Bach, J S: St Mark Passion, BWV247

In CPE Bach’s catalogue of his father’s music he included an obituary. In this, he includes a list of Bach’s works, and in the vocal section he writes ‘Five Passions, including one for two choirs’. Only two have survived – St John and St Matthew Passions. What of the others? Much of Bach’s estate (manuscripts and scores) were split among his extensive family, and much was sold, or simply lost. Even the two complete Passions survive in incomplete sources. We know that Bach transcribed a Passion on St Luke (BWV246) in 1731, but we do not know if this was actually a work by him, or one he augmented and conducted. A St Mark Passion was performed in 1731 in Leipzig, and although the composer is unknown, as Bach was responsible for all Passion performances in Leipzig as part of his duties. The fact that he collaborated with Picander (Christian Friedrich Henrici) on Passion libretti, and it is Picander’s complete edition of his own poetry that includes the texts, we can be reasonably certain that Bach did compose the St Mark P in question.

The work differs in structure to the two extant Passion, having many more chorales, and fewer arias and choruses. Bach reverses the relationship between the gospel text and the dramatic elements on the one hand and the more contemplative sections on the other. Scholars also established that Bach re-used music for other works, and the Funeral Ode BWV198, the funeral music BWV244a all have common characteristics and material with BWV277. No reconstruction can ever hope to, nor should be intended to present the composers intentions. This reconstruction does however provide a fascinating piece of detective work on a work that Bach did write, but subsequently re-used for other works, with the manuscript being lost after his death.

Recording made in 1996.

Booklet note and sung texts.

The St. Mark Passion belongs to the lesser known treasures among the sacred opus of J S Bach. Thus, the present recording made in the Frauenkirche Dresden is all the more spectacular, since it is performed in the reconstructed version of 1731 published by Carus. The actor Dominique Horwitz recites the text of the Evangelist, alternating with the arias and chorales.