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Special offer. Bach, J S: St Matthew Passion, BWV244
Charles Daniels (Evangelist), Peter Harvey (Christus), Bethany Seymour, Helen Neeves (sopranos), Sally Bruce-Payne, Nancy Cole (altos), Joseph Cornwell, Julian Podger (tenors), Matthew Brook (basses)
Yorkshire Baroque Soloists, Peter Seymour
Special offer. Bach, J S: St Matthew Passion, BWV244
Charles Daniels (Evangelist), Peter Harvey (Christus), Bethany Seymour, Helen Neeves (sopranos), Sally Bruce-Payne, Nancy Cole (altos), Joseph Cornwell, Julian Podger (tenors), Matthew Brook (basses)
Yorkshire Baroque Soloists, Peter Seymour
Purchase product
significant readings that inspire further thinking about this greatest of all Passions.
About
Peter Seymour and the Yorkshire Baroque Soloists present a new edition of Bach’s first version of the Matthäus-Passion, probably first performed on Good Friday 1727 and one of the greatest works of JS Bach's prodigious output. Recorded at the National Centre for Early Music in York, the Yorkshire Baroque Soloists are joined by renowned soloists Charles Daniels and Peter Harvey.
Contents and tracklist
- Charles Daniels, Peter Harvey, Sally Bruce Payne, Joseph Cornwell, Helen Neeves, Bethany Seymour, Johnny Herford, Matthew Brook, Nancy Cole, Julian Podger, Bethan Thomas, Eleanor Thompson, Elissa Edwards
- Yorkshire Baroque Soloists
- Peter Seymour
Awards and reviews
July/August 2015
significant readings that inspire further thinking about this greatest of all Passions.
Early Music Review April 2015
a thoughtful, moderately paced account...The admirable Matthew Brook [is] a violone-like bass, utterly gripping in 'Gibt mir', and the clarity of Julian Podger's own splendid tenor line...[is] very well matched by Nancy Cole, a very promising young singer...a musical and coherent performance...some fine singing by many of the singers and lovely playing especially by the strings.
June 2015
Christus radiates compassionate authority...Seymour's pacing often has a comfortable feeling of 'rightness' and integrity. Chorales and turba choruses tend to be brisk and gutsy and the only noteworthy idiosyncrasy is the reduction to organ accompaniment in a few chorales, such as those at the heart of Part 2 (hardly a cardinal sin, so to speak).