St Mark Passion pastiche
Encyclopedia
In 1754, the musician and theorist Lorenz Christoph Mizler
published as an addendum in the most recent volume of his Neu eröffnete musikalische Bibliothek a series of three obituaries of recently deceased members of his Korrespondierende Sozietät der Musicalischen Wissenschaften. Amongst them was a notice penned by Carl Philipp Emanuel Bach
and Johann Friedrich Agricola
, both men then employed in the service of Frederick II of Prussia
. Both men had been students of the subject of their article (the former being his second-eldest son, the latter starting his studies with the subject in 1741), and were therefore qualified to write his obituary. The subject of the article was Johann Sebastian Bach
. As a conclusion, Emanuel Bach and Friedrich Agricola catalogued all Sebastian Bach's published and unpublished works. Amongst the latter is found the following notation:
Of the aforementioned five Passion
, two have come down to us both in libretto and score forms, the St Matthew Passion (BWV 244) and the St John Passion (BWV 245). A third has come down to us only in libretto form, the St Mark Passion (BWV 247). A fourth has come down to us in the form of a manuscript copy in the hands of Johann Sebastian and Carl Philipp Emanuel Bach, the St Luke Passion (BWV 246), but the authorship of the original is questionable. The identity of the fifth is still hotly debated. Over the centuries since the obituary was written, more and more research has come to light, not only about the true extent of Bach's work, but also about his compositional style and habits. The discovery (for example) that the music for the Christmas Oratorio
(BWV 248) is primarily parody music
has led to a new understanding of Bach's compositional process and requirements. Further discoveries have led to the realization that Bach also at time resorted to pastiche
s, or adding original work to the works of others. This is about one of those cases: the pastiches on the anonymous Hamburg
St. Mark Passion formerly attributed to Reinhard Keiser
, now believed to have been by Friedrich Nicolaus Bruhns.
cities of Hamburg
and Lübeck
throughout his life. In his mid and late teen years, he had opportunities to visit both cities while a student at St. Michael's Church School, Lüneburg
(a period from 1700–1702). From November 1705-February 1706, he again made the trip north from Arnstadt
to Lübeck (and possibly to Hamburg as well). He again visited Hamburg in 1720 to try out for the position of Organist at the Jakobikirche, a visit during which he won the rarely afforded praise of the aged Johann Adam Reincken
. It is possible that he became acquainted with a work during his earlier visits to Hamburg that would occupy a central place in his musical library for the rest of his life. The work in question was a setting of the St. Mark Passion
written during the early part of the 18th century. This work (outside of Bach's own copy and his pastiches) has come down to us in two other forms: an anonymous manuscript score in Hamburg and a copied score in the county of Hohenstein, Thuringia
. Since the work is anonymous, many scholars had come to believe (based on stylistic considerations) that the work was by the one-time Kapellmeister
of the Hamburg Opera, Reinhard Keiser
. However, based on the discovery of a libretto book dated around 1707, scholars now assign authorship of the work to Friedrich Nicolaus Bruhns, the music director of the Hamburg Cathedral from 1685 to 1718 and uncle of Nikolaus Bruhns, the favorite pupil of Dietrich Buxtehude.
(resulting in the so-called Weimarer Passion
(BWV deest, BC D 1), and another resulting in the work in question.
The origins of the commission for this work (BWV deest, BC D 5a) are unknown. All documentary material for Bach's time in Weimar during this period (1708–1717) were destroyed in a 1774 fire that consumed the palace that Bach was employed in during this period, the Wilhelmsburg. The only evidence that has come down is a set of parts used in performance now housed in the Staatsbibliothek zu Berlin.
There are many questions still surrounding this work. Many scholars question whether the set of parts that we have are complete. Even the dating is questionable. Originally, scholars assigned the dating to Good Friday (14 April) 1713, but is now put down to Good Friday (25 March) 1712 or even a year or two earlier., or even Good Friday (30 March) 1714
In total, we have three manuscript sets that have come down to us for this work. One is in the form of a 57-page score in the hand of Wilhelm Rust
which bears the title "Dr. Rust / Passion / nach dem Evangelium / St. Marcus / componirt / von ?" and on page 2 "Passion nach dem Ev. Marcus / Aus J. S. Bach's größtentheils eigenhändig geschriebenen Stimmen / in Partitur gesetzt / von / Dr. Wilhelm Rust, Cantor zu St. Thomas / in Leipzig". This is housed at the Staatsbibliothek zu Berlin under the Catalogue number D B N. Mus. ms. 10624. Another has come down to us in the form of a 31-page Vocal score dating from before 1712 in the hands of Bach, Anonymous Weimar I, and an unknown scribe. The title page of this one bears the inscription "Passion Christi / secundum Marcum [korrigiert aus Matthäum] / à 5 Strom 4 Voci / di Sigre / R. Kaiser.". Upon Bach's death, it passed into possession of Emanuel Bach, at whose death it was purchased (among other Bachiana) by Georg Pölchau, from whom it went into the possession of the Staatsbibliothek zu Berlin (with Catalogue number D B Mus. ms. 11471/1 and 2). A third one has come down to us in the form of a 45-page Vocal score dating from 1713 in the hands of Bach, Anonymous Weimar I, Johann Heinrich Bach, Anonymous Weimar III, and Christian Gottlob Meißner. The title page of this one bears the inscription "Passion Christi / secundum Marcum [korrigiert aus Matthäum] / à 5 Strom 4 Voci / di Sigre / R. Kaiser." This set of parts came into Emanuel Bach's possession after Sebastian's death, and followed the same fate as the one above. It is housed at the Staatsbibliothek zu Berlin under Catalogue number D B Mus. ms. 11471/1.
All three sources remain possibly incomplete. Whether any of the sources mentioned above represent the original form of the work is also doubtful. Even instrumentation is questionable. The Oboe
solo part required for some of the movements is included in the Violin
I part, which means that it is possible that the Violin I player(s) were intended to be used for these parts as well, or that possibly the Oboe parts are missing (meaning that there were 1 or even 2 Oboe players intended for the work). Also noticeably missing is a figured Organ
part, a Bassoon
part, a Violoncello part, and a part for Viol
. The lack of an Organ part has been variously explained by the fact that from the middle of 1712 until, probably, 1714, the Organ of the Weimar Schloßkirche (the Himmelsburg) was being renovated.
Modern editions of this work include the two Bach movements in the Neue Bach-Ausgabe
volume II/9, work 7, and by Carus-Verlag.
1) Sonata e Coro: Jesus Christus ist um unser Missetat willen verwundet
2) Recitativo (Evangelist
, Jesus
, Petrus): Und da sie den Lobgesang gesprochen hatten
3) Aria (soprano
, basso continuo): Will dich die Angst betreten
4) Recitativo (Evangelist, Jesus): Und nahm zu sich Petrus und Jakobus und Johannes
5) Chorale: Was mein Gott will, das g'scheh allzeit
6a) Recitativo (Evangelist, Jesus): Und kam und fand sie schlafend
6b) Recitativo Evangelist, Judas: Und alsbald, da er noch redet
7) Aria (tenor
, violin
s, b.c.): Wenn nun der Leib wird sterben müssen
8a) Recitativo (Evangelist, Jesus): Die aber legten ihre Hände an ihn
8b) Recitativo (Evangelist): Und die Jünger verließen ihn alle und flohen
8c) Coro: Wir haben gehöret
8d) Recitativo (Evangelist, Hohenpriester, Jesus): Aber ihr Zeugnis stimmet noch nicht überein
8e) Coro: Weissage uns!
8f) Recitativo (Evangelist, Magd, Petrus): Und die Knechte schlugen ihn in's Angesicht
8g) Coro: Wahrlich, du bist der einer
8h) Recitativo (Evangelist, Petrus): Er aber fing an sich zu verfluchen und zu schwören
9) Aria (tenor, violins, b.c.): Wein, ach wein jetzt um die Wette
10) Sinfonia
11) Recitativo (Evangelist, Pilatus, Jesus): Und Bald am Morgen
12) Aria (alto
, violins, b.c.): Klaget nur, ihr Kläger hier
13a) Recitativo (Evangelist, Pilatus): Jesus aber antwortete nichts mehr
13b) Coro: Kreuzige ihn!
13c) Recitativo (Evangelist, Pilatus): Pilatus aber sprach zu ihnen
13d) Coro: Kreuzige ihn!
14) Chorale: O hilf Christe, Gottes Sohn
15) Sinfonia
16a) Recitativo (Evangelist): Pilatus aber gedachte
16b) Coro: Gegrüßet seist du
16c) Recitativo (Evangelist): Und schlugen ihm das Haupt mit dem Rohr
17) Aria (bass (voice type)
, violins, b.c.): O süßes Kreuz
18) Recitativo (Evangelist): Und sie brachten ihn an die Stätte Golgatha
19) Aria (soprano, Oboe
or violin I, b.c.): O Golgotha!
