Bach, J S: St Matthew Passion, BWV244
Robert Tear (Evangelist), John Shirley-Quirk (Christus), Felicity Lott, Neil Jenkins, Alfreda Hodgson & Stephen Roberts
Bach Choir, Sir David Willcocks
The most striking thing is its lightness of touch. Tempos are brisk and businesslike, the choral tone buoyant and the orchestral playing nimble and discreet...English language recitatives can...
Bach, J S: St Matthew Passion, BWV244
Robert Tear (Evangelist), John Shirley-Quirk (Christus), Felicity Lott, Neil Jenkins, Alfreda Hodgson & Stephen Roberts
Bach Choir, Sir David Willcocks
Purchase product
The most striking thing is its lightness of touch. Tempos are brisk and businesslike, the choral tone buoyant and the orchestral playing nimble and discreet...English language recitatives can...
About
Contents and tracklist
- Robert Tear (tenor), John Shirley-Quirk (baritone), Alfreda Hodgson (mezzo-soprano), Richard Adeney (flute), Richard Dobson (flute), Dame Felicity Lott (soprano), William Bennett (flute), Alexa Turpin (flute), Michael Dobson (oboedamore), Lorraine Wood (oboedamore), Hugh Davies (tenor), Neil Jenkins (tenor), Michael Dobson (oboe), Stephen Roberts (bass), John King (baritone), Michael Pierce (countertenor), Malcolm Arthur (countertenor), Richard Jackson (bass), Charles Tunnell (cello), Rebecca Moseley-Morgan (soprano), Catherine Rogers (mezzo-soprano), John Bacon (violin), Roger Garland (violin), Paul Hillier (bass), Michael Dobson (englishhorn), Lorraine Wood (englishhorn), Adam Skeaping (violadagamba)
- Bach Choir, Thames Chamber Orchestra
- Sir David Willcocks
- Recorded: 1978-09
- Recording Venue: Kingsway Hall, London
Awards and reviews
July 1994
The most striking thing is its lightness of touch. Tempos are brisk and businesslike, the choral tone buoyant and the orchestral playing nimble and discreet...English language recitatives can sound embarrassingly banal, but Robert Tear, all in all an excellent Evangelist, overcomes any potential pitfalls by the fluency of his delivery—clarity of diction is immaculate and the recitatives surge along with an overriding sense of purpose.
