Johannes Passion
Encyclopedia
The St John Passion BWV
245, is a sacred oratorio
of Johann Sebastian Bach
from the Passions
. The original Latin title Passio secundum Johannem translates to "The Suffering According to John" and is rendered in English also as St. John Passion and in German as Johannespassion. During the first winter that Bach was responsible for church music at the St. Thomas Church, Leipzig and the St. Nicholas Church, he composed the St John Passion for the Good Friday
Vespers
service of 1724.
The St John Passion is a dramatic representation of the Passion
, as told in the Gospel of John
, constructed of dramatically presented recitative
s and chorus
es, commented by reflective chorale
s, arioso
s, and aria
s, framed by an opening chorus and a final one, followed by a last chorale. Compared to the St Matthew Passion, the St John Passion has been described as more extravagant, with an expressive immediacy, at times more unbridled and less "finished."
needed some repair, all of which, however, could be attended to at little cost; but he requested that a little additional room be provided in the choir loft of St Nicholas Church, where he planned to place the musicians needed to perform the music. He also asked that the harpsichord be repaired.” The council agreed and sent a flyer announcing the new location to all the people around Leipzig
. The council made the arrangements requested by Bach regarding the harpsichord and space needed for the choir.
, and the tenor Evangelist
follows exactly the words of that bible. The compiler of the additional poetry is unknown. Models are the Brockes Passion
and a Johannes-Passion by Christian Heinrich Postel. The first scene is in the Kidron Valley
, and the second in the palace of the high priest Kaiphas
. Part Two shows three scenes, one with Pontius Pilate
, one at Golgatha
, and the third finally at the burial site. The dramatic argument between Pilate, Jesus, and the crowd is not interrupted by reflective elements but a single central "chorale" (#22).
Part One
1. Coro: Herr, unser Herrscher, dessen Ruhm in allen Landen herrlich ist!
3. Chorale: O große Lieb, o Lieb ohn alle Maße
5. Chorale: Dein Will gescheh, Herr Gott, zugleich
11. Chorale: Wer hat dich so geschlagen
14. Chorale: Petrus, der nicht denkt zurück
Part Two
15. Chorale: Christus, der uns selig macht
17. Chorale: Ach großer König, groß zu allen Zeiten
22. Chorale: Durch dein Gefängnis, Gottes Sohn muß uns die Freiheit kommen
26. Chorale: In meines Herzens Grunde
28. Chorale: Er nahm alles wohl in acht
37. Chorale: O hilf, Christe, Gottes Sohn
39. Coro: Ruht wohl, ihr heiligen Gebeine
40. Chorale: Ach Herr, lass dein lieb Engelein
Bach followed the Gospel of John but added two lines from the Gospel of Matthew, the crying of Peter and the tearing of the curtain in the temple.
He chose the chorales "Herzliebster Jesu, was hast du verbrochen" of Johann Heermann
(1630), verse 6 for movement 3, verses 7 & 8 for 17, "Vater unser im Himmelreich" of Martin Luther
(1539), verse 4 for movement 5, "O Welt, sieh hier dein Leben" of Paul Gerhardt
(1647), verses 3 & 4 for movement 11, "Jesu Leiden, Pein und Tod" of Paul Stockmann (1633), verse 10 for movement 14, verse 20 for 28, the last verse for 32, "Christus, der uns selig macht" of Michael Weiße (1531), verse 1 for movement 15, verse 8 for 37, "Valet will ich dir geben" of Valerius Herberger
(1613), verse 3 for movement 26, "Herzlich lieb hab ich dich, o Herr" of Martin Schalling (1571), verse 3 for movement 40.
For the central chorale (#22) "Durch dein Gefängnis, Gottes Sohn muß uns die Freiheit kommen" ("Through Your prison, Son of God, must freedom come to us) Bach adapted the words of an Aria from the Johannes-Passion of Christian Heinrich Postel (1700) and used the melody of "Mach's mit mir, Gott, nach deiner Güt" of Johann Hermann Schein. The architecture of Part Two shows symmetry around this movement, the music of the preceding chorus #21f "Wir haben ein Gesetz" corresponds to #23b "Lässest du diesen los", the demand #21d "Kreuzige ihn!" is repeated in an intensified way in #23d "Weg, weg mit dem, kreuzige ihn!", #21b "Sei gegrüßet, lieber Jüdenkönig" reappears as #25b "Schreibe nicht: der Jüden König".
, strings
and basso continuo
and pairs of flauti traversi and oboe
s, the later both doubling on oboe da caccia
. For special colours Bach also used lute
, viola d'amore
and viola da gamba
, instruments that were already old-fashioned at the time.
In present day performances the part of Jesus is given to one bass soloist, Pilate and the bass arias to another. Some tenors sing the Evangelist
- a very demanding part - and the arias. The smaller parts (Peter, Maid, Servant) are sometimes performed by choir members.
(and heard in the recording by Emmanuel Music directed by Craig Smith, cited below).
The St John Passion was not Bach’s first passion. While he was working as organist in 1708 and Konzertmeister in 1714 in Weimar, Bach possibly wrote a Passion, but it is now lost. Sometimes while listening to the St John Passion today one can sense an older feel to some of the music, and some scholars believe that those portions are the surviving parts of the Weimar Passion. Unlike the St Matthew Passion, to which Bach made very few and insignificant changes, the St John Passion was subject to several major revisions. The original version from 1724 is the one most familiar to us today.
