Johann Sebastian BACH (1685-1750)
St Matthew Passion [161.02]
King’s College Choir
Jesus College Choir
Rogers Covey-Crump, tenor (evangelist)
Michael George, bass (Jesus)
Emma Kirkby, soprano
Michael Chance, alto
Martyn Hill, tenor
David Thomas, bass
Brandenburg Consort, Roy Goodman
Direction: Stephen Cleobury
Rec: 1994, King’s College Chapel.
REGIS RRC 3001 [161.02]
Few works in the Western musical canon rival the profound spiritual depth of J.S. Bach’s St. Matthew Passion. It is not merely a monumental achievement in sacred music but a towering statement on the human condition—its frailty, its redemption, and its capacity for transcendence. This recording, conducted by the late Stephen Cleobury with the Choir of King’s College, Cambridge, exemplifies the interpretive clarity and devotional grace that this masterwork demands.
From the first notes of “Kommt, ihr Töchter,” Cleobury’s approach reveals an unwavering commitment to balance: the grandeur of the choruses, the intimacy of the arias, and the inexorable narrative pull of the recitatives. The Choir of King’s College, renowned for its crystalline precision and tonal purity, imbues each choral passage with aching beauty. The opening chorus, rendered with majestic breadth, sets a tone that oscillates between somber reverence and impassioned plea.
The vocal soloists provide another layer of emotional immediacy. The Evangelist, traditionally the narrative anchor, is delivered here with poignant urgency and crystalline diction, ensuring that every word is intelligible and every phrase imbued with dramatic weight. The alto arias, particularly “Erbarme dich,” radiate a luminous sorrow, the obbligato violin intertwining with the voice in a dance of divine forgiveness.
Instrumentally, Cleobury achieves a vibrant yet restrained accompaniment from the period ensemble, whose timbres perfectly complement the ethereal vocals. The continuo sections are alive with nuance, their subtle inflections offering a firm yet unobtrusive foundation for the singers. Particularly striking are the moments where the chorus and orchestra combine in moments of heightened drama, such as the anguished cries of “Sind Blitze, sind Donner.”
This recording shines not only in its musicality but in its fidelity to Bach’s theological vision. Cleobury’s attention to the work’s liturgical underpinnings ensures that the spiritual message remains front and center, inviting the listener into a state of contemplative awe.
Ultimately, Cleobury’s St. Matthew Passion captures the essence of Bach’s genius: the ability to marry the sublime and the human, the sacred and the emotional, in a way that transcends time and speaks directly to the soul. Whether you approach this recording as a believer, a seeker, or simply a lover of great music, it will leave an indelible mark.
Verdict:
Stephen Cleobury and the Choir of King’s College offer a St. Matthew Passion for the ages—a recording that is as spiritually illuminating as it is musically accomplished.
Rating: 5/5
