Musicians of our time, regardless of their chosen specialisations, seem to regard Bach as an inspirational guide, an adventurous trailblazer and an imposing intellectual force whose works bear strong expressiveness. This characteristic combo is rather unusual. The influence of Bach is seen in the daily routines of many musicians, who often start their day soaking in his compositions.
In 1722, Bach was 37 years old. This was when Johann Kuhnau passed away and the position of music director at Leipzig’s Lutheran Church, St. Thomas, opened up. An interesting historical fact is that Martin Luther had once preached at the same church back in 1539. Considering Bach’s stature in present times, one might have thought that he would have easily landed the position. Far from it, actually.
The job was first offered to Georg Philipp Telemann, four years Bach’s senior, and an extremely prolific musician whose fame surpassed that of any of his contemporaries. Telemann indulged in opera, church music and was a key player in organising public concerts, an emerging trend back then. Though he initially accepted the Leipzig offer, he backed out in favour of a more lucrative opportunity that allowed him to remain in Hamburg throughout his life.
The role was next given to Christoph Graupner, merely two years older than Bach and a pupil of Kuhnau. Graupner, who shared Telemann’s past association with Leipzig, also agreed to take the position. However, his employer, the Landgrave of Hesse-Darmstadt, wouldn’t grant him his release, opting instead to increase his salary.
Fanny Mendelssohn, reflecting on the renewed interest in Bach’s St Matthew Passion, stated “What seemed to us all against the backdrop of those times as a mere wishful thinking, has now transitioned to reality: the Passion has been made public and now belongs to all.”
A decision that Leipzig city council has become notorious for saw them settling for supposedly “average” men when top talents were not accessible. The individual they disregarded as “average” turned out to be the now world-renowned composer, Bach. Leap forward three centuries and it’s apparent that Bach has significantly surpassed once-favoured figureheads like Telemann and Graupner.
However, Bach has still faced his fair share of highs and lows. This is especially true for his seminal piece, the St Matthew Passion, which features two choirs, each backed by their own orchestras and inclusive of solo voices for various characters, including the narrator (the Evangelist), Jesus, Peter, Judas, Pontius Pilate, and a multitude of secondary roles. Initially performed in 1729, this masterpiece is the more sizable one out of the two Gospel settings that Bach had created and managed to preserve. The piece went underappreciated from the 1740s until a youthful Felix Mendelssohn reintroduced it in concert in 1829, moulding it to match the era’s aesthetic preferences.
Mendelssohn, gifted the unpublished score of St Matthew Passion on his 15th birthday in 1824, resurrected it five years later. His sister and co-composer, Fanny commented, “What was previously just a dream for us in these times, is now a reality: the Passion has been presented to the public, and has become everyone’s possession.” The popularity of the performance led to two additional concerts, with the final one taking place on Good Friday. This marked the birth of the Bach we widely recognise today.
Irish tenor, Gavan Ring, set to perform the challenging role of the Evangelist at the National Concert Hall on Good Friday afternoon believes, “Bach is the most pivotal figure in classical music and likely the most influential in the evolution of Western music.”
He goes beyond just opera, incorporating elements of pop and jazz as well. “Without his influence, we may not have had the likes of Mozart, Beethoven, Puccini, and Benjamin Britten, perhaps even The Beatles and Ella Fitzgerald,” he reflected. And what about St Matthew Passion? “Yes, it’s a reinterpretation of the Gospel of St Matthew. But as I analyse it further, I realise its true significance lies in its depiction of human narrative.”
From my pre-school years onwards, I was entranced by opera. I view the Matthew Passion as a form of grand opera and the John Passion akin to a chamber opera,” shared Tenor Gavan Ring.
Ring expresses remorse if his words seem too vague. “My intention was to explain how, despite the storyline primarily revolving around the Son of God, a divine subject in itself, Bach skilfully manages to incorporate the human aspect, particularly as it relates to St Peter and even Judas. Bach’s narrative subtly prompts you to question what your actions might have been in a similar situation.”