20) Recitativo (Evangelist): Und da sie ihn gekreuziget hatten
21) Aria (alto, b.c.): Was seh' ich hier
22a) Recitativo (Evangelist): Und es war oben über ihm geschrieben
22b) Coro: Pfui dich* [*Textvariante: Seht doch]
22c) Recitativo (Evangelist): Desselbengleichen die Hohenpriester
22d) Coro: Er hat anderen geholfen
22e) Recitativo (Evangelist): Und die mit ihm gekreuzigte waren
22f) Arioso (Jesus): Eli, Eli, lama asabthani?
22g) Recitativo (Evangelist): Das ist verdolmetschet
22h) Coro: Siehe, er rufet den Elias.
22i) Recitativo (Evangelist, Kriegsknecht): Da lief einer
23) Chorale (alto, b.c.): Wenn ich einmal soll scheiden
24) Aria (soprano, tenor, violins, b.c.): Seht, Menschenkinder, seht
25) Sinfonia
26) Recitativo (Evangelist, Hauptmann): Und der Vorhang im Tempel zeriß in zwei Stück
27) Aria (alto, violins, viola
s, b.c.): Dein Jesus hat das Haupt geneiget
28) Recitativo (Evangelist): Und er kaufte eine Leinwand
29) Chorale: O Traurigkeit
30) Chorale: O selig ist
31) Chorale: O Jesu du
32) Chorale: Amen.
As one could tell, the libretto has the Biblical text interspersed with free verse and Chorale texts. The Chorale texts are taken from "Was mein Gott will, das g'scheh allzeit" by Albert, Duke of Prussia (verse 1), "Christus, der uns selig macht" by Michael Weiße (Verse 8), "O Haupt voll Blut und Wunden" by Paul Gerhardt
(Verses 9 and 10), and "O Traurigkeit, o Herzeleid" by Friedrich Spee. Unlike Bach's later Passion works, there is no division of the work into two parts. Christian Friedrich Henrici, the man who would later provide Bach with many of his cantata
and oratorio
texts, would use the text for Movement 9 (slightly altered) in one of his own collections (entitled Sammlung Erbaulicher Gedanken über und auf die gewöhnlichen Sonn- u. Fest-Tage, in gebundener Schreib-Art entworffen). The two Bach additions (Movements 14 and 29) are catalogued as BWV deest serie II: 02 and 03.
As one could see, the scoring for the work is for a very small ensemble. As stated above, however, this may be deceiving, as we may not have all the parts used. It is possible that there were 2 Oboe
s used in the performance; they may have also (in addition to Movement 19) been used in the Choral parts and the Sinfonia
s. As it is now, it is scored for:
Soloists: SATB Choir: SATB, 2 violins, 2 violas, and Basso continuo.
About orchestration, Bach wrote in 1730 a little tract entitled “Kurtzer, iedoch höchstnöthiger Entwurff einer wohlbestallten Kirchen Music; nebst einigem unvorgreiflichen Bedenkken von dem Verfall derselben." (“Short, but most Necessary Draft on a well-regulated Church Music, with some modest Thoughts on the Decline of the same”). In it, he stated both the ideal size of Church Choirs and Orchestras and those he were dealing with at the time (in Leipzig). He states that an ideal Choir would consist of 1-2 singers per part (or 4-8 total singers), while he was typically dealing with 12-16 per part. He also states that a well-regulated Church music would be performed by:
So for a work such as this one, he would need 3 Violin I, 3 Violin II, 2 Viola I, 2 Viola II, 2 Violoncelli, 1 Violon, 2 Oboes, 2 Bassoons, and Harpsichord (as the Harmony instrument in the Continuo), and 2 Sopranos, 2 Altos, 2 Tenors, and 2 Basses in the Choir and the same amount as the Concertino (group)
for the solo voice parts.
of the Thomasschule zu Leipzig
and Directoris Chori musici in Leipzig
", Sebastian Bach ran into a quandary. He had begun and nearly completed a score for a St Matthew Passion, a project which he began in 1725 but put aside for a revival of his St John Passion, when he again for some unknown reason set aside the project (he would complete it and first perform his St Matthew Passion on 11 April 1727). Instead he decided to revive his Weimar pastiche. This work was performed on 19 April 1726. For this work, he changed two movements (Nos. 14 and 29 of the Weimar work) and, to fit it to the Church Ordinance for Good Friday Vespers services in Leipzig, he split it into two parts by adding a chorale
. The violin I part for this work (BWV deest, BC D 5b) is missing in all his new additions (and has been reconstructed), but on the whole, the parts are more complete. This work has come down to us in the form of a vocal score and parts set dating from before 1726 in the hands of Johann Sebastian Bach
, Christian Gottlob Meißner, and Johann Heinrich Bach, and is currently stored in the Staatsbibliothek zu Berlin under the Catalogue number D B Mus. ms. 11471/2. The title page (like the Weimar one) reads "Passion Christi / secundum Marcum [korrigiert aus Matthäum] / à 5 Strom 4 Voci / di Sigre / R. Kaiser." The text goes as follows:
Prima Parte
1) Sonata e Coro: Jesus Christus ist um unser Missetat willen verwundet
2) Recitativo (Evangelist, Jesus, Petrus): Und da sie den Lobgesang gesprochen hatten
3) Aria (soprano, basso continuo): Will dich die Angst betreten
4) Recitativo (Evangelist, Jesus): Und nahm zu sich Petrus und Jakobus und Johannes
5) Chorale: Was mein Gott will, das g'scheh allzeit
6a) Recitativo (Evangelist, Jesus): Und kam und fand sie schlafend
6b) Recitativo (Evangelist, Judas): Und alsbald, da er noch redet
7) Aria (tenor, violins, b.c.): Wenn nun der Leib wird sterben müssen
8a) Recitativo (Evangelist, Jesus): Die aber legten ihre Hände an ihn
8b) Recitativo (Evangelist): Und die Jünger verließen ihn alle und flohen
8c) Coro: Wir haben gehöret
8d) Recitativo (Evangelist, Hohenpriester, Jesus): Aber ihr Zeugnis stimmet noch nicht überein
8e) Coro: Weissage uns!
8f) Recitativo (Evangelist, Magd, Petrus): Und die Knechte schlugen ihn in's Angesicht
8g) Coro: Wahrlich, du bist der einer
8h) Recitativo (Evangelist, Petrus): Er aber fing an sich zu verfluchen und zu schwören
9) Aria (tenor, violins, b.c.): Wein, ach wein jetzt um die Wette
10) Chorale: So gehst du nun, mein Jesus, hin,
Fine della Prima Parte
Seconda Parte
11) Sinfonia
12) Recitativo (Evangelist, Pilatus, Jesus): Und Bald am Morgen
13) Aria (alto, violins, b.c.): Klaget nur, ihr Kläger hier
14a) Recitativo (Evangelist, Pilatus): Jesus aber antwortete nichts mehr
14b) Coro: Kreuzige ihn!
14c) Recitativo (Evangelist, Pilatus): Pilatus aber sprach zu ihnen
14d) Coro: Kreuzige ihn!
15) Chorale: O hilf Christe, Gottes Sohn
16) Sinfonia
17a) Recitativo (Evangelist): Pilatus aber gedachte
17b) Coro: Gegrüßet seist du
17c) Recitativo (Evangelist): Und schlugen ihm das Haupt mit dem Rohr
18) Aria (bass (voice type), violins, b.c.): O süßes Kreuz
19) Recitativo (Evangelist): Und sie brachten ihn an die Stätte Golgatha
20) Aria (soprano, Oboe or violin I, b.c.): O Golgotha!
21) Recitativo (Evangelist): Und da sie ihn gekreuziget hatten
22) Aria (alto, b.c.): Was seh' ich hier
23a) Recitativo (Evangelist): Und es war oben über ihm geschrieben
23b) Coro: Pfui dich* [*Textvariante: Seht doch]
23c) Recitativo (Evangelist): Desselbengleichen die Hohenpriester
23d) Coro: Er hat anderen geholfen
23e) Recitativo (Evangelist): Und die mit ihm gekreuzigte waren
23f) Arioso (Jesus): Eli, Eli, lama asabthani?
23g) Recitativo (Evangelist): Das ist verdolmetschet
23h) Coro: Siehe, er rufet den Elias.
