Bach's St. John Passion in queer and Arabian versions

Time of India

2 days ago

Representative AI image
Violence against LGBTQ+ people and well as war and displacement in Gaza inspire two adaptations of one of Johann Sebastian Bach's works on the story of Christ. Queer Passion," by author, director and dramaturge Thomas Höft, opens with a reference to the June 2016 Orlando nightclub shooting targeting the LGBTQ+ community, in which 49 people died and 53 were injured.
It is one of the deadliest terrorist attacks in US history.
Played by the Art House 17 orchestra on period instruments, Höft's work uses as its musical basis Johann Sebastian Bach's famous St. John Passion, based on the Gospel story of the suffering of Jesus Christ on the cross.
In his libretto, however, Höft describes the stories of queer people who are discriminated against or murdered. "I asked myself, where do I, as a queer man, appear in classical music?" Höft told DW.
And he quickly realized that the answer was: "Actually, not at all." And that is precisely what he wants to change.
Experience Bach in Arabic
Bach's St. John Passion also served as a model for the Bulgarian musician and musicologist Vladimir Ivanoff in his "Arabian Passion." The composer is concerned with the people living in the Middle East, the birthplace of Jesus Christ, whose suffering through war, displacement and oppression has a long history.
The impetus for his "Arabian Passion" was the 2003 US invasion of Iraq, which had devastating consequences for the civilian population. "And I feel the same way about Gaza now. I had several music students from the Middle East in my workshops, of whom I'm only sporadically informed if they're still alive," Ivanoff told DW.Ivanoff left the text and music by Johann Sebastian Bach in their original form, but some of the instruments come from the Arabian Mediterranean region.
Lebanese singer Fadia El-Hage sings all of Bach's arias in Arabic.
Transforming the St. John Passion
Both the Arabian and the queer versions of the St. John Passion are now on tour. They will be performed, among other works, as part of the Bachfest n Leipzig, held from June 12-22. The revisited versions of the work appropriately fit into this year's theme for the Bach festival, "Transformation."
It was in Leipzig that Johann Sebastian, while serving as Cantor of St.
Thomas Church, composed his famous St. John Passion in 1723.
Bach often rewrote his cantatas himself, using the so-called parody technique. He also had them performed by other ensembles.
For example, he later added a sacred text to secular cantatas, thus placing them in a different context. Thomas Höft and Vladimir Ivanoff build on this approach with their version of the St. John Passion.
Adding a Middle Eastern touch to Bach
For his "Arabian Passion," Vladimir Ivanoff has recombined pieces from the St.
John Passion and Bach's St. Matthew Passion.
Instead of sticking to the traditional combination of orchestra and choir, his ensemble Sarband also features the jazzy Modern String Quartet. The ensemble also includes instruments from the Mediterranean region, such as the long-necked lute ud, the flute ney and the Arabic violin.
Sarband means "connection." Ivanoff sees himself as a bridge-builder and wants to connect the West and the East through music.
The mere fact that Christian texts from the St. John Passion are sung in Arabic, and by a woman at that, can be seen as a provocation for conservative Muslims. This makes it all the more surprising that Vladimir Ivanoff and his Sarband ensemble have been welcome guests at various Arab music festivals.
Playing for the emir of Abu Dhabi
Since 2003, Sarband has been touring the Middle East with the "Arabian Passion." The ensemble has performed in the cathedral of Beirut and in Aleppo, Syria. "We also performed the Passion in Damascus at the Alhambra Cinema, a very famous jazz concert hall," says Ivanoff
They were also invited to Abu Dhabi to perform during the Sheikh Zayed Book Award ceremony.
The Emir liked their music. However, shortly before the event, organizers noticed that a female singer was planned. That couldn't be allowed; the ensemble had to play an entirely instrumental version of the work.
Ivanoff also travels with his ensemble to Hezbollah-held areas. Sometimes, lyrics or titles of Christian and Jewish songs are changed, he says, but he accepts that. "That's our principle: we want to get into the structures at all costs," says Ivanoff. "I see myself a bit as a musical guerrilla. What we do is effective, and this gentle seduction works incredibly well."