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St John Passion | |
---|---|
BWV 245 | |
Passion by J. S. Bach | |
Native name | Passio secundum Joannem (Passion according to John) |
Occasion | Good Friday |
Bible text | John18–19 |
Chorale | Stanzas from 9 chorales (version 1) |
Performed | |
Movements | 40 in two parts (14 and 26) |
Vocal | SATB choir and solo |
Instrumental |
|
The structure of the St John Passion (German: Johannes-Passion), BWV 245, a sacred oratorio by Johann Sebastian Bach first performed in Leipzig on Good Friday 1724, is "carefully designed with a great deal of musico-theological intent". [1] Some main aspects of the structure are shown in tables below.
The original Latin title Passio secundum Joannem translates to "Passion according to John". Bach's large choral composition in two parts on German text, written to be performed in a Lutheran service on Good Friday, is based on the Passion, as told in two chapters from the Gospel of John (John18 and John19) in the translation by Martin Luther, with two short interpolations from the Gospel of Matthew (in the earliest version, one is from the Gospel of Matthew and one from the Gospel of Mark). During the vespers service, the two parts of the work were performed before and after the sermon. Part I covers the events until Peter's denial of Jesus, Part II concludes with the burial of Jesus. The Bible text is reflected in contemporary poetry and in chorales that often end a "scene" of the narration, similar to the way a chorale ends most Bach cantatas. An anonymous poet supplied a few texts himself, quoted from other Passion texts and inserted various stanzas of chorales by nine hymn writers. Bach led the first performance on 7 April 1724 in Leipzig's Nikolaikirche . He repeated it several times between 1724 and 1749, experimenting with different movements and changing others, which resulted in four versions (with a fifth one not performed in Bach's lifetime, but representing the standard version). The Passion, close to Bach's heart, has an "immediate dramatic quality". [2]
The gospel account by John narrates the story in five "scenes". The corresponding movement numbers are given from the Neue Bach-Ausgabe (NBA).
Part I
Part II
Some musicologists regard movement 24 as the conclusion of scene 3, the aria "Eilt, ihr angefocht'nen Seelen" which locates the action from the courthouse to Golgotha, the calvary. [3] Others, including Alfred Dürr, regard the scene as ending with the last comment by Pilate. [4]
Bach incorporated two short interpolations from the Gospel of Matthew (in Version I, one from Matthew and one from the Gospel of Mark), Matthew26:75 after John 18:27, describing the weeping of Peter, and Matthew27:51–52 after John 19:30, describing the tearing of the temple curtain (in Version I, this was replaced by Mark15:38). The narrator is the Evangelist, a tenor. Jesus and all other male characters are sung by a bass (including Peter and Pilate) or tenor (servant); female characters (such as the Maid) are sung by a soprano, while the people who are often summarily called die Jüden (the Jews), the servants of the High Priest, and the soldiers are sung by a four-part chorus (SATB) in dramatic turba movements. The "immediate, dramatic quality" of the "kind of musical equivalent of the Passion Play" relies on the setting of the interaction between the historical persons (Jesus, Pilate, Peter, Maid, Servant) and the crowd ("soldiers, priests, and populace"). [2]
At eleven moments in the Passion, stanzas from Lutheran chorales reflect the narration. Possibly Bach had an influence on their selection. [5] He set them all in common time for four parts, the instruments playing colla parte with the voices.
Five chorales conclude a scene (in movements 5, 14, 26, 37 and 40); while a chorale opens Part II (15). Five chorales comment within a scene (3, 11, 17, 22, 28), including the central movement (22). One chorale accompanies the bass soloist in an aria (32).
Most chorale texts were written in the 16th and 17th century, [6] by authors of the Reformation such as Martin Luther, Martin Schalling and Michael Weiße, and by hymn writers including Paul Gerhardt and Johann Heermann. The central chorale is not part of a common hymn, its text being taken from a libretto by Christian Heinrich Postel. [7]
The third source for the text is contemporary poetry that reflects the biblical narration. It was compiled by an unknown author, who partly used existing text: from the Brockes Passion (Der für die Sünde der Welt Gemarterte und Sterbende Jesus, aus den IV Evangelisten, Hamburg, 1712 and 1715) by Barthold Heinrich Brockes, he copied the text for movements 7, 19, 20, 24, 32, 34, 35 (partly) and 39; he found movement 13 in Christian Weise's Der Grünen Jugend Nothwendige Gedanken (Leipzig, 1675) and took from Postel's Johannes-Passion (c. 1700) movements 19 (partly), 22 and 30. [8]
The work is scored for vocal soloists (soprano, alto, tenor and bass), a four-part choir SATB, and an orchestra of two flauto traverso (Ft) (except for Version I, since all evidence of Bach's use of traverse flutes point to the 2nd Cantata Cycle as when he first used them), two oboes (Ob), two oboes da caccia (Oc), two oboes d'amore (Oa), two violins, viola (Va), and basso continuo. Bach added some instruments which were already old-fashioned at the time in arias for special effects, such as the archlute (Version I and 1739-1749 revision only, replaced by Organ and/or Harpsichord), the viola d'amore and the viola da gamba (Vg). Bach did not differentiate the vox Christi (voice of Christ), singing the words of Jesus, from the other bass recitatives and arias, nor the evangelist from the tenor arias.
The work displays a thoughtful symmetry. In the center of the five parts is the court hearing which confronts Jesus, Pilate, and the people. In the middle of the hearing, a chorale (22) interrupts the argument, which is a discussion about freedom and captivity. It is surrounded by two choral movements, which not only both ask for the crucifixion of Jesus, but also use the same musical motifs, the second time intensified. Again, in a repetition of similar musical material, a preceding turba choir explains the law, while a corresponding movement reminds Pilate of the Emperor whose authority is challenged by someone calling himself a king. Preceding this, Jesus is greeted in mockery as a king, corresponding in motif to the later request that Pilate should change the inscription saying he is "the King of the Jews" to "He said: I am the King of the Jews". [9]
Bach led the first performance on 7 April 1724 [10] at the Nikolaikirche (St. Nicholas) [11] as part of a Vesper service for Good Friday. Part I was performed before the sermon, Part II after the sermon. [11] Bach performed a second version on Good Friday a year later, 30 March 1725. [12] Other versions were performed between 1728 and 1732 (version 3), [10] and in 1749 (version 4). [13] A final, fifth version, revised between 1739 and 1749, was never performed in Bach's lifetime.
In version 2, Bach opened with a chorale fantasia on " O Mensch, bewein dein Sünde groß " (O man, bewail thy sins so great), the first stanza of a 1525 hymn by Sebald Heyden, [8] a movement which he ultimately used to conclude Part I of his St Matthew Passion , returning to the previous chorus Herr, unser Herrscher in later versions of the St John Passion. He used three alternative arias, one of them with a chorale sung by the choir, and replaced the two closing movements, the chorus Ruht wohl and the chorale Ach Herr, laß dein lieb Engelein with the chorale fantasia on " Christe, du Lamm Gottes " (Christ, you Lamb of God), [11] the German Agnus Dei , published in Braunschweig in 1528. [8] Bach took this movement from his cantata Du wahrer Gott und Davids Sohn, BWV 23 , which had been an audition piece for his post in Leipzig. [11] Before, it had been part of his Weimarer Passion of 1717.
In version 3, after Bach wrote his St Matthew Passion, he returned the opening chorus Herr, unser Herrscher and the final chorus Ruht wohl to their initial position, but removed the Gospel passages from Matthew and the closing chorale. [11]
In version 5 (never performed), possibly dating from as early 1739, Bach returned to the first version, but revised it thoroughly. He began a new score which covers 12 movements. As Christoph Wolff observes: "The fragmentary revised score constitutes an extensive stylistic overhaul with painstaking improvements to the part-writing and a partial restructuring of the instrumentation; particular attention was paid to the word-setting in the recitatives and the continuo accompaniment." [14] In 1749, Bach performed the St John Passion once more, in an expanded and altered form from the 1724 version, in what would be his last performance of a Passion. [14]
Wolff writes: "Bach experimented with the St John Passion as he did with no other large-scale composition", [11] possible by the work's structure with the Gospel text as its backbone and interspersed features that could be exchanged. [11] Wolff concludes: "the work accompanied Bach right from his first year as Kantor of St Thomas's to the penultimate year of his life and thus, for that reason alone, how close it must have been to his heart. [15]
In the following, the movement numbers are those of the NBA, version I, unless otherwise noted.
The first chorale, movement 3, is inserted after Jesus tells the crowd to arrest him, but let his disciples go. "O große Lieb, o Lieb ohn alle Maße" (O mighty love, O love beyond all measure) [8] is stanza 7 of Johann Heermann's 1630 hymn " Herzliebster Jesu, was hast du verbrochen ", [16] part of a movement to make German a literary language by imposing strict rules of metre and hymn; the form is that of a Sapphic stanza with the characteristically short last forth line which here literally is a punch line, hitting home: "Und du mußt leiden" (And you must suffer). [8] The hymn is based on a passion meditation which was attributed to the church father St Augustine (Meditationes Divi Augustini, chapter VII) – another nod to classical learning but with all the emotionally charged medieval rhetoric of Anselm of Canterbury or Bernard of Clairvaux. The text addresses the crucified Christ pondering on the bodily signs of the passion but even more on the significance of this display of suffering. This verse breaks into the exclamation of wonder: a highly emotionally charged start the triple ‘o’ in the first line and the neologism of the ‘Marterstraße’ in the second which Bach makes audible in the chromatically discordant setting. It imagines Christ being physically pushed by Love personified on the road of suffering while the singer lives with Mrs World in sinful pleasure – a combination of the medieval concept of the “Crucifixion by the virtues” with the pilgrim’s progress idea of encountering virtues and vices on the way.
