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, by his son Reinhard, or by Friedrich Nicolaus Bruhns. 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 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, the music director of the Hamburg Cathedral from 1685 to 1718, hence the association of the Passion setting with this composer. 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, "Christus, der uns selig macht" by Michael Weiße, "O Haupt voll Blut und Wunden" by Paul Gerhardt, 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:
Orchestra:
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. 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 "sinfonia", 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. 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.
MovementVoicesInstr. Hamburg 1707BC D 5aBC D 5bBNB I/K/2
Sonata and ChoruschoirStr Bc1. Jesus Christus ist um unser Missetat willen verwundet→ 1→ 1→ 1
RecitativeEvangelist, Jesus, PeterStr Bc2. Und da sie den Lobgesang gesprochen hatten→ 2→ 2→ 2
AriasopranoBc3. Will dich die Angst betreten→ 3→ 3→ 3
RecitativeEvangelist, JesusStr Bc4. Und nahm zu sich Petrus und Jakobus und Johannes→ 4→ 4→ 4
ChoralechoirStr Bc5. Was mein Gott will, das g'scheh allzeit→ 5→ 5—
AriasopranoOb Bc———5. Sünder, schaut mit Furcht und Zagen, HWV 48/9
RecitativeEvangelist, JesusStr Bc6. Und kam und fand sie schlafend→ 6a → 6a → 6a
RecitativeEvangelist, JudasBc7. Und alsbald, da er noch redet→ 6b → 6b → 6b
AriatenorVl I/II Bc8. Wenn nun der Leib wird sterben müssen→ 7 → 7 → 7
RecitativeEvangelist, JesusStr Bc9. Die aber legten ihre Hände an ihn→ 8a → 8a → 8a
RecitativeEvangelistBc10. Und die Jünger verließen ihn alle und flohen→ 8b → 8b → 8b
ChoruschoirStr Bc11. Wir haben gehöret, daß er saget→ 8c → 8c → 8c
RecitativeEvangelist, High priest, JesusStr Bc12. Aber ihr Zeugnis stimmet noch nicht überein→ 8d → 8d → 8d
AriatenorOb I/II Vl I/II Bc———9. Erwäg, ergrimmte Natternbruth, HWV 48/23
RecitativeEvangelistBc→ → → 10a Da fingen an etliche ihn zu verspeien
ChoruschoirStr Bc13. Weissage uns!→ 8e → 8e → 10b
RecitativeEvangelist, Ancilla, PeterBc14. Und die Knechte schlugen ihn in's Angesicht→ 8f → 8f → 10c
ChoruschoirStr Bc15. Wahrlich, du dist der' einer→ 8g → 8g → 10d
RecitativeEvangelist, PetrusBc16. Er aber fing an sich zu verfluchen und zu schwören→ 8h → 8h → 10e
AriatenorVl I/II Bc17. Wein, ach wein jetzt um die Wette→ 9 → 9 → 11
ChoralechoirStr Bc——9+. So gehst du nun, mein Jesu, BWV 500a → 12
SinfoniaVl I/II Va I Bc18.→ 10 → 10 → 13
RecitativeEvangelist, Pilate, JesusBc19. Und Bald am Morgen→ 11 → 11 → 14
AriaaltoVl I/II Bc20. Klaget nur, ihr Kläger hier→ 12 → 12 → 15
RecitativeEvangelist, PilateBc21. Jesus aber antwortete nichts mehr→ 13a → 13a → 16a
