J. S. Bach: Matthäus-Passion, BWV 244 Raphaël Pichon, Pygmalion, Julian Prégardien, Stéphane Degout, Sabine Devieilhe, Lucile Richardot, Christian Immler & Reinoud van Mechelen

• Johann Sebastian Bach (1685 - 1750): Matthäus-Passion, BWV 244, Prima parte:
• 1 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.1. Chorus I & II "Kommt, ihr Töchter, helft mir klagen" 07:03
• 2 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.2. Da Jesus diese Rede vollendet hatte (Evangelista, Jesus) 00:37
• 3 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.3. Choral "Herzliebster Jesu, was hast du verbrochen" 00:44
• 4 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.4. Da versammleten sich die Hohenpriester (Evangelista) 03:03
• 5 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.5. Recitativo "Du lieber Heiland du" 00:58
• 6 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.6. Aria "Buß und Reu" 03:45
• 7 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.7. Da ging hin der Zwölfen einer (Evangelista, Judas) 00:37
• 8 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.8. Aria "Blute nur, du liebes Herz" 03:58
• 9 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.9. Aber am ersten Tag der süßen Brot (Evangelista) 02:11
• 10 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.10. Choral "Ich bin's, ich sollte büßen" 00:49
• 11 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.11. Er antwortete und sprach (Evangelista, Jesus, Judas) 03:01
• 12 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.12. Recitativo "Wiewohl mein Herz in Tränen schwimmt" 01:11
• 13 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.13. Aria "Ich will dir mein Herze schenken" 03:02
• 14 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.14. Und da sie den Lobgesang gesprochen hatten (Evangelista, Jesus) 00:58
• 15 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.15. Choral "Erkenne mich, mein Hüter" 01:11
• 16 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.16. Petrus aber antwortete (Evangelista, Petrus, Jesus) 00:56
• 17 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.17. Choral "Ich will hier bei dir stehen" 01:10
• 18 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.18. Da kam Jesus mit ihnen zu einem Hofe (Evangelista, Jesus) 01:45
• 19 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.19. Recitativo a doi Cori "O Schmerz! hier zittert das gequälte Herz" 01:48
• 20 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.20. Aria a doi Cori "Ich will bei meinem Jesu wachen" 04:26
• 21 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.21. Und ging hin ein wenig (Evangelista, Jesus) 00:39
• 22 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.22. Recitativo "Der Heiland fällt vor seinem Vater nieder" 00:49
• 23 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.23. Aria "Gerne will ich mich bequemen" 04:31
• 24 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.24. Und er kam zu seinen Jüngern (Evangelista, Jesus) 01:12
• 25 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.25. Choral "Was mein Gott will, das g'scheh' allzeit" 01:07
• 26 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.26. Und er kam und fand sie aber schlafend (Evangelista, Jesus, Judas) 02:28
• 27 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.27. Aria a doi Cori "So ist mein Jesus nun gefangen" 03:53
• 28 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.28. Und siehe, einer aus denen (Evangelista, Jesus) 02:12
• 29 Bach: Matthäus-Passion, BWV 244, Prima parte: Nr.29. Choral " O Mensch, bewein' dein Sünde groß" 05:31
• Matthäus-Passion, BWV 244, Seconda parte:
• 30 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.30. Aria "Ach! nun ist mein Jesus hin" 03:53
• 31 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.31. Die aber Jesum gegriffen hatten (Evangelista) 01:07
• 32 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.32. Choral "Mir hat die Welt trüglich gericht' " 00:50
• 33 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.33. Und wiewohl viel falsche Zeugen herzutraten (Evangelista, Testis I & II, Pontifex) 01:15
• 34 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.34. Recitativo "Mein Jesus schweigt zu falschen Lügen stille" 01:12
• 35 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.35. Aria "Geduld, Geduld!" 03:18
• 36 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.36. Und der Hohepriester antwortete (Evangelista, Pontifex, Jesus) 01:54
• 37 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.37. Choral "Wer hat dich so geschlagen" 00:52
• 38 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.38. Petrus aber saß draußen im Palast (Evangelista, Ancilla I & II, Petrus) 02:29
• 39 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.39. Aria "Erbarme dich" 06:18
• 40 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.40. Choral "Bin ich gleich von dir gewichen" 01:32
• 41 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.41. Des Morgens aber hielten alle Hohenpriester (Evangelista, Judas) 01:40
• 42 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.42. Aria "Gebt mir meinen Jesum wieder" 02:47
• 43 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.43. Sie hielten aber einen Rat (Evangelista, Pilatus, Jesus) 02:23
• 44 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.44. Choral "Befiehl du deine Wege" 01:14
• 45 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.45. Auf das Fest aber hatte der Landpfleger (Evangelista, Pilatus, Uxor Pilatus, Chorus I & II) 02:24
• 46 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.46. Choral "Wie wunderbarlich ist doch diese Strafe" 00:43
• 47 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.47. Der Landpfleger sagte (Evangelista, Pilatus) 00:23
• 48 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.48. Recitativo "Er hat uns allen wohlgetan" 01:05
• 49 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.49. Aria "Aus Liebe will mein Heiland sterben" 04:54
• 50 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.50. Sie schrieen aber noch mehr (Evangelista) 01:50
• 51 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.51. Recitativo "Erbarm es Gott" 00:52
• 52 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.52. Aria "Können Tränen meiner Wangen" 06:30
• 53 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.53. Da nahmen die Kriegsknechte (Evangelista) 01:11
• 54 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.54. Choral "O Haupt voll Blut und Wunden" 02:12
• 55 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.55. Und da sie ihn verspottet hatten (Evangelista) 01:17
• 56 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.56. Recitativo "Ja! freilich will in uns das Fleisch und Blut" 00:41
• 57 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.57. Aria "Komm, süßes Kreuz" 05:37
• 58 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.58. Und da sie an die Stätte kamen (Evangelista) 03:29
• 59 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.59. Recitativo "Ach, Golgatha, unsel'ges Golgatha" 01:23
• 60 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.60. Aria "Sehet, Jesus hat die Hand" 03:00
• 61 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.61. Und von der sechsten Stunde (Evangelista, Jesus) 02:13
• 62 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.62. Choral "Wenn ich einmal soll scheiden" 01:36
• 63 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.63. Und siehe da, der Vorhang im Tempel zerriß (Evangelista) 03:11
• 64 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.64. Recitativo "Am Abend da es kühle war" 01:52
• 65 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.65. Aria "Mache dich, mein Herze, rein" 05:24
• 66 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.66. Und Joseph nahm den Leib (Evangelista) 02:57
• 67 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.67. Recitativo "Nun ist der Herr zur Ruh gebracht" 01:54
• 68 Bach: Matthäus-Passion, BWV 244, Seconda parte: Nr.68. Chorus I & II "Wir setzen uns mit Tränen nieder" 05:54
• Total Runtime 02:40:51

