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The Theological Roots and Historical Context of J. S. Bach's St. Matthew Passion, BWV

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The Theological Roots and Historical Context of J. S. Bach's St. Matthew Passion, BWV THE THEOLOGICAL ROOTS AND HISTORICAL CONTEXT OF J. S. BACH’S ST. MATTHEW PASSION, BWV 244 by Tennison Hubbard A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, Florida May 2015 Copyright 2015 by Tennison Hubbard ii ACKNOWLEDGEMENTS I would like to offer my deepest appreciation and thanks to the following people who graciously gave their time and insight to help me complete this document. To Dr. Philip Powell, Professor of Music at Coastal Carolina University, for his infectious love for music and his continuous support throughout the years. To Dr. Kenneth Keaton, my thesis advisor, for his extensive knowledge and advise on my thesis subject. His faith in my writing supplied me with the confidence I needed to complete this document. To Dr. Patricia Fleitas, her detailed edits of my document provided the professional specifications to enhance my document. To Sandra McClain, for her consistent guidance and organizational help in completing this document. She selflessly gave her time and insight, and has been my foundational support during my enrollment at Florida Atlantic University. To Melissa Clark, my loving girlfriend, who has stood patiently by me through the years of difficult labor and who has been my cornerstone of support in completing this manuscript. Her love and devotion motivates me to better myself in all that I do. iv ABSTRACT Author: Tennison Hubbard Title: The Theological Roots And Historical Context of J. S. Bach’s St. Matthew Passion, BWV 244 Thesis Advisor: Dr. Kenneth Keaton Degree: Master of Arts Year: 2015 History shows that Johann Sebastian Bach (1685-1750) was a devout member of the Lutheran faith. Studying Bach’s life reveals that two sects of Lutheranism were the most influential to him, Orthodoxy and Pietism. A brief historical study of these two sects’ founders and their theology are presented in this document. All of Bach’s compositions are a reflection of his Christian beliefs but none is greater than his St. Matthew Passion. Although Bach is known to be a member of the Orthodox denomination, by observing the parallels between the beliefs of the two sects and the St. Matthew Passion, this document reveals Bach to take a more liberal view. This thesis intends to show that Bach’s St. Matthew Passion is a universal piece of Christian music that transcends religious denomination. Ultimately, Bach’s faith was centered on Jesus Christ and His message. v DEDICATION To my loving and supportive family: Joseph, Kelley, Blake, and Tommie Hubbard THE THEOLOGICAL ROOTS AND HISTORICAL CONTEXT OF J.S. BACH’S ST. MATTHEW PASSION, BWV 244 LIST OF FIGURES ......................................................................................................... viii CHAPTER 1. BACH THE THEOLOGIAN ...................................................................... 1 CHAPTER 2. MARTIN LUTHER ................................................................................... 12 Orthodox Lutheranism .................................................................................................. 16 CHAPTER 3. LUTHERAN PIETISM ............................................................................. 24 Pietism Defined in Spener’s Pia Desideria ................................................................... 27 CHAPTER 4. BACH FROM TOWN TO TOWN: LUTHERAN ORTHODOX AND PIETIST ENCOUNTERS ................................................................................................. 31 Eisenach ........................................................................................................................ 31 Ohrdruf .......................................................................................................................... 34 Lüneburg ....................................................................................................................... 35 Arnstadt and Bach's Visit to Lübeck ............................................................................. 36 Mühlhausen ................................................................................................................... 39 Return to Weimar .......................................................................................................... 45 Cöthen ........................................................................................................................... 50 Leipzig ........................................................................................................................... 53 vi CHAPTER 5. SELECTED LUTHERAN CHORALES OF THE ST. MATTHEW PASSION ........................................................................................................................... 