Jerusalem is a city that remains full of surprises. Last week the Jerusalem Baroque Orchestra presented Bach’s Johannes Passion in a beautiful rendition that showcased instruments and technique of his era.
One could be surprised that Baroque music is performed in Jerusalem.
One could be surprised at the timing of the piece, it working out that the Passion was presented during our season of Lent.
One could be surprised that a Jewish community put on a piece that speaks of a Christian savior and could be understood as censuring the Jews.
It certainly is a unique experience to be able to picture each events’ location as they are being sung about, and know they lie just a short distance away.
And it was unique to hear Johannes Passion sung in an audience hall sprinkled with kippas, performed by Jewish artists.
Music Director David Shemer took up the question of incongruity in the program notes for the evening, asking if the text or composition are anti-Semitic. He gives a perspective that provides insight into the text:
The choral pieces and the arias testify that Bach conceived the Passion stories not only as representing historical events, but also and mainly as a drama that takes place in the heart of the believer. Therefore that blood-thirsty mob which wants Jesus’ head are not necessarily the Jews of Bach’s time and not the historical persons of the first century C.E., rather they are the abstract, almost allegorical figures who represent the forces of evil that are inherent in the believer.
For us who pray John’s Gospel today, the account of Christ’s sacrifice is meant to engage and confront us, and not simply be deflected onto others.
It is accomplished!
What comfort for all suffering souls!
The hero from Judah triumphs in his might
and brings the strife to an end.
It is accomplished!
Posts
1 comment:
Too bad David Shemer's analysis was not there for Mel Gibson's Passion of Christ. It's what I wanted to say at the time.
Post a Comment