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Introduction INTRODUCTION Carl Philipp Emanuel Bach’s Passion according to St. Maria, was asked by the church authorities in a question- John, H 793 (BR-CPEB D 7.), performed during Lent naire about the sources of the poetry in her late husband’s 1780, was his twelfth Passion and his third setting of John’s music. Question 9 and her answer read: Passion narrative. His estate catalogue (NV 1790, p. 60) [Question] 9. Whether or not he had provided the poetry for lists the dates of composition as 1779–80: “Paßions Musik the music and how he did this? nach dem Evangelisten Johannes. H. 1779 und 1780. Mit [Answer] 9. He received some from good friends, and some Hörnern, Hoboen und Fagotts.” Four years earlier, in 177, were taken from printed books. For installation cantatas the Bach had used the St. John Passion by Gottfried August poet, as far as I know, was sometimes paid by the respective Homilius, HoWV I., for much of the biblical narra- church or the pastor; but this was not always the case. In tive and two of the chorales, but in his last three settings these instances the text was often submitted in writing. In of the St. John Passion (1780, 178, and 1788), Bach re- short, there is no set procedure in this respect.1 turned to Georg Philipp Telemann’s 17 St. John Passion, TVWV 5:30, which he had used as the basis for his first Naturally, some of the choruses can be traced to Psalms or setting of 177. But Bach rarely reused any of the arias, du- other biblical texts, and in his later years Bach also drew ets, or choruses in his Passions, and so the overall impres- more frequently on his songs as the basis for both arias sion is that each of his twenty-one Passions is a separate and choruses. Since there is evidence that Bach himself work. The 1780 Passion is somewhat exceptional in that it decided where to insert chorales, arias, and other numbers includes one aria (no. 17) that had been used in the 177 in his Passions (see CPEB:CW, IV/7., 13–), it seems Passion (CPEB:CW, IV/7.1) with a different text. One likely that he also acted as the text assembler—as well as chorus (no. 2)—an original piece based on one of Bach’s the editor and composer—for the Passions. Gellert songs, Wq 19/1—had also been used previously, Why did Bach borrow instead of write new music? It in his 1777 St. Matthew Passion (CPEB:CW, IV/.3, was not necessarily to save time, since it would have taken no. 2) and 1778 St. Mark Passion (CPEB:CW, IV/.3, him almost as much time to seek suitable arias in other no. 24). Bach used it again in his 178 St. John Passion sources and then make adjustments to incorporate them (CPEB:CW, IV/7., no. 17); each time there was a differ- in pasticcios. Bach drew music from manuscripts in his ent text. All the other arias in H 793 (nos. , 10, 13, 1) and own library, not all of which are extant, and only his copy- the remaining chorus (no. 25)—although borrowed from ists would have known where the borrowings came from.3 Georg Benda, Johann Gottlieb Graun, and Homilius— had never been used by Bach in one of his Passions. The 1. D-Ha, Senat, 111-1, Cl. VII, Lit He Nr. Vol. 8b. Fasc. , unnum- one accompanied recitative (no. 1) is the only movement bered enclosure to fol. ; German text quoted in Sanders, 10–1 (see composed specifically for the 1780 Passion. (See table 1 for also Miesner, 1, 1–18): a summary of the derivation of movements.) “[Frage] 9. Ob er die Poesie zu den Musiken besorgt, und wie er sol- With the exception of the first St. Matthew Passion che besorgt habe? (179), which is largely based on the poetry of Anna Lou- [Antwort] 9. Theils hat er sie von guten Freunden bekommen und Theils aus Schriften genommen. Bey Einführungsmusiken ist wol zu- isa Karsch, we do not know who compiled the texts for weilen der Poet von der Kirche oder von dem Pastor bezahlt worden, Bach’s Passions. The recently published Bach-Reperto- aber nicht immer. Oft ist auch in solchen Fällen der Text eingeschickt rium catalogue of C. P. E. Bach’s vocal music (BR-CPEB) worden. Kurz, es ist dazu nichts ausgesetzt.” has identified most of the chorales and other poetic texts. Moira Leanne Hill, “Carl Philipp Emanuel Bach’s Passion Settings: From this we can see that in his last decade Bach drew Context, Content, and Impact” (Ph.D. diss., Yale University, 