Info for J. S. Bach: Matthäus-Passion, BWV 244

Bach and Pymalion: history of a passion; and the exploration of inner drama associated with the brilliant cantor, as well as the constant refinement of the art of singing. A milestone in this 15-year relationship is the new recording of the St. Matthew Passion with Raphael Pichon at the helm of an extraordinary ensemble of singers and musicians, convincing in the precision and seriousness of the accomplished work. This reading is about a tragedy at once intimate and theatrical, human and metaphysical, in five acts.

The St. Matthew Passion, BWV 244, is an oratorio Passion by Johann Sebastian Bach. The account of the suffering and death of Jesus Christ according to the Gospel according to Matthew forms the backbone. It is supplemented by interspersed Passion chorales and uplifting poems by Picander in free choruses and arias. The St. Matthew Passion and the St. John Passion are the only two completely preserved authentic Passion works by Bach. With over 150 minutes of performance time and a cast of soloists, two choirs, and two orchestras, the St. Matthew Passion is Bach's most extensive and scored work and represents a high point of Protestant church music. The first performance took place on April 11, 1727 in the Thomaskirche in Leipzig. After Bach's death, the work fell into oblivion. Its revival in a shortened version under Felix Mendelssohn Bartholdy in 1829 ushered in the Bach Renaissance.