ChoruschoirStr Bc22.1 Kreuzige ihn!→ 13b → 13b → 16b
RecitativeEvangelist, PilateBc22.2 Pilatus aber sprach zu ihnen→ 13c → 13c → 16c
ChoruschoirStr Bc22.3 Kreuzige ihn!→ 13d → 13d → 16d
ChoralechoirStr Bc23. O hilf, Christe, Gottes Sohn14. O hilf, Christe, Gottes Sohn 14a. O hilf Christe, Gottes Sohn, BWV 1084 → 17
SinfoniaVl I/II Va I Bc24.→ 15 → 15 → 18
RecitativeEvangelistBc25. Pilatus aber gedachte→ 16a → 16a → 19a
ChoruschoirStr Bc26. Gegrüßet seist du, der Juden König→ 16b → 16b → 19b
RecitativeEvangelistBc27. Und schlugen ihm das Haupt mit dem Rohr→ 16c → 16c → 19c
AriabassStr Bc28. O süßes Kreuz→ 17 → 17 → 20
RecitativeEvangelistBc29. Und sie brachten ihn an die Stätte Golgatha→ 18 → 18 → 21
AriasopranoOb Bc30. O Golgotha!→ 19 → 19 —
Aria and Chorussoprano, choirVl I/II Bc———22. Eilt, ihr angefochtnen Seelen HWV 48/39b
RecitativeEvangelistBc31. Und da sie ihn gekreuziget hatten→ 20 → 20 → 23
AriaaltoBc32. Was seh' ich hier→ 21 → 21 —
AriasopranoStr Ob I/II Bc———24. Hier erstarrt mein Herz und Blut HWV 48/42b
RecitativeEvangelistBc33. Und es war oben über ihm geschrieben→ 22a → 22a → 25a
ChoruschoirStr Bc34. Pfui dich, wie fein zerbrichst du]→ 22b → 22b → 25b
RecitativeEvangelistBc35. Desselbengleichen die Hohenpriester→ 22c → 22c → 25c
ChoruschoirStr Bc36. Er hat andern geholfen→ 22d → 22d → 25d
RecitativeEvangelistBc37. Und die mit ihm gekreuzigte waren→ 22e → 22e → 25e
AriasopranoVl I/II Bas I/II Bc———26 Was Wunder, das der Sonnen Pracht HWV 48/45b
RecitativeEvangelistBc→ → → 27a Und um die neunte Stunde
AriosoJesusStr Bc38. Eli, Eli, lama asabthani?→ 22f → 22f → 27b
RecitativeEvangelistBc39. Das ist verdolmetschet→ 22g → 22g → 27c
ChoruschoirStr Bc40. Siehe, er rufet den Elias→ 22h → 22h → 27d
RecitativeEvangelist, SoldierBc41. Da lief einer→ 22i → 22i → 27e
ChoralealtoBc42. Wann ich einmal soll scheiden→ 23 → 23 → 28
AriasopranoVl I/II Bc43. Seht, Menschenkinder, seht→ 24a → 24a → 29a
AriatenorVl I/II Bc44. Der Fürst der Welt erbleicht→ 24b → 24b → 29b
SinfoniaVl I/II Va I Bc45.→ 25 → 25 → 30
RecitativeEvangelist, CenturionBc46. Und der Vorhang im Tempel zeriß in zwei Stück→ 26 → 26 → 31
AriabassVl I/II Bc———32. Wie kömmt's, daß, da der Himml weint HWV 48/50b
RecitativeEvangelistBc→ → → 33. Und es waren auch Weiber da
AriaaltoStr Bc47. Dein Jesus hat das Haupt geneiget→ 27 → 27 → 34
RecitativeEvangelistBc48. Und er kaufte eine Leinwand→ 28 → 28 → 35
ChoralechoirStr Bc49. O Traurigkeit, o Herzeleid29a. O Traurigkeit, o Herzeleid 29a. O Traurigkeit, o Herzeleid —
AriasopranoVl I/II Ob Bc———36. Wisch ab der Tränen scharfe Lauge HWV 48/53
ChoruschoirStr Bc50.1 O selig, selig ist zu dieser Frist→ 29b → 29b → 37
ChoralechoirStr Bc50.2 O Jesu du→ 29c → 29c → 38
ChoruschoirStr Bc50.3 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