23i) Recitativo (Evangelist, Kriegsknecht): Da lief einer
24) Chorale (alto, b.c.): Wenn ich einmal soll scheiden
25) Aria (soprano, tenor, violins, b.c.): Seht, Menschenkinder, seht
26) Sinfonia
27) Recitativo (Evangelist, Hauptmann): Und der Vorhang im Tempel zeriß in zwei Stück
28) Aria (alto, violins, violas, b.c.): Dein Jesus hat das Haupt geneiget
29) Recitativo (Evangelist): Und er kaufte eine Leinwand
30) Chorale: O Traurigkeit
31) Chorale: O selig ist
32) Chorale: O Jesu du
33) Chorale: Amen.
Like the Weimar work, this work also was scored for: Solo: SATB. Choir: SATB, Oboes I/II, Violins I/II, Violas I/II, and Basso continuo. Like the Weimar work, the Oboes were also included in the Choral and Sinfonia sections. However, the parts this time also included a figured organ
part. In two of the three new additions (Movements 10 and 15), the first violin part is missing and has been reconstructed. Of the new additions (Movements 10, 15, and 30), Alfred Dürr noted that the bass line of Movement 10 mirrored exactly the bass line of the sacred song from the Musicalisches Gesangbuch G.C. Schemelli, So gehst du nun, mein Jesus, hin BWV 500 (it is included in the BWV catalogue as BWV 500a). Movement 15 was used as a replacement of Movement 14 of BC D 5a, and is catalogued as BWV 1084 (no BC number yet) and is also marked "alla breve
as is its predecessor, but instead of half notes as the main beat, the quarter note gets the main beat. Movement 30 was used to replace Movement 29 of BC D 5a, and is catalogued as BWV deest serie II: 04 (similar case as far as notation to Movement 15).
Modern editions include the three Bach movements in NBA II/9, work 8 and Carus-Verlag (the new movements in the Appendix, the rest being the same as the Weimar work in the main body).
Bach again revived this pastiche on either 31 April 1747 (at the St. Nicholas Church, Leipzig) or 12 April 1748 (at the St. Thomas Church, Leipzig). Of all the pastiches, this one was the most complex and involved. In many ways, it was more a true pastiche than the previous two were. In addition to his own music (2 movements), Bach incorporated seven Aria
s from George Frideric Handel
's Brockes Passion
HWV 48 into the original. This work (BWV deest (Serie II: 005), BC D 5) has come down to us only in two forms. One is a complete Harpsichord
part of 10 pages dating from between 1743 and 1748 housed at the Staatsbibliothek zu Berlin under Catalogue number D B N. Mus. ms. 468. This part is written in the hands of Johann Christoph Friedrich Bach
(notes), Johann Sebastian Bach (figures), and Wilhelm Rust
(Title page). It's Title page reads "Marcus-Passion / angeblich von R: Keiser" and underneath this "NB enthält 6 Arien aus der Brockes'schen / Passion von Händel". After Bach's death, it came into possession of an unknown individual, from whom it entered into possession of Wilhelm Rust, whose heir Maria Rust next took possession of it. It then entered into the possession of an A. Martin in Weimar
, from whence it entered into (in succession) the possessions of an A. Thiele and then B. Thiele (also in Weimar), from whence it entered into the possession of the Antiquarian Bookshop of Joseph Abraham Stargardt in Berlin, from whence it entered into the possession of the Staatsbibliothek zu Berlin in 1987.
The other source material is a one-page fragment of the Bassoon
I part of the Aria "Was Wunder, daß der Sonnen Pracht" from Handel's HWV 48 in the hand of Johann Sebastian Bach dating from between 1743 and 1748. This part followed pretty much the same path as the part above, however after it came into possession of B. Thiele, it next entered into possession of C. Thiele in Kiel. It is marked under Catalogue number Privatbesitz C. Thiele, BWV deest (Serie II: 005).
The text for this work is as follows:
Prima Parte
1) Sonata e Coro: Jesus Christus ist um unser Missetaten willen verwundet
2) Recitativo (Evangelist, Jesus, Petrus): Und da sie den Lobgesang gesprochen hatten
3) Aria (soprano, b.c.): Will dich die Angst betreten
4) Recitativo (Evangelist, Jesus): Und nahm zu sich Petrus und Jakobus und Johannes
5) Aria (soprano, oboe, b.c.): Sünder, schaut mit Furcht und Zagen
HWV 48/9 Eingefügte Arie aus Händels Brockes-Passion
6a) Recitativo (Evangelist, Jesus): Und kam und fand sie schlafend
6b) Recitativo (Evangelist, Judas): Und alsbald, da er noch redet
7) Aria (tenor, violins, b.c.): Wenn nun der Leib wird sterben müssen
8a) Recitativo (Evangelist, Jesus): Die aber legten ihre Hände an ihn
8b) Recitativo (Evangelist): Und die Jünger verließen ihn alle und flohen
8c) Coro: Wir haben gehöret
8d) Recitativo (Evangelist, Hohenpriester, Jesus): Aber ihr Zeugnis stimmet noch nicht überein
9) Aria (tenor, oboes, violins, b.c.): Erwäg, ergrimmte
HWV 48/23Eingefügte Arie aus Händels Brockes-Passion
10a) Recitativo (Evangelist): Da fingen an etliche ihn zu verspeien
10b) Coro: Weissage uns!
10c) Recitativo (Evangelist, Magd, Petrus): Und die Knechte schlugen ihn ins Angesicht
10d) Coro: Wahrlich, du bist der einer
10e) Recitativo (Evangelist, Petrus): Er aber fing an sich zu verfluchen und zu schwören
11) Aria (tenor, violins in unison, b.c.): Wein, ach wein jetzt um die Wette
12) Chorale: So gehst du nun mein Jesus, hin
Violino I vermutlich verschollen, und zu rekonstruieren.
Fine della Prima Parte
Seconda Parte
13) Sinfonia
14) Recitativo (Evangelist, Pilatus, Jesus): Und Bald am Morgen hielten die Hohenpriester einen Rat
15) Aria (alto, violins, b.c.): Klaget nur, ihr Kläger hier
16a) Recitativo (Evangelist, Pilatus): Jesus aber antwortete nichts mehr
16b) Coro: Kreuzige Ihn!
16c) Recitativo (Evangelist, Pilatus): Pilatus aber sprach zu ihnen
16d) Coro: Kreuzige Ihn!
17) Chorale: O hilf, Christe, Gottes Sohn
Satz 17 ersetzt den Satz 14
der Weimarer Fassung 1712/1713
in den Fassungen von 1726 bzw. ca. 1745-1748.
Violino I vermutlich verschollen, und zu rekonstruieren
18) Sinfonia
19a) Recitativo (Evangelist): Pilatus aber gedachte dem Volk genug zu tun
19b) Coro: Gegrüßet seist du
19c) Recitativo (Evangelist): Und schlugen ihm das Haupt mit dem Rohr
20) Aria (bass, violins, violas, b.c.): O süßes Kreuz
21) Recitativo (Evangelist): Und sie brachten ihn an die Stätte Golgatha
22) Aria e Coro (soprano solo, choir, violins, b.c.): Eilt, iht angefochtnen Seelen
HWV 48/41 Eingefügte Arie aus Händels Brockes-Passion als Esatz für die Arie 19 "O Golgatha"
23) Recitativo (Evangelist): Und da sie ihn gekreuziget hatten
24) Aria (soprano, oboes, violins, viola, b.c.): Hier erstarrt mein Herz in Blut
HWV 48/44 Eingefügte Arie aus Händels Brockes-Passion, als Ersatz für die Arie "Was sehe ich hier"
25a) Recitativo (Evangelist): Und es war oben über ihm geschrieben
25b) Coro: Pfui dich* [*Textvariante: Seht doch]
25c) Recitativo (Evangelist): Desselbengleichen die Hohenpriester verspotteten ihn untereinander
25d) Coro: Er hat anderen geholfen
25e) Recitativo (Evangelist): Und die mit ihm gekreuzigte waren
25e+) Aria (soprano, violins, bassoons, b.c.): Was Wunder, das der Sonnen Pracht
HWV 48/48 Eingefügte Arie aus Händels Brockes-Passion
25f) Arioso (Jesus): Eli, Eli, lama asabthani?
25g) Recitativo (Evangelist): Das ist verdolmetschet
25h) Coro: Siehe, er rufet den Elias.
25i) Recitativo (Evangelist, Kriegsknecht): Und da lief einer
26) Chorale (alto, b.c.): Wenn ich einmal soll scheiden
27) Aria (soprano, tenor, violins, b.c.): Seht Menschenkinder, seht
28) Sinfonia
29) Recitativo (Evangelist, Hauptmann): Und der Vorhang im Tempel zeriß in zwei Stück
30) Aria (bass, violins, b.c.): Wie kömmt's, daß, da der Himml weint
HWV 48/52 Eingefügte Arie aus Händels Brockes-Passion
31) Recitativo (Evangelist): Und es waren auch Weiber da
32) Aria (alto, violins, violas, b.c.): Dein Jesus hat das Haupt geneiget
33) Recitativo (Evangelist): Und er kaufte eine Leinwand
34) Aria (soprano, oboes, violins, b.c.): Wisch ab der Tränen scharfe Lauge
HWV 48/55 Eingefügte Arie aus Händels Brockes-Passion, als Ersatz für den Choral "O Traurigkeit, o Herzeleid"
35) Chorale: O selig ist
36) Chorale: O Jesu du
37) Chorale: Amen.
