UCLA

Over the last five decades, numerous renditions of J.S. Bach's St. John Passion have been met with fervent opposition, eliciting protests, scathing critiques, boycotts, and even the outright cancellation of concerts. These reactions stem from a pervasive perception of embedded anti-Semitism within the text of the composition. While various performances have attempted to contemporize this work through pre-concert dialogues, innovative staging, or generic textual adjustments, the efficacy of these efforts in completely expunging the anti-Semitic rhetoric or eradicating collective memories of the work's problematic performance history has been limited. This dissertation undertakes a multifaceted inquiry, drawing upon historical research explaining the genesis of John's gospel, a critical examination of anti-Semitic currents within the Lutheran tradition, and a comprehensive analysis of the St. John Passion's seminal role in shaping the evolution of the Passion Oratorio genre. Through this investigation, the imperative of preserving this musical opus within modern performance contexts is articulated, alongside a delineation of the necessary alterations essential for its continued relevance. The crux of this scholarly endeavor lies in an alternative translation for the anti-Semitic rhetoric in Bach’s St. John Passion, including a novel translation of John’s Passion narrative tailored for composers seeking to engage with this material. While extant scholarship has delved into the peculiar prevalence of the Greek term "hoi Ioudaioi" ("the Jews") in John’s gospel and the inherent problematic nature of employing terms such as "Jüden" and "Juden" within Bach’s composition, few scholars have ventured forth with concrete solutions tailored for modern performance. Furthermore, a noticeable gap exists in the availability of Johannine Passion narratives attuned to Jewish sensibilities and intended for musical adaptation. By offering alternative renderings of Bach’s St. John Passion and an English iteration of the Johannine Passion, this dissertation aspires to furnish performers and audiences alike with a pathway to engage with the essence of the Passion narrative, unfettered by anti-Semitic text and associations.