In 1725, Bach replaced the opening and closing choruses and added three arias (BWV
245a-c) while cutting one (Ach, mein Sinn) from the original version. The opening chorus was replaced by O Mensch, bewein dein Sünde groß, which was later transposed and reused at the end of part one of the St. Matthew Passion. The closing chorale was replaced by a setting of Christe, Du Lamm Gottes, taken from the cantata Du wahrer Gott und Davids Sohn, BWV 23. The three new arias are not known to have been reused.
In the 1730s, Bach revised the St John Passion again, restoring the original opening chorus and final chorale, and removing the three new arias. He also excised the two interpolations from the Gospel of Matthew that appeared in the work, probably due to objections by the ecclesiastical authorities. The first of these he simply removed; he composed a new instrumental sinfonia in lieu of the second. He also inserted an aria to replace the still-missing Ach, mein Sinn. Neither the aria nor the sinfonia has been preserved. Overall, Bach chose to keep the biblical text, and inserted Lutheran hymn verses so that he could return the work to its liturgical substance.
We can infer that Bach had in mind an orchestra composed of no more than 15 to 17 musicians. In 1749, he reverted more or less to the original of 1724, making only slight changes to the orchestration, most notably replacing the by-then almost obsolete viola d'amore
with muted
violin
s. Also, Bach’s orchestra for this piece would have been very delicate in nature because he called for many gamba strings.
In the summer of 1815, Bach's Passions began to be studied once again. Parts of the St. John Passion were being rehearsed and the St. Matthew Passion was soon to follow. Fred Wolle, with his Choral Union of 1888 at the Moravian town of Bethlehem, Pennsylvania
, was the first to perform the St. John Passion in the Americas. This spurred a revival of Bach’s choral music in the New World.
chapters 18 and 19. To augment these chapters, which he summarized in the music, Bach used an elaborate body of commentary consisting of hymns, which were often called chorales, and arias. He used Martin Luther
's translation of the Bible with only slight modifications.
Bach proved that the sacred opera as a musical genre did not have to become shallow in liturgical use by remaining loyal to the cantus firmus
and the scriptural word. He did not want the Passion taken as a lesser sacred concert. The text for the opening prayer, "Herr, unser Herrscher, dessen Ruhm", as well as the arias, chorales and the penultimate chorus "Ruht wohl, ihr heiligen Gebeine", come from various other sources. The first part of the score, which makes up about one-third of the entire piece, dramatically takes us through Peter
’s walk and his betrayal of Jesus
. It is interesting to note also that the two recitative passages, dealing with Peter's crying after his betrayal and the temple veil's ripping during the crucifixion, do not appear in the Gospel of John
, but the Gospel of Matthew
. In the Passion, one hears Peter deny Jesus three times, and at the third time, John tells us that the cock crew immediately.
There is a recent historical example for the congregational character of St. John Passion. In the early 1950s in Hungary
(then under Communist rule), congregational musicians were allowed to play church music only in the frame of liturgy. However, the St. John Passion is an almost complete liturgy from the Lutheran point of view, since the focus is exactly on the evangelium (Bach was a deep Lutheran believer). Hence, the solution was to insert the four missing features of a Lutheran liturgy. Congregational musicians could then perform the whole Passion, as if it were part of the liturgy.
There is no applause, either at the beginning or at the end. The Passion contains quite a few choruses that are in regular use in worship. The congregation and the audience are to remain silent, as no one is supposed to sing along with the professionals.
“Herr, unser Herrscher” and “O Mensch bewein” are very different in character. “O Mensch bewein’” is full of torment in its text. It is a serenely majestic piece of music. “Herr, unser Herrscher” sounds as if it has chains of dissonance between the two oboes and the turmoil of the roiling sixteenth notes in the strings. Especially when they invade the bass it is full of anguish and therefore it characterizes the St. John Passion more so.
. This accusation is closely connected to a wider controversy regarding the tone of the New Testament
's Gospel of John
with regards to Judaism
.
Having come to the United States in 1937 as a Jewish refugee from Nazi Germany, Lukas Foss
changed the text from “Juden” to “Leute” (People) when he directed performances of the work. This has been the trend of numerous mainline
Christian denominations since the late 20th century as well, for instance, the Episcopal Church
, when they read the gospel during Lent
en Good Friday
services. Michael Marissen's Lutheranism, Anti-Judaism, and Bach's 'St. John's Passion' examines the controversy in detail. He concludes that Bach's St. John Passion and St. Matthew Passion contain fewer statements derogatory toward Jews than many other contemporary musical settings of the Passion. He also noted that Bach used words for the commenting arias and hymns that tended to shift the blame for the death of Jesus from "the Jews" to the congregation of Christians.
BWV
The Bach-Werke-Verzeichnis is the numbering system identifying compositions by Johann Sebastian Bach. The prefix BWV, followed by the work's number, is the shorthand identification for Bach's compositions...
245, is a sacred oratorio
Oratorio
An oratorio is a large musical composition including an orchestra, a choir, and soloists. Like an opera, an oratorio includes the use of a choir, soloists, an ensemble, various distinguishable characters, and arias...
of Johann Sebastian Bach
Johann Sebastian Bach
Johann Sebastian Bach was a German composer, organist, harpsichordist, violist, and violinist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity...
from the Passions
Passions (Bach)
According to his obituary, Johann Sebastian Bach wrote "five passions, of which one is for double chorus". Two works have survived: the St John Passion and the St Matthew Passion , this last using double chorus...
. The original Latin title Passio secundum Johannem translates to "The Suffering According to John" and is rendered in English also as St. John Passion and in German as Johannespassion. During the first winter that Bach was responsible for church music at the St. Thomas Church, Leipzig and the St. Nicholas Church, he composed the St John Passion for the Good Friday
Good Friday
Good Friday , is a religious holiday observed primarily by Christians commemorating the crucifixion of Jesus Christ and his death at Calvary. The holiday is observed during Holy Week as part of the Paschal Triduum on the Friday preceding Easter Sunday, and may coincide with the Jewish observance of...
