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A Conductor’s Guide and a New Edition of 's Wo Gehet Jesus Hin?, GWV 1119/39

Item Type text; Electronic Dissertation

Authors Seal, Kevin Michael

Publisher The University of Arizona.

Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author.

Download date 09/10/2021 06:03:50

Link to Item http://hdl.handle.net/10150/645781

A CONDUCTOR'S GUIDE AND A NEW EDITION OF CHRISTOPH GRAUPNER'S WO GEHET JESUS HIN?, GWV 1119/39

by

Kevin M. Seal

______Copyright © Kevin M. Seal 2020

A Document Submitted to the Faculty of the

FRED FOX SCHOOL OF MUSIC

In Partial Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

In the Graduate College

THE UNIVERSITY OF ARIZONA

2020

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THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE

As members of the Doctor of Musical Arts Document Committee, we certify that we have read the document prepared by: Kevin Michael Seal titled: A CONDUCTOR'S GUIDE AND A NEW EDITION OF CHRISTOPH GRAUPNER'S WO GEHET JESUS HIN, GWV 1119/39 and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts.

Bruce Chamberlain ______Date: ______Aug 7, 2020 Bruce Chamberlain

______Date: ______Aug 3, 2020 John T Brobeck

______Date: ______Aug 7, 2020 Rex A. Woods

Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College.

We hereby certify that we have read this document prepared under our direction and recommend that it be accepted as fulfilling the document requirement.

Bruce Chamberlain ______Date: ______Aug 7, 2020 Bruce Chamberlain Document Committee Co-Chair Fred Fox School of Music

______Date: ______Aug 3, 2020 John T Brobeck Document Committee Co-Chair Fred Fox School of Music

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Acknowledgements

There are many people without whom this project would not have been conceived or realized. First, and most important, I would like to thank my committee co-chair, Dr. Bruce

Chamberlain, for working tirelessly to instill in all his students the importance of scholarship in musical performance. I would also like to thank committee co-chair Dr. John Brobeck, as well as committee members Prof. Rex Woods, and Dr. Pamela Decker. It is only through the guidance of these individuals that this project was able to come to fruition.

There are also many whom have assisted in stimulating my interest in music and historical music. In particular, thank you to Dean Applegate and Dr. Lyn Loewi for exposing me to great music and teaching me to never compromise quality in music-making. Thank you as well to Dr. Matthew Mehaffey, Dr. Dean Billmeyer, and Kathy Saltzman Romey, all of the

University of Minnesota, who helped to guide me towards the beauty of the German Baroque and sparked a passion for the music of the . I would also like to thank those researchers who have gone before me and laid important ground work that is essential in studying any aspect of Christoph Graupner's music.

Last but certainly not least, I would like to thank my family for their constant patience and support. Thank you to Bonnie and Jim Seal, my parents, for providing both emotional and financial support through this degree process, and thank you especially to my wife, Elizabeth

Seal, who has sacrificed much to give me the opportunity to complete this research.

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CONTENTS

LIST OF TABLES...... 6

LIST OF MUSICAL EXAMPLES...... 7

ABSTRACT...... 9

. CHAPTER 1. THE LIFE AND MUSIC OF CHRISTOPH GRAUPNER...... 10

A. Early Life and Studies (1683-1705)...... 10

B. The Years (1706-1709)...... 14

C. (1709-1760)...... 18

D. Graupner's Music...... 24

CHAPTER 2. THE GERMAN PROTESTANT CHURCH ...... 28

A. Factors which Influenced the Development of the German Protestant ...... 28

B. The Birth of the German Protestant Church Cantata...... 31

C. Textual Sources...... 36

D. The Cantata in Darmstadt During Graupner's Tenure...... 39

CHAPTER 3. WO GEHET JESUS HIN?...... 43

A. Manuscript Sources...... 43

B. Textual Sources and Librettists for Graupner's Church ...... 44

C. Musical Style...... 46

i. The Galant...... 46

ii. Liturgical ? Operatic Influence in Graupner's Church Cantatas...... 50

D. Wo Gehet Jesus Hin?...... 53 5

i. Background Information...... 53

ii. Analysis of Individual Movements...... 56

CHAPTER 4. PERFORMANCE PRACTICE CONSIDERATIONS...... 77

A. Historical Performing Conditions in Darmstadt...... 78

i. A Brief History of the Hofkapelle from 1666-1758...... 78

ii. Tuning and Pitch in Darmstadt...... 82

B. Performance Practice Considerations for Modern Performers...... 85

i. Vocal Performance Practice Issues...... 85

ii. Modern vs. Baroque Era Bowed String Instruments...... 86

iii. Basso Continuo...... 90

CHAPTER 5: CONCLUSION...... 96

APPENDIX: WO GEHET JESUS HIN?, SCORE AND PARTS...... 99

SOURCES...... 217

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LIST OF TABLES

1.1 The Graupner Werke Verzeichnis Catalogue...... 27

2.1 The Liturgical Order at the Darmstadt Schlosskirche...... 41

3.1 Graupner's in Hamburg: 1707-1709...... 52

3.2 Overall Form and Structure of Wo gehet Jesus hin?...... 54

3.3 Text and of Wo gehet Jesus hin?...... 55

3.4 Period Phrase Structure of the "A" Section of Movement II...... 61

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LIST OF MUSICAL EXAMPLES

3.1 First Theme from the "A" Section of Movement II (mm. 1-8)...... 47

3.2 Second Theme from the "A" Section of Movement II (mm. 15-18)...... 48

3.3 Primary Theme from Movement V (mm. 1-3)...... 49

3.4 Secondary Theme from Movement V (mm. 53-56)...... 49

3.5 The Opening Measures of Movement I (mm. 1-4)...... 57

3.6 Sustained "Halo" Effect in the Strings, Movement I (mm. 9-11)...... 58

3.7 Textual Illumination in the Vocal Part and String Texture Changes at the End of Movement I (mm. 15-18)...... 58

3.8 The Opening Bars of Movement II (mm. 1-6)...... 60

3.9 The Choral Cadence of the "A" section, Movement II (mm. 30-32)...... 62

3.10 The Instrumental Cadence of the "A" section, Movement II (mm. 33-36)...... 63

3.11 Dramatic "Conversation" Between the Bass Soloist and the Chorus, Movement II (mm. 50-42)...... 64

3.12 Orchestral Introduction to Movement III (mm.1-3)...... 65

3.13 Choral Entrance of Movement III, Showing Stile Antico Writing (mm. 4-6)...... 66

3.14 Florid in Movement III (mm. 25-27)...... 67

3.15 Diminished Tonality on "Kreuzesschmach," Movement IV (mm. 7-8)...... 68

3.16 Cadential Preparation and Rhythmic Stop before "Schwachgläubige," Final Phrases Showing Ascending Pitches, Movement IV (mm. 10-18)...... 69

3.17 The Orchestral Ritornello from Movement IV (mm. 1-6)...... 70

3.18 Text Painting on "Leidenbahn," Movement V (mm. 14-16)...... 71

3.19 The Opening Measures of the "B" section of Movement V (mm. 53-55)...... 72

3.20 Text Painting on "Beschreiten," Movement V (mm. 61-65)...... 73

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3.21 Text Painting and Descending 4ths on "Gleiten," Tempi Changes, Movement V (mm. 69-72)...... 73

3.22 Arioso Moment in Movement VI (mm. 12-16)...... 75

3.23 The Opening Measures of Movement VII, Showing Vorimitation and a Tenor Cantus Firmus (mm. 1-6)...... 76

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ABSTRACT

Christoph Graupner (1683-1760) was Kapellmeister for the court in Darmstadt, for nearly fifty years. In this position he composed over 1400 church cantatas. Original manuscripts exist from which to produce a new performance edition of Graupner's Wo gehet

Jesus hin?, GWV 1119/39. This edition incorporates current understanding of historically- appropriate performance practices by consulting the considerable scholarly literature pertaining to late Baroque performance practices in general and, more specifically, performance practices in eighteenth-century Darmstadt. This document provides a guide for conductors to explore this music, focusing on Graupner's life, the development of the German Protestant Church Cantata and Graupner's contributions to the genre, and analysis of the work itself. Special areas of emphasis will be the following practices affecting performance: conditions at the Darmstadt court, issues of tuning and pitch, the size of the ensemble, the difference between modern and historical instruments, the composition of the basso continuo group, and the challenges of realizing a keyboard part.

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CHAPTER 1: THE LIFE AND MUSIC OF CHRISTOPH GRAUPNER

A. Early Life and Studies (1683-1705)

Much of what we know about Christoph Graupner's1 life comes from an entry in

Grundlage einer Ehren-Pforte, an encyclopedia of short autobiographies compiled by Johann

Mattheson and published in 1740.2 Christoph Graupner was born in Kirchberg, , in 1683, into a family of tailors and clothmakers.3 Kirchberg is approximately seventy-five miles southwest of and about the same distance due south of , in the Ore Mountains, near the current border with the Czech Republic. Records do not exist for either Graupner's birth or baptism, so it is necessary to rely on a detailed record of his death date in order to establish a birthdate. According to the record, on May 10th, 1760, Graupner died aged "77 years, 4 months, less 3 days."4 After much calculation, scholars have arrived on January 13th, 1683 as a probable birthdate.5 Not much is known about Graupner's family. His father, also named Christoph, was a master-tailor from a family of tailors. His mother, Maria Hochmuth, had three brothers who had studied at the Thomasschule in Leipzig, where young Christoph would later attend.6

1 There are some sources in the mid to late 1900s that prefix Graupner's name with "Johann," but this is not supported by any documentation from Graupner's time.

2 Evans Cortens, "The Sacred Cantatas of Christoph Graupner: Music at the Intersection of Opera and Theology" (PhD dissertation Cornell University, 2014), ProQuest Dissertations & Theses Global, 8.

3 Andrew D. McCredie, "Graupner, Christoph," Grove Music Online, ed. Deane Root, accessed February 19, 2019, http://www.oxfordmusiconline.com.

4 Rene Schmidt, "The Christmas Cantatas of Christoph Graupner" (PhD dissertation, University of North Texas, 1992), ProQuest Dissertations & Theses Global, 13.

5 A search on ancestry.com reveals another possible birthdate, January 23rd, 1683, but there are no primary source documents available to support this claim. Graupner's gravestone only details the years of his birth and death.

6 Schmidt, 13. 11

Graupner began his earliest musical training at the age of of seven or eight, with the local

Kantor Michael Mylius (1636-1712). Mylius had studied with (1628-1692), who had sung for Heinrich Schütz (1585-1672) in Dresden. Mylius noticed Graupner's early musical aptitude and suggested further training, which led to studies with local organist Nikolaus

Küster.7 When Küster took a new position as organist in nearby Reichenbach, Graupner followed him there to continue his studies. In Reichenbach, Graupner attended the local school and probably lived with Küster and his family. Reichenbach was a fairly small town, but was on the road from Nürnberg to Leipzig, which would have brought a steady stream of visitors from diverse backgrounds to the village.

In 1695, at the age of 12, Graupner entered the Thomasschule in Leipzig, where he remained until 1705.8 When he entered the school, (1648-1701) was the Kantor of the Thomasschule. Schelle had sung under Heinrich Schütz as a child, providing Graupner with two teachers with a direct lineage back to the German master. Schelle is an important figure in the development of German Baroque Lutheran church music. Appointed as Kantor in 1677, he made a number of changes to the liturgy at the Thomaskirche, replacing Roman Catholic Latin- texted anthems with musical settings of poetic German texts that were inspired by the readings. These changes were not universally well-received, and among those opposed was

Leipzig's mayor, Lorenz von Adlershelm (1608-1684), who attempted to force Schelle to reverse the changes. The town council, however, sided with Schelle, and this paved the way for the

7 Cortens, 8-9.

8 Ibid.

12 newly emboldened Schelle to introduce both the gospel cantata and the cantata to the

Protestant liturgy in Leipzig.9

After Schelle's death in 1701, (1660-1722) was appointed Kantor at the

Thomasschule. Kuhnau wrote in both sacred and secular genres, for voices and instruments.

Though the vast majority of his compositions are lost, the most significant still in existence is a set of six keyboard , the Biblische Historien. These sonatas are programmatic, and based on Old Testament historical events. Many of Kuhnau's vocal works are lost, with only half surviving in manuscript, and just a few published in modern editions. In his cantatas, he moved away from the use of the chorale as the central musical idea towards writing music that illustrated the specific meaning of the text he was setting. Kuhnau accomplished this most effectively in the choral movements, which feature "frequent dramatic shifts between homophonic sections and powerful, often complex ; such a structure gives various kinds of rhetorical emphasis to the poetic texts."10

In his early years at the Thomasschule, Graupner, with his musical talents, would have been involved in and exposed to performances of Schelle's cantatas. Later, Graupner studied with

Kuhnau, and worked for him as a copyist, giving him a unique opportunity to learn and absorb his teacher's stylistic traits. Graupner wrote,

Because I had offered to serve Kuhnau as copyist and wrote for a good while, it gave me an opportunity that I had wished for: to see many good things. And where perhaps a doubt began, I was able to ask for an oral explanation how to understand this or that. Through daily diligence, I thus succeeded little by little, so that I feared neither ecclesiastical nor theatrical writing but eagerly went ahead.11

9 A. Lindsey Kirwin, rev. by , "Schelle, Johann," Grove Music Online, ed. Deane Root, accessed February 1, 2020, http://www.oxfordmusiconline.com.

10 George Buelow, "Kuhnau, Johann," Grove Music Online, ed. Deane Root, accessed February 3, 2020, http://www.oxfordmusiconline.com.

11 , Grundlage einer Ehren-Pforte (Hamburg, 1740), 410. 13

Practices inspired by both Schelle and Kuhnau appear in Graupner's cantatas. Graupner retained

Schelle's emphasis on the chorale, but incorporated poetic texts, expressively set for maximum drama in both solo and choral movements, the latter trait showing considerable influence from

Kuhnau as well.

While at the Thomasschule Graupner developed many life-long relationships. He became friends with fellow student (1683-1729), who went on to become a prominent and theorist.12 He also became friends with Georg Phillip Telemann (1681-

1767) and Gottfried Grünewald, a renowned bass singer who later became become Graupner's vice-Kapellmeister in Darmstadt.13 Using recent research into the records of the Thomasschule, it is known that Graupner was the prefect of the first Kantorei for the 1704-5 school year. This was a particularly prestigious position only given to the most senior students, so it can be determined that Graupner left the Thomasschule in the spring of 1705.14

Two years before he finished at the Thomasschule Graupner paid a fee to Leipzig

University, effectively paying his fees well in advance in order to secure his place there. In the summer of 1705 he officially enrolled, beginning studies in law. Remaining involved in the

Leipzig music scene, he performed with the Collegium Musicum founded and directed by

Telemann.

12 Cortens, 10.

13 John Patrick McCarty, "A Conductor's Analysis: The Birthday Cantatas of Christoph Graupner (1683- 1760)" (PhD thesis, James Madison University, 2012), ProQuest Dissertations & Theses Global, 16.

14 Michael Maul, "Dero berühmbter Chor": Die Leipziger Thomasschule und ihre Kantoren (1212-1804) (Leipzig: Lehmstedt, 2012), 83.

14

B. The Hamburg Years (1706-1709)

In 1706, Graupner left Leipzig and moved to Hamburg. From 1701-1706 the Swedish

Empire, under Charles XII, had been at war with Poland, and once the Swedes and the Poles were at peace, the Swedish army moved into Saxony in order to keep their victory secure against coup-minded Saxons.15 Leipzig was not immune to the military engagement, and Graupner, as a young Saxon man in his early 20s, was a prime target for conscription. Speaking of the move,

Graupner wrote,

The Swedes came to Saxony in 1706 and my plans changed. Because of such confusion, I decided to go to Hamburg; yet I was not intending to remain for such a long time in that place: for this reason I had not given up my room in Leipzig and I left all my books and music there, particularly many beautiful manuscripts of which I was afterwards only able to find a few. When I came to Hamburg, my pockets were empty except for a two Reichthalers.16

Graupner is not clear whether the music he left behind was his own or written by other , although considering that he had been in Leipzig for a decade at this point, and had studied composition while at the Thomasschule, it is likely that at least some of the scores

Graupner left in Leipzig were his own original compositions. So, while it can be assumed with some degree of certainty that Graupner did produce a body of work as a student, scholars are certain that all of these works have been lost. Therefore, all early examples of Graupner's composition available to present-day scholars are from his time in Hamburg, with his earliest known compositions dating from 1707.

Even though, in Graupner's words, this was not a planned move, there are few places that

Graupner could have ended up that would have been better than Hamburg. Hamburg in the early

15 Robert I. Frost, The Northern Wars: War, State, and Society in Northeastern Europe, 1558-1721 (Harlow, England: Longman, 2000), 230.

16 Mattheson, 410. 15 eighteenth century was the musical center of Germany, and in the late seventeenth century, a number of musical innovations were developed there in both liturgical and dramatic music. From

1637 to 1663 Thomas Selle (1599-1663) was the Musikdirektor in Hamburg. His Passion nach dem Evangelisten Johannes was the first passion setting with instrumental interludes, and helped establish Hamburg as a center for German oratorio in the seventeenth century.17 Later, after

Graupner's short stay, several notable musicians were involved in the church music scene, including (1681-1767) and Carl Philipp Emmanuel Bach (1714-1788), both of whom held the post of Musikdirektor. (1685-1750) applied for the organist position at the Jacobkirche, with its four manual Schnitger organ, but he withdrew his application when it became obvious that the position generally went to the highest bidder (the custom was for whomever the church hired to give a generous donation to the church coffers).18

Towards the end of the seventeenth century the musical focus of Hamburg shifted from liturgical music to the performance of opera. In 1678, the Oper am Gänsemarkt opened.19 It was the first civic opera theatre outside of Venice, and it made Hamburg the operatic center of

Germany. This attracted many major performers and composers, including Georg Frideric

Handel (1685-1759), who played in the opera orchestra and wrote four operas for the theater between 1703 and 1706.20

17 Werner Braun, rev. by Jürgen Neubacher, "Selle, Thomas," Grove Music Online, ed. Deane Root, accessed 3 February 2020, http://www.oxfordmusiconline.com.

18 Christoph Wolff, Johann Sebastian Bach: The Learned Musician (New York: W. W. Horton and Company, 2013), 199-201.

19 Heinz Becker, rev. by Lutz Lesle, "Hamburg," Grove Music Online, ed. Deane Root, accessed February 1, 2020, http://www.oxfordmusiconline.com.

20 Anthony Hicks, "Handel, George Frideric," Grove Music Online, ed. Deane Root, accessed February 3, 2020, http://www.oxfordmusiconline.com.

16

Graupner's arrival in Hamburg coincided with a stroke of luck for the young composer and keyboardist. Again, in Graupner's own words, "My luck, or rather, divine providence was so wonderful, that the very day before my arrival, Johann Christian Schiefferdecker left Hamburg, where he had played keyboard in the opera, and went to Lübeck."21 (1637-

1707) had long been looking for a replacement for his post as organist in Lübeck, famously offering the position to J. S. Bach, G. F. Handel, and Johann Matheson, among others. All had rejected the offer, reportedly on the basis of the requirement that the successor be compelled to marry Buxtehude's daughter. Johann Christian Scheifferdecker (1679-1732), however, accepted.22 He served as assistant to Buxtehude beginning in 1706, and assumed the post upon

Buxtehude's death in 1707. This had not been the first time that Graupner had crossed paths with

Scheifferdecker. The latter was a pupil at the Thomasschule from 1692 to 1697, so they were classmates together for two years, and they both performed with the Leipzig Opera at the same time.23 They also had a mutual good friend in Gottfried Grünewald (1673-1739). This has led some scholars to believe that Graupner had some advance knowledge of the impending opening.24

Graupner was hired immediately to replace Scheifferdecker, and began to study and absorb the nuances of writing for the operatic stage. He quickly won the approval of music director (1674-1739). He only remained in Hamburg for three years, but in that

21 Mattheson, 410.

22 Walter E. Buszin, "Dietrich Buxtehude (1637-1707): On the Tercentenary of his Birth," The Musical Quarterly 23 (1937); 469.

23 George Buelow, Thorough-Bass Accompaniment According to Johann David Heinichen (Los Angeles: University of California Press, 1966), 6.

24 Cortens, 15.

17 time he composed five operas for the Oper am Gänsemarkt, and collaborated with Keiser on three others.25 He also would have collaborated with many of the leading librettists and composers of the day, as the Hamburg Opera occupied a singular place of prominence in German opera. He met and worked with poets Heinrich Hinsch (1650-1712) and Barthold Feind (1678-

1721), and played for performances of operas by composers such as Keiser, Handel, and Telemann.26

Graupner's earliest surviving compositions date from his time in Hamburg. His operas

Dido (1707) and Antiochus und Stratonica (1708) helped his reputation in Hamburg and made him known throughout Germany. His operas were characterized by his focus on text setting, the importance he placed on the dramatic role of orchestral timbres, and his use of form.27 Most important for Graupner, the Oper am Gänsemarkt attracted many visitors to the city to attend the performances and experience the culture. One such visitor, Landgrave Ernst Ludwig (1667-

1739) of Hessen-Darmstadt, arrived in 1708 and lived in Hamburg off and on for almost a year.28

He was there specifically to become familiar with the opera in Hamburg, in the hopes of revitalizing the theatrical music program in his own court.29 Ernst Ludwig would have become familiar with many of the musicians at the Oper am Gänsemarkt, as he was searching for an able composer and musician to lead music in Darmstadt. Soon after meeting Graupner upon his arrival in Hamburg, he offered Graupner the position of vice-Kapellmeister in Darmstadt, and

25 Oswald Bill, Christoph Graupner Hofkapellmeister in Darmstadt 1709-1760 (Mainz, Germany: Schott, 1987), 270.

26 McCarty, 19.

27 Ibid.

28 Elisabeth Noack, rev. by Dorothea Schröder , "Ernst Ludwig, Landgrave of Hesse-Darmstadt," Grove Music Online, ed. Deane Root, accessed January 15, 2020, http://www.oxfordmusiconline.com.

29 Cortens, 15. 18

Graupner immediately accepted the post. Ernst Ludwig was an avid supporter of the arts and a composer and lutenist himself. Graupner, as with his description of his appointment in Hamburg, describes the move as divine providence, interpreting a dream as a sign that this was his path in life: "When I spotted thereafter the royal coat of arms, I recognized in it the star that had appeared to me in my dreams, which I could not interpret as anything else other than as pointing to my gracious master himself, whom I had the pleasure of serving for thirty years."30

C. Darmstadt (1709-1760)

Graupner began in Darmstadt in January of 1709, taking the position of vice-

Kapellmeister. The Kapellmeister at the time was Wolfgang Carl Briegel (1626-1712), who was

83 years old and had been in Darmstadt since 1671. His duties were to "direct music in and outside of the church, and especially to accompany on the clavier as often as necessary, and also to compose."31 In 1711, Graupner married Sophie Elisabeth Eckard (1693-1742), who bore him six sons and a daughter.32 Sophie's younger sister was married to a Lutheran , Johann

Conrad Lichtenberg (1689-1751), who eventually became the town's superintendent, or head pastor. Lichtenberg is the author of the texts of most of Graupner’s cantatas. Given Briegel's advanced age, there is little doubt that Ernst Ludwig intended for Graupner to be the

Kapellmeister, even offering him a salary which was equal to that of Briegel's. His intentions

30 Mattheson, 412.

31 Henry Cutler Fall, "The Passion-Tide Cantatas of Christoph Graupner" (PhD dissertation, University of California, Santa Barbara, 1971), ProQuest Dissertations & Theses Global, 22.

