infinite tenderness by the remarkable Bernarda Fink ... And yet the Sunhae soprano, shattering into a "Aus Liebe will mein Heiland sterben" anthology.
Superb
However the "Akademie für Alte Musik The Berlin" is no exception, it supports a detail, bright, relevant and with particular thanks to its woody tones and strung singing in a spirit of harmony rarely met. The orchestra accompanies all shades this inevitable march towards physical death. Each instrument is perceptible in its original sound.
For example René Jacobs pushed the sense of detail up to replace traditional oboe by "oboe da cassia" (hunting oboe bent to the veiled and soft sound)
Again: superb.
We are in a happy combination of talent and teamwork in a strong requirement of compliance with this Passion and specificities ... but not without legitimate inventivités.
This unusual version will come in for me at least, that of joining LEONHARDT and Her Petite Bande accompanied by that of McCreesh so human.
To acquire, without a priori, eyes closed, but ears open!
Good plays to one and all.