is a pasticcio based on Jesus Christus ist um unsrer Missetat willen verwundet and two Passion-Oratorios by Reinhard Keiser: his Brockes-Passion setting and his Der zum Tode verurteilte und gekreuzigte Jesus, published in Berlin in 1715.

Hamburg 1729

is a manuscript representing a pasticcio version of the St. Mark passion-oratorio which originated in or around Hamburg in 1729. In this manuscript the Passion is attributed to Reinhard Keiser. Like the previous, also this pasticcio is completely independent from Bach's versions.

Bach's versions

Bach held deep regard for the chief Hanseatic League cities of Hamburg and Lübeck throughout his life. In his mid and late teen years, he had opportunities to visit both cities while a student at St. Michael's Church School, Lüneburg. From November 1705 to February 1706, he again made the trip north from Arnstadt to Lübeck. He again visited Hamburg in 1720 to try out for the position of Organist at the Jakobikirche, a visit during which he won the rarely afforded praise of the aged Johann Adam Reincken. It is possible that he became acquainted with a work during his earlier visits to Hamburg that would occupy a central place in his musical library for the rest of his life.
The manuscripts for the Weimar version and the first Leipzig version are:
was published in 1754 by Lorenz Christoph Mizler. Its authors, Bach's son Carl Philipp Emanuel Bach and his former pupil Johann Friedrich Agricola, indicated in the list of unpublished works, pp. 168–169 of the Nekrolog, that Bach would have written five Passions. Four of these are easily identified, they were listed as Nos. 244–247 in the Bach-Werke-Verzeichnis. As for the fifth Passion it is unclear which composition may have been meant by the authors of the Nekrolog. Jesus Christus ist um unsrer Missetat willen verwundet as arranged and expanded by Bach is one of the more likely candidates, along with the somewhat elusive Weimarer Passion, and Wer ist der, so von Edom kömmt, a pasticcio including a few movements by Bach.

Weimar, 1710–1714 (BC D 5a)

No evidence exists that Bach was required to provide Passion music for his early posts in Weimar, Arnstadt, Mühlhausen, and Weimar. However, he did receive requests to do so on two occasions: once on commission by Frederick III, Duke of Saxe-Gotha-Altenburg, and another resulting in his first version of Jesus Christus ist um unsrer Missetat willen verwundet.
The origins of the commission for this work are unknown. All documentary material for Bach's time in Weimar during this period were destroyed in a 1774 fire that consumed the palace that Bach was employed in during this period, the Wilhelmsburg. The only evidence that has come down is a set of performance parts archived in the Staatsbibliothek zu Berlin.
