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Volume 51, Issue 3
  • ISSN: 0165-4322
  • E-ISSN: 3050-9947

Abstract

Abstract

Despite the increasing secularisation, there is a continuing interest in the performances of Bach’s St Matthew Passion in the Netherlands. Both religious and non-religious concertgoers feel drawn to the music. However, this is not new. From the moment the work after a century was performed again under the direction of Felix Mendelssohn Bartholdy, the passion found a different audience. Performers and listeners were citizens who thought in the spirit of the Enlightenment. People learned to appreciate the music, but they did not know what to do with the pietistic lyricism. Although people did not always understand the texts anymore, many recognised themselves in the feelings of fear, sorrow, love and longing expressed therein, which they translated into their personal situation. The St Matthew Passion became an that acquired a socially connecting function through its shared experience outside the church community. This process will continue in the future. A renewed sense of empathy with the original intention of the work is useful. The sometimes maligned lyricist Picander is gaining new appreciation today. Further reflection on the text and its connection with Bach’s setting will be an enrichment in understanding.

© Mar van der Veer
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/content/journals/10.5117/RADIX.2025.3.004.VEER
2025-09-01
2025-12-17
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De Matthäus Passion in een seculiere tijd
RADI 51, 255 (2025); https://doi.org/10.5117/RADIX.2025.3.004.VEER
/content/journals/10.5117/RADIX.2025.3.004.VEER
/content/journals/10.5117/RADIX.2025.3.004.VEER
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Keyword(s): Mendelssohn; pietism; secularisation; St. Matthew Passion
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