The instrumentation is for a larger ensemble: Solo: SATB. Choir: SATB, Oboe I/II, Bassono I/II, Violino I/II, Viola I/II, and Basso continuo.
Modern editions of this work include a facsimile reproduction in NBA II/9, work 9 and a full score that could be ordered from the Kantorei St. Mauritius Hardegsen website. A new score is in the works, a joint project of the Bach-Archiv Leipzig
and Carus-Verlag.
; and Bass: Tilli Schutze (?), with Capella Sancti Georgi and Musica Alta Ripa conducted by Ralf Popken.
There is only one recording of the second work (BC D 5b) recorded on the Con Affetto label featuring Tenor [Evangelist]: Daniel-Leo Meier; Bass [Jesus]: Nicolas Fink; Boy Soprano: Simeon Haefliger (soloist from Luzerner Knabenkantorei); Counter-tenor: Urs Weibel; Tenor: Sebastian Lipp, Brian Dean, Sabine Hochstrasser (Violins); Brigitte Gasser, Brian Franklin (Viola da gamba); Monika Hasselbach (Violoncello); Kiri Ivanov (Contrabass); and Mutsumi Ueno (Organ), with the Luzerner Knabenkantorei and Instrumentalists from Collegium Musicum Luzern conducted by Eberhard Rex.
Finally, there is thus far only one recording of the final work (a live recording) featuring Yu Jost, Soprano (Maid), Dorothee Wohlgemuth, Soprano (Arias), Michael Leib, Alto (Arias, Judas, High Priest, Soldier, Centurion), Jörn Lindemann, Tenor (Arias, Evangelist), Samuel Hasselhorn, Tenor (Petrus), Benjamin Hasselhorn, Tenor (Pilatus), Falk Joost, Bass (Jesus), and Ralf Grobe, Bass (Arias), with Kantorei St. Mauritius Hardegsen and Telemannisches Collegium Michaelstein conducted by Gerhard Ropeter.
, and upon his death into various hands, eventually ending up in the Berlin Singakademie
, and later into the Staatsbibliothek zu Berlin.
Lorenz Christoph Mizler
Lorenz Christoph Mizler von Kolof was a German physician, mathematician, and writer on music.-Biography:...
published as an addendum in the most recent volume of his Neu eröffnete musikalische Bibliothek a series of three obituaries of recently deceased members of his Korrespondierende Sozietät der Musicalischen Wissenschaften. Amongst them was a notice penned by Carl Philipp Emanuel Bach
Carl Philipp Emanuel Bach
right|250pxCarl Philipp Emanuel Bach was a German Classical period musician and composer, the fifth child and second son of Johann Sebastian Bach and Maria Barbara Bach...
and Johann Friedrich Agricola
Johann Friedrich Agricola
Johann Friedrich Agricola was a German composer, organist, singer, pedagogue, and writer on music. He sometimes wrote under the pseudonym Flavio Anicio Olibrio.-Biography:...
, both men then employed in the service of Frederick II of Prussia
Frederick II of Prussia
Frederick II was a King in Prussia and a King of Prussia from the Hohenzollern dynasty. In his role as a prince-elector of the Holy Roman Empire, he was also Elector of Brandenburg. He was in personal union the sovereign prince of the Principality of Neuchâtel...
. Both men had been students of the subject of their article (the former being his second-eldest son, the latter starting his studies with the subject in 1741), and were therefore qualified to write his obituary. The subject of the article was 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...
. As a conclusion, Emanuel Bach and Friedrich Agricola catalogued all Sebastian Bach's published and unpublished works. Amongst the latter is found the following notation:
- "(3) Five Passions, of which one is for double chorus;".
Of the aforementioned five Passion
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...
, two have come down to us both in libretto and score forms, the St Matthew Passion (BWV 244) and the St John Passion (BWV 245). A third has come down to us only in libretto form, the St Mark Passion (BWV 247). A fourth has come down to us in the form of a manuscript copy in the hands of Johann Sebastian and Carl Philipp Emanuel Bach, the St Luke Passion (BWV 246), but the authorship of the original is questionable. The identity of the fifth is still hotly debated. Over the centuries since the obituary was written, more and more research has come to light, not only about the true extent of Bach's work, but also about his compositional style and habits. The discovery (for example) that the music for the Christmas Oratorio
Christmas Oratorio
The Christmas Oratorio BWV 248, is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season. It was written for the Christmas season of 1734 incorporating music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a...
(BWV 248) is primarily parody music
Parody music
Parody music, or musical parody, involves changing or recycling existing musical ideas or lyrics — or copying the peculiar style of a composer or artist, or even a general style of music. Although the result is often funny, and this is the usual intent — the term "parody" in musical terms also...
has led to a new understanding of Bach's compositional process and requirements. Further discoveries have led to the realization that Bach also at time resorted to pastiche
Pastiche
A pastiche is a literary or other artistic genre or technique that is a "hodge-podge" or imitation. The word is also a linguistic term used to describe an early stage in the development of a pidgin language.-Hodge-podge:...
s, or adding original work to the works of others. This is about one of those cases: the pastiches on the anonymous Hamburg
Hamburg
-History:The first historic name for the city was, according to Claudius Ptolemy's reports, Treva.But the city takes its modern name, Hamburg, from the first permanent building on the site, a castle whose construction was ordered by the Emperor Charlemagne in AD 808...
St. Mark Passion formerly attributed to Reinhard Keiser
Reinhard Keiser
Reinhard Keiser was a popular German opera composer based in Hamburg. He wrote over a hundred operas, and in 1745 Johann Adolph Scheibe considered him an equal to Johann Kuhnau, George Frideric Handel and Georg Philipp Telemann , but his work was largely forgotten for many...
, now believed to have been by Friedrich Nicolaus Bruhns.
Background to composition
Bach held deep regard for the chief Hanseatic LeagueHanseatic League
The Hanseatic League was an economic alliance of trading cities and their merchant guilds that dominated trade along the coast of Northern Europe...
cities of Hamburg
Hamburg
-History:The first historic name for the city was, according to Claudius Ptolemy's reports, Treva.But the city takes its modern name, Hamburg, from the first permanent building on the site, a castle whose construction was ordered by the Emperor Charlemagne in AD 808...
and Lübeck
Lübeck
The Hanseatic City of Lübeck is the second-largest city in Schleswig-Holstein, in northern Germany, and one of the major ports of Germany. It was for several centuries the "capital" of the Hanseatic League and, because of its Brick Gothic architectural heritage, is listed by UNESCO as a World...
throughout his life. In his mid and late teen years, he had opportunities to visit both cities while a student at St. Michael's Church School, Lüneburg
Lüneburg
Lüneburg is a town in the German state of Lower Saxony. It is located about southeast of fellow Hanseatic city Hamburg. It is part of the Hamburg Metropolitan Region, and one of Hamburg's inner suburbs...
(a period from 1700–1702). From November 1705-February 1706, he again made the trip north from Arnstadt
Arnstadt
Arnstadt is a town in Ilm-Kreis, Thuringia, Germany, situated on the Gera River. It is one of the oldest towns in Thuringia and is nicknamed Das Tor zum Thüringer Wald, The Gate to the Thuringian Forest....
to Lübeck (and possibly to Hamburg as well). He again visited Hamburg in 1720 to try out for the position of Organist at the Jakobikirche, a visit during which he won the rarely afforded praise of the aged Johann Adam Reincken
Johann Adam Reincken
Johann Adam Reincken was a Dutch/German organist and composer...
. It is possible that he became acquainted with a work during his earlier visits to Hamburg that would occupy a central place in his musical library for the rest of his life. The work in question was a setting of the St. Mark Passion
St. Mark Passion
Several composers have written St. Mark Passions – a passion based on the Gospel of Mark. Among them are:*St Mark Passion by Johann Sebastian Bach...
written during the early part of the 18th century. This work (outside of Bach's own copy and his pastiches) has come down to us in two other forms: an anonymous manuscript score in Hamburg and a copied score in the county of Hohenstein, Thuringia
Hohenstein, Thuringia
Hohenstein is a municipality in the district of Nordhausen, in Thuringia, Germany....