The second chorale, movement 5, ends the first scene, after Jesus remarks that he has to be obedient. "Dein Will gescheh, Herr Gott, zugleich" (Your will be done, Lord God, alike) [8] is stanza 4 of Luther's 1539 hymn " Vater unser im Himmelreich , [8] a paraphrase of the Lord's Prayer. [17]
The third chorale, movement 11, is inserted after Jesus asks those who are beating him for justification. Two stanzas from Paul Gerhardt's 1647 hymn " O Welt, sieh hier dein Leben " comment the scene, stanza 3, "Wer hat dich so geschlagen" (Who has you now so stricken), [8] and stanza 4, "Ich, ich und meine Sünden" (I, I and my transgressions), [8] [18] highlighting the personal responsibility of the speaking sinner for the suffering of Jesus.
The fourth chorale, movement 14, ends the second scene and Part I. After Peter's denial, "Petrus, der nicht denkt zurück" (Peter, when he fails to think) [8] summarizes the scene with stanza 10 of Paul Stockmann's 1633 hymn " Jesu Leiden, Pein und Tod ". [19] [8]
The fifth chorale, movement 15, opens Part II and the third scene. " Christus, der uns selig macht " (Christ, who has made us blessed), [8] stanza 1 of Michael Weiße's 1531 hymn, summarizes what Jesus has to endure, even though he is innocent ("made captive, ... falsely indicted, and mocked and scorned and bespat"). [8] [20]
The sixth chorale, movement 17, comments in two more stanzas from "Herzliebster Jesu" (3), after Jesus addresses the different people of his kingdom. Stanza 8, "Ach großer König, groß zu allen Zeiten" (Ah King so mighty, mighty in all ages) [8] reflects the need for thanksgiving and stanza 9 the inability to grasp it, "Ich kanns mit meinen Sinnen nicht erreichen" (I cannot with my reason ever fathom). [8] [21]
The seventh chorale, movement 22, is the central movement of the whole Passion, which interrupts the conversation of Pilate and the crowd by a general statement of the importance of the passion for salvation: "Durch dein Gefängnis, Gottes Sohn, ist uns die Freiheit kommen" (Through your prison, Son of God, must come to us our freedom) [8] [22] is not part of a known hymn, but the text of an aria from a St John Passion by Postel from around 1700. [8] [23] [24]
The eighth chorale, movement 26, ends the scene of the court hearing, after Pilate refuses to change the inscription. "In meines Herzens Grunde" (Within my heart's foundation) [8] is stanza 3 of Valerius Herberger's 1613 hymn " Valet will ich dir geben ". [8] [25]
The ninth chorale, movement 28, is related to Jesus telling his mother and John to take care of each other. "Er nahm alles wohl in acht" (He of all did well take heed) [8] is stanza 20 of Stockmann's hymn (14). [26] [8]
The tenth chorale, movement 32, is part of the bass aria which follows immediately after the report of the death of Jesus. "Jesu, der du warest tot, lebest nun ohn' Ende" (Jesus, you who suffered death, now live forever) [8] is the final stanza of Stockmann's hymn (14). [27] [8]
The eleventh chorale, movement 37, ends the scene of the crucifixion. "O hilf, Christe, Gottes Sohn" (O help, Christ, Son of God) [8] is stanza 8 of Weiße's hymn (15). [8] [28]
The twelfth chorale, movement 40, ends the Passion. "Ach Herr, laß dein lieb Engelein" (Ah Lord, let your own angels dear) [8] is stanza 3 of Martin Schalling's 1569 hymn " Herzlich lieb hab ich dich, o Herr ". [8] [29]
The following tables give an overview of all versions of the Passion, first performed in 1724. Two variants of movement numbering are given, first that of the Neue Bach-Ausgabe (NBA), then that of the Bach-Werke-Verzeichnis (BWV). Voices appear in one of three columns, depending on the text source: Bible, contemporary poetic reflection, or chorale. The instrumentation is added, using abbreviations for instruments, [30] followed by key and time signature, and the NBA number of a corresponding movement within the work's symmetry.
There are no extant Flute parts for this version, so the movements that normally require them have violins instead. This was performed in 1724. The Bach Compendium lists it as BC D 2a
NBA | BWV | Bible | Reflection | Chorale | Beginning of text | Source | Instruments | Key | Time | Symmetry | |
---|---|---|---|---|---|---|---|---|---|---|---|
1 | 1 | Chorus | Herr, unser Herrscher | anonymous | 2Ob 2Vn Va Bc | G minor | 39 | ||||
2 | a | 2 | Ev (T), Jesus (B) | Jesus ging mit seinen Jüngern | John18:1–8 | Bc | C Dorian mode | ||||
b | 3 | Chorus | Jesum von Nazareth | 2Ob 2Vn Va Bc | G minor | ||||||
c | 4 | Ev, Jesus | Jesus spricht zu ihnen | Bc | G minor | ||||||
d | 5 | Chorus | Jesum von Nazareth | 2Ob 2Vn Va Bc | C Dorian mode | ||||||
e | 6 | Ev, Jesus | Jesus antwortete | Bc | C Dorian mode | ||||||
3 | 7 | Chorus | O große Lieb | Johann Heermann | 2Ob 2Vn Va Bc | G minor | |||||
4 | 8 | Ev, Jesus | Auf daß das Wort erfüllet würde | John18:9–11 | Bc | F Mixolydian mode | |||||
5 | 9 | Chorus | Dein Will gescheh | Martin Luther | 2Ob 2Vn Va Bc | D minor | |||||
6 | 10 | Ev | Die Schar aber und der Oberhauptmann | John18:12–14 | Bc | F major | |||||
7 | 11 | Aria Alto | Von den Stricken meiner Sünden | Brockes | 2Ob Bc | D minor | 3/4 | ||||
8 | 12 | Ev | Simon Petrus aber folgete Jesu nach | John18:15a | Bc | B-flat Lydian mode | |||||
9 | 13 | Aria Soprano | Ich folge dir gleichfalls | anonymous | 2Vn Bc | B-flat major | 3/8 | ||||
10 | 14 | Ev, Magd (S), Petrus (B), Jesus, Knecht (T) | Derselbige Jünger war dem Hohenpriester bekannt | John18:15b–23 | Bc | G minor A minor | |||||
11 | 15 | Chorus | Wer hat dich so geschlagen | Paul Gerhardt | 2Ob 2Vn Va Bc | A major | |||||
12 | a | 16 | Ev | Und Hannas sandte ihn gebunden | John18:24–27 Matthew26:75 | Bc | A Mixolydian mode | ||||
b | 17 | Chorus | Bist du nicht seiner Jünger einer | 2Ob 2Vn Va Bc | A Mixolydian mode | ||||||
c | 18 | Ev, Petrus, Knecht | Er leugnete aber und sprach | Bc | A Mixolydian mode B minor | ||||||
13 | 19 | Aria Tenor | Ach, mein Sinn | Christian Weise | 2Vn Va Bc | F-sharp minor | |||||
14 | 20 | Chorus | Petrus, der nicht denkt zurück | Paul Stockmann | 2Ft 2Ob 2Vn Va Bc | A major | 15 | ||||
NBA | BWV | Bible | Reflection | Chorale | Beginning of text | Source | Instruments | Key | Time | Symmetry | |
---|---|---|---|---|---|---|---|---|---|---|---|
