St Mark Passion (attributed to Keiser)

Jesus Christus ist um unsrer Missetat willen verwundet is a St Mark Passion which originated in the early 18th century and is most often attributed to Reinhard Keiser. It may also have been composed by his father Gottfried or by Friedrich Nicolaus Bruhns. Johann Sebastian Bach produced three performance versions of the Passion, the last of which is a pasticcio with arias from George Frideric Handel's Brockes Passion. There are two other extant 18th-century versions of the Passion, both of them independent of Bach's versions. The Passion was performed in at least three cities in the first half of the 18th century: in Hamburg in 1707 and 1711, in Weimar around 1712, and in Leipzig in 1726 and around 1747.

History The passion was probably composed around 1705 by Gottfried Keiser,Bach Digital Work at by his son Reinhard,NBA 2000 (score edition) or by Friedrich Nicolaus Bruhns.Reinmar Emans, Sven Hiemke Bach-Handbuch. Bachs Oratorien, Passionen und Motetten 2000 Page 26 "Die einzige überlieferte Kopie dieses Werkes, das nach neueren Forschungen auch dem Hamburger Kantor Friedrich Nicolaus Bruhns (Brauns) zugeschrieben wird, stammt zum größten Teil von der Hand Bachs; Bach hat das Werk ..." The 18th-century scores of the composition don't always indicate a composer, but the name of Reinhard Keiser or "Kaiser" is found there. The work can also be considered as an anonymous composition. The music of this passion is known from Bach's three versions, from an anonymous manuscript score that originated in or around Hamburg, and from another anonymous manuscript score that is conserved in the county of Hohenstein, Thuringia. No libretto author for the original work is known. Also for the later arrangements text authors are largely unknown, except for the pasticcio parts by Handel based on the Brockes Passion by Barthold Heinrich Brockes.

1707–1714: Hamburg and Weimar The oldest record of Jesus Christus ist um unsrer Missetat willen verwundet is a staging in the Cathedral (Dom) of Hamburg in 1707. Shortly before the end of the 20th century a printed libretto of that performance, and that of a repeat performance in 1711, were rediscovered. These performances were directed by Friedrich Nicolaus Bruhns (also spelled: Brauns), the music director of the Hamburg Cathedral from 1685 to 1718, hence the association of the Passion setting with this composer.Melamed, Daniel R. and Reginald R. Sanders. "Zum Text und Kontext der 'Keiser'-Markuspassion". Bach-Jahrbuch 85 (1999). pp. 35–50. Possibly the versions performed in Hamburg in 1707 and 1711 were adapted from an earlier lost version, maybe not even composed for Hamburg. The earliest extant copy of the music of the Passion was produced by Johann Sebastian Bach for performance in Weimar around 1712. Which model was used by Bach is not known: it may have differed from the scores used in Hamburg. Bach's adjustments to the score he had before him were probably minor.

The libretto has the Biblical text interspersed with free verse and chorale texts. The chorale texts are taken from "Was mein Gott will, das g'scheh allzeit" by Albert, Duke of Prussia (verse 1), "Christus, der uns selig macht" by Michael Weiße (Verse 8), "O Haupt voll Blut und Wunden" by Paul Gerhardt (verses 9 and 10), and "O Traurigkeit, o Herzeleid" by Johann Rist. Unlike Passions for instance written for Leipzig, there is no division of the work into two parts.

Voices:Carus 1997 (score edition) Evangelist: tenor Jesus: bass Peter: tenor Judas: alto High priest: alto Ancilla (maid): soprano Pilate: tenor Soldier: alto Centurion: alto Solo arias (and chorale No. 23 (42)) for soprano, for alto, for tenor and for bass Choir: SATB

Orchestra: Winds: Oboes I (also used in No. 30) and II Strings: Violins I and II Violas I and II Basso continuo (bassoon; 2 cellos, bass; organ/harpsichord)

1707/1711 Hamburg version The original version of the Passion would have been composed around 1705. Its first Hamburg performance took place in the Cathedral in 1707, under the direction of Bruhns, who also conducted the Hamburg performance of 1711.

Bach's Weimar version Bach's first version, BC 5a, originated in the early 1710s in Weimar.The Life of Bach – Page 21 Peter Williams – 2003 "... left their mark on Bach, for at some point he arranged chamber sonatas by Reinken for keyboard (e.g. BWV 965 and 966, perhaps as late as 1715), copied F. N. Brauns's St Mark Passion (performing it in Weimar, as later in Leipzig?) ..." Whether he changed anything to the original is uncertain, but the arrangement of the "O hilf, Christe, Gottes Sohn" and "O Traurigkeit, o Herzeleid" chorales is usually attributed to him. Possibly he also composed the first "Symphonia" (No. 10 ), which is only found in Bach's versions.

