St Matthew Passion

[ardcarp]

It's not exactly seasonal, but The St Matthew Passion (recorded in Hereford Cathedral from this year's The Three Choirs Festival) featured on Radio 3 In Concert last Monday.

Details can be found under our Performance heading, but I thought I'd mention it here so that choral fans don't miss it.

Here's the concert:

http://www.bbc.co.uk/programmes/b069x6kp

[Simon Biazeck]

Nice to hear a countertenor who doesn't seem to be impersonating a woman - charmingly quirky! Some of his German vowels are a little twisted ('zwei' not bright enough for my taste) but it's very musical!

I love Matthew Brook's voice!

Everyone seems to be singing in equal temperament (not 'well tempered') whereas at least the band is striving for 1/6 comma meantone. Twas ever thus.

We know what J.S. Bach expected, at least for his keyboard works. http://www.hpschd.nu/index.html?nav/.../odonnell.html

I have the full article here. Extraordinary!

[Miles Coverdale]

Everyone seems to be singing in equal temperament (not 'well tempered') whereas at least the band is striving for 1/6 comma meantone. Twas ever thus.

That's hardly surprising, is it? That's what choral singers today are used to. If singers in Bach's day sang in Werckmeister 3 (or whatever), that's because it's what they were used to. Imagine what would happen if you said to the average cathedral chorister or lay clerk, 'Can we do this in sixth-comma meantone please?' (having rehearsed it for hours with an equal-tempered piano). I think the second word might well be 'off'.

[ardcarp]

I wasn't able to devote my attention to all three hours worth, but I've had it playing non-stop and dipped in and out. What a great experience for the choristers to sing with a professional band and such excellent soloists. The choir sounded so 'right' to me, and Mr Bowen was no sluggard with his tempi. I know for sure that temperament doesn't enter an Evangelist's head as he aims to float the high notes without apparent strain. He just sends up a silent prayer of thanks for A415.

[Bryn]

... We know what J.S. Bach expected, at least for his keyboard works. http://www.hpschd.nu/index.html?nav/.../odonnell.html

Well, we might 'know' what Bach expected for Book 1 of the WTK, but the problem of keyboard temperament was very much in a state of flux during Bach's lifetime. The squiggles are only found in association with Book 1, not the rather later Book 2. So unless O'Donnell offers evidence that Bach continued to support the tuning system said to be alluded to in the Book 1 squiggles, surely the matter is still very much open to question?

[Simon Biazeck]

That's hardly surprising, is it? That's what choral singers today are used to. If singers in Bach's day sang in Werckmeister 3 (or whatever), that's because it's what they were used to. Imagine what would happen if you said to the average cathedral chorister or lay clerk, 'Can we do this in sixth-comma meantone please?' (having rehearsed it for hours with an equal-tempered piano). I think the second word might well be 'off'.

Charming as ever. Yes, I am sure that's what you'd say too. Wind your neck back in.

[Simon Biazeck]

Well, we might 'know' what Bach expected for Book 1 of the WTK, but the problem of keyboard temperament was very much in a state of flux during Bach's lifetime. The squiggles are only found in association with Book 1, not the rather later Book 2. So unless O'Donnell offers evidence that Bach continued to support the tuning system said to be alluded to in the Book 1 squiggles, surely the matter is still very much open to question?

Perhaps download the full article and find out for yourself; settle the argument in your own time.

[vinteuil]

... I still remain pretty convinced by the Early Music article demonstrating the statistical sense of Werckmeister III from an analysis of the WTC. My copy of said Early Music is in the loft and not easily available, otherwise I wd have provided details... I think it was John Barnes in 1979?

[Miles Coverdale]

Charming as ever. Yes, I am sure that's what you'd say too. Wind your neck back in.

Now who's being charming? I didn't say anything directed at you personally.

[Roger Judd]

I haven't listened to the broadcast because I was present at the performance. I wonder whether the remarkable James Oxley came across on the radio as he did to the Cathedral audience. Singing without score and engaging with the other soloists, chorus, orchestra and audience in a totally spell-binding way - we were all in the story with him.
RJ