15 | 21 | Chorus | Christus, der uns selig macht | Michael Weiße | 2Ob 2Vn Va Bc | E Phrygian mode | 14 | ||||
16 | a | 22 | Ev, Pilate (B) | Da führeten sie Jesum | John18:28–36 | Bc | A minor | ||||
b | 23 | Chorus | Wäre dieser nicht ein Übeltäter | 2Ob 2Vn Va Bc | D Dorian mode | ||||||
c | 24 | Ev, Pilate | Da sprach Pilatus zu ihnen | Bc | D Dorian mode | ||||||
d | 25 | Chorus | Wir dürfen niemand töten | 2Ob 2Vn Va Bc | A minor | ||||||
e | 26 | Ev, Pilate, Jesus | Auf daß erfüllet würde das Wort | Bc | A minor | ||||||
17 | 27 | Chorus | Ach großer König | Johann Heermann | 2Ob 2Vn Va Bc | A minor | |||||
18 | a | 28 | Ev, Pilate, Jesus | Da sprach Pilatus zu ihm | John18:37–40; John19:1 | Bc | C major | ||||
b | 29 | Chorus | Nicht diesen, sondern Barrabam | 2Ob 2Vn Va Bc | D Dorian mode | ||||||
c | 30 | Ev | Barrabas aber war ein Mörder | Bc | D Dorian mode | ||||||
19 | 31 | Arioso Bass | Betrachte, meine Seel' | Brockes Christian Heinrich Postel | 2 violas d'amore Archlute Bc | E-flat major | |||||
20 | 32 | Aria Tenor | Erwäge, wie sein blutgefärbter Rücken | Brockes | 2 violas d'amore Bc (most likely only Cello or Vg and Keyboard) | C minor | 12/8 | ||||
21 | a | 33 | Ev | Und die Kriegsknechte flochten eine Krone | John19:2–12a | Bc | G minor | ||||
b | 34 | Chorus | Sei gegrüßet, lieber Jüdenkönig | 2Ob 2Vn Va Bc | B-flat major | 6/4 | 25 b | ||||
c | 35 | Ev, Pilate | Und gaben ihm Backenstreiche | Bc | G minor | ||||||
d | 36 | Chorus | Kreuzige, kreuzige | 2Ob 2Vn Va Bc | G minor | 23 d | |||||
e | 37 | Ev, Pilate | Pilatus sprach zu ihnen | Bc | G minor | ||||||
f | 38 | Chorus | Wir haben ein Gesetz | 2Ob 2Vn Va Bc | F major | 23 b | |||||
g | 39 | Ev, Pilate, Jesus | Da Pilatus das Wort hörete | Bc | E Phrygian mode | 23 a | |||||
22 | 40 | Chorus | Durch dein Gefängnis, Gottes Sohn | Christian Heinrich Postel Melody Johann Hermann Schein | 2Ob 2Vn Va Bc | E major | center | ||||
23 | a | 41 | Ev | Die Jüden aber schrieen und sprachen | John19:12b–17 | Bc | E major | 21 g | |||
b | 42 | Chorus | Lässest du diesen los | 1Ob 1 Oboe d'amore 2Vn Va Bc | E major | 21 f | |||||
c | 43 | Ev, Pilate | Da Pilatus das Wort hörete | Bc | E major | ||||||
d | 44 | Chorus | Weg, weg mit dem | 1Ob 1Oa 2Vn Va Bc | F-sharp minor | 21 d | |||||
e | 45 | Ev, Pilate | Spricht Pilatus zu ihnen | Bc | F-sharp minor B minor | ||||||
f | 46 | Chorus | Wir haben keinen König | 1Ob 1Oa 2Vn Va Bc | B minor | ||||||
g | 47 | Ev | Da überantwortete er ihn | Bc | B minor | ||||||
24 | 48 | Aria Bass | Soprano Alto Tenor | Eilt, ihr angefochtnen Seelen | Brockes | 2Vn Va Bc | G minor | 3/8 | |||
25 | a | 49 | Ev | Allda kreuzigten sie ihn | John19:18–22 | Bc | F Mixolydian mode | ||||
b | 50 | Chorus | Schreibe nicht: der Jüden König | 2Ob 2Vn Va Bc | B-flat major | 6/4 | 21 b | ||||
c | 51 | Ev, Pilate | Pilatus antwortet | Bc | B-flat major | ||||||
26 | 52 | Chorus | In meines Herzens Grunde | Valerius Herberger | 2Ob 2Vn Va Bc | E-flat major | |||||
27 | a | 53 | Ev | Die Kriegsknechte aber | John19:23–27a | Bc | F Mixolydian mode | ||||
b | 54 | Chorus | Lasset uns den nicht zerteilen | 1Ob 1Oba 2Vn Va Bc | C major | 3/4 | |||||
c | 55 | Ev, Jesus | Auf daß erfüllet würde die Schrift | Bc | A minor | Adagio for "Sie haben meine Kleider" | |||||
28 | 56 | Chorus | Er nahm alles wohl in acht | Paul Stockmann | 2Ob 2Vn Va Bc | A major | |||||
29 | 57 | Ev, Jesus | Und von Stund an nahm sie der Jünger | John19:27b–30a | Bc | D major | |||||
30 | 58 | Aria Alto | Es ist vollbracht | Christian Heinrich Postel | Vg 2Vn Va Bc | B minor D major | 3/4 | Vg in middle section doubles Continuo. | |||
31 | 59 | Ev | Und neiget das Haupt | John19:30b | Bc | F-sharp Phrygian mode | |||||
32 | 60 | Aria Bass | Chorus | Mein teurer Heiland, laß dich fragen | Brockes Paul Stockmann | Bc | D major | 12/8 | |||
33 | 61 | Ev | Und der Vorhang im Tempel zerriß | Mark15:38 | Bc | E Dorian mode | Only 3 measures long | ||||
34 | 62 | Arioso Tenor | Mein Herz, in dem die ganze Welt | Brockes | 2Vn 2Oa 2Vn Va Bc | G major | |||||
35 | 63 | Aria Soprano | Zerfließe, mein Herze | Brockes | Oc Vn Bc | F Dorian mode | 3/8 | ||||
36 | 64 | Ev | Die Jüden aber, dieweil es der Rüsttag war | John19:31–37 | Bc | C Dorian mode | |||||
37 | 65 | Chorus | O hilf, Christe, Gottes Sohn | Michael Weiße | 2Ob 2Vn Va Bc | B-flat Dorian mode | |||||
38 | 66 | Ev | Darnach bat Pilatum Joseph von Arimathia | John19:38–42 | Bc | C Dorian mode | 23 measures | ||||
39 | 67 | Chorus | Ruht wohl, ihr heiligen Gebeine | Brockes | 2Ob 2Vn Va Bc | C Dorian mode | 3/4 | ||||
40 | 68 | Chorus | Ach Herr, laß dein lieb Engelein | Martin Schalling | 2Ob 2Vn Va Bc | E-flat major | |||||
For this version (of 1725), in addition to the Flute parts (which were first used in late 1724 (after first Sunday after Trinity), Bach heavily revised both text and music. He added five movements from his Weimarer Passion , with three texts now thought to be by Christoph Birkmann. This is listed as BC 2b.
NBA | BWV | Bible | Reflection | Chorale | Beginning of text | Source | Instruments | Key | Time | Symmetry | |
---|---|---|---|---|---|---|---|---|---|---|---|
1II (BWV 244/29) | 244/35 | Chorus | O Mensch, bewein dein Sünde groß | Sebald Heyden | 2Ft 2Ob 2Vn Va Bc | E-flat major | |||||
2 | a | 2 | Ev, Jesus | Jesus ging mit seinen Jüngern | John18:1–8 | Bc | C Dorian mode | ||||
b | 3 | Chorus | Jesum von Nazareth | 2Ft 2Ob 2Vn Va Bc | G minor | ||||||
c | 4 | Ev, Jesus | Jesus spricht zu ihnen | Bc | G minor | ||||||
d | 5 | Chorus | Jesum von Nazareth | 2Ob 2Vn Va Bc | C Dorian mode | ||||||
e | 6 | Ev, Jesus | Jesus antwortete | Bc | C Dorian mode | ||||||
3 | 7 | Chorus | O große Lieb | Johann Heermann | 2Ft 2Ob 2Vn Va Bc | G minor | |||||
4 | 8 | Ev, Jesus | Auf daß das Wort erfüllet würde | John18:9–11 | Bc | B-flat major | |||||
5 | 9 | Chorus | Dein Will gescheh | Martin Luther | 2Ft 2Ob 2Vn Va Bc | D minor | |||||
6 | 10 | Ev | Die Schar aber und der Oberhauptmann | John18:12–14 | Bc | F major | |||||
7 | 11 | Alto | Von den Stricken meiner Sünden | Brockes | 2Ob Bc | D minor | 3/4 | ||||
8 | 12 | Ev | Simon Petrus aber folgete Jesu nach | John18:15a | Bc | B-flat Lydian mode | |||||
9 | 13 | Soprano | Ich folge dir gleichfalls | anonymous | 2Ft Bc | B-flat major | 3/8 | ||||
