''St Mark Passion'', BWV 247

St Mark Passion
BWV 247
Passion by J. S. Bach

Thomaskirche, Leipzig
Related based on BWV 198, BWV 248, BWV 54
Occasion Good Friday
Performed

23 March 1731 (1731-03-23): Leipzig

3 April 1744 (1744-04-03): Leipzig
Cantata text Picander
Comment Music lost

The St Mark Passion (German: Markus-Passion), BWV 247, is a lost Passion setting by Johann Sebastian Bach, first performed in Leipzig on Good Friday, 23 March 1731 and again on Good Friday 1744 in a revised version. Though Bach's music is lost, the libretto by Picander is still extant, and from this, the work can to some degree be reconstructed.

History

Unlike Bach's earlier existing passions (St John Passion and St Matthew Passion), the Markus-Passion is probably a parody—it recycles previous works. The St Mark Passion seems to reuse virtually the whole of the Trauer Ode Laß, Fürstin, laß noch einen Strahl, BWV 198, along with the two arias from Widerstehe doch der Sünde, BWV 54. In addition, two choruses from the St Mark Passion were reused in the Christmas Oratorio. This leaves only a couple of missing arias, which are taken from other Bach works when reconstructions are attempted. However, since Bach's recitative is lost, most reconstructions use the recitatives composed for a Markus-Passion attributed to Reinhard Keiser, a work which Bach himself performed on at least two occasions, which gives a certain authenticity to things, although it could be viewed as somewhat disrespectful to Keiser's work. However, Keiser's setting starts slightly later than Bach's, which requires a small amount of composition on the part of the reconstructor.

Bach's St. Mark Passion was first performed in Leipzig on Good Friday, 23 March 1731. Written under the pseudonym Picander, Christian Friedrich Henrici's libretto survives in a 1732 poetry collection.[1] The Markus-Passion is a modest setting, adding to Mark chapters 14 and 15 only eight free verse arias and 16 hymn stanzas. The chorales assume greater weight owing to their higher proportional use: 16 of the 46 movements are chorales in the St Mark Passion, whereas only 13 of 68 numbers are chorales in the St Matthew Passion. Five of the Markus-Passion texts appear to match the 1727 Trauer Ode, other likely parodies include BWV 54 and BWV 120a. However, no musical material remains for the Gospel texts or turba choruses. Further, we have no knowledge of the keys and orchestration which Bach used. While the libretto specifies which chorale melodies were used, Bach's harmonizations remain uncertain.

Reconstructions

Several reconstructions exist.

Diethard Hellmann completed a reconstruction in 1964 based on parodies and chorale harmonization choices only. A 1976 edition includes additional choruses to be used with a spoken delivery of the gospel text. Carus-Verlag published Hellmann's work with newly composed recitatives and arias by Johannes Koch in 1999. The orchestration for the work matches that of BWV 198.

Simon Heighes's reconstruction is completed in 1995. This is recorded by Jörg Breiding for Rondeau.

Andor Gomme edited a 1997 reconstruction published by Bärenreiter that utilizes BWV 198 and choruses from BWV 204, 216, 120a, and 54. The recitatives and turba choruses are drawn from a St Mark Passion traditionally attributed to Reinhard Keiser (1674–1739), which Bach himself adapted for use in Weimar in 1713.

In 1998 Rudolf Kelber reconstructed the St Mark Passion as a pasticcio: he completed Bach's fragments using arias from cantatas by Bach, recitatives by Keiser, motives by Telemann and his own additions.

In 1999, Ton Koopman presented a reconstruction that does not utilize BWV 198, but instead draws on Es ist nichts Gesundes an meinem Leibe, BWV 25 (opening chorus) and Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei, BWV 179 (turba choruses) and his own freely composed recitatives.

In 2010, harpsichordist and conductor Jörn Boysen made a new version utilizing choruses and arias from BWV 198 and an aria from BWV 54. He composed all missing recitatives, turba choirs and one aria. This version has been performed in the Netherlands and Germany in 2011 and 2012.[2]

In the same year, Alexander Ferdinand Grychtolik made a first edition of the late version of the St Mark Passion (from 1744) as a stylistically consistent reconstruction, published by Edition Peters. The text of this unknown later version was discovered in 2009 in Saint Petersburg. In this version, Bach added two arias and he made small changes in Picander's text.[3]

In 2015, Organist Freddy Eichelberger offered a second reconstruction of the 1744 version based on the BWV 198 and composed all missing recitatives, turba choirs and some chorals. This version was written in collaboration with the musicologist Laurent Guillo, the editor Sharon Rosner and Itay Jedlin who performed it with Le Concert Étranger at the 2015 Ambronay Festival, concert filmed by French national television.

In 2016, composer and conductor Andrew Wilson-Dickson made a new stylistically coherent reconstruction using BWV 198, 7, 54 and 171, and newly composed music for the missing recitatives and turba choruses. The work was premiered by the Welsh Camerata and Welsh Baroque Orchestra at the Royal Welsh College of Music & Drama, Cardiff, on Good Friday, 2016.[4]

Recordings

A recording of Dr Simon Heighes's reconstruction was made by the European Union Baroque Orchestra with the Ring Ensemble of Finland conducted by Roy Goodman. Rogers Covey-Crump EVANGELIST, Gordon Jones JESUS, Connor Burrowes treble, David James alto, Paul Agnew tenor, and Teppo Tolonen baritone. It was published by Brilliant Classics, recorded 25-30 March 1996 in the Chapel of New College, Oxford.

A recording of Gomme's reconstruction was made by the Choir of Gonville & Caius College and the Cambridge Baroque Camerata, led by Geoffrey Webber. It was released by Gaudeamus in 2008.

In 2009 a performance and live recording of the reconstructed version by Diethard Hellmann and Andreas Glöckner, in the Frauenkirche Dresden with the augmented ensemble Amarcord and the Kölner Akademie was conducted by Michael Alexander Willens. The lost recitatives were replaced by recitation.[5]

References

  1. ↑ Picander (=Christian Friedrich Henrici). Ernst-Schertzhaffte und Satyrische Gedichte, Volume III. Leipzig: Joh. Theod. Boetii Tochter (1732; 2nd printing 1737), pp. 49–69
  2. ↑ Examples can be found on youtube: recitatives: J. Boysen. "Und am ersten Tage der süßen Brodte". and an aria: J. Boysen. "Angenehmes Mordgeschrei".
  3. ↑ Schablina, Tatjana. "Texte zur Music" in St. Petersburg – Weitere Funde, in: Bach-Jahrbuch 2009,The Knabenkantorei Basel is the first Choir to record this rekonstruction p. 11–48.
  4. ↑ "JS Bach's St Mark Passion - Welsh Camerata Chamber Choir". Classical-music.com. Immediate Media. Retrieved 12 January 2017.
  5. ↑ Michael Cookson (2010). "Johann Sebastian Bach (1685–1750) St. Mark Passion, BWV 247". musicweb-international.com. Retrieved 2010-07-03.

Further reading

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