Vespers
Vespers
Vespers is the evening prayer service in the Western Catholic, Eastern Catholic, and Eastern Orthodox, Anglican, and Lutheran liturgies of the canonical hours...
service of 1724.
The St John Passion is a dramatic representation of the Passion
Passion (Christianity)
The Passion is the Christian theological term used for the events and suffering – physical, spiritual, and mental – of Jesus in the hours before and including his trial and execution by crucifixion...
, as told in the Gospel of John
Gospel of John
The Gospel According to John , commonly referred to as the Gospel of John or simply John, and often referred to in New Testament scholarship as the Fourth Gospel, is an account of the public ministry of Jesus...
, constructed of dramatically presented recitative
Recitative
Recitative , also known by its Italian name "recitativo" , is a style of delivery in which a singer is allowed to adopt the rhythms of ordinary speech...
s and chorus
Choir
A choir, chorale or chorus is a musical ensemble of singers. Choral music, in turn, is the music written specifically for such an ensemble to perform.A body of singers who perform together as a group is called a choir or chorus...
es, commented by reflective chorale
Chorale
A chorale was originally a hymn sung by a Christian congregation. In certain modern usage, this term may also include classical settings of such hymns and works of a similar character....
s, arioso
Arioso
In classical music, arioso is a style of solo opera singing between recitative and aria. Literally, arioso means airy. The term arose in the 16th century along with the aforementioned styles and monody. It is commonly confused with recitativo accompagnato....
s, and aria
Aria
An aria in music was originally any expressive melody, usually, but not always, performed by a singer. The term is now used almost exclusively to describe a self-contained piece for one voice usually with orchestral accompaniment...
s, framed by an opening chorus and a final one, followed by a last chorale. Compared to the St Matthew Passion, the St John Passion has been described as more extravagant, with an expressive immediacy, at times more unbridled and less "finished."
First performance
Originally Bach intended that the St. John Passion would be first performed in the St. Thomas Church in Leipzig, but due to a last-minute change by the music council, it was first performed in 1724 in the St. Nicholas Church. Bach quickly agreed to their desire to move the service to St Nicholas Church, “but pointed out that the booklet was already printed, that there was no room available and that the harpsichordHarpsichord
A harpsichord is a musical instrument played by means of a keyboard. It produces sound by plucking a string when a key is pressed.In the narrow sense, "harpsichord" designates only the large wing-shaped instruments in which the strings are perpendicular to the keyboard...
needed some repair, all of which, however, could be attended to at little cost; but he requested that a little additional room be provided in the choir loft of St Nicholas Church, where he planned to place the musicians needed to perform the music. He also asked that the harpsichord be repaired.” The council agreed and sent a flyer announcing the new location to all the people around Leipzig
Leipzig
Leipzig Leipzig has always been a trade city, situated during the time of the Holy Roman Empire at the intersection of the Via Regia and Via Imperii, two important trade routes. At one time, Leipzig was one of the major European centres of learning and culture in fields such as music and publishing...
. The council made the arrangements requested by Bach regarding the harpsichord and space needed for the choir.
Architecture and sources
Bach followed chapters 18 and 19 of the Gospel of John in the Luther BibleLuther Bible
The Luther Bible is a German Bible translation by Martin Luther, first printed with both testaments in 1534. This translation became a force in shaping the Modern High German language. The project absorbed Luther's later years. The new translation was very widely disseminated thanks to the printing...
, and the tenor Evangelist
Evangelist (Bach)
The Evangelist in the music of Johann Sebastian Bach is the tenor part in his oratorios and Passions who narrates the exact words of the Bible, translated by Martin Luther, in recitative, namely in the works St John Passion, St Matthew Passion, and the Christmas Oratorio, also in the St Mark...
follows exactly the words of that bible. The compiler of the additional poetry is unknown. Models are the Brockes Passion
Brockes Passion
The Brockes Passion, or Der für die Sünde der Welt gemarterte und sterbende Jesus is a German oratorio libretto by Barthold Heinrich Brockes, first published in 1712 and going through 30 or so editions in the next 15 years....
and a Johannes-Passion by Christian Heinrich Postel. The first scene is in the Kidron Valley
Kidron Valley
The Kidron Valley is the valley on the eastern side of The Old City of Jerusalem which features significantly in the Bible...
, and the second in the palace of the high priest Kaiphas
Caiaphas
Joseph, son of Caiaphas, Hebrew יוסף בַּר קַיָּפָא or Yosef Bar Kayafa, commonly known simply as Caiaphas in the New Testament, was the Roman-appointed Jewish high priest who is said to have organized the plot to kill Jesus...
. Part Two shows three scenes, one with Pontius Pilate
Pontius Pilate
Pontius Pilatus , known in the English-speaking world as Pontius Pilate , was the fifth Prefect of the Roman province of Judaea, from AD 26–36. He is best known as the judge at Jesus' trial and the man who authorized the crucifixion of Jesus...
, one at Golgatha
Calvary
Calvary or Golgotha was the site, outside of ancient Jerusalem’s early first century walls, at which the crucifixion of Jesus is said to have occurred. Calvary and Golgotha are the English names for the site used in Western Christianity...
, and the third finally at the burial site. The dramatic argument between Pilate, Jesus, and the crowd is not interrupted by reflective elements but a single central "chorale" (#22).