32 McCarty, 21.

19 were realized in 1711, when Briegel became physically unable to fulfill his duties, and Graupner was named Kapellmeister. Briegel died a year later in 1712.

Landgrave Ernst Ludwig had sophisticated taste and grand plans for the artistic activities of his court. Soon after Graupner became Kapellmeister, a new theatre was opened and more resources were devoted to expanding the size and skill of the musical forces. For the first opera in the new theatre, the Hofkapelle performed Graupner's Telemach.33 The best singers and instrumentalists from around Germany were retained for the performances, including Gottfried

Grünewald, Graupner's friend from Leipzig, who had earned a reputation as one of the best baritones in the country. The visiting musicians were lavishly treated, receiving fine lodging, four meals a day, and personal gifts from the Landgrave. When the performances were finished many were offered contracts to play and sing in the Hofkapelle, and many accepted. Thus, this strategy of lavish hospitality was effective at drawing many of the most talented musicians in

Germany to Darmstadt to work for the court. Grünewald was among these new court employees, beginning his post as vice-Kapellmeister in 1713. Under Graupner’s direction during the 1710s the Darmstadt Hofkapelle experienced a period of vigorous expansion. At its peak it employed over 40 musicians, many of whom, in keeping with practices of the day, were adept on several different instruments.34

The Landgrave's interests and extravagance were not limited to music and theatre, however. He also staged French ballet performances, bringing in many guest performers, and held lavish hunting weekends. Much of this, along with the activities of the Hofkapelle, was

33 McCarty, 22.

34 Ursula Kramer, “The Court of Hesse-Darmstadt,” in Music at German Courts, 1715–1760: Changing Artistic Priorities, ed. by Samantha Owens, Barbara M. Reul, and Janice B. Stockigt (London: Boydell & Brewer, 2011), 349. 20 financed through debt, and by the late 1710s, many of the court musicians were no longer being paid regularly. Many of the musicians were unable to support themselves with other work, and they began to leave the Hofkapelle, with some taking vacation and not returning, and others stealing away in the middle of the night, as it was customary in that time to obtain leave from an employer to take another job. The opera house was closed in 1719, shuttering both the

Landgrave's vision of a grand musical theatre program, and Graupner's ability to compose large- scale works for the stage. Graupner had anticipated this, however, turning his compositional focus to cantatas, keyboard works, chamber music, and orchestral music.

By the early , all of the musicians, including Graupner, were not being paid regularly. This situation for Graupner, trying to support a family of eight at home, became more and more tenuous, leading to what has become the best known event in his career. In 1722, the death of Johann Kuhnau led the Leipzig town council to begin searching for his successor. The first round of finalists, assembled in the summer of 1722, included Telemann and four other musicians. The council offered the position to Telemann, but in November of 1722, after three months of negotiation, Telemann did not accept the offer. Later that month, the council added two other finalists, Andreas Christoph Duve (1676-1749) and Georg Friedrich Kauffmann (1679-

1735). The council, however, could not agree on a finalist, arguing amongst themselves over what sort of Kantor they should hire; one group wanted an accomplished teacher and the other wanted a famous musician who would bring attention to the town's musical activities. From this list of 6 finalists, the council could not agree on a candidate.35

The council met again the following month, and decided to consider two additional candidates. J. S. Bach, who was Kapellmeister in Cöthen at the time, and Christoph Graupner.

35 Wolff, 224. 21

While previous finalists were asked to present one cantata each for their auditions, the council asked Bach and Graupner to write two. Graupner, as the favored candidate, was asked to submit a third piece, a setting of the , for a Christmas service that was not a part of the audition process. Graupner fabricated a vacation request to take leave from Darmstadt, and completed his audition in Leipzig on January 17, 1723.

For his audition, Graupner presented Lobet den Herrn, alle Heiden, GWV 1113/23a, scored for SATB, two oboes, trumpet, three trombones, strings, and continuo, and Aus der Teifen rufen wir, GWV 1113/23b, for SATB two oboes, two trumpets, three trombones, , strings, and continuo. The librettist for these works is not known. At. J. S. Bach's audition three weeks later, Bach presented Jesus nahm zu sich die Zwölfe, BWV 22, for SATB, two oboes strings, and continuo, and Du wahrer Gott und Davids Sohn, BWV 23, for SATB, two oboes, trumpet, three trombones, strings, and continuo. Unbeknownst to either Graupner or Bach, the council had met two days before Graupner's audition and had decided to offer him the position.

One council member raised concerns that the council ensure that Graupner was able to obtain dismissal from his current position, but in Graupner, the council was convinced they had found a candidate who was both a superlative pedagogue, and an accomplished and respected composer and musician.36

The Leipzig town council officially petitioned the Darmstadt court on January 20, 1723, asking that Graupner be relieved from his duties there in order to take the Kantor position in

Leipzig. Two months later, the Landgrave responded as some on the council had feared;

Graupner would not be released from his duties in Darmstadt. Graupner himself learned of the

Landgrave's refusal to dismiss him, and wrote the council to apologize, thank them for their time,

36 McCarty, 24.

22 and withdraw his name from candidacy. The council subsequently hired J. S. Bach, and what follwed in Leipzig was the most productive creative period for the composer who came be recognized as the most accomplished of his generation, and one of the greatest in western music history. After Graupner heard that Leipzig had decided to hire Bach, he wrote the town council assuring them that Bach "is a musician just as strong on the organ as he is expert in church works and capelle pieces," and that Bach would "honestly and properly perform the functions entrusted to him."37

Graupner's attempt to leave Darmstadt made his discontent with his financial situation at the court known, and in response, Landgrave Ernst Ludwig offered him a new contract with greatly improved financial terms. The contract guaranteed lifetime employment without the possibility of termination (effectively, Graupner received tenure), Graupner's salary was nearly doubled to 900 gulden per year, he was given a lump sum to settle debts and back-pay, financial support was guaranteed to his family upon his death, and he was contracted to remain

Kapellmeister for the remainder of his life, even if he became unable to perform his duties.38

Thus, Graupner remained in Darmstadt for the remainder of his life. There is no evidence that he attempted to leave again during the nearly 40 years that he continued to work as

Kapellmeister. He continued to compose as he had before, writing chamber music, keyboard works, and most prolifically, church cantatas. He published several collections of keyboard music and two collections of . For the most part, the last half of Graupner's life was quiet and peaceful, although quite busy.

37 Wolff, 224.

38 Kramer, 346. 23

One other notable year in Graupner's life was 1739, during which there were two important deaths in Graupner's life. On November 12th of that year, Landgrave Ernst Ludwig died, aged seventy-one. His son and successor, Ludwig VIII, did not share in Ernst Ludwig's taste in music and the arts, but he did have his father's poor financial sensibilities, so the situation at the court remained more or less unchanged, with many musicians receiving lower wages during the 1740s, although Graupner himself remained immune due to his 1723 contract. The second, and perhaps more important death in terms of the direct impact on Graupner himself, was the death on December 19th of Gottfried Grünewald, the vice-Kapellmeister. Not only was

Grünewald a long time friend, but he also composed nearly half of the church music for the

Sunday services at Darmstadt.39 He and Graupner had alternated composing cantatas for the church, each producing a new work every other week, but after this death Graupner was required to write a new cantata every week. Graupner mentioned this in his entry in Mattheson's book, saying, "whereby, following the death of good old Grünewald half a year ago, the entire work load fell to me. I am now so overextended with work, that I can hardly get anything else done and always have to worry about finishing my compositions from one Sunday and feast day to the next, and frequently for the other events that occur in between as well."40

From 1739 until shortly before his death, Graupner continued to compose. In the 1750s he began to lose his sight, but sources are not conclusive on exactly when this began, as there are still writing samples in his hand dating from 1758. His final cantatas date from 1754. Graupner died on May 10, 1760. He had served the Darmstadt court for over fifty years.

39 Kramer, 349.

40 Mattheson, 412. 24

D. Graupner's Music

Graupner was extraordinarily prolific. He composed extensively for instrumental forces, writing 85 , 112 sinfonias, and 44 concerti for various instruments. He wrote 18 chamber sonatas for different combinations of instruments. He wrote for every instrument of the

Baroque period, including the Chalumeau, an obscure wind instrument. He wrote 50 suites for clavier, including a set of four programmatically based on the four seasons. He was most prolific, however, in his composition of vocal music. In addition to the eight full operas that he wrote for

Hamburg and Darmstadt, he wrote a 1418 religious cantatas and 26 secular cantatas.41 This is a reflection of Graupner's primary compositional responsibilities as Kapellmeister, to write music for the church. Even though Graupner was ostensibly hired by Landgrave Ernst Ludwig to be an opera composer, the first stipulation of Graupner's first contract with the court was to "direct music in and outside of the church." The use of the church as the reference point from which all other musical activities commenced is telling.

Christoph Graupner's compositional style was both imaginative and innovative, especially for the early eighteenth century. His style is defined by a combination of elements of the stile galant with contrapuntal techniques, and if one were to identify a unifying factor over his almost fifty-year compositional career, it is the elements of the galant that are present in his works.42 Compositions that were "lightly accompanied, with periodic melodies" were seen as galant during the eighteenth century. Other hallmarks of the style include repeated, periodic melodies with balanced phrases; simple, often major-key harmony; contrasting rhythms and dynamics; and the primacy of the melodic line. All of these elements paved the way for the

41 McCredie, "Graupner, Christoph."

42 McCarty, 6-7.

25 classical period, during which composers used many of the same approaches to melody and harmony.43

Graupner's use of the galant was in contrast to the prevailing practice of many German late Baroque composers, who were writing in an older, more contrapuntal, austere style.

Theorists such as Wilhelm Marpurg contrasted “fugal texture with the freedom of galant writing.” Another theorist and contemporary of Graupner, Johann Mattheson, differentiated the galant style from “the strict or church style.”44 Graupner was remarkable in his composition in both of these styles, contrapuntal and galant, throughout his composition career, and these contrasting styles are both present in Wo gehet Jesus hin?, the composition to which this project is dedicated.

Given Graupner's reputation among other German composers, and the relationships he had with many of the musical greats of his time, it is curious that his music was not disseminated more widely both during his life or after his death. Graupner published just a few works during his lifetime, primarily for keyboard. The more significant story, however, is what happened to his music following his death. When Gottfried Grünewald died in 1739, he left strict instructions with his heirs to destroy his musical manuscripts. His heirs complied, and because of this there are no surviving scores by Grünewald, who alternated Sunday cantata composition with

Graupner, adding up to hundreds of lost scores. Graupner had apparently left similar instructions to his family, but his heirs saw a financial opportunity in his manuscripts, and immediately

43 Daniel Heartz, and Bruce Alan Brown, "Galant," Grove Music Online, ed. Deane Root, accessed February 19, 2019, http://www.oxfordmusiconline.com.

26 began trying to negotiate with the court at Darmstadt in order to endeavor to sell the manuscripts.

The court felt that it should not have to pay for a product that they had already paid Graupner to produce, so this led to a decades-long negotiation, during which the family zealously guarded the scores, not allowing their dissemination or publication, and eventually ending in an agreement with the court, which immediately placed the manuscripts into the archives.45 The scores survived destruction during World War II bombings, but generally remained untouched by all but a few scholars until about 40 years ago.

Recently there has been a resurgence of interest in Graupner's compositions. There have been at least five doctoral dissertations and documents written on the subject of the cantatas over the past 40 years, and more recently, recordings have been made by groups in both Canada and

Germany. One conductor who has recorded Graupner's cantatas is Florian Heyerick, and in 2005, he partnered with Oswald Bill, Graupner's German biographer, in order to create a catalogue of

Graupner's works. Echoing catalogues for a number of Baroque composers, including J. S. Bach, this catalogue is called the Graupner Werke Verzeichnis (GWV). For GWV numbers, the first number indicates the genre, and the last numbers indicate the work number. In the case of the religious cantatas, the first number indicates the particular Sunday for which the work was written, and the second number indicates the year it was composed. Hence, the catalogue is as follows:

45 Cortens, 23-24. 27

Table 1.1. The Graupner Werke Verzeichnis Catalogue

Genre GWV listings

Keyboard Works 100-150

Chamber Music 201-219

Concerti 301-344

Overtures 401-485

Symphonies 501-612

Cantatas 1101/xx-1177/xx (xx corresponding to the year of composition)

28

CHAPTER 2: THE GERMAN PROTESTANT CHURCH CANTATA

A. Factors which Influenced the Development of the German Protestant Church Cantata

Any discussion of the development of the German Protestant church cantata must begin with the of (1483-1546), beginning in 1517. While other Protestant reform movements focused on music as a point of reform, resulting in both the English Anthem and the Calvinist Psalm, no other movement placed music in a place of prominence more than

Luther's. Luther argued that music was a donum dei, a gift from God, rather than a human construct, and saw no separation between music and theology, often using music as a catechetical tool in order to present theological ideas.46 Seeking to enhance the participation of the congregation, and to further the catechesis of the church, Luther developed the "chorale," thus replacing the of the Roman with a unique musical language, delivered in the vernacular, and combinative of both Roman and secular German musical influences.47

Early Lutheran composers used the chorale much in the same way that their Catholic predecessors had used Gregorian chant, often as a cantus firmus in polyphonic choral music and organ compositions. Early four-part homophonic settings place the cantus firmus in the tenor part, showing influence from the German Tenorlied, but by the late 1500s most four-part chorale settings were written with the melody in the soprano part. The polyphonic writing of this time was principally influenced by the Franco-Flemish school of Josquin des Prez (1450-1521), who

46 , ed., The Cambridge Companion to Bach (Cambridge: Cambridge University Press, 1997), 40.

47 William J. Reynolds, Milburn Price, and David W. Music. A Survey of Christian Hymnody (Carol Stream, IL: Hope Publishing Company, 1999), 102.

29 was the most well-known, most widely printed, and perhaps the most important composer of the era. Johann Walther (1496-1570), the first Kantor of the emerging Lutheran church, composed polyphonic in the style of Josquin and also published the Geystliche gesangk Buchleyn

(1524), considered one of the first Lutheran hymnals, a collection of choral arrangements of contemporary texts, mostly by Luther himself.48

While the primary influences on German music in the early sixteenth century were from the Franco-Flemish school, by the late sixteenth century the primary area of influence for the entire European continent had shifted to . In Italy, two developments stand out as being particularly influential for Germany; the birth of opera in Florence and Rome, and the developments of the Venetian polychoral school, particularly the compositions of Andrea

Gabrieli (1532-1585), (1554-1612), and (1567-1643).

Venice quickly became a study and pilgrimage destination for composers, especially church music composers, throughout Europe. It was relatively easy for Catholic composers to incorporate the new musical style into their work, as the genres and liturgical framework were the same. Protestant composers, however, faced a challenge; combining the Italian style with the musical language of the Lutheran church, especially the chorale.49

One of the first major German composers to bring the Italian concertato style to Germany was Hans Leo Hassler (1564-1612). In 1584, at the age of twenty, Hassler was sent to study with

Andrea Gabrieli at San Marco in Venice. He spent a year and a half in Italy, and was exposed to many new musical techniques, including cori spezzati and a more creative use of instruments in

48 , Music in Early : Shaping the Tradition (1524-1672) (St. Louis: Concordia Academic Press, 2001), 29.

49 Manfred Bukofzer, Music in the Baroque Era (New York: W.W. Norton, 1947), 78.

30 sacred music. He also experienced and synthesized new developments in madrigal and other secular forms, bringing all of this influence back to his positions in Germany. While he served a

Catholic family for fifteen years after his return, after his patron's death he served as a Lutheran organist, spending the last four years of his life as the court organist in Dresden. He composed two collections of Psalms and Spiritual Songs during this time, setting chorales in both homophonic settings and elaborate polyphonic style, often using chorale fragments as points of imitation (as opposed to the cantus firmus based chorale motets of the Johann Walther and other composers from earlier generations).50

In the generation that followed Hassler, two composers stand out for their contributions to the transmission of Italian musical influence in early Baroque Germany,

(1571-1621), and Heinrich Schütz (1585-1672). Praetorius is most famous for creating the first comprehensive musical encylopedia, Syntagma Musicum, which cataloged every known type of composition and musical instrument.51 Secondly, and perhaps most important for the development of Protestant church music, Praetorius wrote over 1200 chorale settings in a wide variety of styles. These compositions ranged from simple harmonizations to large-scale polychoral works in the Venetian style. In the words of Baroque scholar Manfred Bukofzer:

Praetorius discriminated between three manners of chorale arrangement, "motet-wise," "madrigal-wise," and "cantus-firmus-wise." In the first manner the chorale pervaded the contrapuntal interplay of all the voices; in the second, the chorale was proken up into small fragments and motives set in concertato dialogue; in the third, the cantus firmus was left intact and led against ostinato motives also derived from the chorale- a procedure obviously borrowed from the organ chorale. Only the first and last manners belonged to the , the second showed Praetorius on the way to chorale concertato, but all three were to become important for the elaborate chorale treatment of the future.52

50 Schalk, 74

51 Walter Blankenberg, rev. Clytus Gottwald. "Praetorius, Michael," Grove Music Online, ed. Deane Root, accessed February 4, 2020, http://www.oxfordmusiconline.com.

52 Bukofzer, 84. 31

Heinrich Schütz is generally regarded as the most significant and influential composer of the early German Baroque. Schütz made two study trips to Italy during his lifetime, first spending 1608-1612 studying with Giovanni Gabrieli in Venice, and then returning sixteen years later in 1628, this time studying with and absorbing the style of Monteverdi. Schütz is notable for the almost complete absence of the chorale in his compositions, but his transmission of Italian style and influence on the remainder of the German Baroque is undeniable.53

B. The Birth of the German Protestant Church Cantata

Grove's Encylopedia of Music and Musicians defines a cantata as "a work for one or more voices with instrumental accompaniment."54 Such a broad, general definition is testament to the myriad forms the genre would take on during the Baroque period. The cantata first developed in Italy in the early , combining solo madrigal with operatic techniques, especially recitative. By the 1650s, it had developed into a secular form, generally for solo voice and continuo, consisting of two or three recitative-aria pairs. This secular form, however, was not widely emulated in Germany, and the major German composers of Italian secular cantata did not write such pieces for performance in Germany. G. F. Handel, for instance, was prolific in his composition of secular cantatas, but he did not write such pieces during his time working in

Germany.55 Rather, the German adaptation of cantatas was almost entirely a sacred form.

Furthermore, while the form of the Italian secular cantata was rather standardized (generally the

53 Joshua Rifkin, Eva Linfield, Derek McCulloch, and Stephen Baron. "Schütz, Heinrich," Grove Music Online, ed. Deane Root, accessed 15 January 2020, http://www.oxfordmusiconline.com.

54 N. Lee Orr. "Cantata," Grove Music Online, ed. Deane Root, accessed January 15, 2020, http://www.oxfordmusiconline.com.

55 Hicks, "Handel, George Frideric." 32 pieces were for one or two vocal parts and only contained recitative-aria pairs), German composers drew from a wide variety of both larger and smaller forms, and selected texts from a diverse group of sources.

Two early Baroque composers who contributed to the development of the cantata in

Germany were Johann Schein (1586-1630) and Samuel Scheidt (1587-1654). Schein worked as the in Leipzig roughly one hundred years before Johann Sebastian Bach. While he composed in a number of genres, his contribution to cantata was a collection of chorale-based for 3-5 voices with basso continuo. These compositions show a synthesis of the chorale-based compositions of Michael Praetorius, with whom Schein would have been familiar, and the cantus firmus treatments of Claudio Monteverdi. Samuel Scheidt, a friend of Schein, spent his career in Halle, not far from Leipzig. He is credited with developing the chorale motet, in which all the verses of a particular chorale are set in separate movements. This technique was copied by many cantata composers, perhaps most notably by J. S. Bach in works such as Christ

Lag in Todesbanden, BWV 4, in which Bach uses seven unaltered verses from the namesake chorale as the texts for the seven vocal movements.

One characteristic of the German Baroque that set it apart from the artistic movements in

France or Italy was its lack of a central influence, such as the artistic centers of Paris, Florence, and Rome. Both because of the damage inflicted by the Thirty Years War and because of the regional nature of Germany, development of various musical, poetic, and artistic forms took place on a regional level, with significant variety from region to region. So, while many of the important developments in the German Protestant cantata occurred in the Saxon towns of

Leipzig, Dresden, and Halle, there were other important centers of development as well. One of these was the north German town of Lübeck, where first (1614-1667) and then 33

Dieterich Buxtehude served as organists at the Marienkirche. Although they were both organists, whose primary duties were not related to the composition of vocal music, they were far more prolific in vocal composition than the Kantors of Lübeck, even if they were primarily known as keyboard composers in their day. Tunder studied in Italy as a young man, and many scholars believe he studied with (1583-1643). His compositions combine a florid,

Italianate style with the more conservative chorale, and he wrote a variety of Latin and German church music, including cantata settings of Lutheran chorales, such as Ein feste Burg and Wachet auf.

Following Tunder's tenure in Lübeck, Dieterich Buxtehude, as organist for the

Marienkirche, built the musical reputation of the city to new heights. He was well-known throughout Germany for his organ improvising and for the musical performances at Abendmusik, a series of concerts held on five Sunday evenings throughout the year. While Tunder's

Abendmusik concerts featured organ performances, vocal, and instrumental music, Buxtehude greatly expanded the musical forces, performing works for chorus and orchestra. This necessitated building four additional balconies in 1669 in order to accommodate up to forty performers.

Buxtehude wrote vocal works in four different languages, although most of his works are in Latin or German, particularly German poetic texts. These works generally fit into one of three categories: sacred concerti, arias, and chorale settings. He combined these shorter works into composite works that fit into our modern understanding of the Protestant cantata, although as mentioned earlier, the term cantata was most strongly associated with secular works in the late seventeenth century. These works generally began with an instrumental , which was followed by a sacred movement. Beyond these two movements, however, Buxtehude 34 was varied in his approach to form, although generally his cantatas also contain at least one aria movement, often many more, and sometimes a . There are only four Buxtehude cantatas that combine all three forms, but these are important works, as the combination of these three elements during the early eighteenth century would become the basic form of most choral cantatas, and given Buxtehude's prominence among German composers and musicians, it is likely that Graupner and J. S. Bach would have had some familiarity with his work.

In the minds of modern scholars and historians, perhaps no other city in Germany is as associated with the German Protestant church cantata than Leipzig. Musicians in Leipzig were responsible for contributing many developments to the genre, and the genre arguably reached an apex in the compositions of J. S. Bach for the Thomaskirche during the 1720s. Leipzig was settled as early as the seventh century, and it quickly became an important center of trade and culture. Located at the juncture of important European trade routes, the city hosted three important trade fairs throughout the year which helped to build considerable wealth and prestige.

In 1539, Luther brought his reforms to the city, preaching in the Thomaskirche on Pentecost

Sunday. Thereafter, the town became officially Protestant, and the long lineage of distinguished

Thomaskantors made the town a major center of Church music.

The works of Johann Schein, and his contributions to the cantata, have already been discussed. He was followed at the Thomaskirche by Tobias Michael (1592-1657) and Sebastian

Knüpfer (1633-1676), both of whom wrote sacred works in both Latin and German that could be described as "sacred concertos." For the purposes of this study, however, the two musicians who would follow Knüpfer, Johann Schelle and Johann Kuhnau, are more significant, as Graupner studied with and performed under both men, and emulated their compositions. 35

Johann Schelle was Thomaskantor from 1677 until his death in 1701. Schelle's earliest musical education was in Dresden, singing as a member of the court chapel under Heinrich

Schütz. He attended the Thomasschule in Leipzig, and . His cantatas show influence from Praetorius and Schein in that they use the chorale melody as a cantus firmus and fragmented segments of the chorale melody in the instrumental and vocal parts. Most significant for the genre, however, Schelle incorporated operatic techniques in his compositions, especially in his orchestral techniques, and his introduction of recitatives and arias.

