Whether to sing in English or German? This is always a dilemma for choirs in the UK preparing a performance of Bach’s profoundly spiritual and dramatic setting of Christ’s final days as recorded in St John’s gospel. If we consider that Bach, a devout Protestant, composed his St John Passion in German so that the singers and congregation in Leipzig in 1724 would understand every word that was being sung, and therefore be moved to a renewed commitment to their faith, then there are sound reasons for performing the work in English for an British audience.
Musical Director, Matthew Clark’s deeply felt interpretation came across through a wonderfully landscaped and technically assured performance of this iconic work, thanks to his meticulous rehearsals with the highly responsive members of the choir. The nuances of the richly harmonised chorales were used to enhance the words, particularly in the final declaration of devotion, sung by choir and soloists, stirring the audience to respond with long and loud applause at the end of the epic journey where they had been fellow-travellers.
For only forty-eight singers to run this marathon was a huge challenge, but they paced themselves like experienced athletes to have enough in reserve to cross the finishing line in fine style. All credit to the sopranos for the clarity of their unflagging top notes throughout the evening. The choruses were all convincing, by turn, suitably imploring, blood-thirsty, and remorseful.
Thanks to Matthew Clark’s connections with musicians at Gloucester Cathedral and the Three Choirs Festival, a stellar line-up of experienced professional soloists was engaged, headed up by Nicholas Drew who carried the narrative as an outstanding Evangelist, interacting with the equally capable Brittany King, David MacKee, Will Renouccie, Catherine Perfect and Nick Perfect.
To employ a professional orchestra for performances in small venues is out of the question, but Clevedon Choral Society’s regular accompanist, Richard Lennox, playing his highly versatile electronic keyboard, together with continuo cellist Warwick Cole, underpinned the vocal performances with an unfailingly sympathetic and expressive accompaniment with ne’er a ragged moment even in the recitatives where Matthew Clark’s concentration and control came to the fore.
The event was always going to be good: this feels like a golden era for the society, bringing together a fine conductor, capable singers, great soloists and instrumentalists, co-ordinated by an energetic committee that covers all aspects from publicity (great Facebook page with photos, talking heads, video and sound clips etc) to exemplary programme notes by Peter Foster, providing refreshments and shifting the furniture. But it was more than good. It was thrilling and excellent! The bar was set very high on 3rd May 2025.