It's hard to listen to, think about, understand the (Baroque)
passion without reference to the two extant examples by Bach.
But we must: the Luke Passion by Schütz (1585 - 1672, from the
generation before Bach, and completed less than 20 years before
Bach's birth) is very different from the latter's St Matthew
(BWV 244) and St John (BWV 245) Passions. To appreciate
Schütz's conception of the form we really need to set aside all
preconceptions about the sound of such music. After all, it was
an established 'genre' long before Bach.Though we must remember
the liturgical and musical purposes of the genre: the practice
of narrating the events immediately before the crucifixion of
Christ dates from at least the fourth century CE. It was a thousand
more years before essentially 'through-composed' passions became
a popular way of treating the story. Schütz' Luke Passion is in
this - also known as the motet passion - tradition.
Writing for the Dresden
court at the time, Schütz's Luke Passion respects the practice
there of silencing instruments during Holy Week. That may be the
first surprise on listening to this CD… no instruments. Just two
soloists and the dozen-strong Ars
Nova Copenhagen choir, half of whom also take minor solo roles
- Poul Emborg (tenor) the Petrus for example.The Evangelist is
persuasively sung by Johann Linderoth (tenor) in a kind of chant
close to the rhythms and intonations of speech. Unlike Bach's,
this Passion tightly focuses all our attention on the story rather
than on embellished reflection. There is commentary in the Schütz
work; but it's much more limited: very short ensembles at the
start and end. The rest is all from the Gospel itself.This has
the effect not so much of neutralising the impact as might be
expected; but of heightening it. When Pilate finally utters in
response to the goading: "Ich finde keine Ursache an diesem
Menschen" (I can find no fault with this man), it has tremendous
effect. Nor is this due to our knowing how well Schütz did write
richer textures… his Sieben Worte unsers lieben Erlösers
(SWV 478) is in the very same vein, for example. It's because
the tension has been built up from the opening of the work by
carefully-articulated, precisely-phrased and elegantly-formed
singing.Similarly, the fact that roles are assigned to performers,
who sing them in character, confers drama on our experience.
It's nothing like Bach, though; while associating character with
singer, there is little interaction as such. Schütz also uses
distinctions of tessitura and dominant reciting note to indicate
character.
To
overlay further focus on the unfolding of the story, Hillier and
his soloists have insisted on heightened attention to every syllable.
One can imagine the impact of the Luke Passion as akin
to a barely-furnished stage with single spotlights on a minimum
of plainly-dressed singers, grouped together - as opposed to a
relaxed string quartet, fully lit and spreading to occupy an indeterminate
space.This also has the effect of throwing those few brief moments
when the presence of others (the disciples, the crowd) is heard
into even greater relief: for a moment there is a change in atmosphere.
A brief interjection reminds us of the import of the rest of the
narrative. As a result there is rarely a moment to relax. Everyone
is concentrating fully on the events. Hillier and his performers
have achieved - and maintain - this hothouse atmosphere extremely
well.However familiar Schütz' contemporary audiences - or we -
may be with the story, the development and pressure never let
up. Emotion comes from within, and does not need to be imposed
by otherwise unnecessary singing style. Not that Linderoth
or Jacob Bloch Jespersen (bass baritone, Jesus), are in any way
flat or lacklustre. Their rounded and persistently-pointed articulation
and attachment to such restricted melody is necessary. They are
more than up to the attention which their every syllable, sound
and sentence draw. In other words, they really make (and not break)
this performance and recording.
Lasting
well under an hour, this CD is nicely presented with a useful
introductory essay and the text in German and English. The acoustic
is immediate, vibrant and appropriately resonant. So set aside
preconceptions and listen to Schütz' direct, honest, calm and
altogether tidily persuasive Passion.
Mark
Sealey