. Since the work is anonymous, many scholars had come to believe (based on stylistic considerations) that the work was by the one-time Kapellmeister
Kapellmeister
Kapellmeister is a German word designating a person in charge of music-making. The word is a compound, consisting of the roots Kapelle and Meister . The words Kapelle and Meister derive from the Latin: capella and magister...
of the Hamburg Opera, Reinhard Keiser
Reinhard Keiser
Reinhard Keiser was a popular German opera composer based in Hamburg. He wrote over a hundred operas, and in 1745 Johann Adolph Scheibe considered him an equal to Johann Kuhnau, George Frideric Handel and Georg Philipp Telemann , but his work was largely forgotten for many...
. However, based on the discovery of a libretto book dated around 1707, scholars now assign authorship of the work to Friedrich Nicolaus Bruhns, the music director of the Hamburg Cathedral from 1685 to 1718 and uncle of Nikolaus Bruhns, the favorite pupil of Dietrich Buxtehude.
First Fruits (Weimar, 1710–1714)
No evidence exists that Bach was required (in his official duties) to provide Passion music for his early posts in Weimar (1703), Arnstadt (1703–1707), Mühlhausen (1707–1708), and Weimar (1708–1717). However, he did receive requests to do so on two occasions: once on commission by Frederick III, Duke of Saxe-Gotha-AltenburgFrederick III, Duke of Saxe-Gotha-Altenburg
Frederick III, Duke of Saxe-Gotha-Altenburg , was a duke of Saxe-Gotha-Altenburg.-Biography:He was the eldest son of Frederick II, Duke of Saxe-Gotha-Altenburg and Magdalene Augusta of Anhalt-Zerbst....
(resulting in the so-called Weimarer Passion
Weimarer Passion
The work commonly referred to as the Weimarer Passion, BWV deest , is a musical composition among the Passions written by Johann Sebastian Bach, composed in 1717 for at least two solo voices, choir and orchestra with text by an unknown librettist...
(BWV deest, BC D 1), and another resulting in the work in question.
The origins of the commission for this work (BWV deest, BC D 5a) are unknown. All documentary material for Bach's time in Weimar during this period (1708–1717) were destroyed in a 1774 fire that consumed the palace that Bach was employed in during this period, the Wilhelmsburg. The only evidence that has come down is a set of parts used in performance now housed in the Staatsbibliothek zu Berlin.
There are many questions still surrounding this work. Many scholars question whether the set of parts that we have are complete. Even the dating is questionable. Originally, scholars assigned the dating to Good Friday (14 April) 1713, but is now put down to Good Friday (25 March) 1712 or even a year or two earlier., or even Good Friday (30 March) 1714
In total, we have three manuscript sets that have come down to us for this work. One is in the form of a 57-page score in the hand of Wilhelm Rust
Wilhelm Rust
Wilhelm Rust was a German musicologist and composer. He is most noted today for his substantial contributions to the Bach Gesellschaft edition of the works of Johann Sebastian Bach....
which bears the title "Dr. Rust / Passion / nach dem Evangelium / St. Marcus / componirt / von ?" and on page 2 "Passion nach dem Ev. Marcus / Aus J. S. Bach's größtentheils eigenhändig geschriebenen Stimmen / in Partitur gesetzt / von / Dr. Wilhelm Rust, Cantor zu St. Thomas / in Leipzig". This is housed at the Staatsbibliothek zu Berlin under the Catalogue number D B N. Mus. ms. 10624. Another has come down to us in the form of a 31-page Vocal score dating from before 1712 in the hands of Bach, Anonymous Weimar I, and an unknown scribe. The title page of this one bears the inscription "Passion Christi / secundum Marcum [korrigiert aus Matthäum] / à 5 Strom 4 Voci / di Sigre / R. Kaiser.". Upon Bach's death, it passed into possession of Emanuel Bach, at whose death it was purchased (among other Bachiana) by Georg Pölchau, from whom it went into the possession of the Staatsbibliothek zu Berlin (with Catalogue number D B Mus. ms. 11471/1 and 2). A third one has come down to us in the form of a 45-page Vocal score dating from 1713 in the hands of Bach, Anonymous Weimar I, Johann Heinrich Bach, Anonymous Weimar III, and Christian Gottlob Meißner. The title page of this one bears the inscription "Passion Christi / secundum Marcum [korrigiert aus Matthäum] / à 5 Strom 4 Voci / di Sigre / R. Kaiser." This set of parts came into Emanuel Bach's possession after Sebastian's death, and followed the same fate as the one above. It is housed at the Staatsbibliothek zu Berlin under Catalogue number D B Mus. ms. 11471/1.
All three sources remain possibly incomplete. Whether any of the sources mentioned above represent the original form of the work is also doubtful. Even instrumentation is questionable. The 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...
solo part required for some of the movements is included in the 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....
I part, which means that it is possible that the Violin I player(s) were intended to be used for these parts as well, or that possibly the Oboe parts are missing (meaning that there were 1 or even 2 Oboe players intended for the work). Also noticeably missing is a figured Organ
Organ (music)
The organ , is a keyboard instrument of one or more divisions, each played with its own keyboard operated either with the hands or with the feet. The organ is a relatively old musical instrument in the Western musical tradition, dating from the time of Ctesibius of Alexandria who is credited with...
part, a Bassoon
Bassoon
The bassoon is a woodwind instrument in the double reed family that typically plays music written in the bass and tenor registers, and occasionally higher. Appearing in its modern form in the 19th century, the bassoon figures prominently in orchestral, concert band and chamber music literature...
part, a Violoncello part, and a part for Viol
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...
. The lack of an Organ part has been variously explained by the fact that from the middle of 1712 until, probably, 1714, the Organ of the Weimar Schloßkirche (the Himmelsburg) was being renovated.
Modern editions of this work include the two Bach movements in the Neue Bach-Ausgabe
Neue 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...
volume II/9, work 7, and by Carus-Verlag.
Text and scoring for BC D 5a
The author of the libretto for this work is unknown. The work is in 32 movements:1) Sonata e Coro: Jesus Christus ist um unser Missetat willen verwundet
2) Recitativo (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...
, Jesus
Vox Christi
Vox Christi, Latin for Voice of Christ, is a term for the bass voice representing Jesus in the music of Johann Sebastian Bach and others. This part appears prominently in Bach's Passions...
, Petrus): Und da sie den Lobgesang gesprochen hatten
3) Aria (soprano
Soprano
A soprano is a voice type with a vocal range from approximately middle C to "high A" in choral music, or to "soprano C" or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody...
, basso continuo): Will dich die Angst betreten
4) Recitativo (Evangelist, Jesus): Und nahm zu sich Petrus und Jakobus und Johannes
5) Chorale: Was mein Gott will, das g'scheh allzeit
6a) Recitativo (Evangelist, Jesus): Und kam und fand sie schlafend
6b) Recitativo Evangelist, Judas: Und alsbald, da er noch redet
7) Aria (tenor
Tenor
The tenor is a type of male singing voice and is the highest male voice within the modal register. The typical tenor voice lies between C3, the C one octave below middle C, to the A above middle C in choral music, and up to high C in solo work. The low extreme for tenors is roughly B2...
, 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, b.c.): Wenn nun der Leib wird sterben müssen
8a) Recitativo (Evangelist, Jesus): Die aber legten ihre Hände an ihn
8b) Recitativo (Evangelist): Und die Jünger verließen ihn alle und flohen
8c) Coro: Wir haben gehöret
8d) Recitativo (Evangelist, Hohenpriester, Jesus): Aber ihr Zeugnis stimmet noch nicht überein
8e) Coro: Weissage uns!
8f) Recitativo (Evangelist, Magd, Petrus): Und die Knechte schlugen ihn in's Angesicht
8g) Coro: Wahrlich, du bist der einer
8h) Recitativo (Evangelist, Petrus): Er aber fing an sich zu verfluchen und zu schwören
9) Aria (tenor, violins, b.c.): Wein, ach wein jetzt um die Wette
10) Sinfonia
11) Recitativo (Evangelist, Pilatus, Jesus): Und Bald am Morgen
12) Aria (alto
Alto
Alto 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,...
, violins, b.c.): Klaget nur, ihr Kläger hier
13a) Recitativo (Evangelist, Pilatus): Jesus aber antwortete nichts mehr
13b) Coro: Kreuzige ihn!
13c) Recitativo (Evangelist, Pilatus): Pilatus aber sprach zu ihnen
13d) Coro: Kreuzige ihn!
14) Chorale: O hilf Christe, Gottes Sohn
15) Sinfonia
16a) Recitativo (Evangelist): Pilatus aber gedachte
16b) Coro: Gegrüßet seist du
16c) Recitativo (Evangelist): Und schlugen ihm das Haupt mit dem Rohr
17) Aria (bass (voice type)
Bass (voice type)
A bass is a type of male singing voice and possesses the lowest vocal range of all voice types. According to The New Grove Dictionary of Opera, a bass is typically classified as having a range extending from around the second E below middle C to the E above middle C...