Part One
1. Coro: Herr, unser Herrscher, dessen Ruhm in allen Landen herrlich ist!
- 2a. Evangelist, Jesus: Jesus ging mit seinen Jüngern über den Bach Kidron
- 2b. Coro: Jesum von Nazareth
- 2c. Evangelist, Jesus: Jesus spricht zu ihnen
- 2d. Coro: Jesum von Nazareth
- 2e. Evangelist, Jesus: Jesus antwortete: Ich hab's euch gesagt, daß ich's sei
3. Chorale: O große Lieb, o Lieb ohn alle Maße
- 4a. Evangelist, Jesus: Auf daß das Wort erfüllet würde
5. Chorale: Dein Will gescheh, Herr Gott, zugleich
- 6. Evangelist: Die Schar aber und der Oberhauptmann
-
- 7. Aria (alto, oboes): Von den Stricken meiner Sünden
- 8. Evangelist: Simon Petrus aber folgete Jesu nach
-
- 9. Aria (soprano, flutes): Ich folge dir gleichfalls mit freudigen Schritten
- 10. Evangelist, Maid, Peter, Jesus, Servant: Derselbige Jünger war dem Hohenpriester bekannt
11. Chorale: Wer hat dich so geschlagen
- 12a. Evangelist: Und Hannas sandte ihn gebunden zu dem Hohenpriester Kaiphas
- 12b. Coro: Bist du nicht seiner Jünger einer?
- 12c. Evangelist, Peter, Servant: Er leugnete aber
-
- 13. Aria (tenor): Ach, mein Sinn
14. Chorale: Petrus, der nicht denkt zurück
Part Two
15. Chorale: Christus, der uns selig macht
- 16a. Evangelist, Pilate: Da führeten sie Jesum von Kaiphas vor das Richthaus
- 16b. Coro: Wäre dieser nicht ein Übeltäter, wir hätten dir ihn nicht überantwortet.
- 16c. Evangelist, Pilate: Da sprach Pilatus zu ihnen
- 16d. Coro: Wir dürfen niemand töten.
- 16e. Evangelist, Pilate, Jesus: Auf daß erfüllet würde das Wort Jesu
17. Chorale: Ach großer König, groß zu allen Zeiten
- 18a. Evangelist, Pilate, Jesus: Da sprach Pilatus zu ihm
- 18b. Coro: Nicht diesen, sondern Barrabam!
- 18c. Evangelist, Pilate, Jesus: Barrabas aber war ein Mörder.
-
- 19. Arioso (bass, viole d'amore, lute): Betrachte, meine Seel, mit ängstlichem Vergnügen
- 20. Aria (tenor, viole d'amore): Erwäge, wie sein blutgefärbter Rücken
- 21a. Evangelist: Und die Kriegsknechte flochten eine Krone von Dornen
- 21b. Coro: Sei gegrüßet, lieber Jüdenkönig!
- 21c. Evangelist, Pilate: Und gaben ihm Backenstreiche.
- 21d. Coro: Kreuzige, kreuzige!
- 21e. Evangelist, Pilate: Pilatus sprach zu ihnen
- 21f. Coro: Wir haben ein Gesetz, und nach dem Gesetz soll er sterben
- 21g. Evangelist, Pilate, Jesus: Da Pilatus das Wort hörete, fürchtet' er sich noch mehr
22. Chorale: Durch dein Gefängnis, Gottes Sohn muß uns die Freiheit kommen
- 23a. Evangelist: Die Jüden aber schrieen
- 23b. Coro: Lässest du diesen los, so bist du des Kaisers Freund nicht
- 23c. Evangelist, Pilate: Da Pilatus da Wort hörete, führete er Jesum heraus
- 23d. Coro: Weg, weg mit dem, kreuzige ihn!
- 23e. Evangelist, Pilate: Spricht Pilatus zu ihnen
- 23f. Coro: Wir haben keinen König denn den Kaiser.
- 23g. Evangelist: Da überantwortete er ihn daß er gekreuziget würde.
-
- 24. Aria (bass) e coro: Eilt, ihr angefochtnen Seelen
- 25a. Evangelist: Allda kreuzigten sie ihn
- 25b. Coro: Schreibe nicht: der Jüden König
- 25c. Evangelist, Pilate: Pilatus antwortet
26. Chorale: In meines Herzens Grunde
- 27a. Evangelist: Die Kriegsknechte aber, da sie Jesum gekreuziget hatten, nahmen seine Kleider
- 27b. Coro: Lasset uns den nicht zerteilen, sondern darum losen, wes er sein soll.
- 27c. Evangelist, Jesus: Auf daß erfüllet würde die Schrift
28. Chorale: Er nahm alles wohl in acht
- 29. Evangelist, Jesus: Und von Stund an nahm sie der Jünger zu sich.
-
- 30. Aria (alto, viola da gamba): Es ist vollbracht!
- 31. Evangelist: Und neiget das Haupt und verschied.
-
- 32. Aria (bass) e coro: Mein teurer Heiland, laß dich fragen
- 33. Evangelist: Und siehe da, der Vorhang im Tempel zeriß in zwei Stück
-
- 34. Arioso (tenor, flutes, oboes): Mein Herz, in dem die ganze Welt bei Jesu Leiden gleichfalls leidet
- 35. Aria (soprano, flute, oboe da caccia): Zerfließe, mein Herze, in Fluten der Zähren
- 36. Evangelist: Die Jüden aber, dieweil es der Rüsttag war
37. Chorale: O hilf, Christe, Gottes Sohn
- 38. Evangelist: Darnach bat Pilatum Joseph von Arimathia
39. Coro: Ruht wohl, ihr heiligen Gebeine
40. Chorale: Ach Herr, lass dein lieb Engelein
Bach followed the Gospel of John but added two lines from the Gospel of Matthew, the crying of Peter and the tearing of the curtain in the temple.
