Asked about their preference for Bach’s Passion music, many prefer Bach’s Johannes Passion over his Matthäus because of its shorter, more powerful, and markedly dramatic nature. Upon reviewing the list of its recorded availability, one observes that many of these releases have indeed garnered brilliant accolades, making a considered choice almost impossible. However, in the realm of superior sound quality, the list gets markedly shorter, mainly covering the final, though never officially finalized, 1749 version, as recorded by the vast majority.

Over the years, Bach Scholars have done in-depth research on what some call the enigma of the St. John’s Passion. At least four versions have been created, but it is not clear how many times they have been performed. In 1724, after having been nominated as Cantor at the Church of St. Thomas in Leipzig, Bach had three months to compose his Johannes Passion for the forthcoming Good Friday service. Criticism by the City Lords and possibly further reflection on the gospel on which it is based led him to omit the ‘operatic’ Opening Chorus ‘Herr Unser Herscher’, and to make several other changes for a Second Version to be performed the following year. The surprising new Opening Chorus, ‘O Mensch bewein dein Sünde groß’, is the one Bach later used to conclude the Matthäus. Reading Paul Wollny’s illuminating liner notes sheds more light on what happened.

As some see it, Bach’s 1725 version is something of a rare pearl in an otherwise glossy glass necklace of multiple approaches to the same subject. Some notable releases are the lesser-known SACD by Quintone, a small yet enterprising Dutch label: Bach: Johannespassion - van der Meel, and a few CDs from Herreweghe, Jacobs, and, last but not least, MDG’s 1999 recording with Peter Neuman directing the Kölner Kammerchor, Collegium Cartusianum and soloists. At the time, an absolute novelty, highly welcomed by the press. It is this version that is now reissued by MDG in co-production with the Deutsche Welle, this time in Super Audio Surround, to mark Bach’s first performance 300 years ago.

Listening to it bolsters the view of those who prefer Saint John’s over Saint Matthew’s. This reading comes across as impressive as one can imagine. Not only because of Peter Neumann’s passionate interpretation, but also by the exemplary cast of choristers and soloists, and most notably, Markus Brutscher in the role of Evangelist. He is new to me. I have not heard the original release (CD still available at Amazon.com). Over the years, beginning with Peter Pears, many ‘evangelists’ have passed my ears; some good, some excellent, some sadly leaving me with a non-descript impression. As for Brutscher, with this release, he catapults himself instantly to the top of Church Music narrators with a razor-sharp and crystal-clear voice, covering all octaves within his grasp and at volumes from roaring loud to whispering soft with perfect recitation. Incredible.

But his star does not shine alone. What struck me as well is the captivating approach by all participants, clearly underlining the emotion of ‘the people’ as the narrative of disciple John evolves. Supported by the members of the small period orchestra united in the Collegium Cartusianum, the Kölner Kammerchor excels in that role. Although I have no particular preference for any of the soloists, I find the soprano Ruth Holton simply superb. More generally, the soloists sing as though they share the same overall fabric with the orchestra. Furthermore, and in apparent ‘contradiction’ with the gripping, almost immersive performance, Neumann creates at the same time an intimacy that befits the passion of a well-balanced drama of sacred intensity and human affection. It sounded as if something new and unexpected came my way.

MDG has gone all out to refurbish this reissue in a gloriously surround sound SACD. The secret, so I read in the booklet, is that the original recording was made using MDG’s 2x2x2 recording concept, developed by Werner Dabringhaus and Reimund Grimm, working together as an engineering team ever since they graduated from the renowned Hochschule für Musik, Detmold, Germany. In this three-dimensional version, there is a church-like resonance adding to a feeling of being in “the fantastic acoustics of the Bendorf-Sayn Abbey”.

I also take this release as a silent tribute to Reimund Grimm, who departed from this world in August 2020, leaving his lifelong companion, Werner Dabringhaus, to finish the job.

For all the reasons above, this is a version that is fully worth adding to how many other versions one might have. It will, in any case, be my 2025 Good Friday gift.

Blangy-le-Château, Normandy, France

Copyright © 2025 Adrian Quanjer and HRAudio.net

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