Bach's Leipzig versions Bach performed Jesus Christus ist um unsrer Missetat willen verwundet twice in a Good Friday service in Leipzig.

1726 Bach staged the passion in a new version, BC 5b, in 1726 in Leipzig.Bach Digital Work at Malcolm Boyd Bach 2006- Page 153 "... F. N. Brauns St Mark Passion 11 April 1727 Thomaskirche "Christoph Wolff Johann Sebastian Bach El Musico Sabio 2003, 2008 Page 317 "De ahí que prefiriese modificar su Pasión según san Juan para el año 1725, y seleccionar la Pasión según san Marcos de Friedrich Nicolaus Brauns para 1726. Bach había interpretado la obra de Brauns en Weimar, y en esta oportunidad la ... The order of service in Leipzig requested passions in two parts: apparently for this reason Bach added the chorale "So gehst du nun, mein Jesu", BWV 500a, as a conclusion for the first part. In this version he also slightly modified the "O hilf, Christe, Gottes Sohn" and "O Traurigkeit, o Herzeleid" chorale settings.

Late 1740s Bach combined the passion with seven arias from Handel's Brockes Passion for a new performance around 1747. Some of these arias replaced movements of the preceding version, other arias were inserted without replacing earlier material. This pasticcio version is known as BNB I/K/2.Bach Digital Work at

