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The St Luke Passion (German : Lukas-Passion), BWV 246, is a Passion setting formerly attributed to Johann Sebastian Bach. It is included in the BWV catalog under the number 246. Now it appears in the catalogues under the heading apocryphal or anonymous.
A surviving manuscript of the St Luke Passion from about 1730 is partly in Bach's hand, though scholars believe that the music is certainly not his own. The music was later thought to have been composed by Johann Melchior Molter, but that was proven false because if Molter composed the music, then the manuscript would date to later than 1730. [1] Presumably Bach performed it, or intended to perform it, in Leipzig. C. P. E. Bach and Agricola may have mistaken it for a work of Bach's and thus included it in their census. Of course, given his delight in exhaustive cycles,[ citation needed ] Bach should have composed a St Luke Passion. Apparently J. S. Bach took the anonymous St Luke Passion and arranged it for four voices, chorus, orchestra, and continuo to meet an urgent deadline for Good Friday in 1730.
With regard to the authorship of the passion, Felix Mendelssohn commented in a letter to Franz Hauser who had just paid a large sum of money to purchase the Lukaspassion: "I am sorry to hear you have given so much money for the St. Luke Passion." Mendelssohn repudiated Bach's authorship of the work upon the evidence of a single chorale, 'Weide mich und mach' mich satt' (No. 9). He continued:
"No doubt, as an authentic autograph, it would be worth the price. But it is not by Bach. You ask, 'On what grounds do you maintain your opinion?' I answer, on intrinsic evidence, though it is unpleasant to say so, since it is your property. But just look at the chorale, 'Weide mich und mach' mich satt'! If that is by Sebastian, may I be hanged! It certainly is in his handwriting, but it is too clean. Evidently he copied it. 'Whose is it?' you ask; 'Telemann, or M. Bach, or Altnichol?' Jung Nichol or plain Nichol, how can I tell? It's not by Bach. Probably it is of North German origin." (Terry, 78).
Starting in 1999, an English performance of the aria "Lasst mich ihn nur noch einmal küssen" ('Just let me kiss him one more time') from the St. Luke Passion was used by musician Leyland James Kirby, also known as The Caretaker, as the track "Friends Past Reunited" on several of his albums. Specifically, he included the track on his first album, Selected Memories from the Haunted Ballroom (1999) and A Stairway to the Stars (2001). He also used the same performance recording as the ending to the final track of Stage 6, "Place in the World fades away", the finale to his final project, Everywhere at the End of Time (2016–2019). [2] [3] [ unreliable source? ] The group that produced the exact performance remains unknown.
The Bach-Werke-Verzeichnis is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990. An abbreviated version of that second edition, known as BWV2a, was published in 1998.
Throughout his life as a musician, Johann Sebastian Bach composed cantatas for both secular and sacred use. His church cantatas are cantatas which he composed for use in the Lutheran church, mainly intended for the occasions of the liturgical year.
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).
Jesu, meine Freude, BWV 227, is a motet by Johann Sebastian Bach. The longest and most musically complex of Bach's motets, it is set in eleven movements for up to five voices. It is named after the Lutheran hymn "Jesu, meine Freude" with words by Johann Franck, first published in 1653. The motet contains the six stanzas of the hymn in its odd-numbered movements. The hymn tune by Johann Crüger appears in all of these movements in different styles of chorale settings. The text of the motet's even-numbered movements is taken from the eighth chapter of the Epistle to the Romans, a passage that influenced key Lutheran teachings. The hymn, written in the first person with a focus on an emotional bond with Jesus, forms a contrasting expansion of the doctrinal biblical text. Bach set both texts alternating with and complementing each other, in a structure of symmetries on different layers.
Jesu, der du meine Seele, BWV 78, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the 14th Sunday after Trinity and first performed it on 10 September 1724. It is based on the 1641 hymn by Johann Rist, "Jesu, der du meine Seele", for which it is named. The topic of the chorale, the Passion of Jesus cleansing the believer, is only distantly related to the Sunday's readings.
The Passio secundum Joannem or St John Passion, BWV 245, is a Passion or oratorio by Johann Sebastian Bach, the earliest of the surviving Passions by Bach. It was written during his first year as director of church music in Leipzig and was first performed on 7 April 1724, at Good Friday Vespers at the St. Nicholas Church.
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.
As Thomaskantor, Johann Sebastian Bach provided Passion music for Good Friday services in Leipzig. The extant St Matthew Passion and St John Passion are Passion oratorios composed by Bach.
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.
The Weimarer Passion, BWV deest, is a hypothetical Passion oratorio by Johann Sebastian Bach, thought to have possibly been performed on Good Friday 26 March 1717 at Gotha on the basis of a payment of 12 Thaler on 12 April 1717 to "Concert Meister Bachen". It is one of several such lost Passions. Both the text and music are lost, but individual movements from this work could have been reused in latter works such as the Johannes-Passion. At one time, it was thought that the work set chapters 26 and 27 of the Gospel of Matthew to music, with interspersed chorales and arias, but current consensus is that it is possible that the text reflected a synopsis of two or more Gospel texts, as well as the interspersed chorales and arias.
Ich freue mich in dir, BWV 133, is a church cantata by Johann Sebastian Bach. He composed the Christmas cantata in Leipzig in 1724 for the Third Day of Christmas and first performed it on 27 December 1724. The chorale cantata is based on the 1697 hymn by Caspar Ziegler.
The structure of the St John 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". Some main aspects of the structure are shown in tables below.
The late church cantatas by Johann Sebastian Bach are sacred cantatas he composed after his fourth cycle of 1728–29. Whether Bach still composed a full cantata cycle in the last 20 years of his life is not known, but the extant cantatas of this period written for occasions of the liturgical year are sometimes referred to as his fifth cycle, as, according to his obituary, he would have written five such cycles – inasmuch as such cantatas were not late additions to earlier cycles, or were adopted in his oratorios.
"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.
The Dietel manuscript, D-LEb Peters Ms. R 18, also known as the Dietel Collection and, in German, Choralsammlung Dietel, is the oldest extant manuscript with a large collection of four-part chorales by Johann Sebastian Bach. It contains 149 of Bach's chorale harmonisations and originated around 1735. The music in the manuscript was copied by Johann Ludwig Dietel, one of Bach's pupils from the Thomasschule.
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