He chose the chorales "Herzliebster Jesu, was hast du verbrochen" of Johann Heermann
Johann Heermann
Johann Heermann was a German poet and hymn-writer. He is commemorated in the Calendar of Saints of the Lutheran Church on 26 October with Philipp Nicolai and Paul Gerhardt.- Life :...
(1630), verse 6 for movement 3, verses 7 & 8 for 17, "Vater unser im Himmelreich" of Martin Luther
Martin Luther
Martin Luther was a German priest, professor of theology and iconic figure of the Protestant Reformation. He strongly disputed the claim that freedom from God's punishment for sin could be purchased with money. He confronted indulgence salesman Johann Tetzel with his Ninety-Five Theses in 1517...
(1539), verse 4 for movement 5, "O Welt, sieh hier dein Leben" of Paul Gerhardt
Paul Gerhardt
Paul Gerhardt was a German hymn writer.-Biography:Gerhardt was born into a middle-class family at Gräfenhainichen, a small town between Halle and Wittenberg. At the age of fifteen, he entered the Fürstenschule in Grimma. The school was known for its pious atmosphere and stern discipline...
(1647), verses 3 & 4 for movement 11, "Jesu Leiden, Pein und Tod" of Paul Stockmann (1633), verse 10 for movement 14, verse 20 for 28, the last verse for 32, "Christus, der uns selig macht" of Michael Weiße (1531), verse 1 for movement 15, verse 8 for 37, "Valet will ich dir geben" of Valerius Herberger
Valerius Herberger
Valerius Herberger was a German Lutheran preacher and theologian.-Life:He was born at Fraustadt, Silesia . He studied for three years at Freystadt in Silesia , and then entered the University of Frankfort-on-the-Oder...
(1613), verse 3 for movement 26, "Herzlich lieb hab ich dich, o Herr" of Martin Schalling (1571), verse 3 for movement 40.
For the central chorale (#22) "Durch dein Gefängnis, Gottes Sohn muß uns die Freiheit kommen" ("Through Your prison, Son of God, must freedom come to us) Bach adapted the words of an Aria from the Johannes-Passion of Christian Heinrich Postel (1700) and used the melody of "Mach's mit mir, Gott, nach deiner Güt" of Johann Hermann Schein. The architecture of Part Two shows symmetry around this movement, the music of the preceding chorus #21f "Wir haben ein Gesetz" corresponds to #23b "Lässest du diesen los", the demand #21d "Kreuzige ihn!" is repeated in an intensified way in #23d "Weg, weg mit dem, kreuzige ihn!", #21b "Sei gegrüßet, lieber Jüdenkönig" reappears as #25b "Schreibe nicht: der Jüden König".
Scoring
The St John Passion is written for an intimate ensemble of soloists, four-part choirChoir
A choir, chorale or chorus is a musical ensemble of singers. Choral music, in turn, is the music written specifically for such an ensemble to perform.A body of singers who perform together as a group is called a choir or chorus...
, strings
String section
The string section is the largest body of the standard orchestra and consists of bowed string instruments of the violin family.It normally comprises five sections: the first violins, the second violins, the violas, the cellos, and the double basses...
and basso continuo
Figured bass
Figured bass, or thoroughbass, is a kind of integer musical notation used to indicate intervals, chords, and non-chord tones, in relation to a bass note...
and pairs of flauti traversi and oboe
Oboe
The oboe is a double reed musical instrument of the woodwind family. In English, prior to 1770, the instrument was called "hautbois" , "hoboy", or "French hoboy". The spelling "oboe" was adopted into English ca...
s, the later both doubling on oboe da caccia
Oboe da caccia
The oboe da caccia is a double reed woodwind instrument in the oboe family, pitched a fifth below the oboe and used primarily in the Baroque period of European classical music...
. For special colours Bach also used lute
Lute
Lute can refer generally to any plucked string instrument with a neck and a deep round back, or more specifically to an instrument from the family of European lutes....
, viola d'amore
Viola d'amore
The viola d'amore is a 7- or 6-stringed musical instrument with sympathetic strings used chiefly in the baroque period. It is played under the chin in the same manner as the violin.- Structure and sound :...
and viola da gamba
Viol
The viol is any one of a family of bowed, fretted and stringed musical instruments developed in the mid-late 15th century and used primarily in the Renaissance and Baroque periods. The family is related to and descends primarily from the Renaissance vihuela, a plucked instrument that preceded the...
, instruments that were already old-fashioned at the time.
In present day performances the part of Jesus is given to one bass soloist, Pilate and the bass arias to another. Some tenors sing the Evangelist
Evangelist (Bach)
The Evangelist in the music of Johann Sebastian Bach is the tenor part in his oratorios and Passions who narrates the exact words of the Bible, translated by Martin Luther, in recitative, namely in the works St John Passion, St Matthew Passion, and the Christmas Oratorio, also in the St Mark...
- a very demanding part - and the arias. The smaller parts (Peter, Maid, Servant) are sometimes performed by choir members.
Versions
Researchers have discovered that Bach revised his St John Passion several times before producing a final version in the 1740s. Alternate numbers that Bach introduced in 1725 but later removed can be found in the appendix to scores of the work, such as that of the Neue Bach-AusgabeNeue Bach-Ausgabe
The Neue Bach-Ausgabe is the second complete edition of the music of Johann Sebastian Bach, published by Bärenreiter. The name is short for Johann Sebastian Bach: Neue Ausgabe sämtlicher Werke...
