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“Naxos include here four of Bach's most celebrated and accessible cantatas. The performances are far removed in character from the complete Harnoncourt and Leonhardt edition on Teldec; women rather than boys sing all the soprano and alto solos, the Hungarian Radio Chorus is a mixed male and female ensemble and the Failoni Chamber Orchestra of Budapest plays modern rather than period instruments.
However, for much of the time this is enjoyable spirited music-making which, in its choice of tempos, its understanding of recitative and its feeling for the lyricism of Bach's writing compares favourably with rival modern instrument versions. The disappointment lies partly in the choice of edition and solution to instrumentation.
Sheep may safely graze (No 208) is without the treble recorders which Bach specifically asked for and which intensify the pastoral idyll.
Here, furthermore the flutes are rather distantly balanced giving them a somewhat irrelevant role which is far from Bach's intention.
More serious is the decision to follow the inflated version of the first and fifth movements of Ein feste Burg (No 80) penned by Bach's eldest son, Wilhelm Friedemann shortly after his father's death. Here Friedemann added three trumpets and a kettledrum to the original texture of oboes and strings, and though some may prefer the more overt sense of occasion and the emphasis of the church militant, that this achieves, the scoring of the original is unquestionably effective and in keeping with the piece as a whole. Much else here is sensitively and unsentimentally performed.
'Jesu, joy of man's desiring' (from No 147) is perhaps a shade on the slow side.
Most affecting of all though, is the canonic alto/tenor duet from No 80 whose tender writing for oboe da caccia and violin has long been for some one of the purplest of all passages in the entire Bach cantata canon. The soprano Ingrid Kertesi negotiates the many difficulties of Jauchzet Gott in allen Landen! fluently and with a youthful zeal and few will be disappointed by her spirited artistry. These are two mainly very enjoyable discs which can be confidently recommended.
Clear recorded sound.” Gramophone Classical Music Guide, 2010

“Two mainly very enjoyable discs which can be confidently recommended.” Gramophone Magazine

“Naxos include here four of Bach's most celebrated and accessible cantatas. The performances are far removed in character from the complete Harnoncourt and Leonhardt edition on Teldec; women rather than boys sing all the soprano and alto solos, the Hungarian Radio Chorus is a mixed male and female ensemble and the Failoni Chamber Orchestra of Budapest plays modern rather than period instruments.
However, for much of the time this is enjoyable spirited music-making which, in its choice of tempos, its understanding of recitative and its feeling for the lyricism of Bach's writing compares favourably with rival modern instrument versions. The disappointment lies partly in the choice of edition and solution to instrumentation.
Sheep may safely graze (No 208) is without the treble recorders which Bach specifically asked for and which intensify the pastoral idyll.
Here, furthermore the flutes are rather distantly balanced giving them a somewhat irrelevant role which is far from Bach's intention.
More serious is the decision to follow the inflated version of the first and fifth movements of Ein feste Burg (No 80) penned by Bach's eldest son, Wilhelm Friedemann shortly after his father's death. Here Friedemann added three trumpets and a kettledrum to the original texture of oboes and strings, and though some may prefer the more overt sense of occasion and the emphasis of the church militant, that this achieves, the scoring of the original is unquestionably effective and in keeping with the piece as a whole. Much else here is sensitively and unsentimentally performed.
'Jesu, joy of man's desiring' (from No 147) is perhaps a shade on the slow side.
Most affecting of all though, is the canonic alto/tenor duet from No 80 whose tender writing for oboe da caccia and violin has long been for some one of the purplest of all passages in the entire Bach cantata canon. The soprano Ingrid Kertesi negotiates the many difficulties of Jauchzet Gott in allen Landen! fluently and with a youthful zeal and few will be disappointed by her spirited artistry. These are two mainly very enjoyable discs which can be confidently recommended.
Clear recorded sound.” Gramophone Classical Music Guide, 2010

“The most atmospheric choral record to have come my way in a long while.” Organists Review

“The most favored 'hit' numbers are covered [on this recording]. Each soloist has at least one showcase number, the women coming out slightly ahead-which is appropriate in view of the solid alto work of Nemeth and the really handsome singing of Kertesi...The 1992 sound (it was made in an old castle) is quite churchy, if a little distant at times. Good notes; texts with translations.” American Record Guide, November/December 2000

“The Naxos performance is strikingly fresh.” Penguin Guide

Critical comment on this recording when it first appeared in 1954 was virtually unanimous. The Record Guide (Collins, 1955) remarked “The principal qualities of Karajan’s reading are lightness, absolute clarity of sound and rhythmic buoyancy, all of them qualities that many performances miss … Karajan, and [the] engineers, allow us to hear all the vocal and instrumental parts. Choral and solo singing are delightful”.

“the Naxos recording is such a model of clarity and discreet good taste” Gramophone Magazine

“When you hear the ominous first chorus of Bach's St John Passion sung and played like this, liturgical ritual and visceral human drama make for an unusually intense experience. The bass line pulsates, the boys articulate the words with supreme clarity and the steady speed provides the movement with just the right length – a consideration too often neglected.
Recorded in New College, Oxford, the resident choristers, choral scholars and lay clerks appear to be entirely at ease with the special juxtaposition of quicksilver action and warm reflection which Bach demands in his choruses and chorales.
Edward Higginbottom delivers a palpable sense of narrative, unfussy, as if habit lies at the root of its being. Just listen to the searing choral chromaticisms as Christ is brought before Caiaphas, the startlingly urgent declamations as the crowd bays for blood or the distraught tenderness of James Bowman in 'Es ist vollbracht'.
The Evangelist is the established tenor James Gilchrist, whose alert and straightforward singing makes his performance wholly believable.
Of the current generation of choristers, Joe Littlewood reminds us that English choirboys can sing German music beautifully and convey the emotional essence of the text with maturity and purpose. His 'Ich folge' is a delight.
There's the odd strain in Matthew Beale's testing tenor arias but a pleasing timbre, as indeed there is in John Bernays' proud but unblustering Christus. If there's a general tendency, it's to allow the music to speak in its own time within a relaxed beat. The rest is instinct, experience and letting what will be, be. In such light comes this refreshing and captivating new interpretation.” Gramophone Classical Music Guide, 2010

““Edward Higginbottom is one of those rare musicians who can balance projects of genuine popular appeal with the key masterpieces of the choral repertoire. With this Naxos set of the St John Passion he could potentially reach his largest audience yet… especially with the glorious singing of the now world- renowned Choir of New College, Oxford.” Gramophone Magazine

“an outstanding period performance which can stand comparison with any in the catalogue...The choir itself is fresh and bright, singing incisively, with the crowd choruses vividly adding to the drama...Gilchrist is a superb Evangelist, fluent and expressive, and the main quartet of soloists makes a sensitive team.” Penguin Guide, 2010 ***