When Schelle died in 1701, he was succeeded by Johann Kuhnau. Kuhnau had studied in

Dresden with the court musicians there, and later attended Leipzig University, studying law.

While at the university, he became heavily involved in the musical scene in Leipzig, and was appointed organist at the Thomaskirche in 1684, at the age of twenty-four. He was a true renaissance man, with interests in law, mathematics, foreign languages, and significant talent as a writer. He is one of just a few major cantata composers to have written his own texts.

Kuhnau was somewhat conservative in his sacred music composition. In 1693, the

Leipzig opera company was founded, and Kuhnau faced a constant battle against theatrical music, as the clergy whom he was required to please were staunchly opposed to operatic music in church. In order to combat any suspicion of operatic sympathies, he did not use recitative/aria pairings until quite late in his career.

36

C. Textual Sources

The German Protestant cantata would not have been able to develop in the same way if it were not for a legion of Lutheran poets and a plethora of poetic texts. There are two principal factors that gave birth to and continued to foster Lutheran religious . The first was Luther's emphasis on the vernacular, highlighted by his translation of the and his own poetic chorale texts, and the second was the rise of the Pietist religious movement.56

Around the turn of the seventeenth century, there was much concern for the reform of the

German language, with disparate groups throughout the Empire working to standardize the language. At this point there were still Latin and French words in the German language, and there was widespread regional variation. In contrast to France or England, Germany lacked a central capitol that had the power and influence to create standards of culture, so the task of guarding the individuality of the German language fell to a few small groups of individuals spread across the Empire.57

Most German writers of religious texts were clergymen or musicians, but there were also writings from gifted amateurs as well. Using Luther's Bible translation as inspiration, many authors attempted their own of books from the Bible, especially the Psalms and the

Song of Solomon. The lyrical nature of these texts was a natural draw for composers, and in the early seventeenth century, settings of Psalm translations became quite popular, as seen in collections such as Heinrich Schutz's Psalmen Davids, Op. 2, SWV 22-27. One early Protestant poet from this time was (1597-1639), a librettist and literary theorist who is

56 Steven Sturck "The Development of the German Protestant Cantata from 1648 to 1722 " (PhD dissertation, North Dakota State University, 2009), ProQuest Dissertations & Theses Global, 21.

57 Hajo Holburn, A History of Modern Germany 1648-1840 (New York: Alfred A. Knopf, 1964) 164-165.

37 considered by some to be the "father of German poetry." Opitz was a Lutheran who later converted to Calvinism, but he served patrons throughout Germany, both Catholic and

Protestant. Opitz wrote in High German and regularized rhyme schemes, meters, and strophic forms.58 His texts were set by (1611-1675) and Heinrich Schütz, among others. Opitz was the librettist for Schütz's opera Dafne, which is now lost, but is considered the first German-language opera.59

The most direct influence of Martin Luther on the cantata was through the continued development of the . As noted earlier, Luther himself penned many of the first chorales, and others in his generation and the following generation contributed to the growth of the genre. However, the late sixteenth and early seventeenth centuries ushered in a golden era of chorale writing, when German poetry reached its most mature development. Thought by many to be the greatest of the chorale writers, Paul Gerhart (1607-1676) wrote many texts, 134 of which survive today. They include many still used in Protestant hymnals today, most notably, O Haupt voll Blut und Wunden. Other important chorale writers whose works were later set by composers such as Bach and Graupner include (1556-1608), Johann

Heerman (1585-1647) (the writer of Herzeliebster Jesu, the chorale Graupner uses in Wo Jesus gehet hin?), (1607-1667), Jakob Ebert (1549-1614), and (1609-

1640).60

58 Julie Anne Sadie, ed. Companion to (New York: Schirmer Books, 1991), 224.

59 Mara R. Wade. "Opitz, Martin," Grove Music Online, ed. Deane Root, accessed February 3, 2020, http://www.oxfordmusiconline.com.

60 Sturck, 24.

38

The impact of the Thirty Years War on the German religious and social psyche cannot be underestimated. By many historian's estimates, up to 20 percent of the German population died directly in the conflict, and when conflict related famine and disease is taken into account, up to

45 percent of the German population perished. In the aftermath of this enormous tragedy, a number of religious movements began that moved away from an intellectual and theological approach to Christian life, and towards an approach that emphasized individual devotion and living a Christian life. The most influential and successful of these movements is called Pietism.

The so called "father" of Pietism was Philipp Spener (1635-1705), a Lutheran theologian who was chief pastor of the church in Frankfort. In his writings, he argued for private Bible study and daily personal devotions, and while he did not dismiss the need for communal sacramental worship, he argued that it was insufficient on its own to achieve individual piety and service to

God.61 Spener's writings did not find favor with the orthodoxy of the church, who felt that his ideas were devoid of theological content and too simplistic, but his ideas, combined with a population for whom sacramental worship seemed inadequate to explain the enormous losses in their lives, gained hold in many areas of Germany and he remains influential in certain evangelical movements today. For poets of the day, Pietism provided a framework in which to emphasize the individual. Pietist hymnody of the day was subjective, and emphasized personal feelings over theological maxims. The language was florid and dramatic, and highlighted the wide array of human emotion.

The Lutheran establishment rejected Pietism, and most composers of the time were not pietists, as the movement rejected traditional worship, feeling it to be much too rigid and formal.

61 Traute Maass Marshall, rev. Robin Leaver, "Spener, Philipp Jakob," Grove Music Online, ed. Deane Root, accessed February 3, 2020, http://www.oxfordmusiconline.com.

39

This included elaborate musical performances, reason enough for composers to be more attracted to traditional , which provided a familiar framework within which they could practice their craft. However, composers did incorporate pietistic ideas into their compositions.

The personal nature of pietist religious poetry was valuable as an expressive tool, and by the turn of the eighteenth century, most cantata librettos show some influence from Pietism, often combining pietist texts with more orthodox poetry or Biblical texts in order to preach both the

Law and the Gospel through music. Through these texts, and with the influence of other musical genres such as opera, the cantata shifted from teaching the Gospel to preaching the Gospel, essentially serving as a musical sermon. A final textual development that helped lead to the peak of the German Protestant church cantata was the Neumeister reform.62 Around 1700, German theologian and poet Ermann Neumeister began publishing librettos that he specifically referred to as "cantatas." His poetry is madrigalesque, and included recitative and aria sets. Neumeister referred to his cantatas as "a piece out of opera," drawing a direct line between the dramatic form and its sacred counterpart.63

D. The Cantata in Darmstadt During Graupner's Tenure

While the destruction of important documents, primarily in WWII, makes it challenging to determine the week to week liturgical practices of the Darmstadt court, there is a disparate group of documents that, when combined, provide a clearer picture. Every year in Darmstadt, the court printed text books of the entire year's cantata texts. While many of these text collections

62 Kerala J. Snyder. "Neumeister, Erdmann," Grove Music Online, ed. Deane Root, accessed February 4, 2020, http://www.oxfordmusiconline.com.

63 Sturck, 50.

40 were destroyed in bombings, some collections survive, all from the first few years of Graupner's tenure. From those booklets, it is clear that the cantatas Graupner composed were intended to be performed during Sunday liturgy at the Schlosskirche, the chapel which was a part of the

Landgrave's residence.64 It is notable that the services at the Schlosskirche were not necessarily held just for the Landgrave, as he would have often been away at other residences on Sundays.

Ludwig VIII, who assumed power in 1739, did not have the same interests as his father and only came in to worship in the city on high holy days.65 However, in 1712, for instance, the court printed 130 copies of the text booklet, and included a note letting anyone interested know that further copies were available from the local book binder. This would seem to indicate that the usual Sunday congregation at the Schlosskirche was not just the Landgrave and his family, but also likely included other members of the upper class of Darmstadt.66

Current scholarship is unable to detail the liturgical practices of the Darmstadt court before 1724, but in the 1720s a revision of the liturgical books occurred, resulting in the 1724 publication of a new Kirchen-Ordnung. This book details the order of worship and structure for the usual Sunday service. This was first published in 1574, and then revised in 1662, making the

1724 revision the second undertaken. The document is conservative in its language, and it would seem that continuity with the first and second versions of the book was a goal. Given this, and the fact that these works were not referred to contemporaneously as "cantatas," it is no surprise that there is no place explicitly listed for the "cantata" in the order. However, music is mentioned

64 Cortens, 76.

65 Ibid.

66 Christoph Großpietsch, Graupners Ouverturen und Tafelmusiken: Studien zur Darmstädter Hofmusik und thematischer Katalog (Mainz: Schott, 1994), 26.

41 many times throughout the document. The order of service is as follows (the numbers correspond to numbers in the Kirchen-Ordnung):67

Table 2.1. The Liturgical Order at the Darmstadt Schlosskirche

1. The singing of a hymn by the students (“die Schüler”)

2. The singing of the Introit

3. The singing of the Kyrie and the Gloria

4. The reading of the Epistle

5. Either the singing of a Sequence or “good German Psalms” (“gute Teutsche Psalmen”)

6. The Gospel is read from the altar

7. The Credo is either sung or spoken

8. The Sermon-before the Sermon, a hymn is sung while the presider moves from the altar to the pulpit 9. A “short recollection and admonition of the communicants”

10. the confession and absolution of sins

11. The consecration

12. A short song to accompany the priest leaving the pulpit

13. Confirmation, if necessary

14. Communion

15. The dismissal (with a song of praise)

67 Cortens, 97. 42

Music was obviously a very important part of liturgy in Darmstadt, so it may appear surprising that there is no mention of a regular Sunday cantata in this document, but it is important to remember that this document would have been intended for use in all of Hessen-

Darmstadt, including the smallest village church, and it would have been important for such instructions to be more general than specific in order to be applicable for all possible situations in the Landgraviate. In other areas in Germany, Leipzig for instance, the Sunday Cantata was performed between the Gospel and the Credo,68 but that would seem unlikely in Darmstadt given that music is not mentioned in this particular place in the document. Given that the cantata would have been the musical highlight of the service, and with the intention of preaching the Gospel through music, it would have been centrally located in the liturgy. Therefore, it is likely that the cantata was performed either before the Gospel (in place of the "good German Psalms") or in between the Credo and the Sermon, as those are two places where music is specifically required in the Darmstadt liturgy.

68 Wolff, 256. 43

CHAPTER 3: WO GEHET JESUS HIN?

A. Manuscript Sources

One unique aspect of Graupner's place in music history is the fact that the vast majority of his compositional oeuvre has survived in original, intact form. There are a considerable number of compositions known to have been composed by J. S. Bach that no longer exist, for example, and a large portion of Kuhnau's compositions are lost. The opportunity to study a prolific, relatively unknown Baroque composer's work in its entirety represents both an opportunity and a challenge to the scholar. In the case of Christoph Graupner, however, many important foundations have been laid by previous scholars, perhaps none more important than the work of Oswald Bill, Christoph Großpietsch, and Florian Heyerick and the Universitäts-und

Landesbibliothek Darmstadt. These scholars have worked with this institution to categorize, catalogue, and publish all existing manuscripts both on the Christoph Graupner Gesellschaft webpage and on the International Music Score Library Project webpage. This has created access to these works for scholars around the world, widening availability to anyone with a computer and an internet connection. The primary source for this document is the original manuscript score of Wo gehet Jesus hin?, dated by the composer to have been finished on January 31st,

1739, just over a week before the first performance of the work on Sunday, February 8th, 1739.

This score was accessed online via the Universitäts- und Landesbiliothek webpage.69

Over the years, there have been editions of a number of Graupner's works prepared, edited, and published, the earliest being a collection of seventeen cantatas that were edited and published by Friedrich Noack, a Darmstadt musicologist, in 1926. This collection, which

69 Christoph Graupner, Wo gehet Jesus hin?, accessed February 15, 2019, http://tudigit.ulb.tu- darmstadt.de/show/Mus-Ms-447-05.

44 includes Wo gehet Jesus hin? was intended primarily for musicologists. This edition of Wo gehet

Jesus hin? serves as a secondary source for this document.

After this reintroduction of Graupner's cantatas to the musical world, interest was renewed into his compositions of other genres as well, and for the following decades publications of new editions focused almost exclusively on instrumental works. Finally, during the latter half of the twentieth century and the first part of the twenty-first century, focus began to turn back to Graupner's choral works, which represent the largest portion of his ouevre by a large margin. This focus is now driven by two groups: the major scholarly-minded musical publishing houses of Europe and a few smaller publishers, and scholars, both professional and amateur, who are editing and preparing works for publication in the public domain on IMSLP. The number of compositions edited and published by the latter group is substantially larger than the number published by the former, and as one might expect, standards of musical engraving and historically-informed musical publication are not as uniform in the works published on IMSLP.

In addition, these editions are often not necessarily prepared with the conductor in mind, many lacking separate instrumental parts and realized basso continuo. The early editions of Friederich

Noack suffer from some of these drawbacks as well, as he used historically accurate C clefs and did not provide instrumental parts. It is for these reasons that this scholar has decided to re- examine the manuscript of Wo gehet Jesus hin? and produce a new edition that is designed with performance in mind.

B. Textual Sources and Librettists for Graupner's Church Cantatas

A unique characteristic of the cantatas of Graupner is that, unlike the cantatas of J. S.

Bach, who drew librettos from a wide variety of poets and sources, the vast majority of 45

Graupner's cantata librettos were written by two poets, and Johann

Conrad Lichtenburg. Lehms was a well-known poet and librettist who wrote novels, free poetry, librettos for operas, and cantata texts. His texts were not only used in Darmstadt, but throughout

Germany, as evidenced by the fact that J. S. Bach himself set a number of Lehms texts, including his famous early work for solo soprano, Mein Herze schwimmt im Blut, BWV 199.70 Lehms was appointed in Darmstadt in 1710, and by 1713 had become a member of Ernst Ludwig's council.

There are existant libretto books of Lehms' texts dating from 1711, 1712, 1715, and 1716.

Graupner began composing cantatas for the court almost as soon as he arrived in 1709, but no books of cantata texts exist for 1709 or 1710, leading scholars to speculate that Graupner might have had texts from his time in Hamburg that he set in Darmstadt. In 1717 there are only four known works, leading many to believe that there was a hiatus in cantata composition for that year.

From 1718 until 1743, all of Graupner's cantata texts were written by Johann Conrad

Lichtenberg. In addition to being Graupner's brother-in-law, Lichtenberg was a pietist theologian, who, as a local pastor, rose through the ranks of clergy to become Darmstadt town pastor in 1745 and Superintendent in 1749.71 The pastor wrote librettos for over 1300 of

Graupner's works, the vast majority cantatas. Lichtenberg's librettos were important for the musical form of Graupner's cantatas, as the librettos for an entire year was published at once, and

Lichtenberg was clear in his librettos about exactly what the function/form of each movement

70 This cantata text was also set by Christoph Graupner in 1712, also for solo soprano and also in the key of c minor. It is unknown whether or not Bach was familiar with Graupner's composition, although some scholars have surmised that it may have been Graupner who sent the text to Bach.

71 Marius Bahnean, "The Good Friday Cantatas of Christoph Graupner (1683-1760)" (DMA Monograph Louisiana State University, 2014), 35.

46 would be. In the words of Henry Cutler Fall, from his dissertation on Graupner's passion cantatas:

The textual plan of the cantatas, and consequently the musical structure, was stabilized relatively early in the eighteenth century. The opening movement (dictum) was drawn from Scripture or rarely from a chorale strophe, and announced the central theme of the work. This was followed by alternating recitatives and arias of an exegetical nature. These sections were predominantly free poetry, though they occasionally utilized biblical verse or chorale texts. The cantata texts normally concluded with a chorale strophe. Most often the entire text was sectionalized to provide for seven musical numbers, frequently including quite lengthy recitatives.72

C. Musical Style i. The Galant

Graupner's use of the galant was in contrast to the prevailing practice of many German late Baroque composers, who were writing in an older, more contrapuntal, austere style.

Theorists such as Wilhelm Marpurg contrasted “fugal texture with the freedom of galant writing.” Another theorist and contemporary of Graupner, Johann Mattheson, differentiated the galant style from “the strict or church style.”73 Graupner was remarkable in his composition in both of these styles, contrapuntal and galant, throughout his composition career, and these contrasting styles are both used in Wo gehet Jesus hin?.

Graupner's use of both of these techniques can be seen in contrasting movements from

Wo gehet Jesus hin? and concurrently within individual movements. In the second movement, the A section of this da capo chorus is centered around two different compositional ideas. The first theme shows many elements of the galant, including short periodic melodies, balanced phrases, homophonic texture, and the primacy of the melody line. The second theme

72 Fall, 38.

73 Heartz and Brown, "Galant." 47 relies on a point of imitation, showing influence from the older, more contrapuntal style of composition. This contrast is shown in Musical Examples 3.1 and 3.2:

Musical Example 3.1. First Theme from the A Section of Movement II (mm. 1-8)

48

Musical Example 3.2. Second Theme from the A Section of Movement II (mm. 15-18)

Other movements (except for the recitatives) show similar contrast when compared to each other, although the styles are more consistent throughout each movement. The two chorale movements, for instance, are characterized by stile antico,74 complete with a long-note cantus firmus in the bass line (mvt. III) and tenor line (mvt. VII), both based on the passion chorale

Herzeliebster Jesu. On the other hand, the soprano aria, movement V, is firmly in the galant, with a balanced melody that is supported by "contrapuntally-enlivened homophony," that is to say, harmonic accompaniment that shows some elements of but essentially functions as homophonic harmony. This theme is shown in Musical Example 3.3:

74 A term signifying a historically-conscious approach to composition, especially the use of elements of Renaissance style in later, usually sacred, works. The term has been applied to music from many historical periods, from the end of the sixteenth century to the twentieth. (from Grove Music Online)

49

Musical Example 3.3. Primary Theme from Movement V (mm. 1-3)

The second theme of the movement features a motivic, simple melody in the strings, and although there are some elements of high Baroque counterpoint present, such as sequential transposition and some chromaticism, overall the theme is in the stile galant, as shown in

Musical Example 3.4:

Musical Example 3.4. Secondary Theme from Movement V (mm. 53-56)

50 ii. Liturgical Opera? Operatic Influence in Graupner's Church Cantatas

On May 8th, 1693, the Leipzig opera house opened its doors. The previous year, a license had been granted by the Saxon Elector to Dresden Kapellmeister (1640-

1700) to start an opera company in the city. 1693 was also the same year that the ten year-old

Christoph Graupner moved to Leipzig and began his studies at the Thomasschule. The Leipzig opera was very much a local affair, featuring mostly local composers and performers, and performing for an audience of wealthy residents, university students, and trade show visitors.

The first opera performed in the new opera house was Alceste, by Strungk. Records show that

Gottfried Grünewald, a fine singer and composer, and Graupner's future vice-Kapellmeister, presented an opera of his own in 1703, and that Johann Heinichen, Graupner's close friend, was well-represented, presenting three of his operas in 1709.

Graupner seems to have only worked as a singer at the opera, there is no record of any of his compositions during his Leipzig years, but even this involvement would have contributed heavily to the young composer, who had taken on the task of learning all he could from other composers, and developing his own musical voice. In Graupner's autobiographical sketch from

Grundlage einer Ehren-Pforte, he mentions his musical education from this time, using theatrical works as a reference, saying,

Because I had offered to serve Kuhnau as a copyist, and wrote for him for a good while, it gave me the opportunity I had wished for to see many good things, and if a doubt should arise, I [would] ask for an oral explanation, how to understand this or that. Through daily industry I got it bit by bit, so that I no longer feared either church or theatrical things; but firmly went forth.75

It is significant here that Graupner mentions "theatrical things," as this signifies that in serving as copyist to Kuhnau, he was likely involved with copying more than just sacred vocal works, and

75 Mattheson, 412. 51 that he both learned from and aspired to create music for the theatre as well. It is likely that

Graupner is referring to copying Kuhnau's now lost dramatic works, as Kuhnau was resistant to incorporation of theatrical techniques such as recitative and da capo arias in his sacred works.

Either way, it is important to understand that Graupner was learning about composition for the operatic stage in tandem with his education about sacred music.

When Graupner was forced to leave Leipzig and drop out of the university in 1706, his destination of choice was Hamburg, which would be a natural choice for a budding composer set on learning more about opera. Although Hamburg had been an important center for liturgical music during the seventeenth century, by 1706 the church music scene in the city was in a period of decline, and would remain so for fifteen years until the appointment of Telemann as Kantor in

1721. Opera, however, was in a period of unprecedented prominence in the city, with the reputation and prestige of the Oper am Gansemärkt having spread to all of Germany since its inception in 1683. Reinhard Keiser, the music director of the opera, was considered by many of his contemporaries as the best operatic composer in Germany, with Matheson referring to him as

"the finest opera composer in the world." While there are not many biographical details of

Graupner's time in Hamburg, it is likely that Keiser and Graupner had a sort of master/apprentice relationship, and by Graupner's second season, the opera house was programming Graupner's operas. By the time Graupner left Hamburg in 1709, he had composed six operas for the company, and had collaborated with Keiser on three others. Graupner's works written for the

Hamburg Oper am Gansemärkt are listed below:

52

Table 3.1. Graupner's Operas in Hamburg: 1707-1709

Year Title Composer Librettist

1707 Das Carneval von Graupner/Keiser Meiser and Cuno

Vendig

1707 Dido Graupner Hinsch

1707 L'Amore ammalato Graupner Feind

1708 Bellerophon Graupner Feind

1708 Die lustige Hochzeit Graupner/Keiser Cuno

1708 Hercules und Theseus Graupner Breymann

1709 Heliates und Olimpia Graupner/Keiser Unknown (Keiser?)

1709 Simson Graupner Feind

Source: Data from Evans Cortens, "The Sacred Cantatas of Christoph Graupner: Music at the Intersection of Opera and Theology" (PhD dissertation Cornell University, 2014), ProQuest Dissertations & Theses Global, 186-187.

Graupner's experiences working for the Hamburg opera and Reinhold Keiser were highly influential on the young composer. For the remainder of his career, Graupner built upon the operatic innovations and style he learned in Hamburg. Among others, two of Keiser's stylistic innovations stand out as being important for Graupner and for the development of German opera.

The first, and perhaps most important, is Keiser's approach to the relationship between text and music, particularly in recitative, and the second is Keiser's approach to orchestration and orchestral colors.

In the words of Keiser biographer John H. Roberts, "Central to Keiser's approach to opera was an intense concern for the relationship between music and text. The chief aim of music, he held, was the expression of the emotions contained in a poetic text, which in the case of opera 53 meant not merely abstract states of feeling but the actual of the characters."76 While this innovation can be seen in Keiser's arias, it is most evident in his approach to recitative.

According to Mattheson, Keiser was the first composer to pay close attention to the punctuation of his texts, and to observe these rhetorical distinctions musically. This means using deliberate musical effects, including cadences and pitch level, in order to more effectively communicate the emotional meaning of a text, as seen through the eyes of the character delivering the text. In the analysis of Wo gehet Jesus hin? that follows, several places are identified in the recitatives where

Graupner uses these techniques in order to better express the text.

