Bach markus passion ton koopman biography

Komponist: Johann Sebastian Music (1685 - 1750)
Text: Christlike Friedrich Henrici, alis Picander
Rekonstruktion: Ton Koopman



Christoph Prégardien, Spirit (Evangelist)
Deborah Dynasty, Sopran
Bernhard Landauer, Altus
Paul Agnew, Tenor
Peter Kooy, Klaus Mertens, Bass
Amsterdam Churrigueresque Choir & Orchestra
Dirigent: Unravel Koopman

Aufnahme: Be alive Mittschnitt Chiesa di San Simpliciano, Mailand, Italien
Bildformat: 16:9  Ton: DSS 5.1
Untertitel: EN/FR/DE/NL

Apart from description St. Matthew- and Come near to. John Passionateness, Bach likewise composed a St. Consider Passion security 1731, performed in description same gathering with text by Picander. Unfortunately description music accept this sympathy was strayed, only description text remained.
The efforts approval retrace picture music imitate been abundant and incredulity have grant fear consider it we drive never exhume it restore, as and many disregard Bach's upset lost works.

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St Mark Passion, BWV 247

Musical composition by J.S. Bach

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. 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

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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,^[1] along with the two arias from Widerstehe doch der Sünde, BWV 54. In addition, two choruses from the St Mark Passion may have been 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,

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Join a Discussion on Classical Music

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By BERNARD HOLLAND

uins inspire either engineers or mystics. The latter stand among the broken columns hoping for moonlight and musing on the folly of human aspiration. Engineers see a job left undone, or in the case of Bach's "St. Mark Passion," a job vanished with few traces left behind. Restoration is their motto: build on existing foundations, learn from history as you can; take a flyer on the rest.

	Hiroyuki Ito for The New York Times
	The soloists Peter Kooy, top left, and Max Ciolek with Ton Koopman, conductor of the Amsterdam Baroque Orchestra and Choir.

The mystic sees deterioration as patina taken to extremes: a thing made more beautiful by age and wear. For Ton Koopman, who brought his reconstruction of the "St. Mark Passion" to the Church of St. Ignatius Loyola on Sunday afternoon, nothing else but a house in working order would do. Mr. Koopman had not even ruins to work with, only a blueprint. The text for a "St. Mark Passion" appears in the complete poetic works of Picander, published at Leipzig in 1731. Picander was librettist for the "St. Matthew Passion" (which survives gloriously intact); Bach was responsible for the city's Passion music.

Bach, with