There are many questions still surrounding this work. Many scholars question whether the set of parts that we have are complete. Even the dating is questionable. Originally, scholars assigned the dating to Good Friday 1713, but is now put down to Good Friday 1712 or even a year or two earlier., or even Good Friday 1714
The work is in 32 movements, of which two were composed by Bach :
  1. Sonata and Chorus: Jesus Christus ist um unser Missetat willen verwundet
  2. Recitative : Und da sie den Lobgesang gesprochen hatten
  3. Aria : Will dich die Angst betreten
  4. Recitative : Und nahm zu sich Petrus und Jakobus und Johannes
  5. Chorale: Was mein Gott will, das g'scheh allzeit
  6. :Recitative : Und kam und fand sie schlafend
  7. :Recitative : Und alsbald, da er noch redet
  8. Aria : Wenn nun der Leib wird sterben müssen
  9. :Recitative : Die aber legten ihre Hände an ihn
  10. :Recitative : Und die Jünger verließen ihn alle und flohen
  11. :Chorus: Wir haben gehöret
  12. : Recitative : Aber ihr Zeugnis stimmet noch nicht überein
  13. : Chorus: Weissage uns!
  14. : Recitative : Und die Knechte schlugen ihn in's Angesicht
  15. : Chorus: Wahrlich, du bist der einer
  16. :Recitative : Er aber fing an sich zu verfluchen und zu schwören
  17. Aria : Wein, ach wein jetzt um die Wette
  18. Sinfonia
  19. Recitative : Und Bald am Morgen
  20. Aria : Klaget nur, ihr Kläger hier
  21. :Recitative : Jesus aber antwortete nichts mehr
  22. :Chorus: Kreuzige ihn!
  23. :Recitative : Pilatus aber sprach zu ihnen
  24. :Chorus: Kreuzige ihn!
  25. Chorale: O hilf Christe, Gottes Sohn
  26. Sinfonia
  27. :Recitative : Pilatus aber gedachte
  28. : Chorus: Gegrüßet seist du
  29. :Recitative : Und schlugen ihm das Haupt mit dem Rohr
  30. Aria : O süßes Kreuz
  31. Recitative : Und sie brachten ihn an die Stätte Golgatha
  32. Aria : O Golgotha!
  33. Recitative : Und da sie ihn gekreuziget hatten
  34. Aria : Was seh' ich hier
  35. :Recitative : Und es war oben über ihm geschrieben
  36. : Chorus: Pfui dich*
  37. :Recitative : Desselbengleichen die Hohenpriester
  38. :Chorus: Er hat anderen geholfen
  39. :Recitative : Und die mit ihm gekreuzigte waren
  40. : Arioso : Eli, Eli, lama asabthani?
  41. : Recitative : Das ist verdolmetschet
  42. : Chorus: Siehe, er rufet den Elias.
  43. : Recitative : Da lief einer
  44. Chorale : Wenn ich einmal soll scheiden
  45. Aria : Seht, Menschenkinder, seht
  46. Sinfonia
  47. Recitative : Und der Vorhang im Tempel zeriß in zwei Stück
  48. Aria : Dein Jesus hat das Haupt geneiget
  49. Recitative : Und er kaufte eine Leinwand
  50. Chorale: O Traurigkeit
  51. Chorale: O selig ist
  52. Chorale: O Jesu du
  53. Chorale: Amen.
Christian Friedrich Henrici, the man who would later provide Bach with many of his cantata and oratorio texts, would use the text for Movement 9 in one of his own collections. The two Bach additions are catalogued as BWV deest serie II: 02 and 03.

