St Mark Passion

Red Baron listened to and blogged about Bach's St Matthew Passion (BW 244) in Eisenach in 2012, Leipzig in 2014, and Hamburg in 2023. I saw St John's Passion (BW 245) performed in Freiburg in 2022.

When walking in the neighborhood the other day, I saw Bach's St Mark Passion (BWV 247) announced on a poster, became curious, and bought a ticket.

So, yesterday, Red Baron sat in Freiburg's cold Minster Church for more than two hours to listen to the St Mark Passion, which wasn't composed by Bach but by church musician Andreas Fischer in 2015. Why? The original notes of BW 247 are lost; only Picander's libretto has survived in full.

The choir and instruments are waiting for the conductor

In the English Wikipedia, we read, "In 2015, church musician Andreas Fischer reconstructed the Markus Passion by parodying only works by Bach. He paid attention to the proximity of text and music and avoided using music from the known passions ..."

This latter statement is not valid. Red Baron found it a blessing when, in Fischer's work, at least three choruses applied a well-known tune that Bach had used in BW 159, a cantata, the Matthaeus Passion, and the Christmas Oratorio. Here is a recording of the chorus Wie soll ich dich empfangen (How shall I receive you)? 

Even back then, popular tunes were frequently plagiarized. This one originally came from a love song by Hans Leo Haßler, "Mein G'müt ist mir verwirret (My mind is confused)," about what could happen when you are in love.

Red Baron's Gemüt ist verwirrt, too, with Fischer's Baroque recomposition in the 21st century. Although I don't fully share Martin Elste's criticism, "What comes out of it is, stylistically speaking, possibly more 'Bachian' than anything that was understood by Bach's sound in the Baroque period, and yet turns into plagiarism à la Disneyland [...] In fact, overall, Fischer's music seemed a little too smooth to me.

That the St. Mark Passion is very text-heavy - the Evangelist's long recitatives are particularly striking - certainly suits a new composition. Here, Fischer succeeds in achieving a great dynamic in his work, particularly in the alternating singing between the Evangelist and the crowd in the "crucify him" scenes.

Aiming my threefold zoom lens. The choir is in full action.
Note Freiburg's famous Fastentuch (Lenten veil) in the background

On the other hand, the chorales are straightforward and only make you sit up and notice when Bach's "handwriting" becomes audible. Ultimately, Fischer's St. Mark's Passion lacks the moments of surprise that frequently pop up in Bach's ingenious music.

My favorite aria from Bach's St Matthew Passion, “Erbarme Dich mein Gott, um meiner Zähren willen! Schaue hier, Herz und Auge weint vor dir bitterlich. (Have mercy, Lord, on me, regard my bitter weeping, look at me; heart and eyes both weep to Thee bitterly) is one of Bach's strokes of genius.
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