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The Passion is the short final period before the death of Jesus, described in the four canonical gospels. It is commemorated in Christianity every year during Holy Week.
The Christmas Oratorio, BWV 248, is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season. It is in six parts, each part a cantata intended for performance in a church service on a feast day of the Christmas period. It was written for the Christmas season of 1734 and incorporates music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a largely lost church cantata, BWV 248a. The date is confirmed in Bach's autograph manuscript. The next complete public performance was not until 17 December 1857 by the Sing-Akademie zu Berlin under Eduard Grell. The Christmas Oratorio is a particularly sophisticated example of parody music. The author of the text is unknown, although a likely collaborator was Christian Friedrich Henrici (Picander).
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"O Sacred Head, Now Wounded" is a Christian Passion hymn based on a Latin text written during the Middle Ages. Paul Gerhardt wrote a German version which is known by its incipit, "O Haupt voll Blut und Wunden".
The cantatas composed by Johann Sebastian Bach, known as Bach cantatas, are a body of work consisting of over 200 surviving independent works, and at least several dozen that are considered lost. As far as known, Bach's earliest cantatas date from 1707, the year he moved to Mühlhausen, although he may have begun composing them at his previous post in Arnstadt. Most of Bach's church cantatas date from his first years as Thomaskantor and director of church music in Leipzig, a position which he took up in 1723.
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Gelobet sei der Herr, mein Gott, BWV 129, is a church cantata by Johann Sebastian Bach. It is a chorale cantata performed on Trinity Sunday 8 June 1727 in Leipzig. Rediscovery of the printed libretto of the cantata in the first decade of the 21st century led to a re-appraisal of prior assumptions regarding the early performance chronology of a few cantatas, including this one.
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Der Gerechte kömmt um, BWV 1149, is a motet for SSATB singers and instrumental ensemble, which, for its music, is based on the five-part a cappella motet Tristis est anima mea attributed to Johann Kuhnau, and has the Luther Bible translation of Isaiah 57:1–2 as text. The arrangement of the Latin motet, that is, transposing it to E minor, adjusting its music to the new text, and expanding it with an instrumental score for two traversos, two oboes, strings and basso continuo, is attributed to Johann Sebastian Bach. The setting is found in a manuscript copy, likely written down in the 1750s, of Wer ist der, so von Edom kömmt, a Passion oratorio which is a pasticcio based on compositions by, among others, Carl Heinrich Graun, Georg Philipp Telemann and Bach. Likely Der Gerechte kömmt um existed as a stand-alone motet, for example for performance on Good Friday or at a funeral, before being adopted in the pasticcio.
References
- ↑ Pergolesi: Septem Verba a Christo – review Andrew Clements Thu 21 Mar 2013 "Until very recently, scholars have been unable to decide whether Pergolesi's cycle of Good Friday cantatas, based upon Christ's words on the cross, really was by Pergolesi at all. On the basis of the latest research, René Jacobs has no doubts about its authenticity, and considers the oratorio was probably written between 1730 and the composer's death six years later at the age of just 26."
- ↑ "The authorship of Septem verba a Christo in cruce moriente prolata has been disputed for more than a century. There is no firm evidence that Pergolesi was commissioned to compose this compact oratorio-like cycle of short cantatas contemplating the seven last sayings of Christ during the Crucifixion, so it seems an over-optimistic leap of conjecture to place much trust in the attribution to ‘Sig Pergolese’ found on several monastic manuscript sources made c1760 and preserved in Zurich and Munich. In 2009 another set of performing parts was rediscovered at Kremsmünster Abbey in Austria by musicologist Reinhard Fehling, whose critical edition is the basis for René Jacobs’s recording."
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