a r t i s t : Georg Gebel (Ludger Remy)
t i t l e : Johannes Passion
d a t e : 2003
l a b e l : CPO
c a t : CPO 999 894-2
s o u r c e : CDDA
g e n r e : Classical
r l s. d a t e : Apr/2010
t r a c k s : 56
b i t r a t e : VBRkbps
s i z e : 128,9 MB
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It doesnt happen that often that a totally unknown work turns
out to be a real treasure. But in my view that is exactly the
case here. The St John Passion by the German composer Georg
Gebel the Younger is a splendid work to listen to. It is also
a remarkable work from a historical point of view.
Georg Gebel was the son of Georg Gebel the Elder (1685 -
c1750), who was organist at St Christophori in Breslau (now
Wroclaw in Poland). He was responsible for the musical
education of his son. Later an anonymous biographer of Georg
Gebel the Younger (published by Marpurg in 1754) criticised
his educational methods. He seems to have pushed his son a
lot. At the age of 6, Georg junior had quite a reputation as
a player of harpsichord and organ and as composer.
His first important post was that of music director of the
court ensemble of Duke Karl Friedrich von Wⁿrttemberg-Oels in
Breslau. Although the orchestra wasn't very large, it
contained many virtuoso players. Gebel started to compose a
large number of works. Many of them have disappeared, a
process which already began during Gebel's lifetime, as
people who asked him for compositions never gave them back,
obviously holding these in high esteem. The effect has been
that Gebel and his works are almost completely forgotten in
our times.
The next important stage was Dresden, where in 1735 he became
the harpsichordist of the private ensemble of Count Heinrich
von Brhl, prime minister of the Prince Elector of Saxony and
King of Poland. Here again he was highly valued by his
colleagues, and he composed many works, not only instrumental
pieces for all kinds of instruments, but also vocal works.
In Dresden he married Maria Susanna Gebel, who had a great
influence on his life. She was from an artistic family: her
father was a copper engraver, and both her brother and aunt
were painters, like herself. His brother-in-law encouraged
Gebel to start painting himself, and he seems to have had a
considerable talent in that department as well.
In 1746 he moved to Rudolstadt, where he became concertmaster
in the orchestra of the Schwarzburg Residence. In 1750, he
succeeded Johann Graf as music director here. And again, his
music became favourite to both his employer and the
orchestra. In order to prove himself he started to compose
like mad. The enormous workload took its toll, mentally and
physically. All measures taken to cure him failed, and he
died on September 24, 1753.
The St John Passion recorded here is known to have been
performed in Rudolstadt in 1748. It consists of 6 Actus to be
performed as a kind of meditations during the evening
services held from Monday to Saturday during Holy Week. But
the first version probably dates from Gebels time in Dresden.
The remark in the manuscript at the end of Actus -
'Conclusion Before the Sermon' suggests that this version was
in two parts, the first of which to be performed before, the
second after the sermon. This is a practice we know from
Leipzig when Johann Sebastian Bach composed his Passions.
In more than one respect this Passion belongs to two worlds,
both textually and musically. On the one hand there are some
aspects which are old-fashioned, and are rooted in the world
of J.S. Bach. On the other hand there are traces of the ænewÆ
style which became fashionable from the 1730s onwards.
In a time when many composers turned to the libretto by
Barthold Heinrich Brockes, 'Der fr die Snde der Welt
gemarterte und sterbende Jesus', Gebel by choice or because
he was asked to do so composed a traditional oratorio
passion, in which the text of the Gospel St John, Chapters 18
and 19 is the backbone. Like Bach he added arias on free
texts the author of which is unknown yet and a number of
chorales.
Not only in structure there are similarities to Bachs
Passions. For example, the content and even the text of the
aria "Ja, ja, ich will mich auch bequemen, den Kelch von
Gottes Hand zu nehmen" reminds one of the aria in BachÆs St
Matthew Passion "Gerne will ich mich bequemen, Kreuz und
Becher anzunehmen". The opening choruses share the same
content: compare "Komm mit Jesu Seel und Sinn ... geh mit ihm
nach Salem hin!" (Come with him, heart and mind ... go with
him to Salem) with the opening chorus of Bachs St Matthew
Passion. And the closing chorus shows similarities with the
endings of both of Bachs Passions: "Now sleep at last, tired
limbs, after the agony endured! Here my cares and worries lie
down, this shall be my resting place ('meine Ruhstatt'). On
the third day my sun will return again".
