Johann Sebastian Bach’s <i>St. Matthew Passion</i> in the Netherlands

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.