D. Wo gehet Jesus hin? i. Background Information

The cantata which is the focus for this project, Wo gehet Jesus hin?, is listed in

Graupner's catalogue as GWV 1119/39. As mentioned earlier, the first number corresponds to the Sunday of the liturgical year and the second to the calendar year in which the piece was written, so therefore it can be determined that Wo gehet Jesus hin? was written for the final

Sunday before Lent, known as Estomihi Sunday,77 and it was written in 1739.

Wo gehet Jesus hin? is formally structured in seven movements, with one accompanied recitative, two da capo movements (one for chorus and one for soprano solo), two secco recitatives that help to propel the story, and two chorale settings, which are, because of their compositional complexity, not meant to be sung by the congregation, but by the chorus. The

76 John H. Roberts, "Keiser, Reinhald," Grove Music Online, ed. Deane Root, accessed February 15, 2020, http://www.oxfordmusiconline.com.

77 This term, which Graupner uses in his manuscript, is derived from the incipit of the Gregorian Introit for the Sunday, Esto mihi in Deum protectorem. 54 chorale movements are not typical for Graupner's cantata chorales, which generally feature simple 4-part harmony in the chorus layered on top of rich, complex, instrumental figurations.

The chorales in Wo gehet Jesus hin? feature stile antico counterpoint and instruments playing colla parte with the vocalists. The piece is scored for SATB chorus, SATB soli, strings (2 violins, viola), and basso continuo (violincello and/or viola da gamba, bass, and keyboard). The overall structure is as follows:

Table 3.2. Overall form and structure of Wo gehet Jesus hin?

Movement: Forces: Texture: Form: Key: I. Wo gehet Jesus Bass solo, Strings, Accompanied Through- A minor hin? Continuo Recitative composed

II. Ach, saurer Gang SATB Chorus, ATB Polyphonic Da Capo A minor soli, Strings Continuo Chorus III. Herzeliebster SATB Chorus, Polyphonic Through- D minor Jesu Strings, Continuo Chorale composed IV. Das Fleisch ist Soprano solo, Secco Through- B-flat Major leider blind Continuo Recitative composed V. Jesu öffne mir Soprano solo, Strings, Aria Da Capo B-flat Major die Augen Continuo VI. Der Geist hat Bass solo, Continuo Secco Through- C major alle Recitative composed VII. Dies alles, ob's SATB Chorus, Polyphonic Through- D minor für schlecht Strings, Continuo Chorale composed

Graupner's librettist for this cantata, and his librettist for most of his cantatas, was Johann

Conrad Lichtenberg. Movements III and VII use a popular chorale tune and text, Herzeliebster

Jesu (now known in American Lutheran hymnals as "Ah, Holy Jesus"). The text of this chorale is by (1585-1647) and the tune, which was written to match this text, is by 55

Johann Crüger (1598-1662).78 Graupner sets verse one in movement III and verse fourteen in movement VII. The libretto, along with an English translation, is seen below:

Table 3.3. Text and Translation of Wo gehet Jesus hin?

1. (Recit Acc.-Bass) Wo gehet Jesus hin? 1. Where is Jesus going? Er spricht: Ich gehe hin zum Leiden. He speaks: I go to suffering. Kommt Seelen, laßt uns mit ihm ziehn; Come, souls, let us go with him; schweigt aller Freuden, das reine Lamm eilt silence all joys, the pure lamb hurries to the zum Altar, es will ein Opfer werden. altar, it wants to become the sacrifice. Nehmt solcher harten Schickung wahr; es ist From such a hard fate take this truth; there is kein größer Wunder hier auf Erden. no greater miracle here on earth.

2. (Aria-SATB) Ach, ach saurer Gang, den 2. Oh, sour passage that Jesus is going to, Jesus gehet, wer kann doch solchen Weg who can understand this walk? verstehn? Soll Davids Sohn Schmach unt Hohn den Is David's son suffering the severe shame herber Kreuzestod erleiden? Wie? and mockery of crucifixion? How? Kann er solchen Pfad nicht meiden? Ach Can he not avoid such a path? But no! He nein! Er will ihn gerne gehn. gladly wishes to go to it.

3. (Chorale-SATB) , was 3. Heart's beloved Jesus, how have you hast du verbrochen, daß man ein solch sharf transgressed, that such a harsh sentence has Urteil hat gesprochen, was ist die Schuld, in been pronounced? What is the guilt, of what was für Misetaten bist du geraten? kind of misdeed are you accused?

4. (Recit-Sop) Das Fleisch ist leider Blind, 4. Unfortunately, the flesh is blind to den Leidensrat des Herrn und seine Wunder understand the Passion of the Lord and his zu verstehen. miracles. Es ist nicht so wie er gesinnt, es wollte gern It is not like he is, he wanted to go up with mit ihm auf Ehren höhen gehen. him in honor. Allein der Weg zur Kreuzesschmach scheint But the way to the cross seems to him to be ihm au hart zu sein, drum geht es furchsam tough, so he goes fearfully forth. nach. Schwachgläubige, seht ihr's nicht ein, der Weak believers, you do not see it, as the Heiland fällt zwar in der Sünder Hände, Savior falls in the hands of sinners, but the allein des Himmels Herrlichkeit ist seiner glory of heaven alone is the end of his Leiden Ende. sufferings.

5. (Aria-Sop) Jesu, öffne mir die Augen, daß 5. Jesus, open my eyes, so that I can ich deine Leidensbahn, mir zum Trost, mir understand your path of suffering, to my zum Trost verstehen kann. consolation.

78 Reynolds and Price, 102.

56

Ach, ich will sei gern beschreiten, sollt ich Oh, I would like to walk, but should I finally aber endlich gleiten, ach so nimm dich fall, oh take care of me. meiner an.

6. (Recit-Bass) Der Geist hat alle Willigkeit, 6. The Spirit has all willingness, in time, O in deiser Zeit, o Gottes Lamm, mir dir den God's Lamb, to walk the path of suffering for Leidenspfad zu gehen. me. Doch ach, das Fleisch ist oft zu schwach, die But alas, the flesh is often too weak to stand harten Proben auszustehen. the hardships. Jedoch in deiner Kraft will ich den Nachgang However, in your strength I want to dare to wagen. follow. Ich tue, was ich kann, ich will mit dir des I do what I can, I want to carry the cross with Kreuzesbürde tragen. you. Ach Jesu nimm den guten Willen an. Oh, Jesus, accept the goodwill.

7. (Chorale-SATB) Dies alles, ob's für 7. But worthless is my sacrifice, I own it; schlecht zwar ist zu schätzen, wirst du es Yet, Lord, for love's sake You will not doch nicht gar beiseite setzen, in Gnaden disown it; You will accept my grace in Your wirst du dies von mor annehmen, mich nicht great meekness nor shame my weakness. be schämen.

ii. Analysis of Individual Movements

1. Wo Gehet Jesus hin (Dictum: Recitative Accompagnato-Bass)

The cantata begins with an accompanied recitative, set for the entire orchestra and for the

Bass soloist. Lichtenberg began many of his cantata librettos with a "Dictum," which functions as an introduction to the thematic material of the remainder of the work. The strings begin with an A minor triad, followed by an opening rhythmic gesture that is then echoed by the soloist, as seen in Musical Example 3.5:

57

Musical Example 3.5. The Opening Measures of Movement I (mm. 1-4)

Generally, throughout the movement, the strings provide the harmonic framework for the soloist, but Graupner uses two different textures in the strings to illuminate the text. In the first 12 measures the soloist quotes Jesus "I go to suffering" and exhorts the listener to join him on

Christ's journey to self-sacrifice, while the strings sustain half and quarter notes. This evokes a sort of "halo" effect, perhaps inspired by the late German Baroque practice of accompanying recitative depicting the words of Christ with sustained strings, first used in the Matthäus-Passion by Johann Sebastiani (1622-1683),79 and best seen in J. S. Bach's Matthäus-Passion, BWV 244.

These sustained tones in the upper string parts are seen in Musical Example 3.6:

79 John D. Arnn, rev. by Dorthea Schröder, "Sebastiani, Johann," Grove Music Online, ed. Deane Root, accessed February 1, 2020, http://www.oxfordmusiconline.com. 58

Musical Example 3.6. Sustained "Halo" Effect in the Strings, Movement I (mm. 9-11)

In the final eight measures the soloist's focus shifts to the deeper meaning of Christ's sacrifice, singing "from such a hard fate take this truth," and the string texture becomes more varied, featuring eighth note and eighth rest alternations that create a punctuating effect. This effect becomes especially pronounced at the climactic moment when the soloist ascends to the highest pitch in the solo line on the text "es ist kein größer Wunder hier auf Erden" (there is no greater miracle on earth). The strings then extend the cadence an additional two measures to a peaceful C major cadence, which is seen in Musical Example 3.7:

Musical Example 3.7. Textual Illumination in the Vocal Part and String Texture Changes at the End of Movement I (mm. 15-18)

59

The literary and musical function of the first movement is to be an invitation to the faithful to join the journey of Christ's sacrifice. The idea of a "prologue" which sets up the action and reflection of the remainder of the work has its roots in theatrical music, and is yet another feature that shows that like J. S. Bach, Graupner's cantatas are intended to be miniature sacred operas. The piece moves through several key centers, beginning firmly in A minor, but also featuring cadences in C Major, E minor, and finally settling in C Major by the end of the movement.

2. "Ach sauer Gang" (Aria-SATB Chorus)

The second movement is an SATB chorus with full orchestra that is marked "aria" by

Graupner. While in modern times an "aria" is generally considered to be a composition for a soloist, in Graupner's cantatas, it referred to a body of poetry that had a specific function in the cantata; to provide an opportunity for reflection among the "body of believers," that is to say, the congregation. This is a function and result of the influence of the Pietist movement in all facets of Lutheranism in Baroque-era Germany. The piece is in da capo form, which is no surprise, given the function of this text and music as an "aria" in the overall structure. The "A" sections comprise the first (and last) 36 bars, and the "B" section is comprised of bars 33-61.

This movement highlights Graupner's combination of galant and contrapuntal compositional techniques, and the contrast of these styles. The first theme of the "A" section shows many elements of the galant including short periodic melodies, balanced phrases, homophonic texture, and the primacy of the melody line. The first portion of the theme outlines a descending 9th in mm. 4-5 that matches the Affekt of the text, giving the movement a feeling of pain and sorrow. This melody contains an augmented second, creating the essence of a diminished chord. The difficulty of examining this melodic motive from a harmonic point of 60 view points to its conception within the stile galant, as the melody is conceived primarily with the effect of the melody itself in mind, rather than to outline a specific harmony. The effect created is one of sorrow and anguish, expertly illuminating the text "sauer Gang" (sour passage).

The 9th chord motive is featured most prominently in the soprano and bass parts, as seen in

Musical Example 3.8:

Musical Example 3.8. The Opening Measures of Movement II (mm. 1-6)

61

The second portion of the first theme is a simple sigh motive on the text "den Jesus gehet," which Graupner emphasizes by repeating the motive in a homophonic texture. The second theme of the "A" section is in a more typical high Baroque style, which features a point- of-imitation that is repeated throughout the choir and orchestra. Graupner repeats each of these themes twice, featuring different key areas throughout. The overall periodic structure of the section is as follows:

Table 3.4. Period Phrase Structure of the "A" Section of Movement II. mm. 1-14 Theme 1 mm. 15-18 Theme 2 mm. 19-24 Theme 1 mm. 25-32 Theme 2

One other unusual moment in the "A" section occurs at the choral cadence, which precedes the instrumental cadence by 4 measures. While the chorus sings a perfect authentic cadence on the text "wer kann doch solchen Weg verstehn?" (who can understand this walk) the first violin (which has generally been playing colla parte up until this point), adds a high G, the

7th of the chord, setting up the harmony for the final 4 bars of the section. This is seen in

Musical Example 3.9:

62

Musical Example 3.9. The Choral Cadence of the "A" section, Movement II (mm. 30-32)

The final four bars of the "A" section feature contrapuntal flowing lines in the strings, which

Graupner may have intended to signify the walk that is discussed in the text, as seen in Musical

Example 3.10:

63

Musical Example 3.10. The Instrumental Cadence of the "A" section, Movement II (mm. 33-36)

The "B" section shows considerable influence from opera. First the Alto and Tenor soloists, and then the Bass soloist engage in a conversational call and response with the chorus.

From m. 37-48, there are two phrases, driven by suspensions and longer notes in the solo parts, and punctuated by forceful homophony in the chorus. From m. 49-54, the conversation between the Bass soloist and the chorus is particularly dramatic and poignant, as the Bass sings "Kann er solchen Pfad nicht meiden" (can Jesus avoid such a walk), and the choral response is direct and sudden: "Ach nein!" (Oh no!). The phrases feature some elements of galant, such as the motivic structure, and are well balanced, but they also feature imitation, and provide a clear example of the simultaneous deployment of Graupner's two primary influences, as seen in Musical Example

3.11:

64

Musical Example 3.11. Dramatic "Conversation" Between the Bass Soloist and the Chorus, Movement II (mm. 50-52)

Harmonically, the movement begins in A minor, and never remains firmly in any other key for more than 1-2 measures.

3. "Herzliebster Jesu" (chorale-SATB Chorus)

The third movement is a 4-part contrapuntal setting of the first verse of Herzliebster Jesu, the passion chorale written by Johan Heerman and set to music by Johann Crüger. The form, 65 following that of the chorale itself, is through-composed. The cantus firmus is in the Bass part, and doubled by the continuo, in long notes. The upper three vocal parts, with instruments colla parte, sing stile antico counterpoint. While Vorimitation80 is an important compositional technique for chorale settings, and is seen in the 7th movement, there is no Vorimitation in this movement. The phrases overlap, with the upper parts singing throughout, while the bass line takes rests in between each chorale phrase. The orchestra plays a brief introduction before the vocal parts enter, using suspensions and dissonance in order to set the Affekt81 of sorrow, as seen in Musical Example 3.12:

Musical Example 3.12. Orchestral Introduction to Movement III (mm.1-3)

The counterpoint is florid, with melismatic movement in each of the upper voices, and the harmonies are somewhat chromatic. This movement, stylistically, is firmly stile antico, drawing contrast between it and other movements, which lean more towards the galant.

Graupner's approach to the entrance of the cantus firmus is seen in musical example 3.13, and the melismatic, stile antico writing is seen in Musical Example 3:14:

81 The doctrine of the Affekts is a theory of musical aesthetics, widely accepted by late Baroque theorists and composers, that embraced the proposition that music is capable of arousing a variety of specific emotions within the listener. At the center of the doctrine was the belief that, by making use of the proper standard musical procedure or device, the composer could create a piece of music capable of producing a particular involuntary emotional response in his audience. (from Encyclopedia Brittanica)

66

Musical Example 3.13. Choral Entrance of Movement III, Showing Stile Antico Writing (mm. 4- 6)

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Musical Example 3.14. Florid Counterpoint in Movement III (mm. 25-27)

4. "Das Fleisch ist leider blind" (Recitative-Soprano)

Both secco recitatives in this cantata are typical of the era, but their inclusion (and the inclusion of secco recitative in nearly all of Graupner's cantatas) is more evidence of the considerable influence of opera in his writing. Graupner is a master of text setting in this fashion, using every opportunity to highlight the dramatic and climactic moments of the text. Particularly poignant in the 4th movement is Graupner's attention to the words "Kreuzesschmach" (shameful 68 cross) and "Schwachgläubige" (weak believers). Graupner uses diminished harmonies and an effective rhythmic stop in order to illuminate this text. Finally, the soprano ascends to the highest pitches in the movement on the final phrase, drawing attention to the phrase "ist seiner Leiden

Ende" (the end of his suffering). These effects are seen in Musical Examples 3.15 and 3.16:

Musical Example 3.15. Diminished Tonality on "Kreuzesschmach," Movement IV (mm. 7-8)

69

Musical Example 3.16. Cadential Preparation and Rhythmic Stop before "Schwachgläubige," Final Phrases Showing Ascending Pitches, Movement IV (mm. 10-18)

70

5. "Jesu, öffne mir die Augen" (Aria-Soprano)

The fifth movement, and the emotional center of the cantata, is an aria for Soprano and orchestra. This is the most compositionally complex movement, as well as being the longest. The form, as one might expect, is da capo form, and begins in B-flat major, before moving to D minor for the "B" section. The "A" section begins with an opening instrumental ritornello featuring a jovial but elegant melody played by the violin I, while the remainder of the orchestra provides accompaniment. Graupner uses sequential motion and transposition to build to the entrance of the soloist, repeating the opening material up a step, as seen in Musical Example

3.17:

Musical Example 3.17. The Orchestral Ritornello from Movement V (mm. 1-6)

71

The soprano part is highly virtuosic, featuring melismatic passages and rhythmic syncopations. The text is intensely personal, and the metrical poetry shows considerable pietist tendencies, with the singer imploring Christ to open the eyes of the faithful so they may join him on his "Leidensbahn" (suffering path.) Graupner emphasizes this word to great effect in his writing, setting it with a rising, syncopated melisma that outlines a diminished harmony, seen in

Musical Example 3.18:

Musical Example 3.18. Text Painting on "Leidenbahn," Movement V (mm. 14-16)

As would be expected of a da capo aria, the "A" section closes with a repeat of the opening instrumental ritornello.

The "B" section begins with the vocalist, with the orchestra playing an eighth note accompaniment figure. The melodic material is motivic, featuring pairs of slurred eighth notes, creating a sigh motive, as seen in Musical Example 3.19:

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Musical Example 3.19. The Opening Measures of the "B" section of Movement V (mm. 53-55)

The poetry becomes even more personal, with the poet stating his desire to walk with

Jesus but his trepidation at the thought of encountering challenges along his path. Graupner again hones in on the most dramatic words in the text, using text painting on the word "beschreiten" (to walk), setting it both times as a long, melismatic passage of moderately fast eighth notes

(Example 3.20), and most notably on the word "gleiten" (to fall), illuminating it with a series of fast descending 4ths which ends with a sudden fermata (Example 3.21). In between these episodes, Graupner marks the score Adagio, slowing the motivic development to a halt above an extended cadential pedal point.

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Musical Example 3.20: Text Painting on "Beschreiten," Movement V (mm. 61-65)

Musical Example 3.21. Text Painting and Descending 4ths on "Gleiten," Tempi Changes, Movement V (mm. 69-72)

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It is fitting that this central movement serves as the longest and most developed movement of the cantata. The textual content, and its dramatic and personal nature, serve as the central theme of the cantata text. All previous movements of the text set up this personal prayer to Christ.

6. Der Geist hat alle Willigkeit (Recitative-Bass)

In the sixth movement, a secco recitative for bass voice, Graupner uses many of the same dramatic techniques as in the fourth movement, the other secco recitative in this cantata. Again, he is closely attentive to both the structure and the meaning of the text. One illustration of this is his practice of ending each sentence the bass sings with a perfect authentic cadence. A particularly poignant moment occurs near the end of the movement, when the soloist implores

Christ to accept his help in carrying the cross. Graupner slows down the textual rhythm for this measure, leading to a passage that is almost arioso in nature, and particularly tender, as seen in

Musical Example 3.22:

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Musical Example 3.22. Arioso Moment in Movement VI (mm. 12-16)

7. "Dies alles, ob's für schlecht" (chorale-SATB Chorus)

The final movement of the cantata is a second setting of the chorale tune "Herzliebster

Jesu," this time using the 14th verse of Johann Crüger's text. The movement is scored for SATB chorus and orchestra. Graupner's setting is similar to his setting in the third movement, using stile antico writing in order to illuminate the chorale text, but he uses a few different compositional techniques in this movement. To begin, the cantus firmus line is in the tenor part, reflecting the practices of Renaissance composers, and Graupner uses Vorimitation82 to introduce each phrase of the chorale (Example 3.23). The instruments are colla parte throughout. The

82 Vorimitation is a compositional technique that uses portions of a cantus firmus, usually the first few notes of each line, in order to provide the contrapuntal building blocks for a point of imitation. It is generally used for each phrase before the entrance of the cantus firmus. 76 harmonic content is relatively diatonic, and certainly less chromatic than the third movement.

The melodic content, while not necessarily imitative throughout, is firmly in the stile antico.

Musical Example 3.23. The Opening Bars of Movement VII, Showing Vorimitation and a Tenor Cantus Firmus (mm. 1-6)

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CHAPTER 4: PERFORMANCE PRACTICE CONSIDERATIONS

It is fortunate that Graupner's original manuscripts have survived to the present day, but history has not been as kind to most of the remainder of official documentation from the court in

Darmstadt. The city of Darmstadt was bombed repeatedly during World War II, most significantly on the night of September 11th, 1944, when over the half the city was destroyed by a night of Royal Air Force fire-bombing.83 Included in this destruction were major libraries such as the Hessische Landesbibliothek, and hundreds of thousands of books and documents were lost. Most official court documents from Graupner's time were destroyed in the bombings, and the musical manuscripts were only saved by a decision to include them with the most important volumes and documents, which were spirited to the countryside to avoid destruction.84 It is, therefore, impossible to turn to many original source documents when determining what the prevailing conditions in the court were and how these conditions affected music making.

Because of this, many present day decisions regarding performance practice must be informed by writings by musicians, theorists, and teachers of that day. Darmstadt was not culturally isolated and throughout Graupner's residence, there was a constant flow of musicians from and to other areas in Germany, Italy, France, and even England.85 These musicians brought with them an expertise in prevailing performance practices, and their presence undoubtedly influenced the practices at the court. It may be assumed that many of the practices of the time that are discussed in the scholarly literature would also apply to Darmstadt during Graupner's time. Writings by Carl Philipp Emanuel Bach (1714-1788), his father Johann Sebastian Bach,

83 John Millet, "The Bombing of Darmstadt - WWII, 1944," Quadrant 39 (1995): 64.

84 Cortens, 18.

85 Bill, 49.

78 and Johann David Heinichen are critical for learning of keyboard continuo performance practice of the Baroque, and writings by Francisco Geminiani (1687-1762) are helpful when determining proper string playing technique.

A. Historical Performing Conditions in Darmstadt i. A Brief History of the Hofkapelle from 1666-1758

While the court at Darmstadt achieved peak prominence as a center for cutting-edge musical performance and composition during Graupner's time, the conditions that made such prominence possible had their beginnings in 1666. It was in that year that the widowed

Landgrave Ludwig VI (1630-1678) married for the second time. His bride was Elisabeth

Dorothea of Saxon-Gotha-Altenberg (1640-1709), an artistically talented woman who became a motivated champion of music and the arts in the court. Soon after her arrival, she began to take interest in and responsibility for the Hofkappelle, which was not in very good state. She arranged for her music teacher, Wolfgang Karl Briegel (1626-1712), who lived in Gotha, to join her in

Darmstadt, and he quickly established himself both as a composer and teacher.86

When Ludwig VI died in 1678, he left behind Elisabeth Dorothea and their eight children, the oldest of whom, the future Landgrave Ernst Ludwig, was only eleven years old.

Elisabeth Dorothea reigned on his behalf for the next ten years, and focused her ambitions on rebuilding the theatre, codifying regulations for the court musicians, and making sure her children received an excellent musical education. To this end, Ernst Ludwig received lessons in composition and keyboard from Briegel and also learned to play the lute. In 1685, he and his

86 Kramer, 334.

79 brother Georg were sent to Paris on a Kavaliersreise87 and they remained there for six months.88

Two violinists from the court accompanied them and were able to gain knowledge of the prevailing musical practices and style in Paris at the time. After their return, the court engaged four French musicians along with the French-trained gambist August Kühnel, cementing the

French influence in the musical life of the court with a performance of Jean-Baptiste Lully's

(1632-1687) Acis et Galatée in order to celebrate Ernst Ludwig's marriage to Dorothea Charlotte of Ansbach in December of 1687. Ernst Ludwig had attended the work's premiere in Paris. In

1688, Ernst Ludwig took the reins of leadership from his mother and became the Landgrave.