We must acknowledge that we are all imperfect, he indicates, “Every one of us without exceptions. It’s convenient to assume that faced with adversity or drastic life changes, we would react admirably. However, the truths are only revealed when tested in such circumstances, much like St Peter and Judas, exposing human vulnerabilities. I can’t help but think of the phrase spoken by Christus in the Matthew Passion, ‘Der Geist ist willig, aber das Fleisch ist schwach’, which translates to ‘The spirit is willing, but the flesh is weak.’ This serves as a reminder of our humanness and inherent fallibility.” He introduces the concept of endeavouring, relating it to the journey towards a Personal Damascus.
“Immersing yourself in a piece as profound as the Evangelist can significantly change your understanding of the work… delving into a role as deep and expansive as the Evangelist, becomes the pivotal point of the piece,” Gavan Ring shared.
The primary focus of Ring’s career has been opera. From a very young age, around five or six, he was captivated by the genre. He equates the Matthew Passion to a magnificent operatic show while he likens the John Passion to a smaller, more intimate chamber opera. These passions were introduced to him during his school years at the Schola Cantorum of St Finian’s College in Mullingar. It was not his first time performing in Bach passions. However, he was unfamiliar with the tenor role of the Evangelist. His professional singing career began not as a tenor, but a baritone. The switch to tenor only occurred a mere five years prior.
Ring’s engagement with new material, especially that of the Evangelist, instigated an unparalleled level of emotional release. Being deeply involved with any piece to such an extent stimulates a marked transformative response, particularly something as immense as the Evangelist. Previously, as a baritone, he had performed the John Passion extensively; taking on roles such as Christus, Pilate, and numerous bass solos. Still, deliberately dissecting a part like the Evangelist, being the pivotal focus of the piece, is extraordinary due to its vast and overwhelming nature. The character continuously conveys his tale in recitative after recitative, which seems to progressively expand in complexity.
When contacted, Ring was participating in the Simon McBurney adaptation of Mozart’s The Magic Flute in cooperation with the English National Opera (ENO). Ring acknowledged ENO was experiencing difficulties because of harsh cutbacks resulting from the ongoing Arts Council England’s cultural conflicts. Despite the challenges, ENO, under the leadership of Belfast-native Annilese Miskimmon, is boldly persevering and producing commendable work.
This year marks the 100th anniversary of the passing of celebrated composer, Giacomo Puccini. Ring is evidently honoured to have obtained funding from the Arts Council of Ireland to stage a rendition of Puccini’s La Bohème in the composer’s birthplace, Cahirciveen, in August. This portrayal is a revival from the Cork Opera House where he performed several years ago as part of the Cara O’Sullivan Associate Artists initiative. The opportunity for a town of nearly 1,300 residents to host an opera of this caliber is a rare occurrence. As a teenager in 2004, Ring had the opportunity to produce his first concert in Cahirciveen. Two decades later, he’s excited to return, offering what he describes as the closest experience to a full-scale opera that the town could anticipate.
The adaptation is “slightly truncated,” Ring mentions, lacking a chorus. However, he is of the opinion that this gives it more depth and greater accessibility. In a unique twist, much like the St Matthew Passion, this version of La Bohème features Éadaoin O’Donoghue, an actor, playing the role of an older Musetta; allowing the narrative to smoothly flow despite the absence of a chorus. Under the direction of Conor Hanratty and the guidance of conductor John O’Brien, Rachel Croash stars as Mimì. Ring is enthusiastic about the prospect of opera reaching audiences outside major city hubs – offering them an opportunity to experience the art form closer to their homes.
“Why not bring it to the outskirts,” he suggests, advocating for the arts to extend to locations on the fringe like Cahirciveen.
St Matthew Passion, featuring singers Gavan Ring, Dan D’Souza, Kelli-Ann Masterson, Bethany Horak-Hallett, Liam Bonthrone and Michael Mofidian, along with Cór na nÓg, the National Symphony Orchestra and Chorus conducted by David Young, will be performed at the National Concert Hall, Dublin, on Friday, 29th March at 3.30 pm. Later, La Bohème will be on at the Daniel O’Connell Memorial Church, Cahirciveen, Co Kerry, on Sunday, 4th August.