Leipzig 1726 (BC D 5b)

Nearly three years into his post as "Cantor of the Thomasschule zu Leipzig and Directoris Chori musici in Leipzig", Bach ran into a quandary. He had begun and nearly completed a score for a St Matthew Passion, a project which he began in 1725 but put aside for a revival of his St John Passion, when he again for some unknown reason set aside the project. Instead he decided to revive his Weimar pastiche. This work was performed on 19 April 1726. For this work, he changed two movements and, to fit it to the Church Ordinance for Good Friday Vespers services in Leipzig, he split it into two parts by adding a chorale. The violin I part for this work is missing in all his new additions, but on the whole, the parts are more complete. This work has come down to us in the form of a vocal score and parts set dating from before 1726 in the hands of Johann Sebastian Bach, Christian Gottlob Meißner, and Johann Heinrich Bach, and is currently stored in the Staatsbibliothek zu Berlin under the Catalogue number D B Mus. ms. 11471/2. The title page reads "Passion Christi / secundum Marcum / à 5 Strom 4 Voci / di Sigre / R. Kaiser."
In this version the following parts are by Bach:
The sequence of movements in this version is as follows:
Prima Parte
  1. Sonata and Chorus: Jesus Christus ist um unser Missetat willen verwundet
  2. Recitative : Und da sie den Lobgesang gesprochen hatten
  3. Aria : Will dich die Angst betreten
  4. Recitative : Und nahm zu sich Petrus und Jakobus und Johannes
  5. Chorale: Was mein Gott will, das g'scheh allzeit
  6. :Recitative : Und kam und fand sie schlafend
  7. :Recitative : Und alsbald, da er noch redet
  8. Aria : Wenn nun der Leib wird sterben müssen
  9. :Recitative : Die aber legten ihre Hände an ihn
  10. :Recitative : Und die Jünger verließen ihn alle und flohen
  11. :Chorus: Wir haben gehöret
  12. : Recitative : Aber ihr Zeugnis stimmet noch nicht überein
  13. :Chorus: Weissage uns!
  14. :Recitative : Und die Knechte schlugen ihn in's Angesicht
  15. :Chorus: Wahrlich, du bist der einer
  16. :Recitative : Er aber fing an sich zu verfluchen und zu schwören
  17. :Aria : Wein, ach wein jetzt um die Wette
  18. :Chorale: So gehst du nun, mein Jesus, hin, Violino I vermutlich verschollen, und zu rekonstruieren
Seconda Parte
  2. Sinfonia
  3. Recitative : Und Bald am Morgen
  4. Aria : Klaget nur, ihr Kläger hier
  5. :Recitative : Jesus aber antwortete nichts mehr
  6. : Chorus: Kreuzige ihn!
  7. :Recitative : Pilatus aber sprach zu ihnen
  8. :Chorus: Kreuzige ihn!
  9. : Chorale: O hilf Christe, Gottes Sohn Sart 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
  10. Sinfonia
  11. :Recitative : Pilatus aber gedachte
  12. :Chorus: Gegrüßet seist du
  13. : Recitative : Und schlugen ihm das Haupt mit dem Rohr
  14. Aria : O süßes Kreuz
  15. Recitative : Und sie brachten ihn an die Stätte Golgatha
  16. Aria : O Golgotha!
  17. Recitative : Und da sie ihn gekreuziget hatten
  18. Aria : Was seh' ich hier
  19. :Recitative : Und es war oben über ihm geschrieben
  20. :Chorus: Pfui dich*
  21. : Recitative : Desselbengleichen die Hohenpriester
  22. :Chorus: Er hat anderen geholfen
  23. :Recitative : Und die mit ihm gekreuzigte waren
  24. : Arioso : Eli, Eli, lama asabthani?
  25. : Recitative : Das ist verdolmetschet
  26. : Chorus: Siehe, er rufet den Elias.
  27. : Recitative : Da lief einer
  28. Chorale : Wenn ich einmal soll scheiden
  29. :Aria : Seht, Menschenkinder, seht
  30. :Aria : Der Fürst der Welt erbleicht
  31. Sinfonia
  32. Recitative : Und der Vorhang im Tempel zeriß in zwei Stück
  33. Aria : Dein Jesus hat das Haupt geneiget
  34. Recitative : Und er kaufte eine Leinwand
  35. Chorale: O Traurigkeit 1726 und ca. 1745–1748 statt in Halbe in Viertel notiert.
  36. Chorale: O selig ist
  37. Chorale: O Jesu du
  38. Chorale: Amen.
Like the Weimar work, this work also was scored for SATB soloists and choir, oboes I/II, violins I/II, violas I/II, and basso continuo. Like the Weimar work, the oboes were also included in the Choral and Sinfonia sections. However, the parts this time also included a figured organ part. In two of the three new additions, the first violin part is missing and has been reconstructed. Of the new additions, Alfred Dürr noted that the bass line of Movement 10 mirrored exactly the bass line of the sacred song from Georg Christian Schemelli's Musicalisches Gesang-Buch, So gehst du nun, mein Jesus, hin BWV 500. Movement 15 was used as a replacement of Movement 14 of BC D 5a, and is catalogued as BWV 1084 and is also marked alla breve as is its predecessor, but instead of half notes as the main beat, the quarter note gets the main beat. Movement 30 was used to replace Movement 29 of BC D 5a, and is catalogued as BWV deest serie II: 04.

