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Passion Selon Marc, La
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| The Passion according to Mark. A Passion after Auschwitz, premiered in ApriI 2017. The project was commissioned to French composer Michaël Levinas by the Swiss association Musique pour un temps présent, as part of the events commemorating the 500th anniversary of Luthers reform. This originaI oratorio is not only a reinterpretation or a mere revisitation of the Passion - what the many references to Bachs Passions could Iead to believe, it painfuIIy faces, indeed, the irreconciIable nature of the Passion and the Holocaust. What is the object of this Passion after Auschwitz, which revoIves around what can Iink two musical traditions, two reIigions that have been separated by barbarism. Which music, which tradition, which language can the composer use in order to express this double siIence, both historicaI and theological, both human and divine? After the Holocaust, is it possibIe to compose without crying and trembling ?, Michaël Levinas asks. lt is not about anger or compassion. Because of the subtle poIyphonies written for the chorus, the voices and the orchestra, and aIso because of the way the different languages - Old French, Yiddish, Aramaic, German - create meaning out of one another, both the structure and the musical Ianguage of this Passion are incredibly intricate. But they are so for a reason: by putting side by side western musical traditions and the tragic component of modern history, Levinas manages to «shake», during the artistic process, the future of the HoIy Language and of the GospeI after Auschwitz. What separates therefore the GospeI of Mark from the Jewish prayer for the dead (Kaddish) or from the El maIe Rahamim, or from the two poems by PauI Celan ending the work, is not so much a question of representation, but more accurately it is a way to make the tragedy resound, without any artifice and without any safety net. |
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