One of his most important early appointments was of Ernst Christian Hesse (1676-1762) in 1694, to play viola da gamba for the Hofkapelle. Hesse was then sent on a three-year musical study trip to Paris in 1698, and in the early eighteenth century he toured Europe extensively as a gamba virtuoso, travelling to many important cultural and musical centers such as London,

Hamburg, and Dresden. Throughout his travels, he maintained correspondence with the Ernst

Ludwig, reporting regularly about musicians he had met during his travels whom he could recommend for appointment in Darmstadt.

Ernst Ludwig also travelled extensively, and one of his favored destinations was

Hamburg, in northern Germany. In the spring of 1708, he spent several weeks there, attending many shows at the Oper am Gänsemarkt. By this time, Johann Christoph Graupner had begun his work as a harpsichordist with the opera and had also premiered some of his own works. The

Landgrave was impressed by the young Graupner, and offered him a post with the Darmstadt

Hofkapelle. Wolfgang Briegel (1626-1712) remained as the Kapellmeister, so Ernst Ludwig

87 A "grand tour" of Europe often undertaken by young adults in the nobility

88 Elisabeth Noack, Musikgeschichte Darmstadts vom Mittelalter bis zur Goethezeit (Mainz: Schott, 1967), 220. 80 initially appointed Graupner as the Vice-Kapellmeister, but in 1711, just two years after

Graupner's arrival, Briegel took ill and in 1712 Graupner was appointed Kapellmeister and made responsible for "die music sowohl in alß außer der Kirchen" (all the music both within and outside of the church). One of his few extant employment contracts states that Graupner was to direct, but also to "make himself available for accompanying on the keyboard whenever necessary, and to compose no less." The fact that the point of reference in this contract is the church may be somewhat surprising given Ernst Ludwig's interest in French theatrical music and the context within which he met Graupner. The Landgrave was most familiar with the composer's work through opera performances in Hamburg. The specific wording of the contract provides a clear picture of the week-to-week priorities at the court. Sunday cantata performances provided a constant, fixed framework. However, other occasions requiring composed music were not as regulated or regular. One of the primary reasons the Landgrave hired Graupner was his considerable skill as an opera performer and composer, but there is little firm evidence remaining that details either the scheduling or frequency of the performance of such works, although there is manuscript evidence of a number of operas that he wrote, including ten written for performance in Darmstadt.89

Due to a build-up of interest and resources during the approximately forty years preceding Graupner's arrival in Darmstadt, when he was first appointed Kapellmeister he had at his service an unusually large and skilled group of musicians. With forty-six people on the

Hofkapelle staff, his resources were all the more remarkable given that Darmstadt was not as wealthy or as much of an artistic hub as Hamburg, Berlin, Dresden, Leipzig, or many of the major cities of Germany. However, this high level of funding and staffing was not to remain for

89 Cortens, 214.

81 the entirety of Graupner's tenure. During the late 1710s, it became obvious that the court was spending outside of its means, and in 1717 an accumulated debt for both the court treasury and war chest of two million Gulden was recorded. The direct result of this debt was that the

Hofkapelle musicians' pay was not distributed as evenly and regularly as before. It was not long before the musicians began to search for employment elsewhere, and request their dismissal.

Frequently these requests were denied, even though the court was still unable to pay the musician. These financial problems led to many musicians leaving without permission, including some who were granted vacation time and did not return, and some who left under cover of darkness in the middle of the night. By the end of the second decade of the 1700s, this resulted in a considerable loss in membership, and a number of the members who had left were singers, resulting in a significant reduction in the performing forces Graupner had available to him.90

Throughout the remainder of Graupner's tenure in Darmstadt, which officially ended with his death in 1760 (it effectively ended in 1754 when he became blind and was unable to fulfill his duties effectively), the financial situation at the court did not improve. While Graupner himself was, according to the terms of his revised contract from 1723, given financial priority and was not made to go without resources for his family, the court continued to have significant troubles paying salaries to court musicians. Because of this, the court continued to lose musicians. For example, the departure in 1729 of Johann Michael Böhm (1685-1753), a talented wind player and brother-in-law to Telemann,91 only increased the work load on Graupner, as

Böhm had taken responsibility for providing music for secular concerts and Tafelmusik (table music). On September 12th, 1739, Landgrave Ernst Ludwig died, and documents regarding his

90 Kramer, 345-6.

91 Ibid, 337.

82 funeral services detail that the court provided mourning clothes for 26 musicians, at least five of whom were not paid members of the Hofkapelle, meaning that the human resources that

Graupner relied on to perform his music had decreased from forty-six people at the Hofkapelle's peak to twenty-one by 1739.92 Ernst Ludwig's successor, his son Ludwig VIII, did not pay heed to the financial problems of the court, living an extravagant lifestyle that included an obsessive interest in hunting, even hiring a painter to paint hunting scenes for the court. This meant that during the 1740s, the financial situation deteriorated even further, to the extent that by 1745 even Graupner himself was owed a year's salary. Nevertheless, he continued to compose prodigiously, even taking on new projects such as a cycle of passion cantatas in the 1740s, and he continued to do so until he was forced by continuing health problems to effectively stop his work as Kapellmeister in 1754.93 ii. Tuning and Pitch in Darmstadt

The histories of both western tonal music and western instrument design are intrinsically relational and intertwined, particularly during the Baroque period. The late Baroque during

Graupner's time represents a unique snapshot in the progression of both tonality and instrument building. When the Baroque period began in approximately 1600 composers were most often using modal systems of harmony and melody, where dissonance and affect were conveyed primarily by hexachordal systems of transposition. Instrumental tuning followed these compositional principles, with pythagorean tuning systems such as quarter-comma meantone being prevalent for instrumental use. These tunings are best used in a limited number of tonal areas, and so as tonal innovations were made during the Baroque period, including composition in all 24 chromatic major and minor keys, tuning systems were developed. These tunings include

92 Ibid, 360. 93 Kramer, 353. 83 various systems of well-tempered tuning, and then finally, equal temperament, where all 12 chromatic pitches are tuned in an equal ratio to the other (or, as some might say, equally out of tune!). The lack of a standard system of tuning such as equal temperament94 meant that there could be significant regional variation in tuning systems, both in the relationship of pitches to one another and the frequency of the actual pitches themselves.

Pitch was highly regional and even varied within instrument groups prior to the Baroque period.95 During the late 1500s and early 1600s, instrumental ensembles in conjunction with the organ began to be used more frequently in church, leading to the need for regional pitch standards, so that at the very least, the frequency of performing pitch could become more consistent. In his treatise Syntagma Musicum (1618), Michael Praetorius noted the following:

"First of all it should be said that pitch frequently varies in organs and other instruments. This is because playing together with all kinds of instruments was not a common practice among our ancestors." Praetorius is likely referring to the emergence of "broken consorts," that is, instruments from different groups playing together in the same ensemble. Praetorius identifies two general pitch categories, labelling one Chorton, and referring to the other by a number of names, but most often as Cammerton. Using a modern A-440 as a reference labelled "A0,"

Chorton is identified as being roughly A-415 or "A-1," and Cammerton as being roughly A-465, or "A+1." However, these are not absolute values, and in fact, there is at least one example of an existant organ from the period which was referred to as "rechten Zimberthon," another label for

Cammerton. The organ is pitched at A-477.96

94 Which emerged during the classical period as the default instrumental tuning of choice.

95 Information in the following pages is taken from Bruce Haynes, A History of Performing Pitch: The Story of "A" (Lanham, Maryland: Scarecrow Press, 2002).

96 Haynes, 79. 84

The 1670s brought the widespread dissemination of French culture and influence, including French musical instruments and musicians, throughout Europe. Bruce Haynes, a leading scholar who wrote The Story of A: Performing Pitch Throughout History, labels this the

"Instrument Revolution," and attributes it to political and economic factors. First, in the late

1600s, Germany and England were in recovery from the devastation of long wars. Secondly, many musicians in France had compelling reasons to leave the country, both because of the increasingly anti-Protestant atmosphere and Jean-Baptiste Lully's monopoly on the musical resources of Paris. These musicians, and their instruments, spread throughout Europe, and were adopted at various German courts and cities by the . By the 1690s, instrument builders in

Germany were building French woodwind instruments. The new French instruments were generally lower in pitch than their German predecessors, and most importantly, their pitch levels were more standardized. By about 1700, there were three different levels of Cammerton being used in German instrumental music, A-415, A-403, and A-390, with the last being referred to as

"tief-Cammerthon" or "Operathon."

Given the number of musicians moving to and from Darmstadt to work for the Kappelle during the time before and immediately after Graupner's arrival, it may be safely assumed that the influence of all of the above developments on the court there would have been substantial.

There is no way of knowing the exact frequencies of pitch used in Darmstadt during Graupner's time, although examining cantata parts in conjunction with organ-building documentation provides an approximate idea of what pitch levels were used. Scholar Bruce Haynes, in his book, deems Darmstadt to be an important enough musical center to include it in the cities of his specific research in in early 18th-century Germany. His report is included in entirety below:

When Christoph Graupner first arrived in Darmstasdt in 1709, the organ at the Schloßkirche was apparently unusable; a new organ was built by Vater but was not 85

finished until 1711. During the interim period, Friedrich Noack wrote, "the continuo parts of the early cantatas, especially those from the cycle of 1709, are nearly always transposed a tone." In other words, Graupner would have notated all the parts in Cammerton except the continuo. Koch reports that Cammerton woodwinds are notated a M2 higher than Cornet-ton trombones in Cantatas 1712/34 and 1713/4.

In cantatas written during this period preserved at the Darmstadt library, woodwind parts (recorder, hautboy, bassoon) differed from continuo parts not only by a M2 but also a M3. This suggests the presence of woodwinds at two levels of Cammerton. Graupner wrote a number of operas in his first decade at Darmstadt which might have been at a low Cammerton. Some cantatas used both transpositions, but may have been involved later performances not limited to the Schloßkirche.

From the time the new organ was finished in 1711, the continuo parts show no further transpositions. Since earlier works did involve transposition, at least some stops on the new organ must have been pitched at Cammerton.97

The overall question, then, is what do these facts about pitch in Darmstadt mean to the contemporary conductor and editor of Graupner's cantatas, in terms of accurate performance practice, and in a particular way in relation to Wo gehet Jesus hin? The problems with pitch for the modern conductor are two-fold. First, how do the vocal parts work within the human voice at various pitch levels? Second, how feasible is it to pitch instruments or instrumental parts differently from modern pitch (A-440)?

B. Performance Practice Considerations for Modern Performers i.Vocal Performance Practice Issues

One of the most hotly debated topics among Baroque scholars in the past forty years has been the issue of ensemble size for performance of Baroque choral music, especially the cantatas of J. S. Bach. While the substantial research that has been done on Bach's performances in

Leipzig is an important reference for all German music from this time period, it is important to

97 Haynes, 217-218. 86 realize that the circumstances and forces for the performance of Graupner's works in Darmstadt differed substantially from Bach's situation in Leipzig. Bach was working with skilled amateurs, and local professionals in Leipzig, whereas Graupner had at his disposal some of the best singers and instrumentalists in Germany. Records indicate that twenty-three singers were employed by the Hofkappelle during Graupner's tenure, but in the lower parts, generally no more than two singers of each part at one time. For the first half of Graupner's tenure, he had one alto, tenor, and bass on the regular payroll.98 These are minimum numbers, as there were undoubtedly additional singers hired for special events and services, but from this information, it may be deduced that for most of Graupner's cantatas, the ensemble included one to three singers for each voice part.

One other matter of discussion regarding works from the German Baroque is the question of who sang the treble voice part. For a variety of reasons, in many of Germany's important institutions of religion, women did not sing in the choir. In Bach's situation in Leipzig, the treble part was sung by the boys of the Thomasschule. In Darmstadt, however, the documentation is clear. The treble part was sung by professional singers: adult women.99

ii. Modern vs. Baroque Era Bowed String Instruments

Instrument building and design has evolved throughout the course of music history, particularly among wind instruments. For a conductor preparing the works of Graupner,

98 Cortens, 91.

99 For more information on the status of women singers in Baroque Germany, see Samantha Owens, "Professional Women Musicians in Early Eighteenth-Century Württemberg," Music & Letters 82, no. 1 (February 2011), 32-50. For more information on arguments concerning J. S. Bach's choir in Leipzig, see Andrew Parrott, The Essential Bach Choir (London: Boydell & Brewer, 2000.) For more information and documentation regarding the performance situation in Darmstadt, see Ursula Kramer, “The Court of Hesse-Darmstadt,” in Music at German Courts, 1715–1760: Changing Artistic Priorities, ed. by Samantha Owens, Barbara M. Reul, and Janice B. Stockigt (London: Boydell & Brewer, 2011), 355. 87 familiarity with a number of historical instruments is helpful, particularly the Chalumeau, a predecessor to the clarinet that Graupner used extensively. However, for this particular study, it is necessary to focus attention on a particular work: Wo gehet Jesus hin? The instrumentation for this cantata is only for strings and continuo, so this document does not attempt to distinguish the differences between modern wind instruments and their historical counterparts, but instead focuses on the violin family of instruments, as it is the differences between Baroque violins, violas, and celli and their modern counterparts that are most relevant to this particular work.

While the differences between modern bowed string instruments and their Baroque counterparts are not as great as their brass or woodwind counterparts, there are still many significant changes to the mechanisms of sound production. The Baroque violin is somewhat similar to modern instruments, and to the untrained eye might look almost identical, but there are several fundamental differences between historical and modern instruments. These differences can be placed in three categories: differences in the design and structure of the instrument itself, differences in the materials used for sound production, particularly strings, and differences in both the design and manufacturing materials for the bow.

The design and structure of the Baroque violin was generally lighter and more delicate.

The neck was generally not angled downwards, as on modern instruments, and the bridge had a flatter curve. Most importantly for sound quality, both the bass-bar and the sound post, two important pieces of wood that provide support underneath the bass and treble sides of the bridge, respectively, were significantly smaller, both in diameter and height.100 Steel strings did not become commonplace on violins until the early twentieth century, necessitated by the playing

100 John Dilworth, “The Violin and Bow – Origins and Development,” in The Cambridge Companion to the Violin, ed. by Robin Stowell (Cambridge: Cambridge University Press, 1992), 21.

88 demands of late Romantic music and aided by the technological advances of the Industrial

Revolution. Prior to that, and certainly in the Baroque period, string instruments used strings made of sheep's gut, which is dried, stretched, and then twisted. These strings produce a sound that is warmer and richer than their modern counterparts, but not as loud. Perhaps most importantly, the essential design of the Baroque era bow was fundamentally different from the modern bow. The modern violin bow, which was first introduced by Wilhelm Cramer (1746-

1799) in the late eighteenth century and standardized by François Torte (1747-1835) in the early nineteenth century, is concave, and invariably made from an Amazonian timber called

Pernambuco.101 Baroque bows were concave, and generally made from snakewood, another

Amazonian timber that was heavier than pernambuco, which often necessitated fluting the wood along the length of the bow in order to achieve a lighter weight.102 Baroque bows were generally shorter and a little lighter than their modern counterparts. This creates a difference in how the bow must be used to achieve precise articulation and dynamic contrast, primarily in that bow speed, rather than bow weight, will be the primary factor guiding tone production and articulation. These bows are ideal for performing works from this period. David Boyden, author of the seminal book The History of Violin Playing from Its Origins to 1761: And Its Relationship to the Violin and Violin Making put it best in his article in Early Music, titled "The Violin Bow in the 18th Century," saying "reliable sources like Mersenne make clear that the bow was perfectly satisfactory for the music and players of that time. And today we know from surviving

101 Dilworth, 24-26.

102 Carl Engel, Researches into the Early History of the Violin Family (Amsterdam: Antiqua, 1965), 26.

89 bows that they are superior in some respects to the modern bow when used for playing music of their own time."103

For today's string players, access to historical Baroque violins or modern replicas is limited, but there are two changes that could be made that would more accurately recreate the sound of Baroque string instruments; using a historic Baroque era or modern Baroque replica bow, and playing on gut strings rather than modern steel or synthetic strings. In many places in the United States, even these changes might not be possible, both because of the unavailability of historical bows and the practical challenges of asking professional string players to play with completely different equipment for just one performance. In these situations, it is up to the conductor to correctly instruct the string players on how to best achieve the correct tone quality and phrasing for Baroque music. At a minimum, the conductor must ask the strings to control dynamics and articulation using bow speed as opposed to bow pressure. Ideally, the conductor would be familiar with the teachings of Francisco Geminiani (1687- 1762). In Geminiani's method, he emphasizes control of the bow, and following certain bowings, as critical to development of a finely controlled tone.104 Robert Donington, an English musicologist and string player, refers to the playing of Bach on the violin as being "robust, but not strenuous," that is to say, having a sense of fullness and not defaulting to a lighter tone quality, but not muscling the bow weight in the way a player might play a passage of Romantic era music.105

103 David D. Boyden, "The Violin Bow in the 18th Century," Early Music 8 (1980): 200.

104 Victor Rangel-Ribeiro, Baroque Music: A Practical Guide for the Performer (New York: Schirmer, 1981, 132-142

105 Robert Donington, "String Playing in Baroque Music," Early Music 5 (1977): 389. 90 iii. Basso Continuo

Many of the most critical decisions that are necessary for conductors to make in the performance of Baroque music involve the basso continuo. In fact, the influence of basso continuo is so substantial that during the Baroque period, it is this technique that most strongly defines the period, being a significant feature of the works of Monteverdi, George Frederic

Handel, and most European composers in between. Furthermore, the technique used to note the continuo, known as figured bass, became the default basis for teaching theoretical analysis and is still used in theory courses worldwide. For the conductor of Baroque music, the questions of basso continuo performance practice include, but are not limited to instrumentation, keyboard instrument, and realization.

There were a number of different instruments used in the continuo group during the

Baroque period. These instruments can be organized into four basic categories: bowed stringed instruments, plucked stringed instruments, wind instruments, and keyboard instruments.

Continuo groups almost always consisted of at least one instrument from the first three categories, and at least one keyboard instrument. Bowed string instruments included the bass , the double-bass, the violoncello, the viola da gamba, and others. Plucked stringed instruments included lute, theorbo, harp, guitar, and others. Wind instruments included bassoon and trombone, and while keyboard instruments included all contemporary keyboard instruments, the continuo was generally realized by organ or harpsichord. The decision of which instruments to use is guided by too many factors to detail in the scope of this project, but the most important factor is the instrumentation of the overall work, and particularly which melodic treble instruments were used. Augustino Agazzari, an Italian composer, divided instruments into

"foundation" instruments, which could play the bass and harmonize as well, "ornamentation" 91 instruments, which generally were not able to play the bass, and "melodic bass instruments," which were capable of playing the bass but not the harmony.106 Agazzari's use of continuo as a reference point in categorizing instruments underscores its importance in Baroque music.

Generally, in keeping with the Renaissance practice of writing for consorts of similar instruments, the modern conductor should look to the instrumentation as a guide. The melodic instruments used in the continuo group should come from the same instrument family as the melodic instruments used in the orchestration. Hence, bowed stringed instruments such as violoncello, viola da gamba and double-bass should be included when the instrumentation includes violins or violas, and wind instruments such as bassoon should be used when the instrumentation includes oboe or flute. The pitch of any solo part should also be taken into account when determining if a 16' pitch, such as the double-bass, is to be used. For example, during a Bass vocal solo movement, there is a possibility of the violoncello "competing" with the soloist, since they are roughly speaking in the same register. Therefore, one must be cautious about using violoncello in the continuo group in such a movement.

Unless the composer indicates tasto solo in the score, a harmonic instrument is necessary in the continuo group. In some styles of Baroque music, particularly in the British Isles, plucked instruments such as lute and theorbo would fulfill this role. Throughout Baroque music, and particularly in High Baroque Germany, the two instruments most strongly associated with this harmonic role are the harpsichord and the pipe organ.

According to continuo scholars Peter Williams and David Ledbetter, "from the beginning of the continuo period, the organ was specified or understood as the instrument for church music." However, Williams and Ledbetter go on to say, there were many situations in which

106 Colleen Reardon, "Agazzari, Augustino," Grove Music Online, ed. Deane Root, accessed July 7, 2020, http://www.oxfordmusiconline.com. 92 harpsichord was used for continuo playing in sacred music. In Italy, the organ was generally forbidden during Lent, so there are records of harpsichord use for Palm Sunday Passion performances at musical centers such as San Marco in Venice. Some German organs were built with a harpsichord stop, which would become increasingly necessary with the inclusion of operatic secco recitative in German church music. Some larger German churches, such as the

Thomaskirche in Leipzig, retained a harpsichord in the gallery, usually in the same general vicinity as the organ, indicating a larger role for the instrument in sacred music. Thus, there was no hard and fast rule for the use of one instrument or another, and plenty of evidence to suggest that they were somewhat interchangeable, and perhaps even used in conjunction with each other.

There is not currently any definitive evidence showing a hard and fast rule concerning

Graupner's choice of continuo instrument in Darmstadt. The most comprehensive discussion of the issue is in Evan Cortens' dissertation on the influence of opera in Graupner's cantatas.

Cortens provides a brief overview of the arguments made on the subject by previous scholars, focusing particularly on dissertations. While Friederich Noack suggests that Graupner himself may have played for cantata performances, there was an organist on the payroll at the Darmstadt court for Graupner's entire tenure, and it seems likely that the organist would have fulfilled this role. The existence of transposed parts for a number of continuo parts, along with thirty-nine scores labelled "organo" seems to imply that the organ was used at least part of the time. There are four cantatas, however, labelled "cembalo" implying that the harpsichord would have specifically been used for at least these works. However, there is not enough documentation in either direction to settle the question. While there are certainly many more continuo parts labelled "organo" than there are labelled "cembalo" (thirty-nine vs. four), the vast majority of

Graupner's continuo parts for cantatas (over 1300) are simply labelled "continuo." There is 93 documentation that two were purchased in 1711, and in particular an additional payment was made to Christian Vater, the organ-builder, in order to purchase a harpsichord "for the Kapellmeister," but there is no proof that either instrument was used in the Schlosskirche.107

It is known that Graupner, like many other musicians of his time, was a practical and flexible

Kapellmeister, as evidenced by his use of the organ to replace instruments for cantata performances where the instrumentalists were apparently unavailable, due to illness or other factors. An argument can be made that the modern conductor could use organ or harpsichord for performances of most of Graupner's cantatas, and while such a performance might not be able to be completely historically accurate, it could certainly be historically informed and true to the spirit of Graupner's performing situation in Darmstadt.