, violins, b.c.): O süßes Kreuz
18) Recitativo (Evangelist): Und sie brachten ihn an die Stätte Golgatha
19) Aria (soprano, 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...
or violin I, b.c.): O Golgotha!
20) Recitativo (Evangelist): Und da sie ihn gekreuziget hatten
21) Aria (alto, b.c.): Was seh' ich hier
22a) Recitativo (Evangelist): Und es war oben über ihm geschrieben
22b) Coro: Pfui dich* [*Textvariante: Seht doch]
22c) Recitativo (Evangelist): Desselbengleichen die Hohenpriester
22d) Coro: Er hat anderen geholfen
22e) Recitativo (Evangelist): Und die mit ihm gekreuzigte waren
22f) Arioso (Jesus): Eli, Eli, lama asabthani?
22g) Recitativo (Evangelist): Das ist verdolmetschet
22h) Coro: Siehe, er rufet den Elias.
22i) Recitativo (Evangelist, Kriegsknecht): Da lief einer
23) Chorale (alto, b.c.): Wenn ich einmal soll scheiden
24) Aria (soprano, tenor, violins, b.c.): Seht, Menschenkinder, seht
25) Sinfonia
26) Recitativo (Evangelist, Hauptmann): Und der Vorhang im Tempel zeriß in zwei Stück
27) Aria (alto, violins, viola
Viola
The viola is a bowed string instrument. It is the middle voice of the violin family, between the violin and the cello.- Form :The viola is similar in material and construction to the violin. A full-size viola's body is between and longer than the body of a full-size violin , with an average...
s, b.c.): Dein Jesus hat das Haupt geneiget
28) Recitativo (Evangelist): Und er kaufte eine Leinwand
29) Chorale: O Traurigkeit
30) Chorale: O selig ist
31) Chorale: O Jesu du
32) Chorale: Amen.
As one could tell, the libretto has the Biblical text interspersed with free verse and Chorale texts. The Chorale texts are taken from "Was mein Gott will, das g'scheh allzeit" by Albert, Duke of Prussia (verse 1), "Christus, der uns selig macht" by Michael Weiße (Verse 8), "O Haupt voll Blut und Wunden" by 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...
(Verses 9 and 10), and "O Traurigkeit, o Herzeleid" by Friedrich Spee. Unlike Bach's later Passion works, there is no division of the work into two parts. Christian Friedrich Henrici, the man who would later provide Bach with many of his cantata
Bach cantata
Bach cantata became a term for a cantata of the German Baroque composer Johann Sebastian Bach who was a prolific writer of the genre. Although many of his works are lost, around 200 cantatas survived....
and 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...
texts, would use the text for Movement 9 (slightly altered) in one of his own collections (entitled Sammlung Erbaulicher Gedanken über und auf die gewöhnlichen Sonn- u. Fest-Tage, in gebundener Schreib-Art entworffen). The two Bach additions (Movements 14 and 29) are catalogued as BWV deest serie II: 02 and 03.
As one could see, the scoring for the work is for a very small ensemble. As stated above, however, this may be deceiving, as we may not have all the parts used. It is possible that there were 2 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 used in the performance; they may have also (in addition to Movement 19) been used in the Choral parts and the Sinfonia
Sinfonia
Sinfonia is the Italian word for symphony. In English it most commonly refers to a 17th- or 18th-century orchestral piece used as an introduction, interlude, or postlude to an opera, oratorio, cantata, or suite...
s. As it is now, it is scored for:
Soloists: SATB Choir: SATB, 2 violins, 2 violas, and Basso continuo.
About orchestration, Bach wrote in 1730 a little tract entitled “Kurtzer, iedoch höchstnöthiger Entwurff einer wohlbestallten Kirchen Music; nebst einigem unvorgreiflichen Bedenkken von dem Verfall derselben." (“Short, but most Necessary Draft on a well-regulated Church Music, with some modest Thoughts on the Decline of the same”). In it, he stated both the ideal size of Church Choirs and Orchestras and those he were dealing with at the time (in Leipzig). He states that an ideal Choir would consist of 1-2 singers per part (or 4-8 total singers), while he was typically dealing with 12-16 per part. He also states that a well-regulated Church music would be performed by:
.
2 or even 3 for the Violino I, 2 or 3 for the Violino II, 2 for the Viola I, 2 for the Viola II, 2 for the Violoncello, 1 for the VioloneVioloneThe term violone can refer to several distinct large, bowed musical instruments which belong to either the viol or violin family. The violone is sometimes a fretted instrument, and may have six, five, four, or even only three strings. The violone is also not always a contrabass instrument...
, 2, or, if the piece requires it, 3, for the Hautbois (OboeOboeThe 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...
), 1, or even 2, for the Basson (BassoonBassoonThe bassoon is a woodwind instrument in the double reed family that typically plays music written in the bass and tenor registers, and occasionally higher. Appearing in its modern form in the 19th century, the bassoon figures prominently in orchestral, concert band and chamber music literature...
), 3 for the Trompeten (TrumpetTrumpetThe trumpet is the musical instrument with the highest register in the brass family. Trumpets are among the oldest musical instruments, dating back to at least 1500 BCE. They are played by blowing air through closed lips, producing a "buzzing" sound which starts a standing wave vibration in the air...
s), and 1 for the Pauken (TimpaniTimpaniTimpani, or kettledrums, are musical instruments in the percussion family. A type of drum, they consist of a skin called a head stretched over a large bowl traditionally made of copper. They are played by striking the head with a specialized drum stick called a timpani stick or timpani mallet...
), for a total of 18 persons at least. He also stated that if the piece required it, there would be 2 Flute players.
So for a work such as this one, he would need 3 Violin I, 3 Violin II, 2 Viola I, 2 Viola II, 2 Violoncelli, 1 Violon, 2 Oboes, 2 Bassoons, and Harpsichord (as the Harmony instrument in the Continuo), and 2 Sopranos, 2 Altos, 2 Tenors, and 2 Basses in the Choir and the same amount as the Concertino (group)
Concertino (group)
A concertino is the smaller group of instruments in a concerto grosso. This is opposed to the ripieno which is the larger group contrasting with the concertino....
for the solo voice parts.
Leipzig 1726 (BC D 5b)
Nearly three years into his post as "Cantor (church)Cantor (church)
A cantor is the chief singer employed in a church with responsibilities for the ecclesiastical choir; also called the precentor....
of the Thomasschule zu Leipzig
Thomasschule zu Leipzig
St. Thomas School, Leipzig is a co-educational and public boarding school in Leipzig, Saxony, Germany. It was founded by the Augustinians in 1212 and is one of the oldest schools in the world.St. Thomas is known for its art, language and music education...
and Directoris Chori musici in 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...
", Sebastian Bach ran into a quandary. He had begun and nearly completed a score for a St Matthew Passion, a project which he began in 1725 but put aside for a revival of his St John Passion, when he again for some unknown reason set aside the project (he would complete it and first perform his St Matthew Passion on 11 April 1727). Instead he decided to revive his Weimar pastiche. This work was performed on 19 April 1726. For this work, he changed two movements (Nos. 14 and 29 of the Weimar work) and, to fit it to the Church Ordinance for Good Friday Vespers services in Leipzig, he split it into two parts by adding a 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....
. The violin I part for this work (BWV deest, BC D 5b) is missing in all his new additions (and has been reconstructed), but on the whole, the parts are more complete. This work has come down to us in the form of a vocal score and parts set dating from before 1726 in the hands 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...
, Christian Gottlob Meißner, and Johann Heinrich Bach, and is currently stored in the Staatsbibliothek zu Berlin under the Catalogue number D B Mus. ms. 11471/2. The title page (like the Weimar one) reads "Passion Christi / secundum Marcum [korrigiert aus Matthäum] / à 5 Strom 4 Voci / di Sigre / R. Kaiser." The text goes as follows:
Prima Parte
1) Sonata e Coro: Jesus Christus ist um unser Missetat willen verwundet
2) Recitativo (Evangelist, Jesus, Petrus): Und da sie den Lobgesang gesprochen hatten
3) Aria (soprano, basso continuo): Will dich die Angst betreten
4) Recitativo (Evangelist, Jesus): Und nahm zu sich Petrus und Jakobus und Johannes
5) Chorale: Was mein Gott will, das g'scheh allzeit
6a) Recitativo (Evangelist, Jesus): Und kam und fand sie schlafend
6b) Recitativo (Evangelist, Judas): Und alsbald, da er noch redet
7) Aria (tenor, violins, b.c.): Wenn nun der Leib wird sterben müssen
8a) Recitativo (Evangelist, Jesus): Die aber legten ihre Hände an ihn
8b) Recitativo (Evangelist): Und die Jünger verließen ihn alle und flohen
8c) Coro: Wir haben gehöret
8d) Recitativo (Evangelist, Hohenpriester, Jesus): Aber ihr Zeugnis stimmet noch nicht überein
8e) Coro: Weissage uns!
