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A fascinating step back in time, this--a live performance in Symphony Hall, Boston on Good Friday 1937 with several refugees from Nazi Germany among the performers. Never mind the at times variable sound (generally it is more than acceptable), the RCA engineers performed miracles during a nerve-jangling, one-chance-only exercise. You would expect a more obviously "reverential" performance than today's practice, but while speeds are indeed at times achingly slow, and what we would hear as sentimentality does show through (how Jeannette Freeland scoops and swoops), there are fascinating glimpses of "modern" Bach style. For example, the choruses (as opposed to chorales, which crawl along) have plenty of bite and dramatic character; those that open and close the work have a surprisingly natural flow. Credit to the legendary Koussevitsky--most obviously associated with the contemporary music of his day--for apparently thinking plenty out afresh. And original instruments (praise be!) have a place, not least a harpsichord to accompany recitatives. John Priebe is strangely slow to warm up as the Evangelist but gets there in the end. Kathryn Meisle impresses, but the star performer is British baritone Keith Falkner as Jesus. Rock-like sound allied to intelligence and personality. --Andrew Green
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