Sarband: The Arabian Passion according to J. S. Bach

The two passion oratories by J.S. Bach which have survived in their entirety, the St. John Passion, BWV 245, and the St. Matthew Passion, BWV 244, are considered the culmination of the Baroque art of expression and rank high in the Occidental canon of great works of music. Every year in the weeks leading up to Easter, they figure prominently in European concert programmes and
Christian religious life alike. No composer has conveyed the suffering of man, embodied in Jesus Christ, God incarnate,
in music in as striking and passionate a manner as Bach in these works.

Sarband confronts Bach’s passions with the disastrous present-day situation in Jesus’ native land, the Middle East, but also
with the conflicts between the Arabic world and the West, between believers and those who believe differently,
between the future-oriented and the tradition-minded. All over the world, regardless of their origins or religions,
people are suffering on account of these conflicts.

In his Arabian Passion, Vladimir Ivanoff, musical director of Sarband, compares Jesus’ suffering and that of the colonized Middle East in the time of the New Testament with the current situation.

Bach’s Baroque precision and complexity meet the spontaneity of classical Arab music and Jazz: two traditions which have a lot in common, for example highly sophisticated and structured improvisation techniques, but also two voices which could hardly be more different: that of the traditional Arab world and a new voice that is spreading through the world—the American way of life. Arab musicians, two jazz saxophonists and the Modern String Quartet have joined to reinterpret Bach’s passion music.
Western and Middle Eastern musicians find each other in the music of Bach. In a world full of differences and conflicts,
this musical cooperation creates an intense and contemplative space for mutual respect and peace.

“The Arabian Passion” is a musical plea for peace. A plea nourished by the confidence which forms the basis of Bach’s passions:
that one day all suffering will come to an end.

„Bach’s Passions, arab music, jazz elements and images of suffering in the Middle East are joined to a monumental work of art…
All of a sudden, the listener is taken from his passive role and transported into the tale of the suffering of Jesus Christ and of many people
in the Middle East. After intense waves of enthusiasm, not only the audience,
but also the artists leave the Stadtkirche in a state of deep emotion.“ Der Neue Tag (Germany), 31.08.2009

„ … this change happens astonishingly fast. How naturally this connection between the two supposedly alien cultures suceeds …
Bach rose from his pew and seated himself on a prayer rug. Nevertheless the sense of the prayers remained the same …
The result is simply fascinating. A sounding plea for tolerance and peace.“ Elisabeth Schwind, Südkurier (Germany), 10.07.2008

„ … a sublime act of balance between Ethno, sound adventure and art music … powerfully absorbing and suggestive scenes …
emotional climaxes that make the listener hold his breath.“ Jürgen Scharf, Oberbadisches Volksblatt (Germany), 10.07.2009

„Bach belongs to the whole world.“ Kölner Stadtanzeiger, 07.04.2009

„The programme was permeated by a huge sensitivity for sounds and a genuine feeling for musical expressions of different continents and cultures.
The arias „Es ist vollbracht“ and „Erbarme dich“ as well as the familiar chorales were further highlights in this out-of-the-ordinary evening,
followed in breathless silence and acknowledged with appreciating applause by the audience." Hans Rühl, Rheinische Post, 23.12.2008

„… a touching concert experience … musical communication across cultural boundaries … excellent soloists …
Bach's music excitingly re-discovered … enthusiastic applause." Martina Binning, Osnabrücker Zeitung, 30.08.2007

„Bach would have turned in his grave. Then he'd have stepped out, dusted himself and paid attention … The songs were most haunting when
vocalist Fadia el-Hage reverted to Arabic. At thosh also wept." The Business Times, 14.06.2007

„It is Vladimir Ivanoff's strong point, to join cultures and to build musical bridges between orient and occident.
With the «Arabian Passion» … he succeeded in a brilliant way. Heart, mind, gesture and communication with the other artists
were merged into an intensive whole. … I could not have imagined more beautiful music for Good Friday.“
Franz Szabo, Salzburger Nachrichten, 4/2006

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