10 | 14 | Ev, Magd (S), Petrus (B), Jesus, Knecht (T) | Derselbige Jünger war dem Hohenpriester bekannt | John18:15b–23 | Bc | G minor A minor | |||||
11 | 15 | Chorus | Wer hat dich so geschlagen | Paul Gerhardt | 2Ft 2Ob 2Vn Va Bc | A major | |||||
11+ (12) | 245a | Aria Bass | Soprano | Himmel, reiße, Welt, erbebe | Christoph Birkmann Paul Stockmann | 2Ft Bc | F-sharp minor | ||||
12 (13) | a | 16 | Ev | Und Hannas sandte ihn gebunden | John18:24–27 Matthew26:75 | Bc | A Mixolydian mode | ||||
b | 17 | Chorus | Bist du nicht seiner Jünger einer | 2Ft 2Ob 2Vn Va Bc | A Mixolydian mode | ||||||
c | 18 | Ev, Petrus, Knecht | Er leugnete aber und sprach | Bc | A Mixolydian mode | ||||||
13II (14) | 245b | Aria Tenor | Zerschmettert mich, ihr Felsen und ihr Hügel | Christoph Birkmann | 2Vn Va Bc | A major | |||||
14 (15) | 20 | Chorus | Petrus, der nicht denkt zurück | Paul Stockmann | 2Ft 2Ob 2Vn Va Bc | A major | 15 | ||||
NBA | BWV | Bible | Reflection | Chorale | Beginning of text | Source | Instruments | Key | Time | Symmetry | |
---|---|---|---|---|---|---|---|---|---|---|---|
15 (16) | 21 | Chorus | Christus, der uns selig macht | Michael Weiße | 2Ob 2Vn Va Bc | E Phrygian mode | 14 | ||||
16 (17) | a | 22 | Ev, Pilate (B) | Da führeten sie Jesum | John18:28–36 | Bc | A minor | ||||
b | 23 | Chorus | Wäre dieser nicht ein Übeltäter | 2Ft 2Ob 2Vn Va Bc | D Dorian mode | ||||||
c | 24 | Ev, Pilate | Da sprach Pilatus zu ihnen | Bc | D Dorian mode | ||||||
d | 25 | Chorus | Wir dürfen niemand töten | 2Ft 2Ob 2Vn Va Bc | A minor | ||||||
e | 26 | Ev, Pilate, Jesus | Auf daß erfüllet würde das Wort | Bc | A minor | ||||||
17 (18) | 27 | Chorus | Ach großer König | Johann Heermann | 2Ft 2Ob 2Vn Va Bc | A minor | |||||
18 (19) | a | 28 | Ev, Pilate, Jesus | Da sprach Pilatus zu ihm | John18:37–40; John19:1 | Bc | C major | ||||
b | 29 | Chorus | Nicht diesen, sondern Barrabam | 2Ft 2Ob 2Vn Va Bc | D Dorian mode | ||||||
c | 30 | Ev | Barrabas aber war ein Mörder | Bc | D Dorian mode | ||||||
19II (20) | 245c | Aria Tenor | Ach windet euch nicht so, geplagte Seelen | Christoph Birkmann | 2Ob Bc | C Dorian mode | |||||
20 | Discarded | ||||||||||
21 | a | 33 | Ev | Und die Kriegsknechte flochten eine Krone | John19:2–12a | Bc | G minor | ||||
b | 34 | Chorus | Sei gegrüßet, lieber Jüdenkönig | 2Ft 2Ob 2Vn Va Bc | B-flat major | 6/4 | 25 b | ||||
c | 35 | Ev, Pilate | Und gaben ihm Backenstreiche | Bc | G minor | ||||||
d | 36 | Chorus | Kreuzige, kreuzige | 2Ft 2Ob 2Vn Va Bc | G minor | 23 d | |||||
e | 37 | Ev, Pilate | Pilatus sprach zu ihnen | Bc | G minor | ||||||
f | 38 | Chorus | Wir haben ein Gesetz | 2Ft 2Ob 2Vn Va Bc | F major | 23 b | |||||
g | 39 | Ev, Pilate, Jesus | Da Pilatus das Wort hörete | Bc | E Phrygian mode | 23 a | |||||
22 | 40 | Chorus | Durch dein Gefängnis, Gottes Sohn | Christian Heinrich Postel Melody Johann Hermann Schein | 2Ft 2Ob 2Vn Va Bc | E major | center | ||||
23 | a | 41 | Ev | Die Jüden aber schrieen und sprachen | John19:12b–17 | Bc | E major | 21 g | |||
b | 42 | Chorus | Lässest du diesen los | 2Ft 1Ob 1 Oboe d'amore 2Vn Va Bc | E major | 21 f | |||||
c | 43 | Ev, Pilate | Da Pilatus das Wort hörete | Bc | E major | ||||||
d | 44 | Chorus | Weg, weg mit dem | 2Ft 1Ob 1Oa 2Vn Va Bc | F-sharp minor | 21 d | |||||
e | 45 | Ev, Pilate | Spricht Pilatus zu ihnen | Bc | F-sharp minor B minor | ||||||
f | 46 | Chorus | Wir haben keinen König | 2Ft 1Ob 1Oa 2Vn Va Bc | B minor | ||||||
g | 47 | Ev | Da überantwortete er ihn | Bc | B minor | ||||||
24 | 48 | Aria Bass | Soprano Alto Tenor | Eilt, ihr angefochtnen Seelen | Brockes | 2Vn Va Bc | G minor | 3/8 | |||
25 | a | 49 | Ev | Allda kreuzigten sie ihn | John19:18–22 | Bc | F Mixolydian mode | ||||
b | 50 | Chorus | Schreibe nicht: der Jüden König | 2Ft 2Ob 2Vn Va Bc | B-flat major | 6/4 | 21 b | ||||
c | 51 | Ev, Pilate | Pilatus antwortet | Bc | B-flat major | ||||||
26 | 52 | Chorus | In meines Herzens Grunde | Valerius Herberger | 2Ft 2Ob 2Vn Va Bc | E-flat major | |||||
27 | a | 53 | Ev | Die Kriegsknechte aber | John19:23–27a | Bc | F Mixolydian mode | ||||
b | 54 | Chorus | Lasset uns den nicht zerteilen | 2Ft 1Ob 1Oba 2Vn Va Bc | C major | 3/4 | |||||
c | 55 | Ev, Jesus | Auf daß erfüllet würde die Schrift | Bc | A minor | Adagio for "Sie haben meine Kleider" | |||||
28 | 56 | Chorus | Er nahm alles wohl in acht | Paul Stockmann | 2Ft 2Ob 2Vn Va Bc | A major | |||||
29 | 57 | Ev, Jesus | Und von Stund an nahm sie der Jünger | John19:27b–30a | Bc | D major | |||||
30 | 58 | Aria Alto | Es ist vollbracht | Christian Heinrich Postel | Vg 2Vn Va Bc | B minor D major | 3/4 | ||||
31 | 59 | Ev | Und neiget das Haupt | John19:30b | Bc | F-sharp Phrygian mode | |||||
32 | 60 | Aria Bass | Chorus | Mein teurer Heiland, laß dich fragen | Brockes Paul Stockmann | 2Vn Va Bc | D major | 12/8 | |||
33 | 61 | Ev | Und siehe da, der Vorhang im Tempel zerriß | Matthew27:51–52 | Bc | E Dorian mode | Now 7 measures long | ||||
34 | 62 | Arioso Tenor | Mein Herz, in dem die ganze Welt | Brockes | 2Ft 2Oc 2Vn Va Bc | G major | |||||
35 | 63 | Aria Soprano | Zerfließe, mein Herze | Brockes | Ft Oc Bc | F Dorian mode | 3/8 | ||||
36 | 64 | Ev | Die Jüden aber, dieweil es der Rüsttag war | John19:31–37 | Bc | C Dorian mode | |||||
37 | 65 | Chorus | O hilf, Christe, Gottes Sohn | Michael Weiße | 2Ft 2Ob 2Vn Va Bc | B-flat Dorian mode | |||||
38 | 66 | Ev | Darnach bat Pilatum Joseph von Arimathia | John19:38–42 | Bc | C Dorian mode | |||||
39 | 67 | Chorus | Ruht wohl, ihr heiligen Gebeine | Brockes | 2Ft 2Ob 2Vn Va Bc | C Dorian mode | 3/4 | ||||
40II | 23/4 | Chorus | Christe, du Lamm Gottes | Martin Luther | 2Ft 2Ob 2Vn Va Bc | G minor | Adagio Andante | ||||
In this version, Bach reverted to the original layout (thus discarding the previous revisions and additions). However, he decided to compose a true St John Passion, and thus eliminated the material inserted from the Gospel of Matthew. Now 12c ends in Measure 31 and Movement 33 is eliminated altogether (replaced by a lost Sinfonia). He also dispensed with the Lute and the Viola d'amore, replacing them with an Organ and Violini con sordino. It was probably performed in 1730. [31] This is listed as BC D 2c.