+ Original version compared with Bach's three versions (green background:) appears without discernable modifications in all four versions Movement Voices Instr. (all choral movements incl. Ob I/II) Hamburg 1707 BC D 5a BC D 5b BNB I/K/2Carus 2012 (score edition) Sonata and Chorus choir Str Bc 1. Jesus Christus ist um unser Missetat willen verwundet → 1 → 1 → 1 Recitative Evangelist, Jesus, Peter Str Bc 2. Und da sie den Lobgesang gesprochen hatten → 2 → 2 → 2 Aria soprano Bc 3. Will dich die Angst betreten → 3 → 3 → 3 Recitative Evangelist, Jesus Str Bc 4. Und nahm zu sich Petrus und Jakobus und Johannes → 4 → 4 → 4 Chorale choir Str Bc 5. Was mein Gott will, das g'scheh allzeit → 5 → 5 — Aria soprano Ob Bc — — — 5. Sünder, schaut mit Furcht und Zagen, HWV 48/9 Recitative Evangelist, Jesus Str Bc 6. Und kam und fand sie schlafend → 6a → 6a → 6a Recitative Evangelist, Judas Bc 7. Und alsbald, da er noch redet → 6b → 6b → 6b Aria tenor Vl I/II Bc 8. Wenn nun der Leib wird sterben müssen → 7 → 7 → 7 Recitative Evangelist, Jesus Str Bc 9. Die aber legten ihre Hände an ihn → 8a → 8a → 8a Recitative Evangelist Bc 10. Und die Jünger verließen ihn alle und flohen → 8b → 8b → 8b Chorus choir Str Bc 11. Wir haben gehöret, daß er saget → 8c → 8c → 8c Recitative Evangelist, High priest, Jesus Str Bc 12. Aber ihr Zeugnis stimmet noch nicht überein → 8d → 8d → 8d Aria tenor Ob I/II Vl I/II (all in unison) Bc — — — 9. Erwäg, ergrimmte Natternbruth, HWV 48/23 Recitative Evangelist Bc (12 continued) → (8d continued) → (8d continued) → 10a Da fingen an etliche ihn zu verspeien Chorus choir Str Bc 13. Weissage uns! → 8e → 8e → 10b Recitative Evangelist, Ancilla, Peter Bc 14. Und die Knechte schlugen ihn in's Angesicht → 8f → 8f → 10c Chorus choir Str Bc 15. Wahrlich, du dist der' einer → 8 g → 8 g → 10d Recitative Evangelist, Petrus Bc 16. Er aber fing an sich zu verfluchen und zu schwören → 8h → 8h → 10e Aria tenor Vl I/II (in unison) Bc 17. Wein, ach wein jetzt um die Wette → 9 → 9 → 11 Chorale choir Str Bc — — 9+. So gehst du nun, mein Jesu, BWV 500a (BDW ) → 12 Sinfonia Vl I/II Va I Bc 18. → 10 → 10 → 13 Recitative Evangelist, Pilate, Jesus Bc 19. Und Bald am Morgen → 11 → 11 → 14 Aria alto Vl I/II Bc 20. Klaget nur, ihr Kläger hier → 12 → 12 → 15 Recitative Evangelist, Pilate Bc 21. Jesus aber antwortete nichts mehr → 13a → 13a → 16a Chorus choir Str Bc 22.1 Kreuzige ihn! → 13b → 13b → 16b Recitative Evangelist, Pilate Bc 22.2 Pilatus aber sprach zu ihnen → 13c → 13c → 16c Chorus choir Str Bc 22.3 Kreuzige ihn! → 13d → 13d → 16d Chorale choir Str Bc 23. O hilf, Christe, Gottes Sohn 14. O hilf, Christe, Gottes Sohn (BDW ) 14a. O hilf Christe, Gottes Sohn, BWV 1084 (BDW ) → 17 Sinfonia Vl I/II Va I Bc 24. → 15 → 15 → 18 Recitative Evangelist Bc 25. Pilatus aber gedachte → 16a → 16a → 19a Chorus choir Str Bc 26. Gegrüßet seist du, der Juden König → 16b → 16b → 19b Recitative Evangelist Bc 27. Und schlugen ihm das Haupt mit dem Rohr → 16c → 16c → 19c Aria bass Str Bc 28. O süßes Kreuz → 17 → 17 → 20 Recitative Evangelist Bc 29. Und sie brachten ihn an die Stätte Golgatha → 18 → 18 → 21 Aria soprano Ob Bc 30. O Golgotha! → 19 → 19 — Aria and Chorus soprano, choir Vl I/II (in unison) Bc — — — 22. Eilt, ihr angefochtnen Seelen HWV 48/39b Recitative Evangelist Bc 31. Und da sie ihn gekreuziget hatten → 20 → 20 → 23 Aria alto Bc 32. → 21 → 21 — Aria soprano Str Ob I/II Bc — — — 24. Hier erstarrt mein Herz und Blut HWV 48/42b Recitative Evangelist Bc 33. Und es war oben über ihm geschrieben → 22a → 22a → 25a Chorus choir Str Bc 34. Pfui dich (or: Sieh doch), wie fein zerbrichst du] → 22b → 22b → 25b Recitative Evangelist Bc 35. Desselbengleichen die Hohenpriester → 22c → 22c → 25c Chorus choir Str Bc 36. Er hat andern geholfen → 22d → 22d → 25d Recitative Evangelist Bc 37. Und die mit ihm gekreuzigte waren → 22e → 22e → 25e Aria soprano Vl I/II Bas I/II Bc — — — 26 Was Wunder, das der Sonnen Pracht HWV 48/45b Recitative Evangelist Bc (37 continued) → (22e continued) → (22e continued) → 27a Und um die neunte Stunde Arioso Jesus Str Bc 38. Eli, Eli, lama asabthani? → 22f → 22f → 27b Recitative Evangelist Bc 39. Das ist verdolmetschet → 22 g → 22 g → 27c Chorus choir Str Bc 40. Siehe, er rufet den Elias → 22h → 22h → 27d Recitative Evangelist, Soldier Bc 41. Da lief einer → 22i → 22i → 27e Chorale alto Bc 42. Wann ich einmal soll scheiden → 23 → 23 → 28 Aria soprano Vl I/II (in unison) Bc 43. Seht, Menschenkinder, seht → 24a → 24a → 29a (either this one or 29b) Aria tenor Vl I/II (in unison) Bc 44. Der Fürst der Welt erbleicht → 24b → 24b → 29b (either this one or 29a) Sinfonia Vl I/II Va I Bc 45. → 25 → 25 → 30 Recitative Evangelist, Centurion Bc 46. Und der Vorhang im Tempel zeriß in zwei Stück → 26 → 26 → 31 Aria bass Vl I/II Bc — — — 32. Wie kömmt's, daß, da der Himml weint HWV 48/50b Recitative Evangelist Bc (46 continued) → (26 continued) → (26 continued) → 33. Und es waren auch Weiber da Aria alto Str Bc 47. Dein Jesus hat das Haupt geneiget → 27 → 27 → 34 Recitative Evangelist Bc 48. Und er kaufte eine Leinwand → 28 → 28 → 35 Chorale choir Str Bc 49. O Traurigkeit, o Herzeleid 29a. O Traurigkeit, o Herzeleid (BDW ) 29a. O Traurigkeit, o Herzeleid (BDW ) — Aria soprano Vl I/II Ob Bc — — — 36. Wisch ab der Tränen scharfe Lauge HWV 48/53 Chorus choir Str Bc 50.1 O selig, selig ist zu dieser Frist → 29b → 29b → 37 Chorale choir Str Bc 50.2 O Jesu du → 29c → 29c → 38 Chorus choir Str Bc 50.3 Amen → 29d → 29d → 39

Pasticcios deriving from the original and/or Hamburg version There are two known pasticcio versions of the passion, independent of Bach's three versions.

Combined with two passion-oratorios by Reinhard Keiser