8f) Recitativo (Evangelist, Magd, Petrus): Und die Knechte schlugen ihn in's Angesicht
8g) Coro: Wahrlich, du bist der einer
8h) Recitativo (Evangelist, Petrus): Er aber fing an sich zu verfluchen und zu schwören
9) Aria (tenor, violins, b.c.): Wein, ach wein jetzt um die Wette
10) Chorale: So gehst du nun, mein Jesus, hin,
Fine della Prima Parte
Seconda Parte
11) Sinfonia
12) Recitativo (Evangelist, Pilatus, Jesus): Und Bald am Morgen
13) Aria (alto, violins, b.c.): Klaget nur, ihr Kläger hier
14a) Recitativo (Evangelist, Pilatus): Jesus aber antwortete nichts mehr
14b) Coro: Kreuzige ihn!
14c) Recitativo (Evangelist, Pilatus): Pilatus aber sprach zu ihnen
14d) Coro: Kreuzige ihn!
15) Chorale: O hilf Christe, Gottes Sohn
16) Sinfonia
17a) Recitativo (Evangelist): Pilatus aber gedachte
17b) Coro: Gegrüßet seist du
17c) Recitativo (Evangelist): Und schlugen ihm das Haupt mit dem Rohr
18) Aria (bass (voice type), violins, b.c.): O süßes Kreuz
19) Recitativo (Evangelist): Und sie brachten ihn an die Stätte Golgatha
20) Aria (soprano, Oboe or violin I, b.c.): O Golgotha!
21) Recitativo (Evangelist): Und da sie ihn gekreuziget hatten
22) Aria (alto, b.c.): Was seh' ich hier
23a) Recitativo (Evangelist): Und es war oben über ihm geschrieben
23b) Coro: Pfui dich* [*Textvariante: Seht doch]
23c) Recitativo (Evangelist): Desselbengleichen die Hohenpriester
23d) Coro: Er hat anderen geholfen
23e) Recitativo (Evangelist): Und die mit ihm gekreuzigte waren
23f) Arioso (Jesus): Eli, Eli, lama asabthani?
23g) Recitativo (Evangelist): Das ist verdolmetschet
23h) Coro: Siehe, er rufet den Elias.
23i) Recitativo (Evangelist, Kriegsknecht): Da lief einer
24) Chorale (alto, b.c.): Wenn ich einmal soll scheiden
25) Aria (soprano, tenor, violins, b.c.): Seht, Menschenkinder, seht
26) Sinfonia
27) Recitativo (Evangelist, Hauptmann): Und der Vorhang im Tempel zeriß in zwei Stück
28) Aria (alto, violins, violas, b.c.): Dein Jesus hat das Haupt geneiget
29) Recitativo (Evangelist): Und er kaufte eine Leinwand
30) Chorale: O Traurigkeit
31) Chorale: O selig ist
32) Chorale: O Jesu du
33) Chorale: Amen.
Like the Weimar work, this work also was scored for: Solo: SATB. Choir: SATB, Oboes I/II, Violins I/II, Violas I/II, and Basso continuo. Like the Weimar work, the Oboes were also included in the Choral and Sinfonia sections. However, the parts this time also included a figured organ
Organ (music)
The organ , is a keyboard instrument of one or more divisions, each played with its own keyboard operated either with the hands or with the feet. The organ is a relatively old musical instrument in the Western musical tradition, dating from the time of Ctesibius of Alexandria who is credited with...
part. In two of the three new additions (Movements 10 and 15), the first violin part is missing and has been reconstructed. Of the new additions (Movements 10, 15, and 30), Alfred Dürr noted that the bass line of Movement 10 mirrored exactly the bass line of the sacred song from the Musicalisches Gesangbuch G.C. Schemelli, So gehst du nun, mein Jesus, hin BWV 500 (it is included in the BWV catalogue as BWV 500a). Movement 15 was used as a replacement of Movement 14 of BC D 5a, and is catalogued as BWV 1084 (no BC number yet) and is also marked "alla breve
Alla breve
In music, alla breve Italian: at the breve] refers to a musical meter notated by the time signature symbol , which is the equivalent of 2/2. Alla breve is a "simple-duple meter with a half-note pulse"...
as is its predecessor, but instead of half notes as the main beat, the quarter note gets the main beat. Movement 30 was used to replace Movement 29 of BC D 5a, and is catalogued as BWV deest serie II: 04 (similar case as far as notation to Movement 15).
Modern editions include the three Bach movements in NBA II/9, work 8 and Carus-Verlag (the new movements in the Appendix, the rest being the same as the Weimar work in the main body).
Final Thoughts: Leipzig 1747–1748 (BC D 5)
:File:Db nmusms00468 page001.jpgBach again revived this pastiche on either 31 April 1747 (at the St. Nicholas Church, Leipzig) or 12 April 1748 (at the St. Thomas Church, Leipzig). Of all the pastiches, this one was the most complex and involved. In many ways, it was more a true pastiche than the previous two were. In addition to his own music (2 movements), Bach incorporated seven 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 from George Frideric Handel
George Frideric Handel
George Frideric Handel was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music...
's 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....
HWV 48 into the original. This work (BWV deest (Serie II: 005), BC D 5) has come down to us only in two forms. One is a complete Harpsichord
Harpsichord
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...
part of 10 pages dating from between 1743 and 1748 housed at the Staatsbibliothek zu Berlin under Catalogue number D B N. Mus. ms. 468. This part is written in the hands of Johann Christoph Friedrich Bach
Johann Christoph Friedrich Bach
Johann Christoph Friedrich Bach , the ninth son of Johann Sebastian Bach, sometimes referred to as the "Bückeburg Bach"...
(notes), Johann Sebastian Bach (figures), and Wilhelm Rust
Wilhelm Rust
Wilhelm Rust was a German musicologist and composer. He is most noted today for his substantial contributions to the Bach Gesellschaft edition of the works of Johann Sebastian Bach....
(Title page). It's Title page reads "Marcus-Passion / angeblich von R: Keiser" and underneath this "NB enthält 6 Arien aus der Brockes'schen / Passion von Händel". After Bach's death, it came into possession of an unknown individual, from whom it entered into possession of Wilhelm Rust, whose heir Maria Rust next took possession of it. It then entered into the possession of an A. Martin in Weimar
Weimar
Weimar is a city in Germany famous for its cultural heritage. It is located in the federal state of Thuringia , north of the Thüringer Wald, east of Erfurt, and southwest of Halle and Leipzig. Its current population is approximately 65,000. The oldest record of the city dates from the year 899...
, from whence it entered into (in succession) the possessions of an A. Thiele and then B. Thiele (also in Weimar), from whence it entered into the possession of the Antiquarian Bookshop of Joseph Abraham Stargardt in Berlin, from whence it entered into the possession of the Staatsbibliothek zu Berlin in 1987.
The other source material is a one-page fragment of the Bassoon
Bassoon
The bassoon is a woodwind instrument in the double reed family that typically plays music written in the bass and tenor registers, and occasionally higher. Appearing in its modern form in the 19th century, the bassoon figures prominently in orchestral, concert band and chamber music literature...
I part of the Aria "Was Wunder, daß der Sonnen Pracht" from Handel's HWV 48 in the hand of Johann Sebastian Bach dating from between 1743 and 1748. This part followed pretty much the same path as the part above, however after it came into possession of B. Thiele, it next entered into possession of C. Thiele in Kiel. It is marked under Catalogue number Privatbesitz C. Thiele, BWV deest (Serie II: 005).
The text for this work is as follows:
Prima Parte
1) Sonata e Coro: Jesus Christus ist um unser Missetaten willen verwundet
2) Recitativo (Evangelist, Jesus, Petrus): Und da sie den Lobgesang gesprochen hatten
3) Aria (soprano, b.c.): Will dich die Angst betreten
4) Recitativo (Evangelist, Jesus): Und nahm zu sich Petrus und Jakobus und Johannes
5) Aria (soprano, oboe, b.c.): Sünder, schaut mit Furcht und Zagen
HWV 48/9 Eingefügte Arie aus Händels Brockes-Passion
6a) Recitativo (Evangelist, Jesus): Und kam und fand sie schlafend
6b) Recitativo (Evangelist, Judas): Und alsbald, da er noch redet
7) Aria (tenor, violins, b.c.): Wenn nun der Leib wird sterben müssen
8a) Recitativo (Evangelist, Jesus): Die aber legten ihre Hände an ihn
8b) Recitativo (Evangelist): Und die Jünger verließen ihn alle und flohen
8c) Coro: Wir haben gehöret
8d) Recitativo (Evangelist, Hohenpriester, Jesus): Aber ihr Zeugnis stimmet noch nicht überein
9) Aria (tenor, oboes, violins, b.c.): Erwäg, ergrimmte
HWV 48/23Eingefügte Arie aus Händels Brockes-Passion
10a) Recitativo (Evangelist): Da fingen an etliche ihn zu verspeien
10b) Coro: Weissage uns!
