Jorg Halubeck, one of the most renowned interpreters of early musical styles, performed Johann Sebastian Bach‘s Organ Music in the hallowed halls at the Tbilisi State Conservatory on the evening of 8 October. This concert was a cultural and historical journey that was a part of Bravo Records‘ initiative. Halubeck, with a carefully curated program, and a performance that was intellectually rigorous, delivered an unforgettable evening. He transported the audience to the landscapes and times of Bach’s Organ Works.
The man behind the performance: A musical archaeologist
Jorg Halubeck, not only a performer, is also a scholar and musical archaeologist who has spent a career uncovering forgotten treasures from the Baroque period and reviving with scholarly precision. Halubeck is known for his work with medieval instruments. He has been at forefront of historical performances, bringing new life to centuries-old music. Bach’s Organ Landscapes is his 2004 project that shows his dedication to understanding not just the notes on the pages, but also the instruments, churches and cities which shaped Bach’s musical world.
Halubeck travelled across Germany to study the different organ-building traditions which shaped Bach’s compositions. Halubeck captured the unique tonal color and acoustics on historical instruments Bach would have used. This revealed how geography, craftsmanship and culture intertwined to shape musical expression. Halubeck, with his attention to historical details and musicality, is one of the leading experts in the world on Bach’s Organ Works.
The Organ as a Reflection on Bach’s Philosophy and Life
Bach’s organ compositions are often regarded as the pinnacle in Baroque composition. It is a fusion between theological symbolism and mathematical precision. Bach’s spiritual and intellectual ideas were best explored on the organ with its wide dynamic and tonal range. The works in this concert reflect a specific time in Bach’s career and his interaction with organs in various German cities.
The program, which was framed as a journey through Bach’s compositions for the organ, not only reflected Bach’s personal and artistic evolution, but also provided a window to the religious and cultural life of the 18th century Germany. Halubeck’s careful selection of pieces from Luneburg and Arnstadt to Lubeck, Weimar and Hamburg underscored the influence of the cities on Bach’s music.
The Concert Program: A Journey Through Sound and Space
The concert title, Journey to the World of Organ Music of Johann Sebastian Bach could not have been better. The program took the audience through Bach’s organ works, starting with his early days in Luneburg to his mature works in Leipzig.
Luneburg (1700). The Early Years. The concert began with Chorale “Jesus, My Joy!” BWV 1105, a reflective, meditative piece that showed Bach’s early mastery over the chorale. This piece, rooted in Lutheran tradition, immediately established the religious, philosophical, and musical framework that underpins most of Bach’s Organ Music. Halubeck’s reverent and restrained interpretation brought out the spirituality of the piece. It set the tone for the evening.
Arnstadt (1703 – The Drama of Toccata and Fugue. Toccata & Fugue in D Minor BWV 565 is one of the most famous works in the organ repertoire. This composition with its dramatic contrasts and bold harmonic progressions was a stark contrast from the reflective opening chorus. Halubeck’s performance highlighted the balance between the toccata’s fiery improvisatory gestures, and the fugue’s intricate counterpoint. The modified chorale, “Glory To The Lord In Heaven” BWV715, was a beautiful choice that highlighted Bach’s early creative experiments and his Lutheran work, which elevated chorales to a complex spiritual narrative.
Lubeck (1705 – The Passacaglia : A Monument of Baroque Structure The Passacaglia BWV 582 in C minor was the highlight of the concert. It is a monumental piece which exemplifies Bach’s genius at building complexity out of simple forms. Bach built a cathedral of sounds on the ground bass of the passacaglia, which was repeated throughout the piece. Each variation added layers of contrapuntal complexity. Halubeck’s performance, which was both precise as well as passionate, allowed the audience to feel the emotional and structural depth of the piece.
Weimar (1708). A Lyrical Interlude. After the grandiose passacaglia the concert moved to the delicate Trio Super “Lord Jesus, Look Upon Us BWV 655”. This work reflects Bach’s mastery of trio sonata and his growing interest Italian concerto principles in his Weimar years. Halubeck’s sensitive, lyrical articulation brought to life the seamless interaction of the three voices. Halubeck’s performance of the Concerto in D Minor BWV 596 with its contrasted Grave, Fuga and Largo movement offered a balance between expressive lyricism and virtuosity.
Hamburg (1720): The Fantasy in G Minor. The concert continued its dramatic course with Fantasy & Fugue in G Minor BWV 542. This work, which is often called the “Great” G Minor Fugue, shows Bach at his most virtuosic. The fantasy’s sweeping arpeggios, bold harmonies and contrasting tempos were a stark contrast to the fugue’s strict counterpoint. Halubeck handled the technical challenges of the work with ease. His performance captured both the intellectual rigor as well as the emotional intensity of the piece.
Leipzig (1739) The Final Flourish The evening ended with “Awake the Voice Calls Us” BWV 645, a joyful, uplifting work which brought the concert to a close, returning the Lutheran chorale traditions that had opened the program. This radiant and majestic piece reflects the fusion between spiritual awakening and musical innovation that is characteristic of Bach’s later work. Halubeck closed the concert with the Fugue BWV 542 in G minor, a piece that embodied the exploration of complex structures as well as emotional depth.
Halubeck’s mastery of the organ: Technique and expression
Jorg Halubeck is unique in his ability to combine technical perfection with a deep emotional and intellectual commitment. His understanding of historical performance practices–especially regarding the organs and their acoustics–allowed him to create an authentic yet fresh interpretation of each work. Halubeck’s selection of stops (registration) was notable, as it allowed him to use the full palette of timbres of the organ in order to bring out Bach’s contrasts and complexity.
In the Toccata & Fugue in D Minor, for example, he opened the toccata with a bright, almost piercing sound, which was then followed by a warmer and fuller sound for the fugue. This contrast highlighted the dramatic architecture of this piece, giving it an impression of narrative progression. In the Passacaglia, the gradual build-up in sound mirrored that of the variations’ structural development, creating an inevitability at the piece’s towering conclusion.
Bach’s Eternal Genius: A Lasting Impression
This concert was much more than a musical evening. It was a cultural event that connected Tbilisi to the world of classical music. The collaboration between Bravo Records and the German Embassy as well as various sponsors showed the importance of cross-cultural exchanges for enriching Georgia’s culture. The opportunity for Georgian audiences to see a performer with the caliber of Jorg Halubeck is rare and valuable, especially in the field of historical performance.
Jorg Halubeck’s performance of Bach’s organ works was both a masterclass in technique and interpretation. It offered the audience a glimpse into the intellectual and spiritual depths of one the Western music’s most important composers. Halubeck’s thoughtful programming and historically informed performances not only highlighted the timeless nature of Bach’s music, but also illuminated rich cultural and geographic landscapes that shaped his sound world.
Review by Ivan Nechaev
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