Leipzig 1747–1748 (BNB I/K/2)

Bach again revived this pastiche on either 31 April 1747 or 12 April 1748. 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, Bach incorporated seven Arias from George Frideric Handel's Brockes Passion HWV 48 into the original. This work 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, Johann Sebastian Bach, and Wilhelm Rust. 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 the possessions of an A. Thiele and then B. Thiele, 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.
The text for this work is as follows:
Prima Parte
  1. Sonata and Chorus: Jesus Christus ist um unser Missetaten willen verwundet
  2. Recitative : Und da sie den Lobgesang gesprochen hatten
  3. Aria : Will dich die Angst betreten
  4. Recitative : Und nahm zu sich Petrus und Jakobus und Johannes
  5. Aria : Sünder, schaut mit Furcht und Zagen
  6. :Recitative : Und kam und fand sie schlafend
  7. :Recitative : Und alsbald, da er noch redet
  8. Aria : Wenn nun der Leib wird sterben müssen
  9. :Recitative : Die aber legten ihre Hände an ihn
  10. : Recitative : Und die Jünger verließen ihn alle und flohen
  11. :Chorus: Wir haben gehöret
  12. :Recitative : Aber ihr Zeugnis stimmet noch nicht überein
  13. ::Aria : Erwäg, ergrimmte Natternbruth HWV 48/23Eingefügte Arie aus Händels Brockes-Passion
  14. ::Recitative : Da fingen an etliche ihn zu verspeien
  15. :Chorus: Weissage uns!
  16. :Recitative : Und die Knechte schlugen ihn ins Angesicht
  17. :Chorus: Wahrlich, du bist der einer
  18. :Recitative : Er aber fing an sich zu verfluchen und zu schwören
  19. Aria : Wein, ach wein jetzt um die Wette
  20. :Chorale: So gehst du nun mein Jesus, hin Violino I vermutlich verschollen, und zu rekonstruieren.
Seconda Parte
  2. Sinfonia
  3. Recitative : Und Bald am Morgen hielten die Hohenpriester einen Rat
  4. Aria : Klaget nur, ihr Kläger hier
  5. :Recitative : Jesus aber antwortete nichts mehr
  6. :Chorus: Kreuzige Ihn!
  7. :Recitative : Pilatus aber sprach zu ihnen
  8. :Chorus: Kreuzige Ihn!
  9. 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
  10. Sinfonia
  11. :Recitative : Pilatus aber gedachte dem Volk genug zu tun
  12. :Chorus: Gegrüßet seist du
  13. : Recitative : Und schlugen ihm das Haupt mit dem Rohr
  14. Aria : O süßes Kreuz
  15. Recitative : Und sie brachten ihn an die Stätte Golgatha
  16. Aria and Chorus : Eilt, iht angefochtnen Seelen HWV 48/41 Eingefügte Arie aus Händels Brockes-Passion als Esatz für die Arie 19 "O Golgatha"
  17. Recitative : Und da sie ihn gekreuziget hatten
  18. Aria : Hier erstarrt mein Herz in Blut HWV 48/44 Eingefügte Arie aus Händels Brockes-Passion, als Ersatz für die Arie "Was sehe ich hier"
  19. : Recitative : Und es war oben über ihm geschrieben
  20. : Chorus: Pfui dich*
  21. :Recitative : Desselbengleichen die Hohenpriester verspotteten ihn untereinander
  22. :Chorus: Er hat anderen geholfen
  23. :Recitative : Und die mit ihm gekreuzigte waren
  24. ::Aria : Was Wunder, das der Sonnen Pracht HWV 48/48 Eingefügte Arie aus Händels Brockes-Passion
  25. :Arioso : Eli, Eli, lama asabthani?
  26. :Recitative : Das ist verdolmetschet
  27. : Chorus: Siehe, er rufet den Elias.
  28. :Recitative : Und da lief einer
  29. Chorale : Wenn ich einmal soll scheiden
  30. :Aria : Seht Menschenkinder, seht
  31. :Aria : Der Fürst der Welt erbleicht
  32. Sinfonia
  33. :Recitative : Und der Vorhang im Tempel zeriß in zwei Stück
  34. :Aria : Wie kömmt's, daß, da der Himml weint HWV 48/52 Eingefügte Arie aus Händels Brockes-Passion
  35. :Recitative : Und es waren auch Weiber da
  36. Aria : Dein Jesus hat das Haupt geneiget
  37. Recitative : Und er kaufte eine Leinwand
  38. Aria : Wisch ab der Tränen scharfe Lauge HWV 48/55 Eingefügte Arie aus Händels Brockes-Passion, als Ersatz für den Choral "O Traurigkeit, o Herzeleid"
  39. Chorale: O selig ist
  40. Chorale: O Jesu du
  41. Chorale: Amen.
The instrumentation is for a larger ensemble: SATB soloists and choir, oboe I/II, bassoon I/II, violin I/II, viola I/II, and basso continuo.

