Bach, St Matthew Passion

Usher Hall, 1/10/26

Scottish Chamber Orchestra, Maxim Emelyanychev conductor/harpsichord

SCO Chorus, Gregory Batsleer chorus director

Choristers of St Mary's Episcopal Cathedral, Duncan Ferguson Director of Music

Soloists: Nick Pritchard, Matthew Brook, Hilary Cronin, Tim Mead, Robert Murray, Roderick Williams

The first performance of Bach's St Matthew Passion in Leipzig's Nikolaikirche took place on Good Friday, 1727. In his fine 2022 novel 'The Great Passion' about the circumstances of the work's composition, James Runcie has a fictional Telemann compliment Bach after the first performance, “You have composed something I could never have composed in a thousand years. You broke so many rules! Interweaving the arias with chorales, taking the laments at a great speed, making even the most sombre sections dance.”  A 21st century interpretation, you may think. But it's fair to assume that Bach's ground-breaking genius in this work was recognised at the time – after all he was employed to update church music in the city.

This is the first time I have heard a full choral performance of this work live, having seen The Dunedin Consort's chamber version a number of times. This evening's concert reveals just what a great choral masterpiece this is – the chorus pivotal in the work's amalgamation of narrative, drama and reflection. The SCO Chorus under their director Gregory Batsleer sing with clarity and perfect diction, emphasising the importance of the words, and making the apparent simplicity of the chorales into expressions of both grief and joy.  They act as Jesus's antagonists in their cries to save Barabbas and to crucify him (the most furious outbursts of the night) and make further taunts when he's on the cross. But these are interrupted with the sympathetic two verse chorale, which asks, “by whose doing has the light of your eyes – like no other light – dimmed so shamefully?”  They excel too in the more musically complex fugal passages and in the multi-layered opening and closing choruses in Part I, which are augmented by the beautifully sung higher harmonies and descants from the fourteen St Mary's choristers.

The Chorus and the orchestra are divided into Choirs I and II and Orchestras I and II. Maxim Emelyanychev has an admirable talent for purposeful stage placings which, however apparently quirky, are always chosen to enhance the music. However I was disappointed by his placing of the main soloists, the Evangelist, tenor Nick Pritchard, and Jesus, bass Matthew Brook, behind the orchestra and in front of the chorus. I can see the logic: the Chorus, and the two main named singers deliver the drama and the narrative of the text (and the other character solos take place in this area too) while the other soloists sing their reflective recitatives and arias in front of the orchestra. It's an interesting idea but I don't think it works – the audience need to see and hear, as clearly as possible, the Evangelist and Jesus. And although Jesus only speaks three times in Part 2, it's important to see his bitter irony towards his accusers and his final cry on the cross.

Nevertheless Nick Pritchard delivers the long high tenor role with ease. He tells the story calmly and authoritatively, in a fluid, often pacey style. The minimal accompaniment on pipe organ means that we can focus on his words. Matthew Brook, in a role he's sung many times, constantly reminds us of his dual roles as obedient Son of God and suffering man: foreseeing the future in his initial comments to the apostles that he will be crucified in two days and pointing out that Judas will betray him, yet pleading with his father to “let this cup pass from him”, and showing human disappointment that his followers can't stay awake with him. He's accompanied by the strings of Orchestra I. He is a fine exponent of Bach's plain setting of the biblical translations and Picander's text.

The orchestra plays largely on authentic instruments, gut strings, plus variants on the oboe, as well as the harpsichord and a viola da gamba tucked in at the back. They make a magnificent sound together, but the division into two orchestras and the obbligato scoring for solos, mean that the audience focus is often on only a handful of players who create magically intimate performances in this large concert hall. The flautists and/or oboists in each orchestra, usually stand near the singer, while further back, basses, cellos and the viola da gamba, singly or in combination,  provide continuo with the chamber organ (effective performances throughout by Michael Bawtree and Tom Wilkinson – in Orchestras I and II respectively)  The most stunning solo accompaniments come from the Orchestras' leaders. Tim Mead sings his splendid 'Erbarme Dich' standing close to Stephanie Gonley, weaving an elaborate violin accompaniment, and  soon afterwards, Marcus Barcham Stevens (Orchestra II's leader) performs further mesmerising wonders with Roderick Williams spirited “Give me back my Jesus.”

Four soloists play smaller character roles as well as reflect on the action in recitatives and arias. It's always a pleasure to hear baritone Roderick Williams, although the lower notes for these bass arias (some of which are sung in small-scale performances by the bass singing Jesus) are challenging. His Pilate, delivered from the steps beside the orchestra, is a thoughtful characterisation, while his Lieder-like phrasing and storytelling bring empathy to his reading of the texts. The long recitative and surprisingly dance-like aria 'Mache dich' is as uplifting as ever. Soprano Hilary Cronin is a rising star in baroque music who has the thrilling vocal power to reach to the back of the Usher Hall. Her perfectly judged phrasing assist her emotional delivery of 'Bleed then you faithful Heart', and her voice blends nicely with Tim Mead's in the work's only duet. He is a countertenor, also with outstanding ability. I prefer to hear a mezzo in the other high voice part, as the text implies a female singer, but Tim Mead's beautifully secure countertenor, grew on me. His aria with choral responses which opens Part 2 'Where has my Jesus gone?' with its vivid imagery “My lamb is in the claws of a tiger” reveals his warm tone, also heard to perfection in 'Erbarme Dich'. Tenor Robert Murray has fewer arias but makes an impact with his recitative and aria 'My Jesus stays quiet', standing near the cello and organ with Maxim Emelyanychev playing the harpsichord– a lovely musical effect. Bass Alex White, a final year student at the RCS is an SCO Chorus member. He sings with clarity and conviction, from his place in the Chorus, the minor but significant roles of Judas, the High Priest and Peter.

After his description of the first performance of the Passion, James Runcie can't resist giving a town councillor the final comment. “Not bad”, he says, “far too long of course, but not bad at all.” Some would say a typically Scots compliment. But tonight's atypical Edinburgh audience show no such restraint. After 10 pm, well-deserved applause continues loud and long.

Photo credit: Christopher Bowen