NBA | BWV | Bible | Reflection | Chorale | Beginning of text | Source | Instruments | Key | Time | Symmetry | |
---|---|---|---|---|---|---|---|---|---|---|---|
1 | 1 | Chorus | Herr, unser Herrscher | anonymous | 2Ft 2Ob 2Vn Va Bc | G minor | 39 | ||||
2 | a | 2 | Ev (T), Jesus (B) | Jesus ging mit seinen Jüngern | John18:1–8 | Bc | C Dorian mode | ||||
b | 3 | Chorus | Jesum von Nazareth | 2Ft 2Ob 2Vn Va Bc | G minor | ||||||
c | 4 | Ev, Jesus | Jesus spricht zu ihnen | Bc | G minor | ||||||
d | 5 | Chorus | Jesum von Nazareth | 2Ob 2Vn Va Bc | C Dorian mode | ||||||
e | 6 | Ev, Jesus | Jesus antwortete | Bc | C Dorian mode | ||||||
3 | 7 | Chorus | O große Lieb | Johann Heermann | 2Ft 2Ob 2Vn Va Bc | G minor | |||||
4 | 8 | Ev, Jesus | Auf daß das Wort erfüllet würde | John18:9–11 | Bc | B-flat major | |||||
5 | 9 | Chorus | Dein Will gescheh | Martin Luther | 2Ft 2Ob 2Vn Va Bc | D minor | |||||
6 | 10 | Ev, Jesus | Die Schar aber und der Oberhauptmann | John18:12–14 | Bc | F major | |||||
7 | 11 | Aria Alto | Von den Stricken meiner Sünden | Brockes | 2Ob Bc | D minor | 3/4 | ||||
8 | 12 | Ev | Simon Petrus aber folgete Jesu nach | John18:15a | Bc | B-flat Lydian mode | |||||
9 | 13 | Aria Soprano | Ich folge dir gleichfalls | anonymous | 2Ft Bc | B-flat major | 3/8 | ||||
10 | 14 | Ev, Magd (S), Petrus (B), Jesus, Knecht (T) | Derselbige Jünger war dem Hohenpriester bekannt | John18:15b–23 | Bc | G minor A minor | |||||
11 | 15 | Chorus | Wer hat dich so geschlagen | Paul Gerhardt | 2Ft 2Ob 2Vn Va Bc | A major | |||||
12 | a | 16 | Ev | Und Hannas sandte ihn gebunden | John18:24–27 | Bc | A Mixolydian mode | ||||
b | 17 | Chorus | Bist du nicht seiner Jünger einer | 2Ft 2Ob 2Vn Va Bc | A Mixolydian mode | ||||||
c | 18 | Ev, Petrus, Knecht | Er leugnete aber und sprach | Bc | A Mixolydian mode B minor | 12c ends with "und alsobald krähete der Hahn" in B minor. | |||||
13III | Tenor | ? | E minor G major | ? | Aria lost. | ||||||
14 | 20 | Chorus | Petrus, der nicht denkt zurück | Paul Stockmann | 2Ft 2Ob 2Vn Va Bc | G major | 15 | ||||
NBA | BWV | Bible | Reflection | Chorale | Beginning of text | Source | Instruments | Key | Time | Symmetry | |
---|---|---|---|---|---|---|---|---|---|---|---|
15 | 21 | Chorus | Christus, der uns selig macht | Michael Weiße | 2Ob 2Vn Va Bc | E Phrygian mode | 14 | ||||
16 | a | 22 | Ev, Pilate (B) | Da führeten sie Jesum | John18:28–36 | Bc | A minor | ||||
b | 23 | Chorus | Wäre dieser nicht ein Übeltäter | 2Ft 2Ob 2Vn Va Bc | D Dorian mode | ||||||
c | 24 | Ev, Pilate | Da sprach Pilatus zu ihnen | Bc | D Dorian mode | ||||||
d | 25 | Chorus | Wir dürfen niemand töten | 2Ft 2Ob 2Vn Va Bc | A minor | ||||||
e | 26 | Ev, Pilate, Jesus | Auf daß erfüllet würde das Wort | Bc | A minor | ||||||
17 | 27 | Chorus | Ach großer König | Johann Heermann | 2Ob 2Vn Va Bc | A minor | |||||
18 | a | 28 | Ev, Pilate, Jesus | Da sprach Pilatus zu ihm | John18:37–40; John19:1 | Bc | C major | ||||
b | 29 | Chorus | Nicht diesen, sondern Barrabam | 2Ft 2Ob 2Vn Va Bc | D Dorian mode | ||||||
c | 30 | Ev | Barrabas aber war ein Mörder | Bc | D Dorian mode | ||||||
19 | 31 | Arioso Bass | Betrachte, meine Seel | Brockes Christian Heinrich Postel | 2Vn con sordinis Bc with organ | E-flat major | |||||
20 | 32 | Aria Tenor | Erwäge, wie sein blutgefärbter Rücken | Brockes | 2Vn con sordini Bc (most likely only Cello or Vg and Keyboard) | C minor | 12/8 | ||||
21 | a | 33 | Ev | Und die Kriegsknechte flochten eine Krone | John19:2–12a | Bc | G minor | ||||
b | 34 | Chorus | Sei gegrüßet, lieber Jüdenkönig | 2Ft 2Ob 2Vn Va Bc (violins double the winds) | B-flat major | 6/4 | 25 b | ||||
c | 35 | Ev, Pilate | Und gaben ihm Backenstreiche | Bc | G minor | ||||||
d | 36 | Chorus | Kreuzige, kreuzige | 2Ft 2Ob 2Vn Va Bc | G minor | 23 d | |||||
e | 37 | Ev, Pilate | Pilatus sprach zu ihnen | Bc | G minor | ||||||
f | 38 | Chorus | Wir haben ein Gesetz | 2Ob 2Vn Va Bc | F major | 23 b | |||||
g | 39 | Ev, Pilate, Jesus | Da Pilatus das Wort hörete | Bc | E Phrygian mode | 23 a | |||||
22 | 40 | Chorus | Durch dein Gefängnis, Gottes Sohn | Christian Heinrich Postel Melody Johann Hermann Schein | 2Ft 2Ob 2Vn Va Bc | E major | center | ||||
23 | a | 41 | Ev | Die Jüden aber schrieen und sprachen | John19:12b–17 | Bc | E major | 21 g | |||
b | 42 | Chorus | Lässest du diesen los | 2Ft 1Ob 1 Oboe d'amore 2Vn Va Bc | E major | 21 f | |||||
c | 43 | Ev, Pilate | Da Pilatus das Wort hörete | Bc | E major | ||||||
d | 44 | Chorus | Weg, weg mit dem | 2Ft 1Ob 1Oa 2Vn Va Bc | F-sharp minor | 21 d | |||||
e | 45 | Ev, Pilate | Spricht Pilatus zu ihnen | Bc | F-sharp minor B minor | ||||||
f | 46 | Chorus | Wir haben keinen König | 2Ft 1Ob 1Oa 2Vn Va Bc | B minor | ||||||
g | 47 | Ev | Da überantwortete er ihn | Bc | B minor | ||||||
24 | 48 | Aria bass | Soprano Alto Tenor | Eilt, ihr angefochtnen Seelen | Brockes | 2Vn Va Bc | G minor | 3/8 | |||
25 | a | 49 | Ev | Allda kreuzigten sie ihn | John19:18–22 | Bc | F Mixolydian mode | ||||
b | 50 | Chorus | Schreibe nicht: der Jüden König | 2Ft 2Ob 2Vn Va Bc | B-flat major | 6/4 | 21 b | 1Vn each doubles winds | |||
c | 51 | Ev, Pilate | Pilatus antwortet | Bc | B-flat major | ||||||
26 | 52 | Chorus | In meines Herzens Grunde | Valerius Herberger | 2Ft 2Ob 2Vn Va Bc | E-flat major | |||||
27 | a | 53 | Ev | Die Kriegsknechte aber | John19:23–27a | Bc | F Mixolydian mode | ||||
b | 54 | Chorus | Lasset uns den nicht zerteilen | 2Ft 1Ob 1Oba 2Vn Va Bc | C major | 3/4 | |||||
c | 55 | Ev, Jesus | Auf daß erfüllet würde die Schrift | Bc | A minor | Adagio for "Sie haben meine Kleider" | |||||
28 | 56 | Chorus | Er nahm alles wohl in acht | Paul Stockmann | 2Ft 2Ob 2Vn Va Bc | A major | |||||
29 | 57 | Ev, Jesus | Und von Stund an nahm sie der Jünger | John19:27b–30a | Bc | D major | |||||
30 | 58 | Aria Alto | Es ist vollbracht | Christian Heinrich Postel | Vg 2Vn Va Bc | B minor D major | 3/4 | Middle section: Vg doubles Alto (8vb). | |||
31 | 59 | Ev | Und neiget das Haupt | John19:30b | Bc | F-sharp Phrygian mode | |||||
32 | 60 | Aria Bass | Chorus | Mein teurer Heiland, laß dich fragen | Brockes Paul Stockmann | 2Vn Va Bc | D major | 12/8 | |||
33 | 61 | Sinfonia | 1Ob 2Vn Va Bc or 2Ob Taille (instrument) 1Bsn | C Dorian mode | Lost, possibly identical to BWV 246(?) | ||||||
34 | Discarded | ||||||||||
35 | Discarded | ||||||||||
36 | 64 | Ev | Die Jüden aber, dieweil es der Rüsttag war | John19:31–37 | Bc | C Dorian mode | |||||
37 | 65 | Chorus | O hilf, Christe, Gottes Sohn | Michael Weiße | 2Ft 2Ob 2Vn Va Bc | B-flat Dorian mode | |||||
38 | 66 | Ev | Darnach bat Pilatum Joseph von Arimathia | John19:38–42 | Bc | C Dorian mode | 25 measures | ||||
39 | 67 | Chorus | Ruht wohl, ihr heiligen Gebeine | Brockes | 2Ft 2Ob 2Vn Va Bc | C Dorian mode | 3/4 | ||||
40 | Discarded | ||||||||||
Essentially a reworking of the 1724 Version, this version is the most detail-oriented revision of the work. On 17 March 1739, while still working on this revision, Bach was informed that the performance of the Passion setting could not go ahead without official permission, thus (most likely) effectively halting any plans for that year. In response, Bach performed the Brockes-Passion of his friend, Georg Philipp Telemann (TVWV 5:1). However, though he had stopped at measure 42 of Movement 10, he continued to work on this revision, as shown by the copyists' score and parts. It is listed as BC D 2e. [32]
NBA | BWV | Bible | Reflection | Chorale | Beginning of text | Source | Instruments | Key | Time | Symmetry | ||
---|---|---|---|---|---|---|---|---|---|---|---|---|
1 | 1 | Chorus | Herr, unser Herrscher | anonymous | 2Ft 2Ob 2Vn Va Bc | G minor | 39 | All choral sections and instrumental ritornellos now include a Contrabassoon in the Continuo part; much voice and instrumental details altered; Slight changes in voice-leading and instrumental parts throughout work. | ||||