(and heard in the recording by Emmanuel Music directed by Craig Smith, cited below).
The St John Passion was not Bach’s first passion. While he was working as organist in 1708 and Konzertmeister in 1714 in Weimar, Bach possibly wrote a Passion, but it is now lost. Sometimes while listening to the St John Passion today one can sense an older feel to some of the music, and some scholars believe that those portions are the surviving parts of the Weimar Passion. Unlike the St Matthew Passion, to which Bach made very few and insignificant changes, the St John Passion was subject to several major revisions. The original version from 1724 is the one most familiar to us today.
In 1725, Bach replaced the opening and closing choruses and added three arias (BWV
BWV
The Bach-Werke-Verzeichnis is the numbering system identifying compositions by Johann Sebastian Bach. The prefix BWV, followed by the work's number, is the shorthand identification for Bach's compositions...
245a-c) while cutting one (Ach, mein Sinn) from the original version. The opening chorus was replaced by O Mensch, bewein dein Sünde groß, which was later transposed and reused at the end of part one of the St. Matthew Passion. The closing chorale was replaced by a setting of Christe, Du Lamm Gottes, taken from the cantata Du wahrer Gott und Davids Sohn, BWV 23. The three new arias are not known to have been reused.
In the 1730s, Bach revised the St John Passion again, restoring the original opening chorus and final chorale, and removing the three new arias. He also excised the two interpolations from the Gospel of Matthew that appeared in the work, probably due to objections by the ecclesiastical authorities. The first of these he simply removed; he composed a new instrumental sinfonia in lieu of the second. He also inserted an aria to replace the still-missing Ach, mein Sinn. Neither the aria nor the sinfonia has been preserved. Overall, Bach chose to keep the biblical text, and inserted Lutheran hymn verses so that he could return the work to its liturgical substance.
We can infer that Bach had in mind an orchestra composed of no more than 15 to 17 musicians. In 1749, he reverted more or less to the original of 1724, making only slight changes to the orchestration, most notably replacing the by-then almost obsolete viola d'amore
Viola d'amore
The viola d'amore is a 7- or 6-stringed musical instrument with sympathetic strings used chiefly in the baroque period. It is played under the chin in the same manner as the violin.- Structure and sound :...
with muted
Mute (music)
A mute is a device fitted to a musical instrument to alter the sound produced: by affecting the timbre, reducing the volume, or most commonly both.- Musical directions for muting :...
violin
Violin
The violin is a string instrument, usually with four strings tuned in perfect fifths. It is the smallest, highest-pitched member of the violin family of string instruments, which includes the viola and cello....
s. Also, Bach’s orchestra for this piece would have been very delicate in nature because he called for many gamba strings.
In the summer of 1815, Bach's Passions began to be studied once again. Parts of the St. John Passion were being rehearsed and the St. Matthew Passion was soon to follow. Fred Wolle, with his Choral Union of 1888 at the Moravian town of Bethlehem, Pennsylvania
Bethlehem, Pennsylvania
Bethlehem is a city in Lehigh and Northampton Counties in the Lehigh Valley region of eastern Pennsylvania, in the United States. As of the 2010 census, the city had a total population of 74,982, making it the seventh largest city in Pennsylvania, after Philadelphia, Pittsburgh, Allentown, Erie,...
, was the first to perform the St. John Passion in the Americas. This spurred a revival of Bach’s choral music in the New World.
Congregational use
While writing the St. John Passion, Bach intended to retain the congregational spirit of the worship service. The text for the body of the work is taken from the Gospel of JohnGospel of John
The Gospel According to John , commonly referred to as the Gospel of John or simply John, and often referred to in New Testament scholarship as the Fourth Gospel, is an account of the public ministry of Jesus...
chapters 18 and 19. To augment these chapters, which he summarized in the music, Bach used an elaborate body of commentary consisting of hymns, which were often called chorales, and arias. He used Martin Luther
Martin Luther
Martin Luther was a German priest, professor of theology and iconic figure of the Protestant Reformation. He strongly disputed the claim that freedom from God's punishment for sin could be purchased with money. He confronted indulgence salesman Johann Tetzel with his Ninety-Five Theses in 1517...
's translation of the Bible with only slight modifications.
Bach proved that the sacred opera as a musical genre did not have to become shallow in liturgical use by remaining loyal to the cantus firmus
Cantus firmus
In music, a cantus firmus is a pre-existing melody forming the basis of a polyphonic composition.The plural of this Latin term is , though the corrupt form canti firmi is also attested...
and the scriptural word. He did not want the Passion taken as a lesser sacred concert. The text for the opening prayer, "Herr, unser Herrscher, dessen Ruhm", as well as the arias, chorales and the penultimate chorus "Ruht wohl, ihr heiligen Gebeine", come from various other sources. The first part of the score, which makes up about one-third of the entire piece, dramatically takes us through Peter
Saint Peter
Saint Peter or Simon Peter was an early Christian leader, who is featured prominently in the New Testament Gospels and the Acts of the Apostles. The son of John or of Jonah and from the village of Bethsaida in the province of Galilee, his brother Andrew was also an apostle...
’s walk and his betrayal of Jesus
Jesus
Jesus of Nazareth , commonly referred to as Jesus Christ or simply as Jesus or Christ, is the central figure of Christianity...
. It is interesting to note also that the two recitative passages, dealing with Peter's crying after his betrayal and the temple veil's ripping during the crucifixion, do not appear in the Gospel of John
Gospel of John
The Gospel According to John , commonly referred to as the Gospel of John or simply John, and often referred to in New Testament scholarship as the Fourth Gospel, is an account of the public ministry of Jesus...