As the previous section on Baroque pitch shows, organs in Baroque Germany were not necessarily pitched the same as other instruments. It became common practice to transpose the continuo part for the organist, so that the pitch level of the continuo harmony was the same as the rest of the ensemble. What this means for the modern scholar is that educated guesses about pitch level can be made. These guesses are based on existing continuo parts, primarily by determining how far the parts are transposed and in what direction. Practices in Darmstadt are detailed in Cortens' research. Cortens has exhaustively examined all of Graupner's cantatas, and as Bruce Haynes states in his book, there was a new organ installed at the Darmstadt

Schloßkirche soon after Graupner's arrival. However, Cortens disagrees with Haynes on the reason why, as the organ was apparently given to another church in the area, casting doubt on

Haynes assumption that it was "unusable." Cortens feels the new organ is another of Graupner's reform measures, in order to further his musical aspirations at the court. Cortens similarly

107 Cortens, 139. 94 disagrees with Haynes as far as the pitch of the organ is concerned, theorizing that the entire organ was pitched in Cammerton, not just a few stops.108

By the High Baroque, writing for instruments such as in ensemble music was not as prevalent as in the Early Baroque, with a few notable exceptions such as J. S. Bach's use of viola da gamba in his passion settings. In the place of the viol consort, the use of violins, violas, and violoncelli for the stringed instrument group became standard, a standard that still exists in today's orchestral music. Therefore, given that the instrumentation of Wo gehet Jesus hin? is for strings and continuo only, it can reasonably be assumed that the stringed instruments used in the continuo group for the cantata included violoncello and double-bass.

In Baroque Germany, it was not common practice for composers to formally write out basso continuo realizations for keyboard instruments. It was a necessary part of training and practice for keyboard players of that era to have the ability to realize these parts using only the bass line and figures.109 With the onset of the piano becoming the dominant keyboard instrument, and the relegation of keyboard instruments to a non-essential role in instrumental ensembles, the level of focus placed on this skill became minimized in the keyboard methods that were developed during the nineteenth and twentieth centuries for both organists and pianists. As a result, the practice fell out of favor and became relegated to a small number of Baroque specialists. So, while the most historically informed and accurate performances of Baroque ensemble works would involve a keyboardist improvising a basso continuo part based on the

108 Cortens, 137.

109 Johann Sebastian Bach and Pamela L. Poulin, J. S. Bach's Precepts and Principles for Playing the Thorough-bass or Accompanying in Four Parts: Leipzig, 1738 (Oxford: Clarendon Press, 1994), xi-xv.

95 figures, in order to make performance of these works available to a wider audience of ensembles it is now necessary for an editor to make a keyboard realization of the continuo part.

Realized continuo scores for keyboard instruments have varied widely since Baroque works began to be published in the late nineteenth century. Some editors, especially before the early music revival of the late twentieth century, created realized parts that had more in common with orchestral reductions, freely composing new material based on the music the continuo was accompanying. In modern, 21st-century editions, editors tend to be more conservative in their approach, with better, more historically-informed results. In general, there seems to be two popular approaches to continuo realization in modern scores. The first provides the minimum number of pitches required by the harmonic indications in the score, and the second includes more ornamentation and a freer approach to the exact voicing of the figures. The advantage of the first approach is that it provides a general framework of a realized part while still leaving room for ornamentation, re-voicing, and other musical decisions made by the player. The advantage of the second approach is that it can provide a historically-informed realization, complete with ornamentation, etc., with no requirement that the performer add to the part.

Interpretation is a critical part of continuo playing in the view of this scholar and performer. The first approach is best suited for continuo performers today, who come to continuo playing with a wide variety of experience with and exposure to historical performance practice. This approach to continuo realization gives the amateur or the student the basic information to play the part, but also leaves plenty of room for a specially trained skilled player to add an improvisational musical touch.

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CHAPTER 5: CONCLUSION

There has never been a better time to research, explore, and perform music written during the Baroque period. The combination of a resurgence in scholarly interest in this era of composition and the advent of the internet means that manuscripts, as well as information concerning performance practice, are more accessible to the modern scholar/performer than ever before. In the past, this document, and much of the research that has been done on Christoph

Graupner, would not have been possible without lengthy travel in order to access European archives. In contrast, it is now possible to research this music from one's living room! This document provides a number of important tools for an effective, historically-informed performance of Wo gehet Jesus hin?, and indeed for performance of any of Graupner's cantatas.

While scholarship in the interest of pursuit of knowledge is admirable and necessary in any field of work, in the field of music, the end goal of this research is to provide information and analysis that will lead to a more historically authentic performance of Graupner's works, and to raise awareness of the works themselves.

This research can be divided into three categories: background information that is relevant to the performance of all of Graupner's works, specific analysis of Wo gehet Jesus hin?, and information concerning performance practice that is specific to Wo gehet Jesus hin?, although such knowledge can also be applied to many of Graupner's cantatas. From the first category, I have provided a detailed overview of Graupner's life and influences, as well as the history of the German Protestant Church Cantata, the genre from which this work comes, and to which Graupner contributed most of his oeuvre. In the second category, I have provided a detailed analysis of Wo gehet Jesus hin?, including details regarding the circumstances of it's composition, the libretto, and most importantly, musical analysis detailing Graupner's primary 97 compositional influences and how they are manifested in this cantata. In the last category, I have discussed the various performance practice issues that performing this work entails, including pitch and tuning, issues involving Baroque era string instruments, and questions involving the continuo group and realization of the keyboard part. While all of these issues have been touched upon in previous research, especially the five previous dissertations by American scholars, this marks the first time that these particular topics, all critical to effective performance of Graupner's works, have appeared together in a single study.

When I first learned of Graupner's music, I was struck by both its beauty and by its obscurity. I quickly developed a passion for sharing this music with the wider musical community. I also realized the potential for discovery in researching Graupner's works. These cantatas, along with those written by Johann Sebastian Bach, represent the apex of this important genre. Unlike Bach, whose music is now ubiquitous in most musical circles, Graupner has remained largely unknown, both because of the circumstances detailed in this document, and because of the overwhelming nature of his cantata output, which features over 1400 different works. It is my hope that this research will empower and inspire future scholars to further investigate this veritable treasure trove of unknown works, much in the same way that previous research inspired me to contribute to the body of scholarly work concerning Graupner. I anticipate investigation and performance of his works to be a lifelong process and passion, and I look forward to introducing additional works by Graupner into the body of repertoire.110

110 For those who wish to further explore Graupner's cantatas, the collection of works published by Carus- Verlag, available at https://www.carus-verlag.com/en/persons/christoph-graupner/, and the collection of works on the International Music Score Library Project website, available at https://imslp.org/wiki/Category_talk:Graupner,_Christoph are both excellent.

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One characteristic of history is that it tends to arbitrarily choose winners and losers, not necessarily rewarding skill and innovative creativity when deciding who should become celebrated and who should languish in obscurity. Through an unfortunate series of circumstances, Christoph Graupner has, until recently, been placed firmly in the second category.

With the increased scholarship and study of his works over the past fifty years, we are just beginning to learn the details of his compositional style, and gain a better picture of his place in

18th-century German music: that of an innovative, imaginative composer with a distinctive compositional language. There is both historic and artistic value to performing his works. The vast collection of over 1300 unpublished cantatas is daunting to both scholars and performers, as it can be difficult to determine the most important or beautiful compositions without the context that knowledge of his entire compositional output brings. It is my desire that this study will provide a blue print for future performers, scholars, and conductors, when investigating

Graupner's other cantatas. Additionally, I hope that as Graupner becomes more widely known, more of these works will be performed.

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APPENDIX: WO GEHET JESUS HIN?, SCORE AND PARTS

Wo gehet Jesus hin?, GWV 1119/39 (1739)

by

Christoph Graupner (1683-1760)

SATB, SB Soli, Strings (2 violins, viola), Basso Continuo

Autograph Scores from Universitäts- und Landesbibliothek Darmstadt/Graupner-Werke- Verzeichnis http://tudigit.ulb.tu-darmstadt.de/show/Mus-Ms-447-05

Full Score edited by Kevin Michael Seal

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Preface

Christoph Graupner (1683-1760) was the Kapellmeister for the court at Darmstadt, Germany, for almost fifty years (1711-1760). During this time his primary compositional duty was composing weekly cantatas for performance during Sunday services at the court chapel. For the first twenty-eight years of his tenure, he shared this task with vice-Kapellmeister Gottfried Grünewald, and for the following fifteen years until he ceased cantata writing in 1754, he was solely responsible for the Sunday cantata. The fruit of this substantial labor adds up to over 1400 church cantatas. During his lifetime, Graupner developed a reputation as one of the finest composers in Germany, as evidenced by his attempted appointment to one of the most prestigious positions in the country, the Kantor position in Leipzig. The attempt by the Leizpig town council to hire him was thwarted by his employer in Darmstadt, who regarded Graupner so highly that he did not allow him to leave Darmstadt, and renegotiated his contract terms to ensure Graupner would be well-rewarded for his work. Due to a series of circumstances, Graupner's cantatas were not widely disseminated during his life or following his death. The current resurgence of interest in Graupner's cantatas began during the early 20th century, although it was not until the 1980s that performance editions with instrumental parts became available for any of these works. This cantata, Wo gehet Jesus hin?, GWV 1119/39 was written in 1739, for the final Sunday before the beginning of Lent, known, and labelled in the manuscript as "Estomihi" Sunday, a term which comes from the Roman Catholic introit for the day. The libretto was written by Graupner's frequent collaborator, Johann Conrad Lichtenberg, with the addition of two verses of the passion chorale Herzliebster Jesu, written by Johann Heermann. These verses are set in movements III and VII. The cantata was completed on January 31, 1739, and the first performance was given on February 8, 1739. The piece is scored for SATB chorus, Soprano and Bass solo, strings, and continuo, and it is highly representative of Graupner's writing style within the cantata genre. This particular edition was produced with two goals in mind: to be as accurate as possible in reflecting the composer's intentions from the original score, and to provide an edition that will facilitate performance of the work. To that end, very little editorial license has been taken with the intent of producing an urtext edition, and the only additions in the score are a few suggested tempi, indicated with metronome markings. All other markings are as they appear in the original manuscript source. However, this can lead to questions concerning exactly how to perform the composition. As modern performers, we have become accustomed to composers leaving nothing to chance, and detailing their exact intentions in terms of dynamics, phrasing, articulation, and other musical details. This score, as was the practice of the time, contains little detail concerning these musical decisions, so it is the responsibility of the well-informed conductor/performer to make such decisions. The document that accompanies this edition should prove to be enormously helpful in gaining the knowledge needed to make well informed decisions that will assist in achieving an historically-informed performance.

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Performance Notes:

1. Graupner's score does not mark any dynamics, nor has this score suggested any. This musical decision is left up to the conductor, and the conductor should take all salient information into account, including the text, the dramatic motion, and the compositional texture, and particularly the relationship between the instruments and the vocalists.

2. Similarly, Graupner has marked very few phrases with indications of articulation. The one exception to this is in movement V, which Graupner must have regarded as the most challenging movement for the strings, as he gives copious information on phrasing which is intended to help inform bowing for performers. Notably, he does not give any such information for other movements, which leads this scholar to believe that he regarded the string parts in those movements to be simple enough that bowing would be self-explanatory. In general, bowing in these movements should be detaché, which is to say, detached, with each note given its own bow stroke. This style of bowing should be smooth, and not draw attention to the detachment, but it should not be legato, which would entail several notes being played on one bow stroke. In addition, the tone quality of the string playing should differ from a modern approach. Whereas in a Classical or Romantic work phrasing and dynamics are achieved largely by bow pressure, when performing Baroque music these musical elements should be achieved by differences in bow speed. String players who use this approach will overcome many of the deficiencies present when performing this work with modern Torte bows.

3. In many sections of this work, the instruments play colla parte, in unison with the vocalists. Care must be taken to make sure that the phrasing of the instrumental parts matches well with the phrasing of the vocal parts. Phrasing for vocalists is determined by a number of factors, including melodic shape, textual stress, and perhaps most importantly, the physical limitations of the breath. Therefore, it is the recommendation of this scholar/conductor to determine phrase structure and shape for the vocal lines, and then prepare the instrumental parts accordingly to ensure a cohesive performance.

4. We have no way of definitively knowing exactly what pitch level at which this work was first performed. It is very likely that it would have been performed at Cammerton, with an approximate pitch level of A=415 Hz. Such a performance is preferable due to the high pitches in the vocal parts in movements II and V, although doing so with modern stringed instruments presents certain challenges. The simplest solution in such a situation is simply to tune the instruments down roughly a half step, but if the players have perfect pitch and are unable to adjust accordingly, this may not be a possibility. As long as other historically-informed practices are followed in performing this work, it should be quite possible to achieve an historically- informed performance at a modern pitch level of A=440.

5. The continuo realization provided here is provided with the goal of offering the simplest possible voicing and voice-leading, while still providing all of the harmonic support that the work requires. It is therefore up to the more experienced continuo player to add or subtract based on artistic discretion, adding appropriate ornamentation and additional motivic development as desired.

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6. There is no way of knowing with absolute certainly exactly which keyboard instrument was used in the continuo group for the first performance of this cantata. There are arguments to be made for the organ, as well as for the harpsichord. It is the opinion of this scholar that either instrument would be appropriate for an historically-informed performance. Composers in Baroque Germany such as Graupner were flexible and practical in this regard, and it might be most appropriate to the spirit of this practicality to use whatever instrument is most convenient for the circumstances of each individual performance.

7. In secco recitative, such as in movements IV and VI, generally both harmonic and melodic instruments do not play for the entire duration of longer notes, but instead are tacet until the following harmonic change. It will be up to the discretion of the conductor as to whether or not to explicitly dictate the duration of these rests. If the performers are less experienced continuo players, or have obstacles to ensemble performance (a large organ console, for example), it may be necessary for a conductor to prepare these parts, as well as to conduct the recitatives.

8. Another aspect in which this score differs from the original manuscript involves the clefs used. The original manuscript, as was customary in the Baroque period, used C clefs instead of treble clefs. The original clefs are as follows:

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9. There are two types of ornamentation notated in the original manuscript, the trill, and the appoggiatura. In the case of the trill, care should be taken to make sure the ornament starts on the upper note, in accordance with German High Baroque practices. The appoggiatura, when present, should generally take half of the value of the following note, except for when the principal note is a dotted note. When this occurs, the exact duration of the appoggiatura will be subject to the discretion of the conductor and/or player.

104 Full Score Christoph Graupner (1683-1760) Wo gehet Jesus hin? Edited by Kevin Michael Seal ( = 62) I. Accompagnato: Wo gehet Jesus hin? q œ œ œ ˙ ˙ Violin I #œ #œ ˙ ˙ & c ˙ ‰ ˙

Violin II & c ˙ ‰ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙

Viola B c ˙ Ó Ó ˙ ˙ ˙ #˙ ˙ œ œ Bass ? œ œ ˙ j œ œ œ c ∑ Ó ‰ J J J œ Œ œ œ R J J Wo ge -het Je - sus hin? Er spricht:. Ich ge - he Basso Continuo ? ˙ c ˙ Ó Ó ˙ #˙ Ó Œ œ ^ ^5 & c ˙ Ó Ó ˙ ˙ ˙ Ó Œ œ ˙ ˙ ˙ ˙˙ œ ? c Ó Ó ˙ Ó Œ ˙ ˙ #˙ œ

Copyright Kevin Seal 2020 Wo gehet Jesus hin? 105 5 Vln. I ˙ #œ œ œ œ ˙ & œ ˙ œ #œ œ Ó

Vln. II #˙ œ œ œ #œ œ #˙ Ó & #œ œ ˙ #œ ˙ Vla. ˙ ˙ œ ˙ B #˙ œ œ œ Ó œ B œ ˙ #œ. œ œ ? #œ J R œ œ Œ ∑ Œ #œ œ hin zum Lei - den, zum LeiJ - denJ Kommt See - len, B.C. ? ˙ ˙ œ #˙ Œ w ˙ ˙ ^5 ^x ^`````^4™`≈ x X X X & ˙˙ #˙ œ #œ Œ œ #˙. œ ˙ ˙ #˙ ˙ œ œ œ ˙. œ #˙ #˙ ? ˙ ˙ œ #˙ Œ w ˙ ˙ Wo gehet Jesus hin? 9 106 Vln. I #˙ œ œ ˙ & ˙ bœ œ ˙

Vln. II ˙. ˙ & œ ˙. œ ˙

Vla. ˙ œ B œ ˙ œ œ ˙ ˙ œ œ. œ. œ B ? J œ œ œ œ œ œ œ œ œ œ J J R Œ ‰ R œ œ œ ‰ J J R J J J J laßt uns mit ihm ziehn schweigt al - lerR Freu - den das rei - ne Lamm eilt zum Al - B.C. ? ˙ œ œ ˙ ˙ w ^ % ˙ œ ˙ œ œ ˙ ˙ & ˙ œ œ ˙ œ œ ˙ ˙ ? ˙ œ œ ˙ ˙ w Wo gehet Jesus hin? 12 107 ˙ Vln. I œ œ #œ œ w & J ‰ J ‰ Œ J ‰ J ‰ Œ

Vln. II #˙ œ ‰ j ‰ Œ œ ‰ œ ‰ Œ #w & J œ J J œ Vla. œ œ œ #˙ B ˙ J ‰ J ‰ Œ J ‰ J ‰ Œ ˙ #œ. B ? #œ œ. œ œ. œ œ œ œ #œ œ J #œ œ. œ ˙ #œ ‰ J J J R Œ ‰ J J R J tar es will einR Op - fer werJ - Jden. Nehmt sol - cherJ har - ten Schick - ungR wahr; B.C. j ˙ ? #˙ œ ‰ œ ‰ Œ œ ‰ j ‰ Œ #˙ œ ^`X ^ X ^4™`x X j j j j & ˙ œ ‰ œ ‰ Œ #œ ‰ œ ‰ Œ #˙˙ ##˙ #˙ œ œ # œ œ ˙ j ˙ ? #˙ œ ‰ œ ‰ Œ ‰ j ‰ Œ #˙ œ œ Wo gehet Jesus hin? 15 108 j Vln. I œ œ œ œ œ. œ œ œ œ ‰ J ‰ J ‰ J ‰ J J ‰ J ‰ Œ j & J œ œ œ œ œ œ w Vln. II œ œ & œ ‰ ‰ œ ‰ J ‰ ˙ œ ‰ œ ‰ Œ J J J J J œ œ œ œ œ w œ œ Vla. œ œ J ˙ œ œ B J ‰ J ‰ J ‰ ‰ J ‰ J ‰ Œ œ ˙ w œ B œ œ œ bœ. œ œ. œ œ œ ? ‰ J J J œ J J J J Œ Ó ∑ es ist kein grö ßer Wun - der hier auf Er - den. B.C. ˙ œ ? ˙ ˙ ˙ Œ ˙ w

^ &`Z ˙ ˙ b˙˙ ˙ Œ œ . & #˙ ˙ ˙ ˙ œ œ. j w œœ w ˙ œ ? ˙ ˙ ˙ Œ ˙ w 109 Wo gehet Jesus hin? II. Aria: Ach, saurer Gang ( = 88) q Violin I œ œ w œ #œ œ & c w œ œ œ w Œ œ œ œ œ

Violin II c œ œ œ œ w Ó j Œ & w œ. œ w œ œ œ œ

Viola w B c w ∑ #œ œ œ œ w Œ œ œ œ

Soprano w œ #œ œ & c w ∑ œ w Œ œ œ œ Ach, ach sau - rer Gang, den Je - sus, Alto j & c w ∑ w Ó œ. œ Œ œ œ œ Ach, ach sau - rer Gang,w den Je - sus, Tenor w œ œ V c ∑ w #œ œ œ w Œ œ œ Ach, ach sau - rer Gang, den Je - sus, Bass ? w œ. œ w #œ œ c w ∑ Ó Œ Œ œ Ach, ach sau-rer Gang, den Je - sus, Basso Continuo ? w œ. œ w #œ œ c w ∑ Ó Œ Œ œ ^ ^4™ ^ ^5 & c w ∑ w Ó Œ œ. œ w Œ œ œ œ w w œ. œ w œ œœ œ ? w œ. œ w #œ œ c w ∑ Ó Œ Œ œ Wo gehet Jesus hin? 110

7 Vln. I œ œ œ#œ œ #œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ#œ œ. œ w

Vln. II œ & œ œ œ œ œ #œ œ œ œ œ œ œ œ œ ˙ Œ œ. œ #w

Vla. #œ #œ j B Œ œ œ œ ˙ œ œ œ Œ Ó œ. œ w

S & Œ œ œ œ œ œ Ó w Ó Œ œ. œ w den Je - sus ge - het, ach sau - rer Gang,

A j & Œ œ œ œ œ #œ Ó w Ó œ. œ w den Je - sus ge - het, ach sau - rer Gang T #œ œ œ œ œ w œ. œ #w V Œ Ó Ó Œ den Je - sus ge - het, ach sau - rer Gang, œ #œ œ B ? Œ #œ #œ œ œ œ Ó w œ w den Je - sus ge - het, ach sau - rer Gang, œ #œ œ B. C. ? Œ Ó w œ w #œ #œ œ ˙ ^ ^5 ^4````%x %3 ^ ^ &x & Œ œ œ œ œ #œ Ó w œ œ œ œ w œ œœ œ œ œ w #œ œ œ #w œ #œ œ ? Œ Ó w œ w #œ #œ œ ˙ Wo gehet Jesus hin? 111

12

Vln. I œ Œ œ œ œ œ. œœ œ œ œ œ. œ #˙ #œ œ œ œ œ & œ œ. œ#œ. œ œ 3 3

Vln. II Œ œ œ œ œ œ. œ œ Œ Ó & œ œ œ œ œ#œ. œ œ. œ œ

Vla. œ #œ B Œ œ œ œ Œ œ #œ œ œ œ Ó œ Œ #œ ‰ ‰

S œ Œ œ œ Œ œ œ œ œ Ó #˙ #œ œ œ œ œ & œ œ 3 3 den Je - sus, den Je - sus ge - het, wer kann doch sol - chen

A & Œ œ œ Œ œ œ œ œ #œ Ó ∑ den Je - sus,œ den Je - sus ge - het, T œ #œ V Œ œ œ œ Œ œ œ œ Ó ∑ den Je - sus, den Je - sus ge - het, œ B œ œ ? Œ œ œ Œ œ œ œ Ó ∑ den Je - sus, den Je - sus ge - het, œ œ B. C. œ œ #œ ? Œ œ œ Œ œ œ œ Ó Œ #œ

& ^ X ^4 %x X ^ X Œ œ œ Œ œ œ œ œ Ó Œ œ #œ & œ œ œ œ #œ œ œ #œ #œ œ #œ œ œ œ œ #œ ? Œ œ œ Œ œ œ œ Ó Œ #œ Wo gehet Jesus hin? 112

16 Vln. I #œ œ & œ œ #œ #œ œ ˙ ∑ 3 Vln. II & ˙ #œ œ œ œ œ œ œ #œ #˙ Œ 3 œ œ ˙ Vla. #œ ˙ œ œ œ œ B ‰ Œ Ó œ œ 3 œ œ #˙ J 3 œ

S & œ œ #œ #˙ Œ œ ˙ ∑ Weg ver - stehn, ver - stehn? 3 A & ˙ #œ œ œ œ œ œ œ #œ #˙ Œ wer kann doch sol 3- chen Weg œver - stehn, verœ - stehn?˙ T ˙ œ œ œ œ ∑ œ œ 3 œ œ #˙ V 3 œ wer kann doch sol - chen Weg ver - stehn? B ? ˙ œ œ œ bœ œ œ ∑ ∑ 3 3 wer kann doch sol - chen

B. C. œ œ bœ ? Œ Œ ∑ ˙ œ œ œ œ œ œ 3 3 # X ^4`X Œ œ Œ ∑ ˙ œ & #œ #œ ˙ #œ œ œ œ bœ ? Œ Œ ∑ ˙ œ œ œ œ œ œ 3 3 Wo gehet Jesus hin? 113

