Despite many newly-composed interpolations, ranging from stylistic copies to modern interpretations, performing the Gospel text in Bach’s lost St. Mark Passion continues to present many challenges for performers. With his recitations for narrator, gamba, and cello, Peter Uehling has found a way of maintaining the musical flow, while nevertheless preserving the fragmentary character of the work. The reduced musical language of the recitations places, so to speak, bare walls between Bach’s colorful ?gured “tonal language”. An important point for performance: despite the free tonal harmony, the recitations lead convincingly into the opening notes of the chorales. The cello part comprises also all the other pieces from the St. Mark Passion Carus 31.247.