, but the Gospel of Matthew
Gospel of Matthew
The Gospel According to Matthew is one of the four canonical gospels, one of the three synoptic gospels, and the first book of the New Testament. It tells of the life, ministry, death, and resurrection of Jesus of Nazareth...
. In the Passion, one hears Peter deny Jesus three times, and at the third time, John tells us that the cock crew immediately.
There is a recent historical example for the congregational character of St. John Passion. In the early 1950s in Hungary
Hungary
Hungary , officially the Republic of Hungary , is a landlocked country in Central Europe. It is situated in the Carpathian Basin and is bordered by Slovakia to the north, Ukraine and Romania to the east, Serbia and Croatia to the south, Slovenia to the southwest and Austria to the west. The...
(then under Communist rule), congregational musicians were allowed to play church music only in the frame of liturgy. However, the St. John Passion is an almost complete liturgy from the Lutheran point of view, since the focus is exactly on the evangelium (Bach was a deep Lutheran believer). Hence, the solution was to insert the four missing features of a Lutheran liturgy. Congregational musicians could then perform the whole Passion, as if it were part of the liturgy.
- (1) Each year the concert begins with "In the name of the Father, the Son and the Holy Spirit.", announced by the priestPriestA priest is a person authorized to perform the sacred rites of a religion, especially as a mediatory agent between humans and deities. They also have the authority or power to administer religious rites; in particular, rites of sacrifice to, and propitiation of, a deity or deities...
; this is the start of a Lutheran liturgy.
- (2) Between the first and second part of the Passion, the priest gives a very short sermonSermonA sermon is an oration by a prophet or member of the clergy. Sermons address a Biblical, theological, religious, or moral topic, usually expounding on a type of belief, law or behavior within both past and present contexts...
, intended to be understood even by non-believers.
- (3) The congregation prays the Pater nosterPater NosterPater Noster is probably the best-known prayer in Christianity.Pater Noster or Paternoster may also refer to:* Paternoster, a passenger elevator which consists of a chain of open compartments that move slowly in a loop up and down inside a building* Paternoster, Western Cape, South Africa* Pierres...
together, a chief prayer of ChristianityChristianityChristianity is a monotheistic religion based on the life and teachings of Jesus as presented in canonical gospels and other New Testament writings...
, between the "Es ist vollbracht!" aria with the short "Und neiget das Haupt und verschied." recitative, and the "Mein teurer Heiland, lass dich fragen" chorale. - (4) At the end, the AaronAaronIn the Hebrew Bible and the Qur'an, Aaron : Ααρών ), who is often called "'Aaron the Priest"' and once Aaron the Levite , was the older brother of Moses, and a prophet of God. He represented the priestly functions of his tribe, becoming the first High Priest of the Israelites...
blessingBlessingA blessing, is the infusion of something with holiness, spiritual redemption, divine will, or one's hope or approval.- Etymology and Germanic paganism :...
is given by the priest: "The LORD bless you, and keep you; the LORD make His face shine on you, and be gracious to you; the LORD lift up His countenance on you, and give you peace." (Numbers 6:24-26Books of the BibleThe Books of the Bible are listed differently in the canons of Judaism and the Catholic, Protestant, Greek Orthodox, Slavonic Orthodox, Georgian, Armenian Apostolic, Syriac and Ethiopian churches, although there is substantial overlap. A table comparing the canons of some of these traditions...
).
There is no applause, either at the beginning or at the end. The Passion contains quite a few choruses that are in regular use in worship. The congregation and the audience are to remain silent, as no one is supposed to sing along with the professionals.
Popular sections
- opening chorus: Herr, unser Herrscher ... (Lord, our master, whose glory fills the whole earth, show us by your Passion that you, the true eternal Son of God, triumph even in the deepest humiliation. Listen: http://youtube.com/watch?v=Z1yQk_cFNDw). There is an orchestral intonation of 36 bars before the imploding entrance of the chorus. Each of these bars is a single stress of lower tones, weakening till the end of the bar. These bass beats are accompanied by the remaining instruments of higher tunes, by legatoLegatoIn musical notation the Italian word legato indicates that musical notes are played or sung smoothly and connected. That is, in transitioning from note to note, there should be no intervening silence...
singing the prospective theme. The last six bars of the orchestral intro produce a robust crescendoCrescendo-In music:*Crescendo, a passage of music during which the volume gradually increases, see Dynamics * Crescendo , a Liverpool-based electronic pop band* "Diminuendo and Crescendo in Blue", one of Duke Ellington's longer-form compositions...
, arriving to shouting forte initial three bars of the chorus, where the chorus joins to the long sequence of deep stresses by Herr, Herr, Herr. Soon, after the first portion of the theme, comes the triple Herr, Herr, Herr again, but this time, at the end of the bars, as a contra answer for the corresponding orchestral deep stresses at the beginning of the bars. Just before the composer's ideas could dry out, the full beginning is repeated. But this time our illusion is, as if we heard 36 Herrs.
“Herr, unser Herrscher” and “O Mensch bewein” are very different in character. “O Mensch bewein’” is full of torment in its text. It is a serenely majestic piece of music. “Herr, unser Herrscher” sounds as if it has chains of dissonance between the two oboes and the turmoil of the roiling sixteenth notes in the strings. Especially when they invade the bass it is full of anguish and therefore it characterizes the St. John Passion more so.