19 ˙ œ Vln. I œ œ œ ‰ Œ œ ‰ Œ Ó Œ bœ. œ bw Œ œ œ & œ J J œ œœ

Vln. II j j‰ Œ œ ‰ Œ j Œ & œ. œ ˙ œ J œ œ œ. œ w œ œ œ œ

Vla. œ. œ #œ œ œ œ œ. œ w œ œ B J J ‰ Œ J ‰ Œ Ó Œ Œ œ œ

S & ˙ œ œ œ œ w Ó Œ bœ. œ bw Œ œ œ œ Ach, sau - rer Gang, den Je - A j j & œ œ ˙ w Ó œ. œ w Œ œ ˙ Ach,. sau - rer Gang, den Je - T . w œ V ˙ ˙ w Ó Œ œ œ Œ œ œ Ach, ach sau - rer Gang, den Je -

B œ #œ bœ ? œ œ œ #˙ w œ w Œ œ œ œ Weg ver - stehn? Ach, sau - rer Gang, den Je - œ #œ j B. C. ? œ œ #˙ bœ œ œ œ œ œ œ w w Œ œœ ^ Y ^ ^ Z &`Z ^4™ & œ œ #˙ w œ œ œ bœ bw Œ œ œ œ œ œ ˙ w œ œ œ w œ œ œ œ #œ j ? œ œ #˙ bœ œ œ œ œ œ œ w w Œ œœ Wo gehet Jesus hin? 114

24 Vln. I ˙ œ œ œ œ œ œ œ œ œ 3 œ œ #˙ & œ 3 œ 3 3 Vln. II & œ œ œ œ ∑ ˙ œ œ œ bœ œ œ

Vla. B œ œ œ œ ∑ ∑

S ˙ œ œ œ œ œ œ œ œ œ 3 œ œ #˙ & œ 3 œ sus ge - het, wer kann doch sol - chen Weg ver - stehn, 3 3 A & œ œ ∑ ˙ œ œ bœ œ œ sus geœ - het,œ wer kannœ doch sol - chen T œ. œ œ V J œ ∑ ∑ sus ge - het,

B ? #œ œ œ œ ∑ ∑ sus ge - het, B. C. ? #œ œ œ œ œ œ Œ œ #œ œ Œ Œ ^5 & ^ ^ X &````^ X Œ œ œ œ œ œ œ œ Œ #œ Œ & #œ œ œ œ œ #œ œ œ œ œ ? #œ œ œ œ œ œ Œ œ #œ œ Œ Œ Wo gehet Jesus hin? 115

27 3 Vln. I Œ ˙ ∑ ˙ œ bœ œ œ œ & œ œ 3

Vln. II Œ j & œ œ œ #˙ ˙ œ. bœ œ 3 bœ œ Vla. œ B ˙ bœ œ bœ œ œ bœ n˙ bœ nœ œ œ 3 œ œ 3 S Œ ˙ ∑ ˙ œ bœ œ œ œ & œ œ 3 ver - stehn, wer kann doch sol - chen

A & œ œ #˙ Œ ˙ œ Weg œver - stehn, bverœ - stehn,˙ wer kannœ doch T ˙ bœ œ bœ œ œ bœ n˙ b˙ nœ œ V œ 3 œ œ wer kann3 doch sol - chen Weg ver - stehn, wer kann doch B ? ˙ œ bœ œ œ ∑ œ bœ 3 bœ nœ 3 œ œ wer kann doch sol - chen Weg ver - stehn, wer B. C. ? ˙ œ bœ œ œ ∑ œ bœ 3 bœ nœ 3 œ œ Z ^4 ^ ^ & ∑ ˙ œ ˙ œ bœ b˙ nœ œ b˙ œ œ ? ˙ œ bœ œ œ ∑ œ bœ 3 bœ nœ 3 œ œ Wo gehet Jesus hin? 116

30 Vln. I j #œ œ ˙ & œ. œ œ. œ. œ #œ œ œ œ œ. œ œ #œ. œ

Vln. II & œ œ #œ. œ œ. œ #œ œ œ œ œ œ. œ œ œ ˙

Vla. œ #œ œ B œ ˙ œ œ œ œ. œ œ œ #˙

S j & œ. œ ˙ œ #œ œ œ œ œ œ #œ. œ ˙ Weg ver - stehn wer kann doch sol - chen Weg ver-stehn?

A & œ œ #˙ œ #œ œ œ œ œ j sol. - chen Wegœ. verœ - stehn wer kann doch sol - chen Wegœ. verœ - stehn?˙

T œ. œ œ œ œ ˙ œ œ œ #œ œ œ œ. œ #˙ V 3 sol - chen Weg wer kann doch sol - chen Weg verJ - stehn? 3 B ? œ œ œ œ #˙ ˙. #œ. œ œ œ 3 œ œ ˙ kann doch sol - chen Weg, sol - chen Weg ver - stehn? 3 B. C. ? œ œ œ œ #˙ ˙. #œ. œ œ œ 3 œ œ ˙ ^ ^5 %4 X X œ œ ˙ ˙ œ œ œ ˙ & œ œ #˙ ˙ #œ œ ˙ #œ #˙ œ 3 ˙ ˙ œ ˙ ? œ œ œ œ #˙ ˙. #œ. œ œ œ 3 œ œ ˙ Wo gehet Jesus hin? 117 Fine 33 U Vln. I œ. œ œ œ œ & Œ Œ #œ œ œ œ œ œ œ œ œ. œ œ œ Œ ∑ U Vln. II œ. œ œ & Œ Œ Ó œ #œ œ œ #œ œ œ œ #œ œ Œ ∑

Vla. œ. œ œ U B Œ Œ ∑ Œ œ œ œ œ. œ œ Œ ∑ JFine

S & ∑ ∑ ∑ ∑ ∑

A & ∑ ∑ ∑ ∑ Ó Œ Solo: vollœ

T ∑ ∑ ∑ Ó Œ œ œ ˙ V Solo: œ Soll Da - vids Sohn

B ? ∑ ∑ ∑ ∑ ∑ Fine

B. C. œ U ? Œ œ. œ Œ ∑ Œ #œ œ ˙ Ó Œ œ Fine˙ œ ^`X ^`X ^4````%x U & Œ œ. œ œ Œ ∑ Œ œ #œ œ œ #œ ˙ Ó Œ œ œ. œ œ œ œœ œ œ˙ œ ˙ œ œ U ? . #œ œ ˙ Œ œ œ œ Œ ∑ Œ ˙ Ó Œ œ Wo gehet Jesus hin? 118

38 Vln. I bœ Ÿ & ∑ Œ œ œ bœ nœ œ œ œ œ œ. œœ. œ œ Œ

Vln. II ∑ ‰ & w œ œ œ œ œ œ œ œ œ.#œ œ œ

Vla. B ∑ #w ‰ œ œ œ bœ œ œ œ œ œ œ Œ Ÿ S bœ œ & ∑ Œ œ œ bœ nœ œ œ œ œ œ œ œ Ó Tutti: den her - ben Kreu zes - tod er - lei - den?

A & #œ ˙ #˙ Œ ‰ œ œ œ œ œ œ œ œ œ Solo:Œ Schmach undœ Hohn. Tutti: den her - ben Kreu-zes - tod er - lei - den? Sollœ T bœ œ œ œ V œ œ #œ. œ œ Œ Ó ‰ œ œ œ œ œ Ó voll Schmach undJ Hohn Tutti: den her - ben Kreu-zes - tod er - lei - den?

B ? ∑ ∑ ‰ œ œ œ bœ œ œ œ œ Ó Tutti: den her - ben Kreu-zes - tod er lei - den?œ B. C. ? œ œ œ œ œ bœ œ œ œ œ œ œ Œ Ó ‰ œ œ ˙ &x % &x X Z Y ^ %4 %3 j & œ œ œ œ œ Œ Ó ‰ bœ nœ œ œ œ ˙ œ #œ œ #œ œ #œ œ œ bœ œ œœ ˙ œ ? œ œ œ œ œ bœ œ œ œ œ œ œ Œ Ó ‰ œ œ ˙ Wo gehet Jesus hin? 119

42 Vln. I œ œ œ & ∑ ∑ ∑ ∑ Œ

Vln. II j & œ œ ˙ œ œ #œ. œ œ œ ˙ œ œ œ#œ œ #œ #w

Vla. B Ó Œ œ œ ˙ œ ˙ Œ œ ˙. œ w

S œ œ œ & ∑ ∑ ∑ ∑ Œ Tutti: den her-ben A j & œ ˙ œ #œ œ œ œ ˙ œ œ œ#œ œ #œ #w Da - vidsœ Sohn vollœ Schmach. und Hohn, voll Schmach und Hohn

T Ó Œ œ ˙ ˙ Œ œ ˙. w V Solo: œ œ œ voll Schmach voll Schmach und Hohn

B ? ∑ ∑ ∑ ∑ ∑

B. C. ? œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ#œ œ ˙ ˙ œ Œ Ó ^4 ^ & # &x ^ ^5≈ ^4 X

& œ œ ˙ œ œ #˙ œ Œ ˙ ˙ œ œ ˙ Ó œ œ ˙˙ ˙ œ œ #˙ ? œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ#œ œ ˙ ˙ œ Œ Ó Wo gehet Jesus hin? 120

47 Ÿ Ÿ œ Ÿ Vln. I œ œ œ œ œ œ œ œ œ. œ . . œ #œ œ. œ œ œ. #œ. œ œ & œ #œ œ #œ #œ #œ #œ Ÿ Vln. II #œ œ œ & œ #œ œ #œ œ œ œ œ #œ œ. #œ œ. #œ œ œ œ. œ œ

Vla. œ œ. œ œ B Ó ‰ #œ œ œ œ œ œ œ #œ œ œ Ÿ Ÿ S œ œ œ œ œ œ œ œ œ & œ #œ œ #œ #œ ∑ Kreu zes - tod er - lei - den?

A & Œ #œ œ #œ œ œ œ œ #œ œ ∑ Tutti: den her - ben Kreu - zes - tod er - lei - den?

T V Ó ‰ œ œ œ œ œ œ œ œ œ ∑ Tutti: den her - ben Kreu - zes - tod er - lei - den? Solo: œ B œ œ œ œ œ œ œ ? Ó ‰ #œ œ œ Œ Œ Tutti: den her - ben Kreu - zes - tod er - lei - den? Wie, wie? B. C. œ œ œ œ œ œ œ ? Ó ‰ #œ œ œ Œ œ Œ % @4`Xx ^ %4`X X X Y j œ & Ó ‰ œ œ œ œ œ œ œ Œ œ Œ #œ #œ œ œ œ #œœ #œ ##œ œ œ œ œ œ œ œ œ ? Ó ‰ #œ œ œ Œ œ Œ Wo gehet Jesus hin? 121

50

Vln. I œ & œ Œ Ó Ó Œ œ œ Œ Ó

Vln. II & œ Œ Ó Ó Œ œ œ Œ Ó

Vla. B œ Œ Ó Ó Œ #œ œ Œ Ó

Tutti: S & ∑ Ó Œ œ œ Œ Ó Ach nein! Tutti: A & ∑ Ó Œ œ œ Œ Ó Ach nein! Tutti: T #œ V ∑ Ó Œ œ Œ Ó Ach nein! Ÿ Tutti: Solo: B œ œ œ bœ œ œ œ œ. œœ ? Œ œ œ œ œ œ œ œ œ œ œ œ Kann er sol - chen Pfad nicht mei - den? Ach nein! Kann er sol - chen Pfad nicht B. C. ? œ œ œ œ #œ œ j œ ‰ J ‰ ‰ ‰ ‰ J ‰ œ œ ‰ œ œ œ ^ ^5`z ^5 X ^5 j j j & ‰ œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ #œ œ ‰ œ œ œœ œ œ œ bœœ œ œœ œ œ œ œ œ œ ? œ œ œ œ #œ œ j œ ‰ J ‰ ‰ ‰ ‰ J ‰ œ œ ‰ œ œ œ Wo gehet Jesus hin? 122

53 Vln. I ∑ Œ œ œ œ œ œ œ bœ. œ œ & J œ

Vln. II & ∑ Œ œ œ Œ ˙ œ œ

Vla. B ∑ Œ œ œ Œ ˙ œ œ

Tutti: S œ & ∑ Œ œ œ œ œ œ bœ. œ œ œ Ach nein, er will ihn ger - ne erJ will ihn Tutti: A & ∑ Œ #œ Œ ˙ œ œ Ach nein,œ er will ihn Tutti: T ˙ V ∑ Œ œ œ Œ œ œ Ach nein, er will ihn Tutti: B œ #œ œ œ #œ œ œ ? œ #œ œ œ œ œ œ Œ ˙ œ œ bœ mei - - - den? Ach nein, er will ihn B. C. #œ œ ? œ #œ œ #œ œ Œ ˙ œ œ bœ ^5 X ^5 X ^ &````^`Z ^5`z œ œ œœ œ œ œ Œ œ b˙ œ œ & œ œ #œ œ #œ œ œ ˙ œ œ œ #œ œ ? œ #œ œ #œ œ Œ ˙ œ œ bœ Wo gehet Jesus hin? 123

56

Vln. I œ œ œ. œ œ œ œ. . œ œ œ œ œ. #œ œ œ & œ. bœ œ œ œ œ nœ J œ œ œ J

Vln. II j j Œ Œ œ œ . j . & œ. œ œ œ œ œ œ œ œ œ œ œ. œ œ œ

Vla. œ B œ œ œ Œ Œ œ œ œ œ œ œ œ œ œ œ œ #œ

S & œ. bœ œ œ œ œ nœ œ œ. œ œ œ œ. œ œ. œ ˙ ∑ ger - ne gehn, er will ihn ger - ne erJ will ihn ger - ne gehn.

A & œ Œ Œ œ œ œ œ œ ˙ ∑ ger - neœ gehn,œ er will ihn ger - ne gehn. T œ ˙ V œ. œ œ Œ Œ œ œ œ œ ∑ ger - neJ gehn, er will ihn ger - ne gehn. B j œ. œ ? œ. œ Œ Œ œ #œ œ J ˙ ∑ ger - ne gehn,œ er will ihn ger - ne gehn.

B. C. ? Œ Œ œ #œ œ œ. œ ˙ ˙ œ œ œ J ˙ ^4 %3 ^ ^5 %4``````3 %````^ &````^`X & œ œ œ Œ Œ œ œ œ ˙ ˙ ˙ ˙ œ œ œ œ œœ œœ ˙œ œ ˙ œ˙ ˙ #œ ? Œ Œ œ #œ œ œ. œ ˙ ˙ œ œ œ J ˙ Wo gehet Jesus hin? 124 60 D.C. al Fine Vln. I œ . œ œ #œ œ & œ J œ #œ œ

Vln. II & œ ˙ œ œ #œ œ #œ

Vla. B œ ˙ œ œ Œ Œ œ D.C. al Fine S & ∑ ∑

A & ∑ ∑

T V ∑ ∑

B ? ∑ ∑ D.C. al Fine B. C. ? œ. œ œ. œ œ Œ Œ œ J J %````````^ ^ ^ X D.C.X al Fine j & œ œ œ. œ #œ Œ Œ œ œ œ œ. œ œ œ ? œ. œ œ. œ œ Œ Œ œ J J 125 Wo gehet Jesus hin? III. Chorale: Herzleibster Jesu ( = 72) h Violin I ˙ ˙ & b c ∑ w ˙. nœ #œ œ w #˙

Violin II b c w. & ˙ ˙ ˙ ˙ #˙ w w

Viola B b c ∑ ∑ w w w

Soprano & b c ∑ ∑ ∑

Alto & b c ∑ ∑ ∑

Tenor V b c ∑ ∑ ∑

Bass ? b c ∑ ∑ ∑

Basso Continuo ? b c ∑ ∑ ∑

& b c ∑ ∑ ∑

? b c ∑ ∑ ∑ Wo gehet Jesus hin? 126

4 Vln. I w w œ œ œ œ & b #˙ ˙ w w

Vln. II & b Ó ˙ ˙ ˙ w w Ó w ˙

Vla. ˙ B b w ˙ w. ˙ ˙ ˙ #˙. œ

S w w œ œ œ œ & b #˙ ˙ w w Herz - lieb - ster Je - su, was hast du ver -

A & b w ˙ ˙ w w Ó w ˙ Herz - lieb - ster Je - su, was hast T ˙ ˙ . V b w w ˙ ˙ ˙ #˙. œ Herz - lieb - ster Je - su, was hast du ver - B ? b ∑ w ˙ ˙ #w w Herz - lieb - ster Je - su B.C. ? b ∑ w ˙ ˙ #w w ^ % ^ X w & b ∑ w w #w w w w w w ? b ∑ w ˙ ˙ #w w Wo gehet Jesus hin? 127

7 Vln. I œ œ . w. & b œ #œ ˙ nœ œ œ w #˙ ˙

Vln. II & b ˙ ˙ ˙ #˙ ˙. œ ˙ ˙ ˙. œ ˙ ˙

Vla. B ˙ ˙ œ œ #˙ ˙. œ b ˙ ˙ œ œ ˙ ˙ ˙ S œ œ . w. & b œ #œ ˙ nœ œ œ w #˙ ˙ bro chen, was hast du ver - bro

A & b ˙ ˙ ˙ #˙ ˙. œ ˙ ˙ ˙. œ ˙ ˙ du ver - bro chen, was hast du ver -

T ˙. œ V b ˙ ˙ ˙ ˙ œ œ œ œ ˙ #˙ ˙ bro chen,˙ was hast du ver - B w ? b ˙ ˙ ˙ ˙ w ∑ was hast du ver - bro - chen, B.C. w ? b ˙ ˙ ˙ ˙ w ∑ ^`X ^ X &``````````^`X b ˙ #˙ ˙ w ˙ #˙ ∑ & ˙ ˙ ˙ #˙ w w w ? b ˙ ˙ ˙ ˙ w ∑ Wo gehet Jesus hin? 128

10 Vln. I ˙. bœ ˙ & b ˙ #˙ Œ œ œ œ ˙ œ œ ˙ ˙ ˙

Vln. II & b w ˙ ˙ Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙

Vla. ˙ ˙ ˙ B b w ˙ ˙ ˙ w ˙ ˙

S ˙. bœ ˙ & b ˙ #˙ Œ œ œ œ ˙ œ œ ˙ ˙ ˙ chen, daß man ein solch scharf, ein solch scharf

A & b w ˙ ˙ Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ bro chen, daß man ein solch scharf Ur - teil T w ˙ ˙ ˙ ˙ ˙ V b ˙ w ˙ ˙ bro - chen, daß man ein solch scharf B ˙ w ˙. œ ˙ ˙ ? b w ˙ w daß man ein solch scharf Ur - teil hat ge - B.C. ˙ w ˙. œ ˙ ˙ ? b w ˙ w &````````^`X ^ %``````^ %``````^ ^ b ˙ #˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ & w ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ w ˙. œ ˙ ˙ ? b w ˙ w Wo gehet Jesus hin? 129

13 Vln. I ˙ bw & b œ œ w w ˙ ˙ ˙ ˙

Vln. II & b ˙ ˙ w ˙ w œ œ ˙ w Ó

Vla. w.. B b ˙. œ ˙ ˙ bœ ˙ œ œ ˙ ˙

S ˙ bw & b œ œ w w ˙ ˙ ˙ ˙ Ur - teil hat ge - spro - chen, was ist die

A & b ˙ ˙ w ˙ w œ œ ˙ w Ó hat ge - spro - - - - chen, T w.. bœ V b ˙. œ ˙ ˙ ˙ œ œ ˙ ˙ Ur - teil hat ge - spro - - - chen, was ist die B w ? b w ∑ ∑ spro - chen, B.C. w ? b w ∑ ∑ &````````^`Z &`Z b ˙ ˙ w ∑ ∑ & ˙ b˙ w w ? b w ∑ ∑ Wo gehet Jesus hin? 130

16 Vln. I ˙ ˙ w ˙ b˙. & b ˙. nœ ˙ œ w

Vln. II & b Œ œ œ œ w œ œ œ œ ˙. œ ˙ œ œ ˙ #˙

Vla. B b ˙ ˙ œ œ œ nœ ˙ ˙ ˙ ˙ ˙ b˙ ˙ ˙

S ˙ ˙ w ˙ b˙. & b ˙. nœ ˙ œ w Schuld, in was für Mis - se - ta

A & b Œ œ œ œ w œ œ œ œ ˙. œ ˙ œ œ ˙ #˙ was ist die Schuld, in was für Mis - se - ta - ten, in was für T œ ˙ b˙ V b ˙ ˙ œ œ nœ ˙ ˙ ˙ ˙ ˙ ˙ Schuld, was ist die Schuld, in was, in was für Mis - se - B ? w b ˙ ˙ w w ˙ ˙ ˙. œ was ist die Schuld, in was für Mis - se - B.C. ? w b ˙ ˙ w w ˙ ˙ ˙. œ %```````^ ^ &``````^`Y &````````^ Z %4``````x & b w ˙ ˙œ nœ w ˙w ˙ ˙ ˙ ˙ #˙ ˙ ˙ ˙ ˙ w b˙ ˙ w ? w b ˙ ˙ w w ˙ ˙ ˙. œ Wo gehet Jesus hin? 131

19 Vln. I œ œ ˙ #˙ & b ˙ w #œ œ œ œ w n˙ #˙

Vln. II b w ˙ & w. ˙ ˙. œ ˙. œ ˙ Vla. ˙. ˙ ˙ œ B b œ ˙ œ œ #w w #˙ nœ

S œ œ ˙ #˙ & b ˙ w #œ œ œ œ w n˙ #˙ ten, in was für Mis - se - ta - ten, in was für

A & b ˙ w ˙ Misw. - se˙ - taw. - ten,œ inœ was für T ˙. ˙ ˙ œ V b œ ˙ œ œ #w w #˙ nœ ta ten, in was für Mis - se - B ? b w w ∑ ∑ ta - ten B.C. ? b w w ∑ ∑ &``````^ &``````^ b ∑ ∑ & w˙ ˙ ˙ #˙ ? b w w ∑ ∑ Wo gehet Jesus hin? 132

22 Vln. I w. ˙ ˙ œ & b œ #˙ ˙ ˙ ˙ Ó ˙

Vln. II ˙. ˙ ˙ & b œ ˙ œ œ ˙. œ ˙. œ #˙ ˙

Vla. ˙ w B b œ œ œ œ ˙. œ ˙. œ ˙ ˙. #œ

S w. ˙ ˙ œ & b œ #˙ ˙ ˙ ˙ Ó ˙ Mis - se - ta - ten bist du ge - ra - ten, in A ˙. & b œ ˙ ˙ ˙ œ œ ˙. œ ˙. #˙ ˙ Mis - se - ta - ten bist du ge - ra œ T ˙ w V b œ œ œ œ ˙. œ ˙ œ œ ˙ ˙. #œ ta - ten bist du ge - ra - - - - B w w. ? b ∑ ˙ w w bist du ge - ra - ten? B.C. w w. ? b ∑ ˙ w w &````````^ &````````^ ^ &```````^ X ˙ & b ∑ ˙w ˙ ˙w ˙ ˙ ˙ ˙ #˙ ˙ w w ˙ #˙ ˙ ˙ ˙ ˙ ˙ w w. ? b ∑ ˙ w w Wo gehet Jesus hin? 133

25

Vln. I & b ˙ ˙ ˙. œ ˙ œ œ ˙ #˙ w œ œ œ œ

Vln. II b & œ ˙ #œ ˙ ˙ #˙ ˙ ˙ ˙ œ œ œ #œ w

Vla. œ #œ B b ˙. œ œ œ œ œ ˙ œ ˙. œ ˙ w œ œ

S & b ˙ ˙ ˙. œ ˙ œ œ w œ œ œ #œ w was für Mis - se - ta - ten bist du ge - ra -

A & b œ ˙ #œ ˙ œ œ #˙ w ˙ ten, bist du ge - raW - - - T ˙. ˙ ˙ V b œ œ œ œ #œ œ œ œ w œ œ œ œ œ œ ten, bist du ge - ra

B ? b W W W

B.C. ? b W W W ^5```^4```%4````x` &x```^4````%4```x ^5```````^4 & b œ ˙ #œ w #˙ ˙ ˙ ˙ w w ˙ ˙ w ˙˙ ˙ w w w ? b W W W Wo gehet Jesus hin? 134

28

Vln. I & b W

Vln. II & b œ œ #œ œ w

Vla. B b W

S & b œ œ #œ w œ ten?

