Abstract
This article examines the religious functions of the Dutch performance practice of Johann Sebastian Bach’s St. Matthew Passion. It introduces the phenomenon, highlights its religious and ritual significance in the context of the late modern Netherlands, and interprets the piece through the lens of Hartmut Rosa’s social theory. The article concludes by reflecting on resonance as the common third between religious and aesthetic experiences.
| Original language | English |
|---|---|
| Pages (from-to) | 32-44 |
| Journal | Journal of Religion and Popular Culture |
| Volume | 37 |
| Issue number | 1 |
| DOIs | |
| Publication status | Published - 2025 |
Keywords
- Alienation
- Hartmut Rosa
- Johann Sebastian Bach
- passion play
- resonance
- social acceleration
- St. Matthew Passion
- the Netherlands