La Pasion Segun San Marcos (St. Mark Passion)

La Pasion Segun San Marcos (St. Mark Passion)

La Pasion Segun San Marcos (St. Mark Passion)
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CD Details

Performer: Schola Cantorum de Caracas
Composer: Osvaldo Golijov
Conductor: Maria Guinand
Orchestra: Orquesta La Pasion
Performer: Lucianba Souza
Performer: Reynaldo Gonzales Fernandes
Edition: Music CD
CD Release Date: 2001-08-28
Music Label: Hanssler Classics
Soundtracks:
Music CD 1
  1. No.1: Baptism On The Cross
  2. No.2: Dance Of The Ensnared Fisherman
  3. No.3: First Announcement
  4. No.4: Second Announcement
  5. No.5: Not On The Feast Day
  6. No.6: Two Days
  7. No.7: The Anointment In Bethany
  8. No.8: Why?
  9. No.9: Aria With Crickets
  10. No.10: The First Day
  11. No.11&12: Judas; The Paschal Lamb
  12. No.13: I Forswear This World
  13. No.14: The Eucharist
  14. No.15: We Give Thanks
  15. No.16: On Mount Of Olives
  16. No.17: Face To Face
  17. No.18: In Gethsemane
  18. No.19: Agony
  19. No.19: Agony
  20. No.21: Dance Of The White Sheet
  21. No.22: Before Caiaphas
Music CD 2
  1. No.23: I Am (Confession)
  2. No.24: Scorn And Denial
  3. No.25: The Rending Of The Robe
  4. No.26: Colorless Moon
  5. No.27: Morning: Before Pilate
  6. No.28: Silence
  7. No.29: Sentence
  8. No.30: Soldiers
  9. No.31: Dance Of The Holy Purple Robes
  10. No.32: Crucifixion
  11. No.33: Death
  12. No.34: Kaddish

Music reviews of La Pasion Segun San Marcos (St. Mark Passion)

Music Review: Most inspiring and visionary
Rating: 5 Stars

Such a 2000 creation from Caracas in Venezuela is a real chalice of bliss and joy. The subject is as old as our civilization. It is also one of the most interesting works by J.S. Bach. And yet we are confronted to a complete renewal, an absolute regeneration that our overlistening to and overperforming of Bach's Passions, and among others Mark's, had more or less convinced our cultural consciousness was impossible. This new creative power had to come from a completely different planet, hemisphere, continent and it had to be the highly creatively christian South America. The composer, Osvaldo Golijov, uses all the musical resources he can have at his disposal in his own country to elaborate and build a new Solomon's Temple to this forever inspiring episode in our spiritual perspective. He keeps the Boaz of the Bible, of Mark, of the tradition, even taken from Bach, but he injects the Jachin of voices, instruments, rhythms, compositions from Venezuela and Latin America. Even the Spanish flamenco has been summoned to create a real festive celebration of this event. You will find the voices surprising because they do not qualify entirely the strict definitions we are used to. The sounds of Spanish are also very surprising since we have been used to listening to German or English, at times Italian and French. And when we enter the language a little bit further we find that there is a deeper involvement and even sinking in the emotional subject due to the very syntax of the language that takes us deep into the roaring stream of these sensitive events. What's most striking though is the wide use of Latin American rhythms and percussions transforming this Passion into a real throbbing spiritual and soul-like trance. Some surprising pieces actually become parabolical and symbolical in the very architecture of the whole Passion. The foot-stamping flamenco is a real gem in this work because it is so positioned that the sound of the feet become the representation of a whole set of meanings : Pilate's thinking about the deep injustice he is about to commit, the long walk Jesus is going to take up to Golgotha, the everlasting sense of guilt that those who required and obtained Jesus' crucifixion will carry for centuries, the long processions we have taken part in and will take part in over the years to celebrate or simply remember the horror of a past that is eternally recurring and coming back among us, because our true and everlasting impulse or instinct is to survive no matter what, to dominate no matter what and to protect our power no matter what, even if we need to assassinate innocents or have them assassinated by the police, some armed forces or even some criminals who try to cultivate the barbaric frustrations that they have suffered by imposing some just as barbaric violence onto others. The first most surprising moment of this Passion is Judas' Aria « ¡ Quisiera yo renagar... ! » that does not express remorse but regret, the regret not to have reached the full and complete truth and the wish he could come back in this life to learn some more. Did he betray as it is repetitively said, or was he the victim of some illusion about truth and the fuiture, or was he expected to do this without really understanding why ? There is at this moment, including in the music a depth that reveals Judas is probably not the traitor and criminal we see most of the time under his name. The second most surprising moment is of course the final Kaddish, the Jewish prayer to the Dead, which is in Aramaic, the common language of Jesus, his disciples and the Jews at the time. This ending with the Jewish reference and atmosphere shows how the drama of Jesus is not to have been crucified on the request of the Jewish high priests manipulating the populace, but the tragic crucifixion of a Jew by other Jews hence producing the deepest subversive frustration among Jews that will lead eventually to a secession of one group from the other and millenia-long hostility, rivalry and hatred. There is nothing more tragic than a feud among brothers and sisters. We can wonder and we are perfectly entitled to think that the composer was thinking of the deep divide that was and is building up in Latin America among the brothers and sisters of these peoples who have been exploited too long by colonial or semi-colonial powers. Maybe this new dimension given to this Passion is what the Christians would call a miracle, because a miracle is an unexplainable event that occurs in our minds and souls.

