Norwegian Soloists Choir Grete Pedersen Ensemble Allegria Bent Sørensen: St. Matthew Passion

December is a time of anticipation. We wait and we hope – veni, come! The songs on this album encompass many nuances and moods – from joy and jubilant celebration to deep melancholy and longing. They move between folk tunes, English carols and traditional Christmas songs from different times and parts of the world, between Bach and Ives, Bulgaria and Norway.

This disc is a delight - and produced with typical BIS thoroughness. Det Norske Solistkor (The Norwegian Soloists’ Choir) has been in existence since 1950, and Grete Pedersen is only its second director, having assumed that position in 1990. The 26 singers are all professionals, and they sound it. The solo and ensemble work heard on this disc is exemplary.

“the wind blows” is the title of this album with choral music by the rather unique Norwegian composer Alfred Janson. We are talking contemporary music here, but not the gritty kind. Here beautiful melodies blend with modern means of expression; music that has its root in the Norwegian folk music treasure. The composer himself participates with his well-loved melodica and there are several instrumental soloists as well. This is a worthy continuation of the Norwegian Soloists’ Choir’s contribution to the recording of worthwhile music.

The Norwegian Soloists Choir and Grete Pedersen have made acclaimed recordings of music spanning a millennium from chants by Hildegard of Bingen (1098 1179) to the most recent compositions and in styles ranging from folk songs to Bach motets and Berios Coro.

Bach's motets are surrounded by much uncertainty. To begin with, we do not know how many he actually composed, as some have been lost while others have been wrongly attributed to him. Although several of the motets were written for funerals, it is also uncertain if they were actually performed during church services: as a genre, the motet was established as early as the 13th century and by Bach's time it was considered to be old-fashioned and backward-looking.

Recording St. Matthew Passion with boys’ and young men’s voices is an exceptionally intensive experience. Singing from memory and seeing Jesus’ suffering from the trusting perspective of children leads you to a different conclusion than it would with adult singers.

It has haunted René Jacobs since childhood: first as a boy soprano in Ghent, then as a countertenor, he has constantly frequented the supreme masterpiece that is the 'St Matthew Passion'. Jacobs uses the layout of the Good Friday Vesper service from Bach's time, with choirs front and back, rather than side-by-side. He also gives us extra soloists to complete the bi-choral effect. For Bach, the two halves were 28 metres apart. At that distance, coordination difficulties begin to appear between the speed of light, and the speed of sound, and we cannot determine how Bach dealt with this problem.

A new live recording of Bach’s St Matthew Passion (Matthäuspassion BWV 244), recorded in Pisa Cathedral during the Anima Mundi Festival as part of the Monteverdi Choir and Orchestra’s 2016 tour.

Masaaki Suzuki and his Bach Collegium Japan made their first recording of the St Matthew Passion in March 1999. Twenty years later, in April 2019, it was time once again, as the singers and players gathered in the concert hall of the Saitama Arts Theater in Japan. ‘A profound joy’ is how Masaaki Suzuki describes his emotion at the opportunity to record Bach’s great fresco of Christ’s Passion for a second time.

Recorded before Sir Stephen Cleobury’s untimely passing in November 2019, King’s College presents a new account of one of the greatest masterpieces in sacred music, Bach’s St Matthew Passion. For this recording Cleobury led the King’s Choir and the Academy of Ancient Music alongside some of the most outstanding British singers performing today, headed by one of the finest Evangelists of our time, James Gilchrist. The album is accompanied by a booklet with over 60 pages of texts and photographs, including a full translation by Michael Marissen and a specially-commissioned essay by John Butt.