- commenting arias: The first part of the St. John Passion includes three commenting arias. There is an alto aria called “Von den Stricken meiner Sünden” (From the tangle of my transgressions). This includes an intertwined oboe line that brings back many characteristics of the opening chorus. Another aria is an enchanting flute and soprano duet, “Ich folge dir gleichfalls”. In this piece the verbs “ziehen” (to pull) and “schieben” (to push) stimulate Bach’s delight in musical illustration. The third aria is a passionate tenor solo that is accompanied by all the instruments. This piece is called “Ach, mein Sinn” (O my soul)
- the death of Jesus: Es ist vollbracht! ... (It is accomplished; what comfort for suffering human souls! I can see the end of the night of sorrow. The hero from Judah ends his victorious fight. It is accomplished! Listen: http://youtube.com/watch?v=K_QAoanXntw). The central part is essentially a viola da gamba solo and an altoAltoAlto is a musical term, derived from the Latin word altus, meaning "high" in Italian, that has several possible interpretations.When designating instruments, "alto" frequently refers to a member of an instrumental family that has the second highest range, below that of the treble or soprano. Hence,...
aria. The theme is introduced by a single viola da gamba gently accompanied in a usual basso continuo setting. Then comes the solo vocal interpretation. There is a habit — at least in Hungary —, that if the performance is in a church with living congregational live, then the performance is suspended just after this section, in order to pray the Pater NosterPater NosterPater Noster is probably the best-known prayer in Christianity.Pater Noster or Paternoster may also refer to:* Paternoster, a passenger elevator which consists of a chain of open compartments that move slowly in a loop up and down inside a building* Paternoster, Western Cape, South Africa* Pierres...
together.
- closing chorale: Ach Herr, lass dein lieb Engelein ... (O Lord, send your cherub in my last hour to bear my soul away to Abraham's bosom; ... Listen: http://youtube.com/watch?v=_EjUByWjwS8). This chorale — with alternative lyrics — is still in regular use in the congregations, see the score http://enekeskonyv.lutheran.hu/enek362.htm of the Evangelical-Lutheran Church in Hungary. The beginning of the theme is a descending sequence, but in overall the theme is full of emotion as well. Singing this chorale standalone does not sound a closing chorale, except if it is sung at the end of a real ceremony.
Criticism
The text Bach set to music has been criticized as anti-SemiticAnti-Semitism
Antisemitism is suspicion of, hatred toward, or discrimination against Jews for reasons connected to their Jewish heritage. According to a 2005 U.S...
. This accusation is closely connected to a wider controversy regarding the tone of the New Testament
New Testament
The New Testament is the second major division of the Christian biblical canon, the first such division being the much longer Old Testament....
's Gospel of John
Gospel of John
The Gospel According to John , commonly referred to as the Gospel of John or simply John, and often referred to in New Testament scholarship as the Fourth Gospel, is an account of the public ministry of Jesus...
with regards to Judaism
Judaism
Judaism ) is the "religion, philosophy, and way of life" of the Jewish people...
.
Having come to the United States in 1937 as a Jewish refugee from Nazi Germany, Lukas Foss
Lukas Foss
Lukas Foss was a German-born American composer, conductor, and pianist.-Music career:He was born Lukas Fuchs in Berlin, Germany in 1922. His father was the philosopher and scholar Martin Fuchs...
changed the text from “Juden” to “Leute” (People) when he directed performances of the work. This has been the trend of numerous mainline
Mainline
Mainline Protestant are certain Protestant churches in the United States that comprised a majority of Americans from the colonial era until the early 20th century. The group is contrasted with evangelical and fundamentalist groups...
Christian denominations since the late 20th century as well, for instance, the Episcopal Church
Episcopal Church (United States)
The Episcopal Church is a mainline Anglican Christian church found mainly in the United States , but also in Honduras, Taiwan, Colombia, Ecuador, Haiti, the Dominican Republic, Venezuela, the British Virgin Islands and parts of Europe...
, when they read the gospel during Lent
Lent
In the Christian tradition, Lent is the period of the liturgical year from Ash Wednesday to Easter. The traditional purpose of Lent is the preparation of the believer – through prayer, repentance, almsgiving and self-denial – for the annual commemoration during Holy Week of the Death and...
en Good Friday
Good Friday
Good Friday , is a religious holiday observed primarily by Christians commemorating the crucifixion of Jesus Christ and his death at Calvary. The holiday is observed during Holy Week as part of the Paschal Triduum on the Friday preceding Easter Sunday, and may coincide with the Jewish observance of...
services. Michael Marissen's Lutheranism, Anti-Judaism, and Bach's 'St. John's Passion' examines the controversy in detail. He concludes that Bach's St. John Passion and St. Matthew Passion contain fewer statements derogatory toward Jews than many other contemporary musical settings of the Passion. He also noted that Bach used words for the commenting arias and hymns that tended to shift the blame for the death of Jesus from "the Jews" to the congregation of Christians.
Further reading
- Alfred DürrAlfred DürrAlfred Dürr was a German musicologist. He was a principal editor of the Neue Bach-Ausgabe, the second edition of the complete works of Johann Sebastian Bach.- Professional career :...
. Johann Sebastian Bach, St. John Passion: Genesis, Transmission, and Meaning. Oxford: Oxford University Press, 2000. ISBN 0198162405. - Michael MarissenMichael MarissenMichael Marissen is professor of music at Swarthmore College, where he joined the faculty in 1989. Marissen studied music history at Calvin College and received his PhD from Brandeis University...
. Lutheranism, Anti-Judaism, and Bach's "St. John's Passion". NY: Oxford University Press, 1998. ISBN 0-19-511471-X
External links
- St. John Passion on the "Bach cantatas" website, Text (in many languages), details, recordings, reviews, discussions
- Emmanuel Music translation to English
- List of recordings, details and reviews on jsbach.org