In an attempt to make his work as dramatic as possible, the
arias are kept relatively short, mostly consisting of just
two lines of poetry. And the chorales are slight and simple.
Noticeable is the quotation from Isaiah (Ch 53, vs 3: "Er ist
um unser Missetat willen verwundet und um unser Snde willen
zerschlagen"), composed in motet-style, which starts the
fourt Actus. This is very uncommon in Passions of the 18th
century, which û in addition to the text of the Gospel only
contain poetry.
But in many ways the free poetic texts can be connected to
the German Enlightenment. In Bachs Passions the arias are a
direct reflection upon the events taking place and the
meaning of them for the congregation, personified by the
ædaughter of Zion (soli) and the faithful (chorus). This
reflects the orthodox Lutheran view on the function of the
Passion in the liturgy: the congregation should relive, as it
were, the passion of Christ, and that way be reminded once
again of its own sins and the necessity of Jesus suffering
and death. But here the majority of the arias take the events
as an opportunity to make general statements, like the aria
"Herz, willt du bei der Welt": "Heart, if you stand with the
world and its fire, then, faiths ardor and love will soon be
put out". This follows the moment when the evangelist tells
that Peter is standing with the servants and warming himself.
The literal meaning of the event is used in a metaphorical
way in the aria. Other arias address the world (of sins and
evil) ("Willt du mich, Welt, ergreifen oder binden"), mankind
("Mensch! Willt du dich so freventlich von deinem Jesu
trennen?") and the heathens ("Ihr Heiden sollt durch diesen
Heiland leben"). Instead of æreliving the passionÆ GebelÆs
Passion concentrates on drawing moral conclusions from the
events as told in the Gospel.
Musically Gebels Passion reflects two different styles as
well. The recitatives of the evangelist and the soliloquentes
are very expressive, realised first and foremost by the
distinctive use of harmonic means û a characteristic baroque
approach. Gebel is at his most expressive in the choruses,
the turbae. And here there are strong reminiscences of Johann
Sebastian Bach too. Gebel usually sets these choruses in
polyphonic style, just like Bach. Some turbae are especially
striking because of the expressive use of harmony û for
example "Were dieser nicht ein beletter". In his liner notes
Manfred Fechner rightly states that from a dramatic point of
view these choruses are not inferior to those of Bach.
At the same time Gebels Passion makes use of a æpost-baroqueÆ
musical language. This is reflected in particular by the role
of the instruments. Gebel uses them to enhance the dramatic
character of the story. Whereas most recitatives are
accompanied by basso continuo only (secco recitatives),
sometimes Gebel uses accompanied recitatives (with strings)
to underline very dramatic moments, for example when the
evangelist tells that Jesus is handed over, led away and is
crucified. In some turbae the strings are used to a strong
dramatic effect, like in the chorus "Nicht diesen, sondern
Barabam". And in the arias Gebel creates special effects by
asking instruments like the violins, but also the violone, to
play æpizzicatoÆ. In this respect the duet "Noch wird sich
ein Johannes finden" deserves to be mentioned: the cello gets
a solo role with violini pizzicati unisoni and violono
pizzicato. Surprising are the solo parts for the viola da
gamba and the theorbo in some arias, considering the fact
that these instruments were already getting out of fashion in
Gebels time.
The performance does this work full justice. Jan Kobow is
excellent in the role of the Evangelist, with very precise
articulation and diction, realising the most dramatic moments
very well. The passage already mentioned about the handing
over of Jesus to be crucified is deeply moving. The other
roles are also well sung. And the performance of the arias
very convincing, not only by the singers among which Dorothee
Mields and Klaus Mertens stand out - , but also by the
instrumentalists. The turbae are quite demanding, but the
choir masters them very well.
I have two reservations. First of all, although the choir
expresses the text in the chorales quite well, otherwise they
sing a little too much legato. The chorales should have been
a little more spoken than sung, with some stronger accents on
particular words. And the realisation of the recitatives is
open for debate as far as the tempo is concerned. I have the
feeling that generally they are somewhat slow. But it is
difficult to be outspoken on this as I havent seen the score.
Maybe the score gives reason to stretch some notes in the
recitatives the way it is done here, even though it sounds a
little unnatural to me. A bit more speed could have enhanced
the dramatic development of the Passion.