Reception

In the first half of the 18th century Jesus Christus ist um unsrer Missetat willen verwundet proved one of the more popular passion settings in Protestant Germany. As a Passion based on the Gospel text of one of the four evangelists, as opposed to the upcoming Passion-Oratorio genre based on a freer interpretation of Gospel texts combined from several evangelists, such as the Brockes Passion, it was exceptional in being performed in half a dozen versions and in multiple cities.
The reception of the composition by Bach is of historic importance as it shows many of the characteristics Bach would adopt in his own famous passion settings: the vox Christi treatment, the typical Bach Evangelist, the recitative-aria-chorale units, chorales based on Paul Gerhardt's "O Haupt voll Blut und Wunden",... — all characteristics deemed typical for Bach's oratorios and passion settings that are present in this early 18th century work. Bach's last version also shows how the composer attempted to combine an Evangelist-based passion setting with a freer Passion-Oratorio setup. Bach's versions of this passion overarch his known passion compositions: he copied and performed the score prior to his first passion composition, the Weimarer Passion, he staged it again between the first performances of the St John and the St Matthew, and his last version of this St Mark was performed around the time he finished revising his other passion settings.
Then the work was forgotten for a long time: nothing of it was mentioned in the 19th-century Bach Gesellschaft Ausgabe, nor in the 1950 first edition of the Bach-Werke-Verzeichnis. For a period of around two centuries the only thing that seems to have happened to the composition are Wilhelm Rust's efforts to analyse and reconstruct the original score. The score was published in the second half of the 20th century, and recorded for the first time in the early 1970s. The 21st century saw the publication and performance of Bach's 1740s pasticcio version. Another 21st-century development is the combination of the Gospel parts of the "Keiser" St Mark Passion with reconstructed choruses and arias of the largely lost BWV 247 St Mark Passion, into a new pasticcio.

Score editions

Felix Schroeder's score edition, based on the composite manuscript of Bach's first two versions and the 1729 Hamburg pasticcio, was published by Hänssler in the 1960s, attributing the work to Reinhard Keiser. Another 1960s score edition was realised by Donald George Moe and published by the University of Iowa.
Carus-Verlag published the BNB I/K/1 version, that is BC D 5a version of the score with the BC D 5b variants of the choral movements 9+, 14a and 29a appended, as Reinhard Keiser's work arranged by Bach, in 1997. Their publication of the BNB I/K/2 pasticcio, which indicated "Kaiser", Bach and Handel as its composers, followed in 2012: this edition contained reconstructed material and a detailed introduction by its editor Christine Blanken.
The Neue Bach-Ausgabe volume II/9 Latin Church Music, Passions: Works with Doubtful Authenticity, Arrangements of Music from other Composers, edited by Kirsten Beißwenger and published in 2000 by Bärenreiter, contains as well a critical commentary as score editions of the choral movements attributed to Bach, that is the choral movements "O hilf, Christe, Gottes Sohn" and "O Traurigkeit, o Herzeleid" of the BC D 5a version and the three choral movements in the BC D 5b version. Section 9 of this score edition contains the fragments relating to the BNB I/K/2 version as available. In this publication Reinhard Keiser is indicated as the composer of the original work.
CPDL contains all choral movements of the BC D 5b version, attributing them to Reinhard Keiser.

Discography

The first recording of the work was realised in February 1971 by Jörg Ewald Dähler. Another 1971 recording was directed by Alois J. Hochstrasser. 1973 recordings were conducted by Gert Sell and Albrecht Haupt. Daniel R. Melamed recommends two 1990s recordings, by Christian Brembeck and Michel Laplénie.