by Bach is of historic importance as it shows many of the characteristics he would adopt in his own famous passion settings: the vox Christi treatment (with arioso, and accompagnato, the "halo effect" of the strings,...), the typical Bach Evangelist, the recitative-aria-chorale units, chorales based on Paul Gerhardt's "O Haupt voll Blut und Wunden",... — all characteristics deemed typical for Bach's oratorios and passion settings that are present in this early 18th century work. Bach's last version also shows how the composer attempted to combine an Evangelist-based passion setting with a freer Passion-Oratorio setup (which is also what he had done in his St John Passion and St Matthew Passion, both containing movements based on the Brockes Passion text). Bach's versions of this passion overarch his known passion compositions: he copied and performed the score prior to his first passion composition, the Weimarer Passion, he staged it again between the first performances of the St John and the St Matthew, and his last version of this St Mark was performed around the time he finished revising his other passion settings. Then the work was forgotten for a long time: nothing of it was mentioned in the 19th-century Bach Gesellschaft Ausgabe, nor in the 1950 first edition of the Bach-Werke-Verzeichnis. For a period of around two centuries the only thing that seems to have happened to the composition are Wilhelm Rust's efforts to analyse and reconstruct the original score. The score was published in the second half of the 20th century, and recorded for the first time in the early 1970s. The 21st century saw the publication and performance of Bach's 1740s pasticcio version. Another 21st-century development is the combination of the Gospel parts of the "Keiser" St Mark Passion with reconstructed choruses and arias of the largely lost BWV 247 St Mark Passion, into a new pasticcio. Score editions Felix Schroeder's score edition, based on the composite manuscript of Bach's first two versions (D-B Mus. ms. 11471/1) and the 1729 Hamburg pasticcio (D-B Mus. ms. 11471), was published by Hänssler in the 1960s, attributing the work to Reinhard Keiser. Another 1960s score edition was released by Donald George Moe and published by the University of Iowa. Carus-Verlag published the BNB I/K/1 version, that is BC D 5a version of the score with the BC D 5b variants of the choral movements 9+, 14a and 29a appended, as Reinhard Keiser's work