2 | a | 2 | Ev (T), Jesus (B) | Jesus ging mit seinen Jüngern | John18:1–8 | Bc | C Dorian mode | Slight change in voice-leading and other details. | ||||
b | 3 | Chorus | Jesum von Nazareth | 2Ft 2Ob 2Vn Va Bc | G minor | |||||||
c | 4 | Ev, Jesus | Jesus spricht zu ihnen | Bc | G minor | |||||||
d | 5 | Chorus | Jesum von Nazareth | 2Ob 2Vn Va Bc | C Dorian mode | |||||||
e | 6 | Ev, Jesus | Jesus antwortete | Bc | C Dorian mode | |||||||
3 | 7 | Chorus | O große Lieb | Johann Heermann | 2Ft 2Ob 2Vn Va Bc | G minor | More flowing/less chordal; now ends in G major | |||||
4 | 8 | Ev, Jesus | Auf daß das Wort erfüllet würde | John18:9–11 | Bc | F Mixolydian mode | Jesus recitative now accompanied by flowing Continuo part rather than chordal. | |||||
5 | 9 | Chorus | Dein Will gescheh | Martin Luther | 2Ft 2Ob 2Vn Va Bc | D minor | ||||||
6 | 10 | Ev, Jesus | Die Schar aber und der Oberhauptmann | John18:12–14 | Bc | F major | Slight alteration in voice-leading; ends with stronger cadence. | |||||
7 | 11 | Aria Alto | Von den Stricken meiner Sünden | Brockes | 2Ob Bc | D minor | 3/4 | Voice-leading and instrumental notation and Continuo part altered. | ||||
8 | 12 | Ev | Simon Petrus aber folgete Jesu nach | John18:15a | Bc | B-flat Lydian mode | ||||||
9 | 13 | Aria Soprano | Ich folge dir gleichfalls | anonymous | 2Ft Bc | B-flat major | 3/8 | Voice-leading and instrumental notation altered; a measure inserted after measure 146; Final ritornello reduced by 8 bars. | ||||
10 | 14 | Ev, Magd (S), Petrus (B), Jesus, Knecht (T) | Derselbige Jünger war dem Hohenpriester bekannt | John18:15b–23 | Bc | G minor A minor | Most extensive revision in voice-leading and instrumental notation. | |||||
11 | 15 | Chorus | Wer hat dich so geschlagen | Paul Gerhardt | 2Ft 2Ob 2Vn Va Bc | A major | ||||||
12 | a | 16 | Ev | Und Hannas sandte ihn gebunden | John18:24–27 Matthew26:75 | Bc | A Mixolydian mode | Slight change in voice-leading and other details. | ||||
b | 17 | Chorus | Bist du nicht seiner Jünger einer | 2Ft 2Ob 2Vn Va Bc | A Mixolydian mode | |||||||
c | 18 | Ev, Petrus, Knecht | Er leugnete aber und sprach | Bc | A Mixolydian mode B minor | |||||||
13 | 19 | Aria Tenor | Ach, mein Sinn | Christian Weise | 2Ft 2Ob 2Vn Va Bc | F-sharp minor | 3/4 | Marked "tutti gli Stromenti". | ||||
14 | 20 | Chorus | Petrus, der nicht denkt zurück | Paul Stockmann | 2Ft 2Ob 2Vn Va Bc | A major | 15 | |||||
NBA | BWV | Bible | Reflection | Chorale | Beginning of text | Source | Instruments | Key | Time | Symmetry | |
---|---|---|---|---|---|---|---|---|---|---|---|
15 | 21 | Chorus | Christus, der uns selig macht | Michael Weiße | 2Ft 2Ob 2Vn Va Bc | E Phrygian mode | 14 | ||||
16 | a | 22 | Ev, Pilate (B) | Da führeten sie Jesum | John18:28–36 | Bc | A minor | ||||
b | 23 | Chorus | Wäre dieser nicht ein Übeltäter | 2Ft 2Ob 2Vn Va Bc | D Dorian mode | ||||||
c | 24 | Ev, Pilate | Da sprach Pilatus zu ihnen | Bc | D Dorian mode | ||||||
d | 25 | Chorus | Wir dürfen niemand töten | 2Ft 2Ob 2Vn Va Bc | A minor | ||||||
e | 26 | Ev, Pilate, Jesus | Auf daß erfüllet würde das Wort | Bc | A minor | ||||||
17 | 27 | Chorus | Ach großer König | Johann Heermann | 2Ft 2Ob 2Vn Va Bc | A minor | |||||
18 | a | 28 | Ev, Pilate, Jesus | Da sprach Pilatus zu ihm | John18:37–40; John19:1 | Bc | C major | ||||
b | 29 | Chorus | Nicht diesen, sondern Barrabam | 2Ft 2Ob 2Vn Va Bc | D Dorian mode | ||||||
c | 30 | Ev | Barrabas aber war ein Mörder | Bc | D Dorian mode | ||||||
19 | 31 | Arioso bass | Betrachte, meine Seel' | Brockes Christian Heinrich Postel | 2 violas d'amore Bc with Archlute | E-flat major | |||||
20 | 32 | Aria Tenor | Erwäge, wie sein blutgefärbter Rücken | Brockes | 2 violas d'amore Bc (most likely only Cello or Vg and Keyboard) | C minor | 12/8 | ||||
21 | a | 33 | Ev | Und die Kriegsknechte flochten eine Krone | John19:2–12a | Bc | G minor | ||||
b | 34 | Chorus | Sei gegrüßet, lieber Jüdenkönig | 2Ft 2Ob 2Vn Va Bc | B-flat major | 6/4 | 25 b | ||||
c | 35 | Ev, Pilate | Und gaben ihm Backenstreiche | Bc | G minor | ||||||
d | 36 | Chorus | Kreuzige, kreuzige | 2Ft 2Ob 2Vn Va Bc | G minor | 23 d | |||||
e | 37 | Ev, Pilate | Pilatus sprach zu ihnen | Bc | G minor | ||||||
f | 38 | Chorus | Wir haben ein Gesetz | 2Ft 2Ob 2Vn Va Bc | F major | 23 b | |||||
g | 39 | Ev, Pilate, Jesus | Da Pilatus das Wort hörete | Bc | E Phrygian mode | 23 a | |||||
22 | 40 | Chorus | Durch dein Gefängnis, Gottes Sohn | Christian Heinrich Postel Melody Johann Hermann Schein | 2Ft 2Ob 2Vn Va Bc | E major | center | ||||
23 | a | 41 | Ev | Die Jüden aber schrieen und sprachen | John19:12b–17 | Bc | E major | 21 g | |||
b | 42 | Chorus | Lässest du diesen los | 1Ob 1 Oboe d'amore 2Vn Va Bc | E major | 21 f | |||||
c | 43 | Ev, Pilate | Da Pilatus das Wort hörete | Bc | E major | ||||||
d | 44 | Chorus | Weg, weg mit dem | 2Ft 1Ob 1Oa 2Vn Va Bc | F-sharp minor | 21 d | |||||
e | 45 | Ev, Pilate | Spricht Pilatus zu ihnen | Bc | F-sharp minor B minor | ||||||
f | 46 | Chorus | Wir haben keinen König | 2Ft 1Ob 1Oa 2Vn Va Bc | B minor | ||||||
g | 47 | Ev | Da überantwortete er ihn | Bc | B minor | ||||||
24 | 48 | Aria Bass | Soprano Alto Tenor | Eilt, ihr angefochtnen Seelen | Brockes | 2Vn Va Bc | G minor | 3/8 | |||
25 | a | 49 | Ev | Allda kreuzigten sie ihn | John19:18–22 | Bc | F Mixolydian mode | ||||
b | 50 | Chorus | Schreibe nicht: der Jüden König | 2Ft 2Ob 2Vn Va Bc | B-flat major | 6/4 | 21 b | ||||
c | 51 | Ev, Pilate | Pilatus antwortet | Bc | B-flat major | ||||||
26 | 52 | Chorus | In meines Herzens Grunde | Valerius Herberger | 2Ft 2Ob 2Vn Va Bc | E-flat major | |||||
27 | a | 53 | Ev | Die Kriegsknechte aber | John19:23–27a | Bc | F Mixolydian mode | ||||
b | 54 | Chorus | Lasset uns den nicht zerteilen | 2Ft 1Ob 1Oba 2Vn Va Bc | C major | 3/4 | |||||
c | 55 | Ev, Jesus | Auf daß erfüllet würde die Schrift | Bc | A minor | Adagio for "Sie haben meine Kleider" | |||||
28 | 56 | Chorus | Er nahm alles wohl in acht | Paul Stockmann | 2Ob 2Vn Va Bc | A major | |||||
29 | 57 | Ev, Jesus | Und von Stund an nahm sie der Jünger | John19:27b–30a | Bc | D major | |||||
30 | 58 | Aria Alto | Es ist vollbracht | Christian Heinrich Postel | Vg 2Vn Va Bc | B minor D major | 3/4 | Middle section: Vg doubles Continuo. | |||
31 | 59 | Ev | Und neiget das Haupt | John19:30b | Bc | F-sharp Phrygian mode | |||||
32 | 60 | Aria Bass | Chorus | Mein teurer Heiland, laß dich fragen | Brockes Paul Stockmann | 2Vn Va Bc | D major | 12/8 | |||
33 | 61 | Ev | Und siehe da, der Vorhang im Tempel zerriß | Matthew27:51–52 | Bc | E Dorian mode | |||||
34 | 62 | Arioso Tenor | Mein Herz, in dem die ganze Welt | Brockes | 2Ft 2Oc 2Vn Va Bc | G major | |||||
35 | 63 | Aria Soprano | Zerfließe, mein Herze | Brockes | 2Ft 2Oc Bc | F Dorian mode | 3/8 | ||||
36 | 64 | Ev | Die Jüden aber, dieweil es der Rüsttag war | John19:31–37 | Bc | C Dorian mode | |||||
37 | 65 | Chorus | O hilf, Christe, Gottes Sohn | Michael Weiße | 2Ft 2Ob 2Vn Va Bc | B-flat Dorian mode | |||||
38 | 66 | Ev | Darnach bat Pilatum Joseph von Arimathia | John19:38–42 | Bc | C Dorian mode | |||||
39 | 67 | Chorus | Ruht wohl, ihr heiligen Gebeine | Brockes | 2Ft 2Ob 2Vn Va Bc | C Dorian mode | 3/4 | ||||
40 | 68 | Chorus | Ach Herr, laß dein lieb Engelein | Martin Schalling | 2Ft 2Ob 2Vn Va Bc | E-flat major | |||||
Essentially a re-production of Version I with a few alterations (text changes in Movements 9, 19 & 20, instrumentation reflective of Version III). It was performed in 1749 and (most likely) repeated in 1750. It also represents (outside of the St Matthew Passion ) the largest instrumental ensemble used (calling for 3 1st Violins), and (for the first time in his work) calls for a Contrabassoon (used in all choral parts, as well as instrumental ritornellos). It is listed as BC D 2d.