This concert pays tribute to the victims of the Brussels terrorist attacks of March 22, 2016, with Raphaël Pichon conducting Bach's St. Matthew Passion, one of the most iconic and monumental works of the Western sacred repertoire at the Chapelle Royale du Château de Versailles. This event features Julian Prégardien, Stéphane Degout, Sabine Devieilhe and the Ensemble Pygmalion.

Bach's St. Matthew Passion is a monumental musical work: two choirs, two orchestras, four soloists, and a narrator who embodies Matthew the Evangelist. But beyond the extraordinary mass sonority, it is the dramatic tension of the Passion's narrative that holds the audience throughout this three-hour oratorio.

The St. Matthew Passion explores the full spectrum of human passions and seems to sublimate them in archetypal musical expression, as evidenced by the aria "Erbarme dich." Probably the most famous aria in the entire score, "Erbarme dich" admirably expresses the remorse and sorrow of Peter, the apostle, as he recalled the word of Jesus, who had said to him, "Before the cock crows, you will deny me three times.' So he went out and wept bitterly "(Matthew 26:75). The melodic lines of the duet, composed by the violin and the soloist, interpreted Peter's sudden forgiveness and finally his hope for salvation.

Julian Prégardien, tenor (Evangéliste) Stéphane Degout, baritone (Jesus & bass I) Christian Immler, baritone (Pilate & bass II) Sabine Devieilhe, soprano (soprano I) Reinoud van Mechelen, tenor (soprano II) Lucile Richardot, mezzo-soprano (alto II) Hana Blazikova, soprano Tim Mead, counter-tenor Maitrise de Radio France Pygmalion Raphaël Pichon, conductor

Pygmalion
Founded by Raphaël Pichon in 2006, Pygmalion is the product of the union between a choir and a period-instrument orchestra. Its repertory is nurtured by the filiations that link Bach to Mendelssohn, Schütz to Brahms, and Rameau to Gluck and Berlioz.

Pygmalion is in residence at the Opéra National de Bordeaux and appears regularly at the leading venues in France (Philharmonie de Paris, Opéra Royal de Versailles, Aix-en-Provence, Beaune, Toulouse, Saint-Denis, La Chaise-Dieu, Royaumont, Nancy) and internationally (Cologne, Frankfurt, Amsterdam, London, Beijing, Hong Kong, Shenzhen, Barcelona, Brussels).

Among its recent projects to have earned public and critical attention are J. S. Bach’s Köthener Trauermusik and Passions, the late versions of Rameau’s tragédies lyriques, Mozart’s C minor Mass and a programme of his music for the Weber sisters, Stravaganza d’Amore (the birth of opera at the court of the Medici), Mendelssohn’s Elias, and a choral trilogy devoted to the canon from the Romantic era to the twentieth century. Pygmalion works with stage directors such as Katie Mitchell, Michel Fau and Jetske Mijnssen, who have brought an innovative approach to works including the Bach cantatas (Trauernacht), Rameau’s Dardanus and Luigi Rossi’s Orfeo.

After releasing the complete Missae breves of Bach and a version of Dardanus for Alpha, Pygmalion has recorded for harmonia mundi since 2014, a collaboration that has so far produced Bach’s Köthener Trauermusik, Rameau’s Castor et Pollux, Rheinmädchen, a new version of Dardanus, Rossi’s Orfeo (both on DVD), and the present release, Stravaganza d’Amore. Also released recently was Mozart and the Weber Sisters with Sabine Devieilhe (Erato).

The ensemble’s discography has received prizes in France and abroad, including a Gramophone Award 2016, CD des Monats (Opernwelt), Diapason d’Or de l’Année, Choc de Classica, ffff de Télérama, a Victoire de la Musique 2015, an Edison Klassiek Award 2016, a Grand Prix de l’Académie Charles Cros for 2016, and Best Classical Recording 2016 on Forbes.

