Yesterday's opening concert of the 32nd Easter Festival of Sacred Music, held in the newly renovated Church of St. James, offered more than an hour of contemplation with the St. John Passion by the contemporary Estonian composer and this year's jubilarian, Arvo Pärt (*1935). The work was performed by the vocal ensemble Martinů Voices with artistic director Lukáš Vasilek, soloists Jiří Brückler, Ondřej Holub, Alena Hellerová, Jana Kuželová, Ondřej Benek and Martin Kalivoda, accompanied by a chamber ensemble: Daniela Valtová Kosinová (organ), Pavla Tesařová (violin), Lukáš Pospíšil (cello), Vladislav Borovka (oboe), Martin Petrák (bassoon).
Reconciliation - "is not only to be understood as a patient surrender, but also as a readiness and determination to accept and fulfil one's mission," says one of the festival's dramaturgs, Vladimír Maňas, describing the theme in the introduction to the programme brochure. As in previous years, the festival repertoire includes music from the Middle Ages to the present day and takes listeners on a tour through Brno's churches. This year, however, the audience will see a change in the Tenebrae, which have moved from the Jesuit church to Brno's three unique underground water reservoirs.
From the 20th and 21st centuries we know several versions of the Passion set to music, such as by Krzysztof Penderecki, James McMillan and, of course, Arvo Pärt. His St. John Passion, entitled Passio Domini nostri Jesu Christi secundum Joannem, is one of the composer's best known and most performed works. The composition, in which he uses his tintinnabuli method, is notable for its lack of drama, overflowing passions and frequent expositions. The contemplative nature of the work stems from the play with individual tones, harmonies, colours, as well as his work with reverberation, metre rhythm and above all silence. The Passion was commissioned by Bavarian Radio, and the work was completed and given its world première in 1982 at St. Luke's Church in Munich.
In conceptual terms, Pärt maintains the traditional division of roles, which he differentiates in the parts by voice: Jesus (bass), Pilate (tenor). The crowd scenes are naturally sung by the chorus. In Brno, the Martinů Voices ensemble did a great job with hidden tricky parts such as difficult intonation in close harmony and complicated and not always intuitive timing. The exception, however, lies in the grasp of the role of the narrator - the evangelist - which the composer has expanded it into a double quartet - four singers (soprano, alto, tenor, bass) and four instruments (violin, oboe, cello, bassoon). Each of the roles and each of the sections has a fixed musical material and form. Jiří Brückler's solo bass accompanied by the organ was rhythmically balanced, static, recitative and timbrally powerful. The ringing and penetrating tenor voice of Ondřej Holub as Pilate made for excellent contrast, to which the composer brought a brisker pace and greater harmonic variability. A solid structure can also be seen in the evangelist, where each section is started by one of the voices, gradually joined by others along with the instruments, until at some point all of them are playing and singing. The composer then opts for the opposite approach, returning from the tutti to the solo.
The four singers also gave a sovereign performance, free of mannerisms such as exaggerated wide vibrato, while the sensitive expression and vocal technique of Alena Hellerová and Ondřej Benek are particularly worthy of mention. The influence of the cold church setting could be heard in the instrumental ensemble, which sometimes interfered with the intonation. However, these were minor details balanced by the precision of the musicians, with oboist Vladislav Borovka putting on a particularly impressive show, coping excellently even with the tricky parts and high notes in the dynamically quieter parts of the piece. Lukáš Vasilík conducted the piece in the spirit of humility towards the work and the text itself, allowing the audience to be drawn into Pärt's unique and contemplative take on the Passion.
Programme:
Arvo Pärt - Passio Domini nostri Jesu Christi secundum Joannem
Martinů Voices with artistic director Lukáš Vasilek
Jiří Brückler – Jesus (bass)
Ondřej Holub – Pilate (tenor)
Alena Hellerová, Jana Kuželová, Ondřej Benek, Martin Kalivoda - evangelists
Daniela Valtová Kosinová - organ
Pavla Tesařová – violin
Lukáš Pospíšil - cello
Vladislav Borovka - oboe
Martin Petrák - bassoon
Sunday, 13 April 2025 at 8 p.m., Church of St. James, Brno
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