On the evening of October 8, the hallowed halls of the Tbilisi State Conservatory reverberated with the transcendent sounds of Johann Sebastian Bach’s organ music, as performed by one of the foremost interpreters of early music, Jörg Halubeck. Under the initiative of Bravo Records, this concert was not merely a recital but a deeply immersive cultural and historical journey. Through a masterfully curated program and a performance marked by intellectual rigor, Halubeck delivered an unforgettable evening, transporting the audience through the landscapes and epochs of Bach’s organ works.
A Musical Archaeologist: The Man Behind the Performance
Jörg Halubeck is not just a performer—he is a scholar, a musical archaeologist of sorts, who has spent his career uncovering forgotten gems of the Baroque era and reviving them with scholarly precision. Known for his work on medieval instruments, Halubeck has been at the forefront of historical performance, breathing new life into centuries-old music. His 2004 project, Bach’s Organ Landscapes, is a testament to his devotion to understanding not only the notes on the page, but the very instruments, churches, and cities that shaped Bach’s sonic world.
This project took Halubeck on a pilgrimage across Germany, where he studied the distinct organ-building traditions that shaped the sound of Bach’s compositions. Playing on historical instruments that Bach himself would have used, Halubeck was able to capture the unique tonal colors and acoustics of each instrument, revealing how geography, craftsmanship, and culture intertwine to shape musical expression. This attention to historical detail, combined with Halubeck’s own musicality, makes him one of the world’s leading experts on Bach’s organ works.
Organ Music as a Reflection of Bach’s Life and Philosophy
Bach’s organ music is often considered the pinnacle of Baroque composition. It represents a fusion of theological symbolism, mathematical precision, and emotional expression. The organ, with its vast dynamic and tonal range, was the ideal medium for Bach to explore his spiritual and intellectual ideas. Each of the works presented in this concert reflects a specific moment in Bach’s life and his interaction with the organs of various German cities.
The program, framed as a chronological journey through Bach’s organ compositions, not only reflected the composer’s personal and professional evolution but also served as a window into the cultural and religious life of 18th-century Germany. Halubeck’s meticulous choice of pieces from Lüneburg, Arnstadt, Lübeck, Weimar, Hamburg, and Leipzig underscored how Bach’s music was shaped by the cities and their distinct organ traditions, which influenced the sonic landscapes of his works.
A Journey Through Sound and Space: The Concert Program
The concert’s title, Journey to the World of Organ Music of Johann Sebastian Bach, could not have been more fitting. The program took the audience on a sweeping voyage through Bach’s organ compositions, beginning with his early years in Lüneburg and culminating in his mature works from Leipzig.
Lüneburg (1700) – The Early Years. The concert opened with Chorale “Jesus, My Joy!” BWV 1105 from the Neumeister Collection, a reflective and meditative work that demonstrated Bach’s early mastery of the chorale form. This piece, deeply rooted in Lutheran traditions, immediately established the religious and philosophical framework that underpins much of Bach’s organ music. Halubeck’s restrained and reverent interpretation brought out the spiritual depth of the piece, setting the tone for the evening.
Arnstadt (1703) – The Drama of Toccata and Fugue. One of the most iconic works in the organ repertoire, Toccata and Fugue in D minor BWV 565, followed. This composition, with its bold harmonic progressions and dramatic contrasts, was a stark contrast to the reflective opening chorale. Halubeck’s performance emphasized the balance between the toccata’s fiery, improvisatory gestures and the fugue’s intricate counterpoint. Following this, the modified chorale “Glory to the Lord in Heaven” BWV 715, was an elegant choice, underlining Bach’s early creative explorations and his work in the Lutheran tradition, which elevated chorales into a complex spiritual and musical narrative.
Lübeck (1705) – The Passacaglia: A Monument to Baroque Structure. The highlight of the concert was perhaps the Passacaglia in C minor BWV 582, a monumental piece that epitomizes Bach’s genius for building complexity from simple forms. The passacaglia’s ground bass, repeated throughout the piece, served as the foundation upon which Bach constructed a cathedral of sound, with each variation adding layers of contrapuntal intricacy. Halubeck’s performance was both precise and passionate, his command of the instrument allowing the audience to experience the full weight of the passacaglia’s emotional and structural depth.
Weimar (1708) – A Lyrical Interlude. Following the grandeur of the passacaglia, the concert shifted to the delicate Trio super “Lord Jesus Christ, Look Upon Us” BWV 655. This work reflects Bach’s mastery of the trio sonata form and his growing interest in Italian concerto principles during his Weimar years. Halubeck’s sensitive articulation brought out the seamless interaction between the three voices, creating a moment of serene, lyrical meditation. The Concerto in D minor BWV 596, with its contrasting Grave, Fuga, and Largo movements, offered a balance between virtuosity and expressive lyricism, a performance that Halubeck handled with utmost control and poise.
Hamburg (1720) – The Fantasy in G minor. The concert resumed its dramatic course with Fantasy and Fugue in G minor BWV 542. Often called the “Great” G minor fugue, this work showcases Bach at his most virtuosic. The fantasy, with its sweeping arpeggios and bold harmonies, contrasted sharply with the strict counterpoint of the fugue. Halubeck navigated the work’s technical challenges with ease, his performance capturing both the intellectual rigor and emotional intensity of the piece.
Leipzig (1739) – The Final Flourish. The evening concluded with “Awake, the Voice is Calling Us” BWV 645 from the Schübler Chorales, a joyful and uplifting work that brought the concert full circle, returning to the Lutheran chorale tradition that had opened the program. This piece, radiant and majestic, reflects the fusion of spiritual awakening and musical ingenuity that marks Bach’s later works. Closing with the Fugue in G minor BWV 542, Halubeck tied together the concert’s exploration of complex structures and emotive depth, offering the audience a powerful final statement.
Halubeck’s Mastery of the Organ: Technique and Expression
What sets Jörg Halubeck apart from other performers is his ability to combine technical precision with deep emotional and intellectual engagement. 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 choice of registration (the selection of stops) was particularly noteworthy, as he used the full palette of the organ’s timbres to bring out the contrasts and complexities in Bach’s music.
In the Toccata and Fugue in D minor, for example, he used a bright, almost piercing registration for the toccata’s opening, which then gave way to a warmer, fuller sound in the fugue. This contrast emphasized the dramatic architecture of the piece, giving it a sense of narrative progression. Similarly, in the Passacaglia in C minor, his gradual build-up of sound mirrored the structural buildup of the variations, creating a sense of inevitability as the piece reached its towering conclusion.
A Lasting Impression of Bach’s Eternal Genius
This concert was more than just an evening of music—it was a significant cultural event for Tbilisi, connecting the city to the broader world of classical music. The collaboration between Bravo Records, the German Embassy, and various sponsors highlighted the importance of such cross-cultural exchanges in enriching Georgia’s cultural landscape. For Georgian audiences, the chance to experience a performer of Jörg Halubeck’s caliber is a rare and invaluable opportunity, particularly in the realm of historical performance.
Jörg Halubeck’s performance of Bach’s organ works was a masterclass in both technique and interpretation, offering the audience a rare glimpse into the spiritual and intellectual depths of one of Western music’s greatest composers. Through his thoughtful programming and historically informed performance, Halubeck not only showcased the timelessness of Bach’s music but also illuminated the rich cultural and geographical landscapes that shaped the composer’s sound world.
Review by Ivan Nechaev
