musica Dei donum
Concert reviews
Bach (JS): St John Passion (BWV 245), reconstruction of the first version, 1724
Capella Figuralis/Jos van Veldhoven
concert: Utrecht, March 19,2001
In March 2001 the Capella Figuralis - the soloists' ensemble of the
Netherlands Bach Society - gave a series of performances of a reconstruction
of the very first version of Bach's St John Passion.
There are four versions of this work, which make it impossible to
define what the 'definitive' version is. We only know all the material
of the versions of 1725 and 1749. In 1728 or 1732 Bach was working at
a new version - the third - in which he removed some parts, but it
isn't known what he used as replacement. The first version of 1724 is
basically the same as that of 1749, although Bach made a number of
changes. Those were ignored in the performance by the Capella
Figuralis.
There are a number of differences in comparison with the versions
which are usually performed and recorded. Some of the recitatives and
arias are more simple. The main difference is the instrumentation. The
reconstruction was made by the musicologist Pieter Dirksen, who has
outlined the main characteristics of this version and the reasons
behind it.
In this reconstruction there are no flutes. Dirksen believes that Bach
originally didn't intend to use flutes and that they were only added
at the last moment. In his first year as Kantor in Leipzig Bach didn't
have flute players at his disposal and the cantatas from this period
don't have them as well. They are dominated by the sound of the oboes,
and when the SJP is performed without flutes, the oboes get a more
prominent role, which is in line with Bach's cantatas from the early
years in Leipzig.
Besides, the flutes don't play such an important role in the SJP in
comparison with the SMP: they mainly play 'colla parte' with the oboes
(opening chorus) or the violins (some of the 'turbae') or the choral
tenor an octave higher. The arias in which the flutes are involved are
both written in keys which make them difficult to play on the baroque
flute. Bach usually composed his flute parts in D or G major, in
contrast to "Ich folge dir" (in B flat major) and "Zerfliesse mein
Herze" (in f minor).
Dirksen believes the first of the two is a 'violin aria': Bach would
hardly compose a major vocal work without an aria with violin solo.
The character of the instrumental solo part (p.e. the articulation) is
very 'violinistic'. The upper instrumental part of "Zerfliesse, mein
Herze" was meant to be played by the oboe. The key is much better
playable on oboe than on the flute, and the range of the part is much
more limited than necessary for the flute.
As far as the performance is concerned, it was a very small ensemble
which sung and played this version: 8 singers (SATB), divided in two
groups (right and left), with the Evangelist in the centre. Behind him
the continuo instruments: cello, viola da gamba, double bass, lute,
harpsichord and organ. On the right: 2 oboes, on the left: 2 violins
(two of them also played the viole d'amore) and viola. In some choral
movements only one of the groups was singing. For example in the
opening chorus: Both sang the A section, the first lines of the B
section ("Zeig uns durch deine Passion" - "Auch in der grössten
Niedrigkeit") were sung by one of the groups, then the last line of the
B section ("Verherrlicht worden bist") and the da capo of the A section
were performed by both 'choirs'.
A performance of this kind has to have a special effect, quite
different from the usual performances. But in the performance I
attended this effect was a little undermined by the fact that the
venue (the large auditorium of Muziekcentrum Vredenburg in Utrecht)
was too large for an ensemble of this size. What is needed is not too
large a church with a very good acoustics. I am sure that under such
circumstances a small ensemble can have the same dramatic effect as a
larger one.
Some singers were reasonably satisfying, for instance the Evangelist
Achim Kleinlein and the singer of the part of Jesus, Arnout Lems. The
tenor Robert Morvai has a very nice voice, but was a little short in
expression in the solos in Part 2. The aria "Es ist vollbracht" was
very moving. Funny how everyone is talking about the famous altos of
this world, like Andreas Scholl, and lesser famous singers are easily
overlooked. The performance of this aria by Peter de Groot was as good
- or even better - as any I have heard from his more illustrious
colleagues. The sopranos Maria Rosenmöller and Irmela Brünger were
both very good as well.
So, is this version convincing? In my opinion: definitely yes. I am
totally convinced about the instrumentation without flutes. The solo
part in "Ich folge dir gleichfalls" does sound very idiomatic on the
violin. The scoring of "Zerfliesse, mein Herze" with oboe and oboe da
caccia made a very strong impression as well. In my view this version
can stand alongside the better known later versions.
Johan van Veen (© 2001)