10c) Recitativo (Evangelist, Magd, Petrus): Und die Knechte schlugen ihn ins Angesicht
10d) Coro: Wahrlich, du bist der einer
10e) Recitativo (Evangelist, Petrus): Er aber fing an sich zu verfluchen und zu schwören
11) Aria (tenor, violins in unison, b.c.): Wein, ach wein jetzt um die Wette
12) Chorale: So gehst du nun mein Jesus, hin
Violino I vermutlich verschollen, und zu rekonstruieren.
Fine della Prima Parte
Seconda Parte
13) Sinfonia
14) Recitativo (Evangelist, Pilatus, Jesus): Und Bald am Morgen hielten die Hohenpriester einen Rat
15) Aria (alto, violins, b.c.): Klaget nur, ihr Kläger hier
16a) Recitativo (Evangelist, Pilatus): Jesus aber antwortete nichts mehr
16b) Coro: Kreuzige Ihn!
16c) Recitativo (Evangelist, Pilatus): Pilatus aber sprach zu ihnen
16d) Coro: Kreuzige Ihn!
17) Chorale: O hilf, Christe, Gottes Sohn
Satz 17 ersetzt den Satz 14
der Weimarer Fassung 1712/1713
in den Fassungen von 1726 bzw. ca. 1745-1748.
Violino I vermutlich verschollen, und zu rekonstruieren
18) Sinfonia
19a) Recitativo (Evangelist): Pilatus aber gedachte dem Volk genug zu tun
19b) Coro: Gegrüßet seist du
19c) Recitativo (Evangelist): Und schlugen ihm das Haupt mit dem Rohr
20) Aria (bass, violins, violas, b.c.): O süßes Kreuz
21) Recitativo (Evangelist): Und sie brachten ihn an die Stätte Golgatha
22) Aria e Coro (soprano solo, choir, violins, b.c.): Eilt, iht angefochtnen Seelen
HWV 48/41 Eingefügte Arie aus Händels Brockes-Passion als Esatz für die Arie 19 "O Golgatha"
23) Recitativo (Evangelist): Und da sie ihn gekreuziget hatten
24) Aria (soprano, oboes, violins, viola, b.c.): Hier erstarrt mein Herz in Blut
HWV 48/44 Eingefügte Arie aus Händels Brockes-Passion, als Ersatz für die Arie "Was sehe ich hier"
25a) Recitativo (Evangelist): Und es war oben über ihm geschrieben
25b) Coro: Pfui dich* [*Textvariante: Seht doch]
25c) Recitativo (Evangelist): Desselbengleichen die Hohenpriester verspotteten ihn untereinander
25d) Coro: Er hat anderen geholfen
25e) Recitativo (Evangelist): Und die mit ihm gekreuzigte waren
25e+) Aria (soprano, violins, bassoons, b.c.): Was Wunder, das der Sonnen Pracht
HWV 48/48 Eingefügte Arie aus Händels Brockes-Passion
25f) Arioso (Jesus): Eli, Eli, lama asabthani?
25g) Recitativo (Evangelist): Das ist verdolmetschet
25h) Coro: Siehe, er rufet den Elias.
25i) Recitativo (Evangelist, Kriegsknecht): Und da lief einer
26) Chorale (alto, b.c.): Wenn ich einmal soll scheiden
27) Aria (soprano, tenor, violins, b.c.): Seht Menschenkinder, seht
28) Sinfonia
29) Recitativo (Evangelist, Hauptmann): Und der Vorhang im Tempel zeriß in zwei Stück
30) Aria (bass, violins, b.c.): Wie kömmt's, daß, da der Himml weint
HWV 48/52 Eingefügte Arie aus Händels Brockes-Passion
31) Recitativo (Evangelist): Und es waren auch Weiber da
32) Aria (alto, violins, violas, b.c.): Dein Jesus hat das Haupt geneiget
33) Recitativo (Evangelist): Und er kaufte eine Leinwand
34) Aria (soprano, oboes, violins, b.c.): Wisch ab der Tränen scharfe Lauge
HWV 48/55 Eingefügte Arie aus Händels Brockes-Passion, als Ersatz für den Choral "O Traurigkeit, o Herzeleid"
35) Chorale: O selig ist
36) Chorale: O Jesu du
37) Chorale: Amen.
The instrumentation is for a larger ensemble: Solo: SATB. Choir: SATB, Oboe I/II, Bassono I/II, Violino I/II, Viola I/II, and Basso continuo.
Modern editions of this work include a facsimile reproduction in NBA II/9, work 9 and a full score that could be ordered from the Kantorei St. Mauritius Hardegsen website. A new score is in the works, a joint project of the Bach-Archiv Leipzig
Bach-Archiv Leipzig
The Bach-Archiv Leipzig or Bach-Archiv is the institution for the documentation and research of life and work of Johann Sebastian Bach in Leipzig, where Bach lived from 1723 until his death. Topic of research is also the Bach family, especially their music...
and Carus-Verlag.
Recordings
All three works have been recorded. The first work (BC D 5a) was recorded on the Edition Chrismon label (Catalogue number 2035) and features Tenor [Evangelist]: Georg Poplutz, Soprano: Jutta von Landsberg [Arias & Chorus]; Soprano: Anke Briegel; Counter-tenor: Kerry Jago; Counter-tenor: Henning Voss; Tenor: Jörn Lindemann; Tenor: Birger Radde; Bass: Markus FlaigMarkus Flaig
-Professional career:Markus Flaig was born in Horb am Neckar. He studied sacred music and school music, then voice with Beata Heuer-Christen in Freiburg and with Berthold Possemeyer at the Hochschule für Musik Frankfurt. Since 2006 he has worked with Carol Meyer-Bruetting...
; and Bass: Tilli Schutze (?), with Capella Sancti Georgi and Musica Alta Ripa conducted by Ralf Popken.
There is only one recording of the second work (BC D 5b) recorded on the Con Affetto label featuring Tenor [Evangelist]: Daniel-Leo Meier; Bass [Jesus]: Nicolas Fink; Boy Soprano: Simeon Haefliger (soloist from Luzerner Knabenkantorei); Counter-tenor: Urs Weibel; Tenor: Sebastian Lipp, Brian Dean, Sabine Hochstrasser (Violins); Brigitte Gasser, Brian Franklin (Viola da gamba); Monika Hasselbach (Violoncello); Kiri Ivanov (Contrabass); and Mutsumi Ueno (Organ), with the Luzerner Knabenkantorei and Instrumentalists from Collegium Musicum Luzern conducted by Eberhard Rex.
Finally, there is thus far only one recording of the final work (a live recording) featuring Yu Jost, Soprano (Maid), Dorothee Wohlgemuth, Soprano (Arias), Michael Leib, Alto (Arias, Judas, High Priest, Soldier, Centurion), Jörn Lindemann, Tenor (Arias, Evangelist), Samuel Hasselhorn, Tenor (Petrus), Benjamin Hasselhorn, Tenor (Pilatus), Falk Joost, Bass (Jesus), and Ralf Grobe, Bass (Arias), with Kantorei St. Mauritius Hardegsen and Telemannisches Collegium Michaelstein conducted by Gerhard Ropeter.
Conclusion
Johann Sebastian Bach did not only write original compositions, but also arranged music of others (in either parody or pastiche form). He kept many works by other composers (including the original of these works) in his own library (which was disseminated after his death amongst his sons). Much of this came into possession of Carl Philipp Emanuel BachCarl Philipp Emanuel Bach
right|250pxCarl Philipp Emanuel Bach was a German Classical period musician and composer, the fifth child and second son of Johann Sebastian Bach and Maria Barbara Bach...
, and upon his death into various hands, eventually ending up in the Berlin Singakademie
Berlin Singakademie
The Sing-Akademie zu Berlin is a musical society founded in Berlin in 1791 by Carl Friedrich Christian Fasch, harpsichordist to the court of Prussia, on the model of the 18th century London Academy of Ancient Music.-Early history:...
, and later into the Staatsbibliothek zu Berlin.