Composer: Johann Sebastian Bach
Works: Passion according to St Matthew BWV 244
Performers: Claes Hakon Ahnsjö (Evangelist), Hermann Prey (Christus), Margaret Marshall (soprano), Jard van Nes (contralto), Aldo Baldin (tenor), Anton Scharinger (bass), Tolzer Knabenchör, Neubeurer Chorgemeinschaft, Bach Collegium München, Enoch zu Guttenberg (conductor), Anja Lechner (cello)
Recording: Recorded live in an unnamed Bavarian church, 1990
Label: ARTHAUS MUSIK 100268
Bach’s St Matthew Passion, a cornerstone of the Western choral repertoire, embodies the intersection of theology and music, reflecting the composer’s profound engagement with the narrative of Christ’s passion. This monumental work, originally crafted for Good Friday Vespers, is a tapestry of dramatic recitatives, arias, and chorales, all serving to illuminate the emotional and spiritual weight of the Passion story. Enoch zu Guttenberg’s interpretation, captured on this 1990 DVD, presents a unique reading that oscillates between reverence and a somewhat conventional execution, raising questions about interpretative choices that may resonate differently with contemporary audiences.
The performance opens with the chorus “Kommt, ihr Tochter” which, under Guttenberg’s direction, reveals a rather heavy-handed approach. The strings, while technically competent, deliver their lines with a lack of dynamic shading that robs the music of its inherent vitality. This is particularly evident in the B section where the urgency of the text is muted by an unyielding mezzo-forte dynamic, creating a sense of stasis rather than the intended emotional swell. Such choices seem to echo the tradition of Karl Richter, whose performances, while polished, often veered towards monumentalism at the expense of nuance. The choral forces, numbering around 80, are robust and well-drilled, yet they lack the agility and expressiveness expected in this repertoire, often defaulting to a uniform sound that diminishes the dramatic contrasts integral to the work.
The soloists present a mixed bag of interpretations. Claes Hakon Ahnsjö’s Evangelist delivers a straightforward declamation that, while clear, fails to capture the emotional depth of the narrative. His sound, reminiscent of earlier oratorio singers, lacks the expressive range found in the interpretations of contemporaries such as Peter Schreier or Ernst Haefliger. In contrast, Margaret Marshall’s soprano solos shine with an expressive depth, particularly in “Blute nur”, where her phrasing and portamento convey a sense of pleading urgency that stands in stark relief to the more rigid orchestral backdrop. Hermann Prey’s Christus offers a steady and noble presence, but his physical demeanor—holding an unopened score—creates a dissonance between the musicality and the visual performance.
The engineering of this recording also merits scrutiny. Captured in a Bavarian church, the acoustic environment should enhance the spatial dynamics inherent in Bach’s score. However, the video direction, lacking a coherent visual narrative, often fails to align with the musical cues. The camera work is distractingly jerky and repetitive, detracting from the immersive experience of the performance. The spatial arrangement of the chorus and orchestra, while potentially dramatic, does not translate effectively in the recording, leading to a muddled blend of voices and instruments that obscures the clarity of the text and the intricate counterpoint.
Despite the performance’s shortcomings, Guttenberg’s conception of the work remains compelling. His adherence to a slower, more deliberate tempo allows for moments of reflection, particularly in the chorales, where the choir’s blend can evoke a poignant stillness. Yet, this approach, while occasionally yielding moments of beauty, ultimately feels too restrained, lacking the vibrancy that more dynamic interpretations, such as those by John Eliot Gardiner or Nikolaus Harnoncourt, bring to the score.
The integrity of Guttenberg’s vision, combined with standout performances by Marshall and the choral ensemble, suggests a performance that, while deeply flawed, holds moments of genuine artistry. This DVD serves as a testament to the divergent paths interpreters can take with Bach’s sacred works, provoking both admiration and critique in equal measure. A more favorable experience might await listeners through a CD release, where the nuances of the performance could be appreciated without the distractions of video interpretation.