01), ex- plores this topic in detail, especially in chapter . on published works of Christian Fürchtegott Gellert and 3. Clark and Sanders were completed before the Sing-Akademie col- Balthasar Münter almost as heavily as he did the Hamburg lection was returned to Berlin. On the recovery of that collection, see hymnal (HG 17) for chorales. Bach’s widow, Johanna Christoph Wolff, see “Recovered in Kiev: Bach et el.: A Preliminary [ xi ] table 1. derivation of individual movements in bach’s 1780 st. john passion 1780 No. Type Incipit Origin Remarks 1. Choral Mein Jesus hat gelöschet H 783, no. 1 same key, with different text; see also H 783, no. 30 2. Chor Dass du für mich gestorben bist H 790, no. see also H 791, no. 24, with different text 3. Recitativ Da Jesus solches geredet hatte TVWV :30, nos. –7, 10, H 78, no. 1–1 4. Choral Was Gott tut, das ist wohlgetan TVWV :30, no. 1 H 78, no. 3, with different text 5. Recitativ Die Schar aber und der TVWV :30, no. 17 H 78, no. Oberhauptmann 6. Arie Dein Wandel, Herr, und deine Lehre L 1, no. 3 with different text; CPEB added ob I–II doubling vn I–II in ritornellos 7. Recitativ Es war aber Kaiphas TVWV :30, no. 17 (cont.) H 78, no. 8. Choral Herzliebster Jesu, was hast du TVWV :30, no. 18 H 78, no. 7, with different text verbrochen 9. Recitativ Simon Petrus aber folgete Jesu nach TVWV :30, nos. 0, –24, H 78, no. 8 –30 10. Arie So steht ein Fels im Meere L 1, no. with different text; CPEB revised the ending of the A section and omitted the B section 11. Recitativ Und da er das gesaget TVWV :30, nos. 3–3 H 78, no. 10 1. Accompagnement Des Vaters Sohn war er unknown probably composed by CPEB 13. Arie Wie unaussprechlich war er erhaben GraunWV A:III:, no. with different text; for B instead of S; B section omitted 1. Recitativ Da nahm Pilatus Jesum TVWV :30, nos. 3 (cont.)–3 H 78, no. 1 1. Choral Nun, was du, Herr, erduldet TVWV :30, no. 3 H 78, no. 13, with different text 1. Recitativ Und gaben ihm Backenstreiche TVWV :30, no. 37 H 78, no. 1 17. Arie Um in Schwachheit mich zu stärken HoWV I.10, no. 3 H 78, no. 1, with different text; for S instead of T, with ob I–II doubling vn I–II in ritornellos; B section omitted 18. Recitativ Da ihn die Hohenpriester und die TVWV :30, nos. 39–9, 1– H 78, no. 1 (mm. 1–19) Diener sahen 19. Choral Ach treues Herz, so sorgest du unknown see Enßlin/Rimek 010, 17 and 183 20. Recitativ Und von Stund an nahm sie der Jünger TVWV :30, no. (cont.) H 78, no. 1 (mm. 0–3) 21. Arie Anbetend schall hinauf zum Throne L 564, no. 3 with different text; CPEB added ob I–II doubling vn I–II in ritornellos 22. Recitativ Die Juden aber TVWV :30, no. 7 H 78, no. 18 23. Choral Verbirge mich und schleuß mich ein TVWV :30, no. 8 H 78, no. 19, with same text 24. Recitativ Darnach bat Pilatum Joseph von TVWV :30, no. 9 H 78, nos. 0, Arimathia 25. Chor Held, vor dem die Hölle bebet HoWV I., no. 18 with different text; CPEB omitted fl I–II 26. Choral Ich danke dir von Herzen H 783, no. 1 see chorale no. 1 above; transposed with different text Key: GraunWV A:III: = J. G. Graun cantata Tirsi, povero Tirsi; H 783 = CPEB 1770 St. Mark Passion; H 78 = CPEB 177 St. John Passion; H 787 = CPEB 177 St. Mark Passion; H 790 = CPEB 1777 St. Matthew Passion; H 791 = CPEB 1778 St. Mark Passion; H 797 = CPEB 178 St. John Passion; HoWV I. = Homilius St. John Passion; HoWV I.10 = Homilius St. Mark Passion; L 1 = Benda cantata Welch ein jammervolles Klagen; L 564 = Benda cantata Der Engel Gottes heilige Menge; TVWV :30 = Telemann 17 St. John Passion [ xii ] The works by Homilius (from Dresden), J. G. Graun (from heilige Menge, L 564 (source Q 6); and chorus no. 25 from Berlin), and Benda (from Gotha) would not have been Homilius’s St. John Passion, HoWV I. (source Q 3).7 known in Hamburg, and copyright (then and until very In the 1780 Passion, Bach left intact most of the bibli- recently) applied only to printed work. Bach was consid- cal narrative from his 177 Passion. The main difference in ered an “Original-Genius” for his own compositions, espe- numbering is that the 1780 Passion includes a chorus after cially his keyboard sonatas, fantasias, songs, and concertos; the opening chorale. Otherwise, the first seven movements but aside from his oratorios (Wq 233, 38, and 240), Klop- of biblical narrative (nos.
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