Pygmalion is in residence at the Opéra National de Bordeaux. It receives aid from the Direction régionale des affaires culturelles de Nouvelle-Aquitaine and the Ville de Bordeaux. Pygmalion is Associate Ensemble at the Opéra Comique (2017-19), and receives support from EREN Groupe, the Fondation Bettencourt Schueller, Mécénat Musical Société Générale, and the Région Île-de-France. Pygmalion is in residence at the Fondation Singer-Polignac.

‘Pygmalion, which celebrates its tenth anniversary in 2016, has already lived up to its early promise.’ Le Monde

Raphaël Pichon
began his musical training at the Maîtrise des Petits Chanteurs de Versailles and went on to study singing, the violin and the piano at the Conservatoire à Rayonnement Régional and Conservatoire National Supérieur de Musique de Paris. As a young countertenor he sang under the direction of Jordi Savall, Gustav Leonhardt, Ton Koopman, and Geoffroy Jourdain with whom he performed contemporary works.

In 2006 he founded Pygmalion, a choir and a period-instrument orchestra. The repertory of Pygmalion is nurtured by the filiations that link Bach to Mendelssohn, Schütz to Brahms, and Rameau to Gluck and Berlioz. Along with this group – now an associate ensemble at the Opéra de Bordeaux – he is invited to appear at leading festivals, where he has attracted attention with his interpretations of the sacred music of Bach and the tragédies lyriques of Rameau.

Among the most relevant projects of these last years, we can focus on his debut at the festival d’Aix-en-Provence with Trauernacht a creation based on Bach’s music in a Katie Mitchell’s original staging (2014), the rediscovery of the Luigi Rossi’s Orfeo (Opéra national de Lorraine, Opéra de Versailles, 2016) or also on the ambitious spatialization in the Monteverdi’s Vespro della Beata Virgine acclaimed by the international press (Holland Festival, BBC Proms, Chapelle Royale de Versailles, Bachfest Leipzig, 2017).

Raphaël Pichon expanded his repertory since he has conducted some major works as Brahms’s Ein Deutsches Requiem, Mendelssohn’s Elias or also Stravinsky’s Noces. He received invitations from major international ensembles : the Holland Baroque Society, the Stavanger Symfoniorkester, les Violons du Roy, le Scottish Chamber Orchestra, l’Orchestre de Chambre de Lausanne, la Zurich Opera House, le DSO Berlin, etc.

After releasing the complete Missae breves of Bach and a version of Dardanus for Alpha, Raphaël Pichon has recorded for Harmonia Mundi since 2014, a collaboration that has so far produced Bach’s Köthener Trauermusik, Rameau’s Castor et Pollux, Rheinmädchen, a new version of Dardanus, Rossi’s Orfeo (both on DVD), Stravaganza d’Amore and a forthcoming release based on Rameau and Gluck’s music with the french baritone Stéphane Degout. Also released recently was Mozart and the Weber Sisters with Sabine Devieilhe (Erato). This discography has received prizes in France and abroad, including a Gramophone Award 2016, CD des Monats (Opernwelt), Diapason d’Or de l’Année, Choc de Classica, ffff de Télérama, a Victoire de la Musique 2015, an Edison Klassiek Award 2016, a Grand Prix de l’Académie Charles Cros for 2016, and Best Classical Recording 2016 on Forbes.

The 2017-2018 season starts with a new production based on Purcell’s aria at Paris’ Opéra Comique in September (Miranda, staged by Katie Mitchell), preceding a Bach 7 programs cycle at Philharmonie de Paris based on cantatas mixed with other performing arts and a series of concerts with Stéphane Degout (Rameau, Gluck). The season ends with two Mozart projects : his Requiem and some masonic works at Opéra Royal de Versailles and Simon McBurney’s production of The Magic Flute at Festival d’Aix-en-Provence.

Booklet for J. S. Bach: Matthäus-Passion, BWV 244