56 O Lamm Gottes, unschuldig (O Lamb of God, Innocent) Mvt 1 .................................. 57 Herzliebster Jesu (Beloved Jesus) Mvt 3 ...................................................................... 61 The Passion Chorale (Mvts 21, 23, 53, 63, and 72) ...................................................... 62 Erkenne mich, mein Hüter (Recognize me, my Protector) Mvt 21 ........................... 65 Ich will hier bei dir stehen (I will stand here by Thee) Mvt 23 ................................. 67 Befiehl du deine Wege (Commend your ways) Mvt 53 ............................................. 70 O Haupt voll Blut und Wunden (O Head Full of Blood and Wounded) Mvt 63 ....... 73 Wenn ich einmal soll scheiden (When some time I must depart) Mvt 72 ................. 76 CHAPTER 6. PIETISM IN THE ST. MATTHEW PASSION ........................................... 80 CHAPTER 7. CONCLUSION .......................................................................................... 94 APPENDIXES .................................................................................................................. 98 Appendix A. Analysis of St. Matthew Passion, BWV 244 ............................................ 99 Appendix B. Nicene Creed .......................................................................................... 106 REFERENCES ............................................................................................................... 107 vii LIST OF FIGURES Figure 1. “Und von der sechsten Stunde an” (And from the sixth hour on) Mvt 71 ........ 7 Figure 2. “Gottes Zeit ist die allerbeste Zeit” (God's own time is the very best time) BWV 106 ........................................................................................................ 41 Figure 3. “O Lamm Gottes, unshuldig” (O Lamb of God, Innocent) Mvt 1 .................. 59 Figure 4. “All Sünd has du getragen” (All sin hast Thou borne) Mvt 1 ......................... 60 Figure 5. “Herzliebster Jesu” (Beloved Jesus) Mvt 3 ..................................................... 62 Figure 6. “Erkenne mich, mein Huter” (Recognize me, my Protector) Mvt 21 ............. 63 Figure 7. “Petrus aber antwortete” (But Peter answered) Mvt 22 .................................. 68 Figure 8. “Ich will hier bei dir stehen” (I will stand here by Thee) Mvt 23 ................... 68 Figure 9. “Und von der sechsten Stunde an” (And from the sixth hour on) Mvt 71 ...... 69 Figure 10. “Befiehl du deine Wege” (Commend your ways) Mvt 53 .............................. 72 Figure 11. “Gegrüsset seist du, Judenkönig!” (Ail, King of the Jews!) Mvt 62 ............... 74 Figure 12. “O Haupt voll Blut und Wunden” (O Head Full of Blood and Wounded) Mvt 63 ............................................................................................................. 75 Figure 13. “Wenn ich einmal soll scheiden” (When some time I Must depart) Mvt 72 ............................................................................................................. 77 Figure 14. “Wiewohl mein Herz in Tränen schwimmt” (Although my heart swims in tears) Mvt 18 ................................................................................................... 84 Figure 15. “Erbarm’ es Gott!” (Have mercy God!) Mvt 60 ............................................. 86 Figure 16. “Können Tränen meiner Wangen:” Aber laβt es bei den Fluten (But then let amidst the streaming) Mvt 61 .................................................................... 87 Figure 17. “Da das Jesus merkete” (When Jesus noticed that) Mvt 8 .............................. 89 viii Figure 18. “Du Lieber Heiland du” (Thou, Thou dear Redeemer) Mvt 9 ........................ 90 Figure 19. “Buβ und Reu:” Dab die Tropten meiner Zahren (So the teardrops of my weeping) Mvt 10 ............................................................................................. 92 ix CHAPTER 1. BACH THE THEOLOGIAN Every artifact and every piece of music Johann Sebastian Bach (1685-1750) wrote was stained with his religion. At the beginning of his sacred works, he commonly wrote “Jesu Juve” (Jesus help me). This was a prayer that Bach prayed before composing. He also made it standard to write “Soli Deo Gloria” (To God Alone Be the Glory) at the end of his sacred works. Not as customary, he often wrote these words on his secular works as well. Bach finds all his strength, purpose, and inspiration in obedience to God (Butt 1997, 52). Opening one’s mind to Bach’s faith might open new doors of perception to his sacred St. Matthew Passion. Bach was no half-wit theologian – in fact he has come to be known as the “fifth evangelist” (Marschall 2011, 78). Bach managed to compose an abundance of pieces in his
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