Dr Jacques COULARDEAU, Université Paris Dauphine, Université Paris I Panthéon Sorbonne
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Description of La Pasion Segun San Marcos (St. Mark Passion)

Osvaldo Golijov was born on December 5, 1960, in La Plata, Argentina, and now lives in Newton, Massachusetts. The score is dedicated "To the miracle of faith in Latin America, that lives through María Guinand and the Schola Cantorum de Caracas." Osvaldo Golijov grew up in an Eastern European Jewish household in La Plata, a provincial capital of half a million people about fifty kilometers from Buenos Aires in officially Catholic Argentina. While on a fellowship to the Tanglewood Festival, Golijov became acquainted personally with the Kronos Quartet, who performed there in 1990 and 1992. This relationship became a central one to Golijov’s ever-increasing profile as a composer. Golijov wrote K’vakarat, which the quartet later recorded, for Kronos and cantor Misha Alexandrovich, and in 1997 Kronos and clarinetist David Krakauer recorded Golijov’s Klezmer-accented The Dreams and Prayers of Isaac the Blind. When approaching the composer with the commission, Rilling encouraged Golijov draw upon his own experience—as a Jew living in an officially Catholic country; as an artist with an interest in a broadly eclectic range of style and media; as a Spanish-speaking composer of Eastern European parents, now living in the United States, and so on—in discovering a personal perspective on the twice-told (or rather four-times-told) story. The text of La Pasión Según San Marcos is composed of portions of The Gospel According to Mark, the Old Testament’s Psalms and Lamentations, and Spanish poetry. Golijov matches the pared-down, vox populi directness of St. Mark’s account in the directness of his musical idiom, particularly in his appropriation of popular Latin American folk and dance music. He uses these forms as models for individual numbers with the larger work, which itself shares much in common with the structures of the Passions of Bach. From the Steve Reichian pulsations of the opening bars, to the sultry rhythms accompanying Jesus’ betrayal to the other-worldly setting of the Kaddish (the Jewish prayer for the dead) with which the work concludes, Golijov’s score is vibrant with energy, exoticism and PASSION! ?This is the ONLY composer authorized recording with the original ensemble!?
Osvaldo Golijov is an inspired Argentinean-Jewish composer, and his St. Mark Passion, an 86-minute, in-your-face work--drawing from African American, South American, Cuban, European, and Jewish music--is an exciting, vibrant, percussion-filled experience with the rhythmic thrust of Carl Orff. The combination of folk and traditional instruments forms a highly original whole, and his retelling of the Passion story packs an emotional as well as musical wallop. This big, "maximist" work is not lacking in tender moments, however. An aria describing Christ's agony, for instance, is as touching and somber as anything textually similar in Bach's Passions. Most of the work here is done by the chorus, but the solo voices, which are uncategorizable (i.e., not operatic, not pop, not folk--just good voices), are impressive and add to the unique flavor of this singular work. The performance was live, not studio-recorded, and the sense of occasion adds to the success of the set. Recommended for the curious and, well, passionate. --Robert Levine

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