Like I said before, this work is very interesting from a
historical point of view. I hasten to add, though, that the
music is excellent. In fact, of all the Passions from
18th-century Germany I have heard over the years, this St
John Passion by Georg Gebel is one of the most interesting,
enthralling û both musically and spiritually û and
expressive. I rate it higher than the Passions of, for
instance, Telemann.
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CD1
01-Chorus_ Komm Mit Jesu Seel Unde Sinn [03:59]
02-Evang. Da Nun Jesus Solches Geredet Hatte [00:46]
03-Aria Willt Du Mich, Welt, Ergreifen Oder Binden [02:02]
04-Evang. Da Nun Judas Zu Sich Genommen Hatte [00:18]
05-Chorale Auf Uns Ist So Zornig Ihr Sinn [00:47]
06-Evang. _ Chorus _ Als Nun Jesus Wusste Alles [00:35]
07-Chorale Du Bist's, Den Gott Vom Ewigkeit [00:37]
08-Evang. _ Chorus Juda Aber, Der Ihn Verriet [01:59]
09-Aria Ja, Ja, Ich Will Mich Auch Bequemen [03:06]
10-Evang. Der Scharr Aber.. [01:06]
11-Chorale Eilet, Meine Fuesze, Eilet [00:46]
12-Evang. + Derselbe Junger War.. [00:56]
13-Chorale Ich Bin's, Ich Sollte Bueszen [00:54]
14-Evang. Es Stunden Aber Die Knechte [00:31]
15-Aria Herz, Wilt Du Bei Der Welt.... [02:32]
16-Evang. Chorus _ Aber Der Hohepriester Fraget Jesum [02:31]
17-Aria Mensch! Willt Du Dich So Freventlich.. [02:19]
18-Evanf. Spricht Des Hohenpriesters Knecht.. [00:32]
19-Chorale Ach, Was Soll Ich Suender Machen [00:48]
20-Evang. Chorus Da Fuhreten Sie Jesu [02:35]
21-Aria Ihr Heiden Sollt.. [03:11]
22-Evang. Jesu Da Ging Pilatus Wieder Ins Richthaus [02:33]
23-Aria Du Bist Die Wahrheit [04:16]
24-Evang. Chorus _ Sprichr Pilatus Zu Ihm [01:09]
25-Chorale Du Lasst Dir Bande Legen An. [00:34]
CD2
01-Chorus Er Ist Um Unser Missetat.. [04:10]
02-Evang. _ Pil;Atus _ Da Nahm Pilatus.. [02:03]
03-Aria Ach, Sehet Und Erschrecket! [02:31]
04-Evang. Da Ihn Die Hohenpriester.... [02:52]
05-Aria Die Weisheit Kennt Die Zeit Zu Reden [02:12]
06-Evang. Da Sprach Pilatus Zu Ihm [00:42]
07-Aria Was Dir, O Mensch Geschicht [03:08]
08-Jesus Chorus Darum, Der Mich Dir Uberantwortet Hat [01:34]
09-Chorale Endlich Wird Der Schlusz Gesprochen [00:52]
10-Evang. Es Aber War Der Ruesttag.. [02:00]
11-Chorale Herzliebster Jesu [00:42]
12-Evang. Sie Nahmen Aber Jesu.. [01:05]
13-Chorale Lob Sei Dir.. [00:50]
14-Evang. Pilatus Aber.. [00:29]
15-Aria Auch Dies Will Ich... [02:14]
16-Evang. Die Ubershcrift Lasen Auch Juden [01:14]
17-Aria Mein Jesu Herrscht! [03:12]
18-Evang. Die Kriegsknechte Aber... [02:54]
19-Aria Hier Hangt Die Unschuld.. [05:16]
20-Evang. Es Stunden Aber Bei Dem Kreuze.. [01:12]
21-Aria Noch Wird Sich Ein Johannes Finden [02:35]
22-Evang. Danach, Als Jesus Wusste.. [00:51]
23-Chorale O Dass Ich Konnte... [00:46]
24-Evang. Da Nun Jesu Den Essig.. [00:36]
25-Ariaq Gott Selbst Erbleicht [05:32]
26-Evang. Die Juden Aber.. [01:14]
27-Chorale O Grosze Lieb,.. [00:41]
28-Evang. Und Der Das Gesehen Hat, .. [00:55]
29-Aria Du Willst Dem Herrn,... [03:18]
30-Evang Darnach Bat Pilatum.. [01:43]
31-Chorus Schlaft Nun Endlich Matte Glieder. [02:00]
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