NBA | BWV | Bible | Reflection | Chorale | Beginning of text | Source | Instruments | Key | Time | Symmetry | |
---|---|---|---|---|---|---|---|---|---|---|---|
1 | 1 | Chorus | Herr, unser Herrscher | anonymous | 2Ft 2Ob 2Vn Va Bc | G minor | 39 | ||||
2 | a | 2 | Ev (T), Jesus (B) | Jesus ging mit seinen Jüngern | John18:1–8 | Bc | C Dorian mode | ||||
b | 3 | Chorus | Jesum von Nazareth | 2Ft 2Ob 2Vn Va Bc | G minor | ||||||
c | 4 | Ev, Jesus | Jesus spricht zu ihnen | Bc | G minor | ||||||
d | 5 | Chorus | Jesum von Nazareth | 2Ob 2Vn Va Bc | C Dorian mode | ||||||
e | 6 | Ev, Jesus | Jesus antwortete | Bc | C Dorian mode | ||||||
3 | 7 | Chorus | O große Lieb | Johann Heermann | 2Ft 2Ob 2Vn Va Bc | G minor | |||||
4 | 8 | Ev, Jesus | Auf daß das Wort erfüllet würde | John18:9–11 | Bc | F Mixolydian mode | |||||
5 | 9 | Chorus | Dein Will gescheh | Martin Luther | 2Ft 2Ob 2Vn Va Bc | D minor | |||||
6 | 10 | Ev, Jesus | Die Schar aber und der Oberhauptmann | John18:12–14 | Bc | F major | |||||
7 | 11 | Aria Alto | Von den Stricken meiner Sünden | Brockes | 2Ob Bc | D minor | 3/4 | Continuo like revision. | |||
8 | 12 | Ev | Simon Petrus aber folgete Jesu nach | John18:15a | Bc | B-flat Lydian mode | |||||
9 | 13 | Aria Soprano | Ich folge dir gleichfalls | anonymous | 2Ft Bc | B-flat major | 3/8 | a measure inserted after measure 146; Text changed: "Ich folge dir gleichfalls, mein Heiland, mit Freuden", etc. | |||
10 | 14 | Ev, Magd (S), Petrus (B), Jesus, Knecht (T) | Derselbige Jünger war dem Hohenpriester bekannt | John18:15b–23 | Bc | G minor A minor | Continuo in Measure 20 changed. | ||||
11 | 15 | Chorus | Wer hat dich so geschlagen | Paul Gerhardt | 2Ft 2Ob 2Vn Va Bc | A major | |||||
12 | a | 16 | Ev | Und Hannas sandte ihn gebunden | John18:24–27 Matthew26:75 | Bc | A Mixolydian mode | ||||
b | 17 | Chorus | Bist du nicht seiner Jünger einer | 2Ft 2Ob 2Vn Va Bc | A Mixolydian mode | ||||||
c | 18 | Ev, Petrus, Knecht | Er leugnete aber und sprach | Bc | A Mixolydian mode B minor | ||||||
13 | 19 | Aria Tenor | Ach, mein Sinn | Christian Weise | 2Vn Va Bc | F-sharp minor | 3/4 | ||||
14 | 20 | Chorus | Petrus, der nicht denkt zurück | Paul Stockmann | 2Ft 2Ob 2Vn Va Bc | A major | 15 | ||||
NBA | BWV | Bible | Reflection | Chorale | Beginning of text | Source | Instruments | Key | Time | Symmetry | |
---|---|---|---|---|---|---|---|---|---|---|---|
15 | 21 | Chorus | Christus, der uns selig macht | Michael Weiße | 2Ft 2Ob 2Vn Va Bc | E Phrygian mode | 14 | ||||
16 | a | 22 | Ev, Pilate (B) | Da führeten sie Jesum | John18:28–36 | Bc | A minor | ||||
b | 23 | Chorus | Wäre dieser nicht ein Übeltäter | 2Ft 2Ob 2Vn Va Bc | D Dorian mode | ||||||
c | 24 | Ev, Pilate | Da sprach Pilatus zu ihnen | Bc | D Dorian mode | ||||||
d | 25 | Chorus | Wir dürfen niemand töten | 2Ft 2Ob 2Vn Va Bc | A minor | ||||||
e | 26 | Ev, Pilate, Jesus | Auf daß erfüllet würde das Wort | Bc | A minor | ||||||
17 | 27 | Chorus | Ach großer König | Johann Heermann | 2Ft 2Ob 2Vn Va Bc | A minor | |||||
18 | a | 28 | Ev, Pilate, Jesus | Da sprach Pilatus zu ihm | John18:37–40; John19:1 | Bc | C major | ||||
b | 29 | Chorus | Nicht diesen, sondern Barrabam | 2Ft 2Ob 2Vn Va Bc | D Dorian mode | ||||||
c | 30 | Ev | Barrabas aber war ein Mörder | Bc | D Dorian mode | ||||||
19 | 31 | Arioso Bass | Betrachte, meine Seel' | Brockes Christian Heinrich Postel | 2Vn con sordini Bc with Harpsichord | E-flat major | Text for middle section altered. | ||||
20 | 32 | Aria Tenor | Mein Jesu, ach! dein schmerzhaft bitter Leiden | Anonymous | 2Vn con sordini Bc (most likely only Cello or Vg and Keyboard) | C minor | 12/8 | ||||
21 | a | 33 | Ev | Und die Kriegsknechte flochten eine Krone | John19:2–12a | Bc | G minor | ||||
b | 34 | Chorus | Sei gegrüßet, lieber Jüdenkönig | 2Ft 2Ob 2Vn Va Bc | B-flat major | 6/4 | 25 b | 1Vn each doubles wind parts. | |||
c | 35 | Ev, Pilate | Und gaben ihm Backenstreiche | Bc | G minor | ||||||
d | 36 | Chorus | Kreuzige, kreuzige | 2Ft 2Ob 2Vn Va Bc | G minor | 23 d | |||||
e | 37 | Ev, Pilate | Pilatus sprach zu ihnen | Bc | G minor | ||||||
f | 38 | Chorus | Wir haben ein Gesetz | 2Ft 2Ob 2Vn Va Bc | F major | 23 b | |||||
g | 39 | Ev, Pilate, Jesus | Da Pilatus das Wort hörete | Bc | E Phrygian mode | 23 a | |||||
22 | 40 | Chorus | Durch dein Gefängnis, Gottes Sohn | Christian Heinrich Postel Melody Johann Hermann Schein | 2Ft 2Ob 2Vn Va Bc | E major | center | ||||
23 | a | 41 | Ev | Die Jüden aber schrieen und sprachen | John19:12b–17 | Bc | E major | 21 g | |||
b | 42 | Chorus | Lässest du diesen los | 2Ft 1Ob 1 Oboe d'amore 2Vn Va Bc | E major | 21 f | |||||
c | 43 | Ev, Pilate | Da Pilatus das Wort hörete | Bc | E major | ||||||
d | 44 | Chorus | Weg, weg mit dem | 2Ft 1Ob 1Oa 2Vn Va Bc | F-sharp minor | 21 d | |||||
e | 45 | Ev, Pilate | Spricht Pilatus zu ihnen | Bc | F-sharp minor B minor | ||||||
f | 46 | Chorus | Wir haben keinen König | 2Ft 1Ob 1Oa 2Vn Va Bc | B minor | ||||||
g | 47 | Ev | Da überantwortete er ihn | Bc | B minor | ||||||
24 | 48 | Aria Bass | Soprano Alto Tenor | Eilt, ihr angefochtnen Seelen | Brockes | 2Vn Va Bc | G minor | 3/8 | |||
25 | a | 49 | Ev | Allda kreuzigten sie ihn | John19:18–22 | Bc | F Mixolydian mode | ||||
b | 50 | Chorus | Schreibe nicht: der Jüden König | 2Ft 2Ob 2Vn Va Bc | B-flat major | 6/4 | 21 b | 1Vn each doubles wind parts. | |||
c | 51 | Ev, Pilate | Pilatus antwortet | Bc | B-flat major | ||||||
26 | 52 | Chorus | In meines Herzens Grunde | Valerius Herberger | 2Ft 2Ob 2Vn Va Bc | E-flat major | |||||
27 | a | 53 | Ev | Die Kriegsknechte aber | John19:23–27a | Bc | F Mixolydian mode | ||||
b | 54 | Chorus | Lasset uns den nicht zerteilen | 2Ft 1Ob 1Oba 2Vn Va Bc | C major | 3/4 | |||||
c | 55 | Ev, Jesus | Auf daß erfüllet würde die Schrift | Bc | A minor | Adagio for "Sie haben meine Kleider" | |||||
28 | 56 | Chorus | Er nahm alles wohl in acht | Paul Stockmann | 2Ft 2Ob 2Vn Va Bc | A major | |||||
29 | 57 | Ev, Jesus | Und von Stund an nahm sie der Jünger | John19:27b–30a | Bc | D major | |||||
30 | 58 | Aria Alto | Es ist vollbracht | Christian Heinrich Postel | Vg 2Vn Va Bc | B minor D major | 3/4 | Middle section: Vg doubles Alto (8vb). | |||
31 | 59 | Ev | Und neiget das Haupt | John19:30b | Bc | F-sharp Phrygian mode | |||||
32 | 60 | Aria Bass | Chorus | Mein teurer Heiland, laß dich fragen | Brockes Paul Stockmann | 2Vn Va Bc | D major | 12/8 | |||
33 | 61 | Ev | Und siehe da, der Vorhang im Tempel zerriß | Matthew27:51–52 | Bc | E Dorian mode | |||||
34 | 62 | Arioso Tenor | Mein Herz, in dem die ganze Welt | Brockes | 2Ft 2Oa 2Vn Va Bc | G major | |||||
35 | 63 | Aria soprano | Zerfließe, mein Herze | Brockes | 1Ft + 1Vn con sordino 1Oc Bc | F Dorian mode | 3/8 | ||||
36 | 64 | Ev | Die Jüden aber, dieweil es der Rüsttag war | John19:31–37 | Bc | C Dorian mode | |||||
37 | 65 | Chorus | O hilf, Christe, Gottes Sohn | Michael Weiße | 2Ft 2Ob 2Vn Va Bc | B-flat Dorian mode | |||||
