page_title: St Mark Passion (attributed to Keiser)
section_title: Leipzig 1747–1748 (BNB I/K/2)
hierarchical_section_title: St Mark Passion (attributed to Keiser) / Bach's versions / Leipzig 1747–1748 (BNB I/K/2)
caption_attribution_description: English: Cover of the manuscript source D B N. Mus. ms. 468 for the Harpsichord part of BC D 5 at the Staatsbibliothek zu Berlin. Taken 23 February 2011 from http://www.bach-digital.de/receive/BachDigitalSource_source_00000763.
context_page_description: 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.
context_section_description: Bach again revived this pastiche on either 31 April 1747 (at the St. Nicholas Church, Leipzig) or 12 April 1748 (at the St. Thomas Church, Leipzig). Of all the pastiches, this one was the most complex and involved. In many ways, it was more a true pastiche than the previous two were. In addition to his own music (two movements), Bach incorporated seven Arias from George Frideric Handel's Brockes Passion HWV 48 into the original. This work (BWV deest – Serie II: 005; BC D 5; BNB I/K/2) has come down only in two partial manuscripts. One is a complete harpsichord part of 10 pages dating from between 1743 and 1748 housed at the Staatsbibliothek zu Berlin under Catalogue number D B N. Mus. ms. 468. This part is written in the hands of Johann Christoph Friedrich Bach (notes), Johann Sebastian Bach (figures), and Wilhelm Rust (title page). Its title page reads "Marcus-Passion / angeblich von R: Keiser" and underneath this "NB enthält 6 Arien aus der Brockes'schen / Passion von Händel". After Bach's death, it came into possession of an unknown individual, from whom it entered into possession of Wilhelm Rust, whose heir Maria Rust next took possession of it. It then entered into the possession of an A. Martin in Weimar, from whence it entered into (in succession) the possessions of an A. Thiele and then B. Thiele (also in Weimar), from whence it entered into the possession of the Antiquarian Bookshop of Joseph Abraham Stargardt in Berlin, from whence it entered into the possession of the Staatsbibliothek zu Berlin in 1987.
  The other source material is a one-page fragment of the Bassoon I part of the Aria "Was Wunder, daß der Sonnen Pracht" from Handel's HWV 48 in the hand of Johann Sebastian Bach dating from between 1743 and 1748. This part followed pretty much the same path as the part above, however after it came into possession of B. Thiele, it next entered into possession of C. Thiele in Kiel. It is marked under catalogue number Privatbesitz C. Thiele, BWV deest (Serie II: 005).
  The text for this work is as follows:
  Prima Parte
  Sonata and Chorus: Jesus Christus ist um unser Missetaten willen verwundet
  Recitative (Evangelist, Jesus, Petrus): Und da sie den Lobgesang gesprochen hatten
  Aria (soprano, continuo): Will dich die Angst betreten
  Recitative (Evangelist, Jesus): Und nahm zu sich Petrus und Jakobus und Johannes
  Aria (soprano, oboe, continuo): Sünder, schaut mit Furcht und Zagen
  Recitative (Evangelist, Jesus): Und kam und fand sie schlafend
  Recitative (Evangelist, Judas): Und alsbald, da er noch redet
  Aria (tenor, violins, continuo): Wenn nun der Leib wird sterben müssen
  Recitative (Evangelist, Jesus): Die aber legten ihre Hände an ihn
  Recitative (Evangelist): Und die Jünger verließen ihn alle und flohen
  Chorus: Wir haben gehöret
  Recitative (Evangelist, Hohenpriester, Jesus): Aber ihr Zeugnis stimmet noch nicht überein
  Aria (tenor, oboes, violins, continuo): Erwäg, ergrimmte Natternbruth HWV 48/23Eingefügte Arie aus Händels Brockes-Passion
  Recitative (Evangelist): Da fingen an etliche ihn zu verspeien
  Chorus: Weissage uns!
  Recitative (Evangelist, Magd, Petrus): Und die Knechte schlugen ihn ins Angesicht
  Chorus: Wahrlich, du bist der einer
  Recitative (Evangelist, Petrus): Er aber fing an sich zu verfluchen und zu schwören
  Aria (tenor, violins in unison, continuo): Wein, ach wein jetzt um die Wette
  Chorale: So gehst du nun mein Jesus, hin Violino I vermutlich verschollen, und zu rekonstruieren.
  Seconda Parte
  Sinfonia
  Recitative (Evangelist, Pilatus, Jesus): Und Bald am Morgen hielten die Hohenpriester einen Rat
  Aria (alto, violins, continuo): Klaget nur, ihr Kläger hier
  Recitative (Evangelist, Pilatus): Jesus aber antwortete nichts mehr
  Chorus: Kreuzige Ihn!
  Recitative (Evangelist, Pilatus): Pilatus aber sprach zu ihnen
  Chorus: Kreuzige Ihn!
  Chorale: O hilf, Christe, Gottes Sohn Satz 14a ersetzt den Satz 14 der Weimarer Fassung 1712/1713 in den Fassungen von 1726 bzw. ca. 1745–1748. Violino I vermutlich verschollen, und zu rekonstruieren
  Sinfonia
  Recitative (Evangelist): Pilatus aber gedachte dem Volk genug zu tun
  Chorus: G
caption: Cover page of manuscript source D B N Mus. ms. 468 Harpsichord part for the 2nd Leipzig St Mark Passion pastiche at the Staatsbibliothek zu Berlin (Courtesy of http://www.bach-digital.de)
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