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CD One First Part

1. Kommt, ihr Töchter, helft mir klagen
2. Da Jesus diese Rede vollendet halte
3. Herzliebster Jesu, was hattest du verbrochen
4. Daversammelten sich die Hohenpriester
5. Du lieber Heiland du
6. Buss’ und Reu’
7. Da ging hin der Zwölfen einer
8. Blute nur, du liebes Herz!
9. Aber am ersten Tage der süssen Brote
10. Ich bin’s, ich sollt büssen
11. Er antwortete und sprach
12. Wiewohl mein Herz in Thränen schwimmt
13. Ich will dir mein Herz schenken
14. Und da sie den Lobesang gesprochen hatten
15. Erkenne mich, mein Hüter
16. Petrus aber antwortete und sprach zu ihm
17. Ich will dir mein Herz schenken
18. Da kam Jesusmit ihren zu einem Hofe
19. O Schmerz! Hier zittert das geguälte Herz
20. Ich will bei meinem Jesu wachen
21. Und ging hin ein wenig
22. Der Heiland fällt vor seinem Vater nieder
23. Gerne will ich mich bequemen
24. Und er kam zu seinen Jüngen
25. Was mein Gott will
26. Und er kam und fand sie aber schlafend

CD Two First Part

1. So ist mein Jesus nun gefangen
2. Und siehe, Einer aus denen
3. O Mensch, bewein’ dein Sünde gross Second Part (Start)
4. Ach! Nun ist mein Jesus hin!
5. Die aber Jesum gegriffen hatten
6. Mein Jesus schweigt zu falschen Lügen
7. Gueduld! Geduld! Wenn mich falsche Zungen stechen
8. Und der Hohenpriester antwortete
9. Wer hat dich so geschlagen
10. Petrus aber sass draussen im Palast
11. Erbame dich, mein Gott
12. Bin ich gleich von dir geweichen
13. Des Morgens aber hielten alle Hohepriester
14. Gebt mir meinem Jesum wieder!
15. Sie hielten aber einen Rath
16. Befiehl du deine Wege
17. Auf das Fest aber
18. Wie wunderbarlich ist doch die Strafe
19. Der Landpfleger sagte
20. Er hat uns allen wohlgethan
21. Aus Liebe will mein Heiland sterben
22. Sie schrieen aber noch mehr und sprachen
23. Erbarm es Gott!
24. Können Thränen meiiner Wangen nichts erlangen

CD Three Second Part

1. Da nahmen die Kriegsknechte
2. O Haupt voll Blut und Wunden
3. Und da sie ihn verspottet hatten
4. Ja Freilich will uns das Fleisch und Blut
5. Komm, süsses Kreuz
6. Und als sie an die Stätte kamen
7. Ach Golgotha, unsel’ges Golgotha!
8. Sehet, Jesus hat die Hand
9. Und von der sechsten Stunde
10. Wenn ich einmal soll schieden
11. Und siehe da, der Vorhang im Tempel zeriss
12. Am abend, da es kühle war
13. Mache dich, mein Herze, rein
14. Und Joseph nahm den Leib
15. Nun ist der Herr zu Ruh” gebracht
16. Wir setzen mit Thränen nieder

St Matthew Passion

Artist Bach

Format 3CD

Cat No M3CD302

Bar-Code 5060294543022

Availability: In stock

OR

It was on Good Friday 1729 that Bach directed the first performance of his oratorio, St. Matthew Passion in St. Thomas’s Church, Leipzig. He had been organist and director of music at this Lutheran church for five years. The Reformation had brought the German translation of the Bible to the fore in the worship of the church, and music was an essential element in drawing the faithful into the meaning of the scriptures.