38 | 66 | Ev | Darnach bat Pilatum Joseph von Arimathia | John19:38–42 | Bc | C Dorian mode | |||||
39 | 67 | Chorus | Ruht wohl, ihr heiligen Gebeine | Brockes | 2Ft 2Ob 2Vn Va Bc | C Dorian mode | 3/4 | ||||
40 | 68 | Chorus | Ach Herr, laß dein lieb Engelein | Martin Schalling | 2Ft 2Ob 2Vn Va Bc | E-flat major | |||||
Bleib bei uns, denn es will Abend werden, BWV 6, is a cantata by Johann Sebastian Bach for use in a Lutheran service. He composed it in Leipzig in 1725 for Easter Monday and first performed it on 2 April 1725.
Christ unser Herr zum Jordan kam, BWV 7, is one of several church cantatas which Johann Sebastian Bach composed for the Feast of St. John the Baptist. He wrote it in Leipzig and led its first performance on 24 June 1724.
Johann Sebastian Bach composed the church cantata O Ewigkeit, du Donnerwort, BWV 20, in Leipzig for the first Sunday after Trinity, which fell on 11 June in 1724. Bach composed it when beginning his second year as Thomaskantor in Leipzig. It is the first cantata he composed for his second annual cycle which was planned to contain chorale cantatas, each based on a Lutheran hymn. The cantata is focused on Johann Rist's 1642 hymn "O Ewigkeit, du Donnerwort", with a chorale melody by Johann Schop. The topic of death and eternity matches the Gospel for the Sunday, the parable of the Rich man and Lazarus.
Johann Sebastian Bach composed the church cantata Allein zu dir, Herr Jesu Christ, BWV 33, in Leipzig in 1724 for the thirteenth Sunday after Trinity and first performed it on 3 September 1724. The chorale cantata is based on the 1540 hymn "Allein zu dir, Herr Jesu Christ" by Konrad Hubert.
Jesu, nun sei gepreiset, BWV 41, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for New Year's Day and first performed it on 1 January 1725 as part of his second cantata cycle. It is based on the hymn by Johannes Hermann (1591).
Johann Sebastian Bach composed the church cantata Schwingt freudig euch empor, BWV 36, in Leipzig in 1731 for the first Sunday in Advent. He drew on material from previous congratulatory cantatas, beginning with Schwingt freudig euch empor, BWV 36c (1725). The Gospel for the Sunday was the Entry into Jerusalem, thus the mood of the secular work matched "the people's jubilant shouts of Hosanna". In a unique structure in Bach's cantatas, he interpolated four movements derived from the former works with four stanzas from two important Advent hymns, to add liturgical focus, three from Luther's "Nun komm, der Heiden Heiland" and one from Nicolai's "Wie schön leuchtet der Morgenstern". He first performed the cantata in its final form of two parts, eight movements, on 2 December 1731.
Johann Sebastian Bach composed the church cantata Herr Christ, der einge Gottessohn, BWV 96, in Leipzig for the 18th Sunday after Trinity and first performed it on 8 October 1724. The chorale cantata, part of Bach's second annual cycle, is based on the hymn in five stanzas "Herr Christ, der einig Gotts Sohn" by Elisabeth Cruciger, published in Eyn geystlich Gesangk Buchleyn in 1524.
Johann Sebastian Bach composed the church cantata Du Friedefürst, Herr Jesu Christ, BWV 116, in Leipzig for the 25th Sunday after Trinity. He led the first performance on 26 November 1724, concluding the liturgical year of 1724.
Nimm, was dein ist, und gehe hin, BWV 144, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the Sunday Septuagesimae, the third Sunday before Lent, and first performed it on 6 February 1724.
Sehet, wir gehn hinauf gen Jerusalem, BWV 159, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the Sunday Estomihi, the last Sunday before Lent, and probably first performed it on 27 February 1729. The gospel reading for the Sunday, from the Gospel of Luke, includes Jesus announcing his suffering and death in Jerusalem. The cantata's theme and Bach's music foreshadow his Passion.
Johann Sebastian Bach composed the church cantata Was willst du dich betrüben, BWV 107 in Leipzig for the seventh Sunday after Trinity and first performed on 23 July 1724. The chorale cantata is based on Johann Heermann's hymn in seven stanzas "Was willst du dich betrüben" (1630).
Johann Sebastian Bach composed the church cantata Nimm von uns, Herr, du treuer Gott, BWV 101, in Leipzig for the tenth Sunday after Trinity and first performed it on 13 August 1724. It is based on the seven stanzas of the hymn of the same name by Martin Moller (1584), which is sung to the tune of "Vater unser im Himmelreich", Luther's metred paraphrase of the Lord's Prayer. The tune is featured prominently in six of the work's seven movements.
Johann Sebastian Bach composed the church cantata Herr Jesu Christ, du höchstes Gut, BWV 113, in Leipzig for the eleventh Sunday after Trinity and first performed it on 20 August 1724. It is based on the eight stanzas of the 1588 hymn "Herr Jesu Christ, du höchstes Gut" by Bartholomäus Ringwaldt, a penitential song.
Johann Sebastian Bach composed the church cantata Schmücke dich, o liebe Seele, BWV 180, in Leipzig for the 20th Sunday after Trinity and first performed it on 22 October 1724.
Herr Jesu Christ, wahr' Mensch und Gott, BWV 127, is a cantata by Johann Sebastian Bach for use in a Lutheran service. He composed the chorale cantata in 1725 in Leipzig for the Sunday Estomihi, the Sunday before Lent. It is based on Paul Eber's 1582 hymn in eight stanzas "Herr Jesu Christ, wahr Mensch und Gott". Bach first performed it on 11 February 1725.
Johann Sebastian Bach composed the church cantata Ach, lieben Christen, seid getrost, BWV 114, in Leipzig for the 17th Sunday after Trinity and first performed it on 1 October 1724. It is based on on a 1561 hymn of penitence by Johannes Gigas. Its tune is featured in three of the work's seven movements.
Höchsterwünschtes Freudenfest, BWV 194, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for dedication of the church and organ at Störmthal on 2 November 1723.
"O Welt, sieh hier dein Leben" is a Lutheran Passion hymn in German by Paul Gerhardt. In 16 stanzas of 6 lines, it was first published in 1647 in Johann Crüger's Praxis pietatis melica. The hymn is known as the source for chorales in Bach's Passions. It was translated to English in several versions, for example "O, World! behold upon the tree" by Catherine Winkworth in 1858.
"Jesu Leiden, Pein und Tod" is a German Lutheran hymn by Paul Stockmann. Written in 34 stanzas and published in 1633, it narrates the Passion of Jesus. It was sung to a melody by Melchior Vulpius. Johann Sebastian Bach used three of its stanzas as chorales in his St John Passion.
Jauchzet, frohlocket! Auf, preiset die Tage, BWV 248I, is a 1734 Christmas cantata by Johann Sebastian Bach that serves as the first part of his Christmas Oratorio. Bach was then Thomaskantor, responsible for church music at four churches in Leipzig, a position he had assumed in 1723. For the oratorio, the libretto by an unknown author followed the nativity of Jesus from the Gospel of Luke, interspersed with reflecting texts for recitatives and arias, and stanzas from Lutheran hymns.