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Johann Sebastian Bach: St. John Passion, BWV 245
Herr, unser Herrscher
Jesus ging mit seinen Jungern
O gross Lieb, o Lieb ohn alle Masse
Auf dass das Wort erfullet wurde
Dein Will gescheh, Herr Gott, zugleich
Die Schar aber und der Oberhauptmann
Von den Strikken meiner Sunden
Simon Petrus aber folgete Jesu nach
Ich folge dir gleichfalls
Derselbige Junger war dem Hohenpriester bekannt
Wer hat dich so geschlagen
Und Hannas sandte ihn gebunden
Ach, mein Sinn, wo willt du endlich hin
Petrus, der nicht denkt zuruck
Christus, der uns selig macht
Da fuhreten sie Jesum von Kaipha
Ach, grosser Konig, gross zu allen Zeiten
Da sprach Pilatus zu ihm: So bist du dennoch ein Konig?
Betrachte, meine Seel
Erwage, wie sein blutgefarbter Rukken
Und die Kriegsknechte flochten eine Krone
Durch dein Gefangnis, Gottes Sohn
Die Jüden aber schrieen und sprachen
Eilt, ihr angefochtnen Seelen
Allda kreuzigten sie ihn
In meines Herzens Grunde
Die Kriegsknechte aber, da sie Jesum gekreuziget hatten
Auf dass erfullet wurde die Schrift
Er nahm alles wohl in acht
Und von Stund an nahm sie der Junger zu sich
Es ist vollbracht
Und neiget das Haupt und verschied
Mein teurer Heiland, lass dich fragen
Und siehe da, der Vorhang im Tempel zerriss
Mein Herz, indem die ganze Welt
Zerfliesse, mein Herze
Die Juden aber, dieweil es der Rusttag war
O hilf, Christe, Gottes Sohn
Darnach bat Pilatum Joseph von Arimathia
Ruht wohl, ihr heiligen Gebeine
Ach Herr, lass dein lieb Engelein
2010
“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.”
2010
***
“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.”
““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.”
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