On Good Friday, the text is the account of the suffering and death of Jesus Christ as set forth in St. Matthew’s Gospel. In 1729, Bach approached the task of setting it to music with the most ambitious scheme ever devised. The story is told in recitative form by a tenor representing the Evangelist. Other vocal soloists represent the main participants in the drama, with the voice of Jesus Himself always surrounded by a ‘halo’ of strings. Choruses illustrate and reflect on the action, with moments such as the crowd demanding Jesus’ crucifixion bringing forth some of Bach’ greatest choral writing. Chorales, based on familiar hymn tunes, allowed the faithful to participate in the drama. Bach’s St. Matthew Passion continues to rank as one of the supreme achievements of European music.



Irmgard Seefried (1919-1988) was one of the outstanding sopranos to emerge in central Europe at the end of World War 2. She made her operatic debut in Aachen in 1940 and began singing principal roles in 1942. The following year Seefried made her debut at the Vienna State Opera: she was to be a mainstay of the company until her retirement in 1976. She made guest appearances at  Milan, London,  and  New York but was most at home in Vienna. Equally successful in Mozart, Wagner and Richard Strauss, Seefried was equally distinguished on the concert platform in oratorio and in Lieder recitals, most notably at the Salzburg Festival.  

Kathleen Ferrier (1912-1953) was just reaching the pinnacle of her career when her life was cut short by cancer. Her outstanding contralto voice made an immediate and very personal impact on all those who heard her. Celebrated in oratorio, most notably Bach, Handel (Messiah) and Elgar (The Dream of Gerontius), she was taken up by the great conductor Bruno Walter, who accompanied her at a famous Edinburgh Festival recital and recorded Brahms, Mahler and Richard Strauss with her and the Vienna Philharmonic. She also collaborated with Benjamin  Britten. This broadcast from the Vienna Musikverein places her alongside a roll-call of stars from the Vienna Opera.

Walther Ludwig (1902-1981) had already established himself as a stylish lyric tenor in Berlin, especially in Bach and Mozart, when he made his Vienna opera debut in 1947, becoming a popular figure in the company for decades. After his retirement, he returned to Berlin to teach at the Hochschule für Musik.

Otto Edelmann (1917-2003), born in Vienna, was one of the best-loved members of the Vienna State Opera which he joined in 1947 and where he remained to give 430 performances. His roles ranged from Mozart to Wagner and he appeared at Bayreuth, Covent Garden and the Metropolitan Opera. It was the role of Baron Ochs in Strauss’s Der Rosenkavalier that he made particularly his own, with his native Viennese dialect and larger-than-life stage presence.

Paul Schoeffler (1897-1977) made his debut in Dresden in 1925, where he remained until 1938. Schoeffler then joined the Vienna State Opera, remaining a member of the Company until 1965. His international career flourished at Bayreuth, Salzburg, London and New York. Equally distinguished in bass-baritone roles in Mozart and Wagner, he also created roles in new operas by Richard Strauss and Gottfried von Einem. He settled in England in 1965.

Herbert von Karajan (1908-1989) was born in Salzburg on 5th April 1908. In 1934 he was appointed music director at Aachen and soon became one of the most important younger conductors in Germany. Four years later he joined the Berlin State Opera, where he worked until it was destroyed by bombing in 1944.

In 1946 the EMI producer Walter Legge signed Karajan to record with the Vienna Philharmonic Orchestra and his newly formed Philharmonia Orchestra in London. In 1955 Karajan succeeded Furtwängler as director of the Berlin Philharmonic Orchestra and from 1957 until 1964 he was artistic director of the Vienna State Opera. He was also closely associated with the Salzburg Festival and initiated the Salzburg Easter Festival. Karajan made many significant recordings for EMI before joining Deutsche Grammophon, where he remained for the rest of his life. He became the most powerful figure on the European classical music scene, dominant in Berlin, Vienna, Milan and Salzburg, and the world’s top-selling conductor on record. Herbert von Karajan died on 16th July 1989 aged 81 at his home in Anif, near Salzburg. A square in Salzburg bears his name.

Sleeve notes by John Kehoe

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