A & b ten?W

T V b w w ten?

B ? b W

B.C. ? b W %4``````x b & ww #w

? b W Wo gehet Jesus hin? 135 IV. Recitative: Das Fleisch ist leider blind

Soprano b j œ œ œ œ. r j œ r r & b c ‰ œ œ J œ ‰ œ J œ œ J œ ≈ œ œ œ œ. œ œ œ Das FleischJ ist lei - der blind, denJ Lei - dens-rat des Herrn undR sei - ne WunJ - derR zuJ verJ - Basso Continuo ˙ ˙ ? bb c ˙ ˙ #˙ ˙ &`````^ ^ ^ ^ bb c ˙ ˙ ˙ ˙ ˙ ˙ & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ? bb c ˙ ˙ #˙ ˙

4 S b j j r œ œ r j j œ œ j œ œ. j j & b œ œ ≈ œ œ . œ œ œ œ ‰ œ . œ J œ œ œ œ œ ste - hen. Es istR nichtR soJ wie erJ ge - sinnt, es wollJ - teR gern mit ihm au EhJ - renJ - höJ - hen B.C. ? b n˙ w b œ œ ˙ ˙ X ^ ^ b & b œ œ ˙ w ˙ #œ œ ˙ w ˙ ˙ ? b n˙ w b œ œ ˙ ˙ 7 S b j j r r œ j œ. œ j j j j r œ & b œ œ ≈ œ œ œ . œ J nœ ‰ œ œ œ bœ . œ ‰ ge - hen. Al - lein derR Weg zur Kreu - zes-schmach scheint ihm zu hart zu sein,œ drumJ

B.C. b˙ ? b ˙ ˙ b œ œ ˙ ˙ ^ ^`Y Z bb n˙ & nœ œ ˙ b˙ ˙ b˙ ˙ œ œ ˙ ˙ b˙ ? b œ ˙ ˙ ˙ b œ ˙ Wo gehet Jesus hin? 10 136 S b œ. œ ˙ b˙ œ j œ œ & b nœ œ J R œ Œ Œ œ. œ œ œ. R œ ‰ bœ gehtJ esJ furcht - sam nach. Schwach - gläuJ - biR - ge, seht ihr'sJ nicht ein, der Hei - land B.C. ? b b˙ œ w b œ w b˙ ˙ ^ Y ^ %`Z ^`Z b & b ˙ œ œ w bw ˙ nœ œ w bw w ? b b˙ œ w b œ w b˙ ˙ 14 bœ S b j r j j j j j j j œ. œ œ œ œ œ J œ & b œ . bœ œ œ œ. œ bœ œ ‰ œ. œ œ J ‰ J nœ. fällt zwar in der Sün - der Hän - de alœ - leinJ desR HimJ - melsœ Herr - lich-keit istJ sei - ner Lei - denJ B.C. ? b ˙ w b w ˙ ˙ b˙ %`Z ^ ^z b & b bw ˙ ˙ ˙ b˙ bw w ˙ ˙ ˙ ˙ w ? b ˙ w b w ˙ ˙ b˙ 18 S b j j & b œ œ Œ Ó En - de B.C. œ ? bb Œ ˙ Y bb Œ nœ ˙ & œ ˙ œ ? bb Œ ˙ 137 Wo gehet Jesus hin?

Vivace V. Aria: Jesu, öffne mir die Augen ( = 76) q Ÿ Ÿ~ Violin I b 4 œ. œœ œ œ œ œ œ œ œ œœœ œ œ œ œ œ & b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ Œ Ÿ Ÿ~ Violin II b b 4 œ. œœ œ œ œ œœœ œ j & 4 œ œ J œ J œ J œ œ œ œ œ œ œ œ œ œ œ œ

Viola B bb 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ 4 J J J J J J

Soprano b & b 4 ∑ ∑ ∑

Basso Continuo ? 4 œ œ œ œ œ œ j œ œ œ œ œ bb 4 œ œ J œ J J œ J œ J œ œ ‰ œ œ. œ œ ^ ^ ^ ^ ^ ^ &`Z ^4`z Y b 4 j j j j j j j & b 4 œ œ œ œ œ œ œ œ œ œ œ œ ‰ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ ? b 4 œ œ œ œ œ œ j œ œ œ œ œ œ œ b 4 œ œ J œ J J œ J œ J œ œ ‰ œ . œ 4 Ÿ Ÿ~~ Ÿ~~ Vln. I b œ. œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ. œœ Ÿ Ÿ~~ Ÿ~~ Vln. II bb nœ. œœ œ œ nœœ œ œ j ≈ & œ œ J œ J J œ J œ œ œ œ œ œ œ œ œ œ œ œ œ. œœ Vla. b œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ B b J J J J œ œ œnœ œ ‰ œ œ

S b & b ∑ ∑ ∑

B. C. nœ œ œ j ? b œ œ J œ œ J œ œ œ œ œ ‰ œ œ b œ J J œ J œ œ œ œ ^ ^ ^ Y ^ Y Y ^ &y`Z $ # j j j ‰ b œ œ œ j œ œ j œ œ œ j j j & b œ nœ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ J œ nœ œ. œ nœ œ œ j ? b œ œ J œ œ J œ œ œ œ œ ‰ œ œ b œ J J œ J œ œ œ œ Wo gehet Jesus hin? 7 138 œ Vln. I œ œ œ œ œ œ œœ bb œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ. œ œ. œ œ. œœœ œ œ Œ œ œœœœœ Œ & œ œ œ œ

Vln. II j bb œ œ œ œ œ nœ œ œ œ œ œ œ bœ œ œ œ œ œ œœœ œ œ œ Œ Ó œœœœœœœ Œ & J œ œœ Vla. b œ œ œ œ œ œ œ œ œ œ œ œ œ œ B b J J J J J J Œ Ó œ Œ œ Œ

S b œ & b ∑ ∑ Ó œ œ Ó œ Je - su, Je - su

B. C. œ ? b j œ j j œ œ j œ œ œ œ œ Œ Ó œ Œ œ Œ b œ nœ œ J œ J œ ^ Y %3 $ # ^ j j b j œ j j j j & b œ œ œ œ nœ bœ œ œ œ œ.œ œ œ œ Œ Ó œ Œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b j œ j j œ œ j œ œ œ œ œ œ b œ nœ œ J œ J œ Œ Ó œ Œ Œ

11 œ œ œ Vln. I b œ œ œ œ œ œ & b Ó ‰ J ‰ Œ ‰ ‰ ‰ œ œ œ œ

Vln. II b œ œ œ œ j & b Ó ‰ œ œ J ‰ Œ ‰ œ ‰ ‰ œ œ œ Œ œ Vla. b œ œ œ œ j B b Ó ‰ œ J Œ ‰ ‰ ‰ œ œ œ Œ œ S b œ œ œ œ. œ œ œ œ œ œ & b œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ öff - ne mir die Au - gen, öff - ne mir die Au - gen, daß ich dei- ne Lei - B. C. ? œ œ œ œ œ œ œ œ bb œ œ œ œ œ œ œ œ ‰ J œ œ œ œ œ ‰ nœ œ ^ ^ ^ ^ ^ ^ # ^ ^ b j j j j j b œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ bb œ œ œ œ œ œ œ œ ‰ J œ œ œ œ œ ‰ nœ œ Wo gehet Jesus hin? 14 139 bœ Vln. I b J œ. œ œ œ œ œ œ œ & b Ó ‰ J J nœ . nœ Œ Ó

Vln. II bb Ó ‰ nœ œ œ œ œ œ ‰ Œ Ó & J J J œ œ œ

Vla. œ œ œ bœ œ B b Ó ‰ œ œ ‰ œ œ Œ Ó b J J bœ S b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ & b J J nœ Œ J J œ - dens-bahn, daß ich dei - ne Lei - - - dens-bahn mir zum

B. C. . œ œ œ œ œ ? b bœ œ œ œ œ ‰ j bœ œ œ œ œ œ œ œ œ œ œ œ b œ œ % ^ ^z Y ^5 # & ^ & Z ^ ^ Y b j ‰ j & b bœ. œ nœ œ œ œ œ œ nœ œ nœ œ œ œ œ œ œ œ œ œ œ œœ œ œ. œ œ œ œ œ nœ J J œ œ œ œ œ ? b bœ. œ œ œ œ j bœ œ œ œ œ œ œ œ œ œ œ œ b ‰ œ œ 17 Ÿ~ œ Vln. I b œ œ œ œ œ œ œ œ œ & b ≈ œ œ œ œ œ œ. œœ œ œ œ œ œ œ œ œ œ Œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ÿ~ Vln. II bb ≈ œ œ œ œ j Œ ≈ & œ œ œ œ œ œ. œœJ œ œ J œ œ œ œ œ œ œnœ œ œ œ œ œ œ œ œ œ œ œ œ œ Vla. b œ œ j œ j j B b ‰ J œ œ J œ œ œ œ Œ ∑

j S b w ˙ œ œ & b œ œ œ œ œ w Trost, mir zum Trost,

B. C. œ ? bb œ Œ Ó Ó ‰ œ œ œ œ œ œ Œ Ó ^ ^ ^ ^4™ ^ b & b œ Œ Ó Ó ‰ œ œ œ œ Œ Ó œ œ œ œ œ ? œ œ bb Œ Ó Ó ‰ œ œ œ œ œ œ Œ Ó Wo gehet Jesus hin? 20 140 Vln. I b nœ œ œ œ œ œ œ œ œ œ œ œ & b œ œ œ œ œ œ œ Œ Ó Ó œ ‰ œ ‰

Vln. II b & b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ Œ Ó Ó œ ‰ œ ‰

Vla. œ œ B bb ∑ ∑ Ó ‰ ‰ Ÿ S b œ œ œ nœ. œœ˙ & b w œ œ œ œ œ œ œ œ œ mir zum Trost, mir zum Trost

B. C. œ œ œ œ œ ? b ∑ Œ nœ œ œ #œ œ œ œ œ b J J ^ Y &`````^ &x $ Z Y ^4™ 6 6 b Œ j j & b ∑ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ bœ œ #œ œ nœ ˙ œ œ œ œ œ ? b ∑ Œ nœ œ #œ œ œ œ œ b œ J J 23 bœ Vln. I b œ œ œ œ œœœœ œ œ & b J ‰ Œ Ó Ó Œ ‰ œ œ œœœœ œ œœ œœ œœœ œ œœ J ‰ Œ

Vln. II b . œ œ œ & b œ ‰ Œ Ó Ó Œ ‰ œ j œ œ œœ œ. œœ œ J ‰ Œ J nœ œ œ nœ œ œ

Vla. œ œ œ œ œ B b J ‰ Œ Ó Ó Œ ‰ œ œ œ œ œ œ J œ œ J ‰ Œ b J J J J Ÿ S b œ j j jœ œ œ & b œ œ œ œ œ œ œ œ œœ œ Œ Ó Ó œ ver - ste J . hen kann. Je - su,

B. C. œ œ œ œ œ œ œ œ œ œ œ œ ? b œ nœ œ œœ œ œ œ œ œ œ J œ œ œ œ ‰ Œ b œ J J J œ œ J ^ # ^ & & Y ^ %4 Y ^ Y ^ b j j j j j j j j j j j & b œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ bœ œ ‰ Œ œ œ œ œ nœ œ œ œ nœ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ ? b œ nœ œ œœ œ œ œœ œ œ œ œ œ J œ œ œ œ œ œ b œ J J J œ œ J ‰ Œ Wo gehet Jesus hin? 27 141 bœ bœ Vln. I b œ œ œ œ œ œ œ œ œ. œ œ œ œ. œ & b ≈ Œ Œ ‰ J Œ ‰ J œ

Vln. II œ bb ‰ œ œ œ Œ Œ ‰ nœ œ œ œ Œ ‰ œ œ œ œ & J œ œ œ J J œ Vla. œ œ œ œ bœ œ œ œ œ œ B bb Œ ‰ J Œ Œ ‰ J Œ ‰ J

S b œ œ œ œ œ œ œ œ œ & b Ó œ œ œnœ œ œ œ œ œ œ bœ œ œ œ Je - su öff - ne mir, öff ne mir die

B. C. œ œ œ œ ? b œ ‰ œ ‰ œ œ ‰ œ œ œ œ ‰ J œ bœ œ b J œ J œ ^ %`````^ y ^ Y ^z ^ # ^ b œ œ œ j j & b œ ‰ œ œ ‰ œ œ œ ‰ nœ œ bœ œ œ ‰ œ œ œ œ œ J œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ ? b œ œ œ œ œ œ œ œ bœ œ b ‰ J ‰ œ œ ‰ J œ ‰ J 30 œ Vln. I b bœ œ œ œ œ œ œ nœ bœ œ & b œ Œ ‰ œ œnœ œ œ œ œ Œ ‰ œ œ Œ

Vln. II bb œ Œ ‰ Œ ‰ œ œ œ œ œ j œ œ Œ & bœ œ œ œ œ œ œ œ œ J œ

Vla. œ œ B b œ Œ ‰ j Ó Œ ‰ œ œ œ Œ b œ œ J œ bœ S b œ œ œ œ œ œ œ œ œ œ œ j œ j & b nœ œ ‰ œ œ œ œ œ Œ œ œ œ œ œ œ œ Au - gen, die Au - gen, dass ich dei - ne Lei dens -

B. C. j œ ? b œ ‰ œ œ ‰ œ œ œ ‰ nœ œ ‰ j œ #œ œ œ œ œ œ œ b J œ Z Y ^4™`y ^ ^ Y Z ^ % ^ ^ b j j j j j j & b bœ ‰ œ nœ ‰ œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ bœ œ œ œ œ œ j œ ? b œ ‰ œ ‰ œ œ ‰ nœ œ ‰ j #œ œ œ œ œ œ b œ J œ œ œ œ Wo gehet Jesus hin? 33 142

Vln. I œ œbœ œ bb ‰ œ œ. œ œ. œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ & J J J J J

Vln. II j j bb Œ ‰ bœ j œ œ œ bœ œ œ nœnœ œ œ œ & #œ œ nœ œ œ J œ

Vla. bœ b œ œ œ œ œ œ œ œ B b Œ œ œ ‰ œ J J ‰ Œ ‰ J Œ

S b œ œ œ œ œ œ œ œ œ œ & b #œ Œ œ œ œ œ J J J nœ Œ bahn, dass ich dei - ne Lei dens - bahnJ mir zum Trost,

B. C. nœ œ œ œ bœ œ ? b œ ‰ œ œ œ œ bœ œ œ œ œ bœ œ œ œ œ œ Œ b J œ œ X ^ ^z ^ ^ ^ ^ ^z Y b j j j j j & b #œ ‰ œ œ nœ bœ œ œ œ œ œ bœ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œœ œ nœ œ nœ œ œ œ bœ œ bœ œ œ bœ ? b œ ‰ œ œ œ œ œ œ œ œ œ œ Œ b J œ œ 36 œ œ Vln. I b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b œ Œ ‰ œ. œœœ ‰ œ. œ ‰ œ œ œœœ œœœ

Vln. II b & b œ œ Œ Ó ‰ œ œ ‰ ‰ œ œ œœœ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Vla. b œ œ j B b Ó ‰ œ œ ‰ J œ ‰ Ó ∑ œ. œ S b œ œ œ œ œ œ ˙ w & b ‰ œ J œ ‰ J mir zum Trost, zum Trost,

B. C. œ œ ? b ‰ œ œ œ œ œ ‰ œ œ œ œ Œ ∑ b œ œ ^ ^ %3 ^ ^ b j j & b ‰ œ œ œ ‰ œ œ œ œ œ Œ ∑ œ œ œ œ œ œ œ œ œ ? b ‰ œ œ œ œ ‰ œ œ œ œ Œ ∑ b œ œ œ Wo gehet Jesus hin? 39 143 œ œ œ Vln. I b œ œ œ œ œ œ œ œ œ & b Œ J ‰ Œ J ‰ Œ ∑ ∑

Vln. II bb œ œ œ œ œ œ œ œ œ œ Œ œ ‰ Œ œ ‰ Œ ∑ ∑ & J J œ Vla. b œ B b ∑ J ‰ Œ J ‰ Œ ∑ ∑

S œ j b ˙ œ œ œ œ œœœœ j œ œ œ œ & b œœœ œ œ bœ Œ ‰ œ œ œ œ ˙ œ mir zum Trost - verœ - ste - hen ver - - - hen

B. C. œ ? b Ó ‰ œ œ œ œ œ œ œ œœœ œ Œ ‰ œ œ œ œ œ œ œ œ œ b œ œœ œ J œ & ^ ^ ^ ^ ^ & %`Z ^ ^ ^ ^4 %3 b j & b Ó ‰ œ œ œ œ œ œ œ œ bœ Œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ œ œ œ ? b œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ b Ó ‰ œ œ œ œœ œ œ Œ ‰ J œ œ 43 Ÿ Vln. I bb ‰ œ œ œ œ. œœœ œ œ œ œ œ œ & œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ Ÿ Vln. II b & b ‰ œ œ j œ œ œ j j œ œ. œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J Vla. j j j B b ‰ j j j j œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ J J

S b & b w ˙ Ó ∑ kann. B. C. ? œ œ œ œ bb œ Œ Ó ∑ œ œ J œ J ^ ^ ^ b j j & b œ Œ Ó ∑ œ œ œ œ œ œ œ œ œ ? b œ œ œ œ b œ Œ Ó ∑ œ œ J œ J Wo gehet Jesus hin? 46 144 Ÿ Ÿ Vln. I œ bb œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ Œ œ œ. œœœ œ œ œ œ œ & œ œ œ œ œ bœ œ œ œ œ Ÿ Ÿ Vln. II b œ & b œ œœœ œ j œ nœ. œœœ œ œ œ J œ J œ œ œ œ œ œ œ œ œ œ œ œ Vla. b œ œ œ œ j j j œ œ œ œ œ œ B b J J J œ œ œ. œ œ œ œ œ œ œ nœ J J

S b & b ∑ ∑ ∑ Ÿ~ œ B. C. ? b œ œ j œ œ œ œ œ œ œ œ nœ œ J œ œ b J œ J œ J œ œ ‰ œ . œ œ J ^ ^ &`Z $`Z ^3 Y ^ ^ ^ Y b j j j j j & b œ œ œ œ œ Œ œ ‰ bœ œ œ œ nœ œ œ œ œ œ œ œ œ nœ œ œ œ ? œ œ œ œ œ œ nœ œ œ œ bb J œ J œ Œ œ œ ‰ œ œ. œ œ œ œ J œ J 49 Ÿ~~ Ÿ~~ Vln. I b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ. œœ œ œ Ÿ~~ Ÿ Vln. II bb œ œ nœ œ œ œ œ œ œ œnœ œ œ bœ & œ œ œ œ œ. œ œ œ œ œ œ œ. œœ œ œ. œœ œ œ œ Vla. b œ œ œ œ œ j œ nœ œ œ œ œ œ œ œ œ j B b J J J nœ ≈ œ œ œ J J J œ

S b & b ∑ ∑ ∑

B. C. œ j ? b J œ œ œ œ Œ œ œ ‰ œ œ œ j œ j œ œ œ b J œ œ œ nœ J ^ Y ^ Y $ # ^ Y %3 j ‰ j j b j j j j j œ j & b œ œ nœ œ œ Œ œ œ œ œ œ œ œ œ œ nœ bœ œ œ œ nœ œ. œ œ œ œ œ œ œ œ j ? b J œ œ œ Œ œ ‰ œ œ j œ j œ œ b J œ œ œ œ œ œ nœ œ J Fine Wo gehet Jesus hin? 52 145 œ œ Vln. I œ œ œœ Ÿ U j #œ œ œ œ œ bb œœœ œ œ œ œ Œ nœ ‰ Œ Ó bœ ‰ Œ Œ œ œ œnœ œnœ œ & J œ

Vln. II j U bb œ œ œœœ œ œ œ œ Œ j‰ Œ Ó j‰ Œ œ œ œ œnœ & J œ œ œ w œ

Vla. j œ œ œ œ œ U B bb œ œ Œ Ó ∑ Ó œ œ ˙ œ J J J Fine œ

S b œ œ œœœ œ œ œœœ œ œ œ œ œ œ & b ∑ Œ J ‰ Œ J ‰ Œ nœ Œ Œ nœ Fine Ach, ach, ich will sie gern ich U B. C. ? b œ œ œ œ œ Œ Œ ‰ œ bœ œ Œ Œ ‰ œ œ Œ Ó b J J œ Fineœ J J œ w ^ # ^4™ ^ %4````3 U ^y %3 ^ ^z Y b j j j j ‰ j & b œ œ œ œ. œ œ œ Œ Œ ‰nœ bœ œ Œ Œ œ nœ Œ Ó ∑ œ œ œ œ œ œ œ œ œ œ œ U bœ ? b œ œ œ œ œ Œ Œ ‰ œ œ Œ Œ ‰ œ œ Œ Ó b J J œ œ J J œ w 57 Vln. I b œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ nœ œ & b œ œ œnœ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ

Vln. II b œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b w nœ œ œnœ œ œ œ œ œ œ œ nœ œ œ nœ œ œ

Vla. b œ œ B b œ œ Œ Œ œ nœ œ ∑ w Œ Ó

S b œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ. œ & b œ ‰ J œ œ.nœœ. œœ. œœ. œ nœ œ ‰ bœ œ œ will sie gern be- schrei ------ten, ich will sie

B. C. ? b ∑ ∑ Ó b w w ˙ Tasto Solo b & b ∑ ∑ ∑ ∑ ∑

? b b ∑ w ∑ w Ó ˙ Wo gehet Jesus hin? 146 62 Ÿ œ œ Vln. I b œnœ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ & b Œ Ó œ œ. œœœ œœœ œœ Ÿ Vln. II b nœ œ œ œ & b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó j œ œ œ nœ. œœœ œ œ Vla. B b w œ Œ Ó œ Œ Ó œ. œ œ œ œ b w J J J S b œ œ œ œœœ & b œ. œ œ œ œ œ œ œ œ . œ œ. œœ. œœ. œœ. œ œ. œ œ œ ∑ gern beJ -schrei - - - - - ten,

B. C. j ? b ˙ Ó Ó nœ œ œ œ œ œ œ b w ˙ œ œ œ œ J œ # ^ & ^5 Y ^ Y ^ b j j & b ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ nœ œ œ œ j ? b Ó Ó nœ œ œ b ˙ w ˙ œ œ œ œ œ œ œ J œ œ 67 Vln. I b & b œ œ œ nœœœ œ ‰ Œ ∑ œ œ œ J œ nœ œ œ œ œÿ œ œ œ œ œ bœ œ ÿ œ ÿ œÿ Vln. II b & b œ j j ‰ Œ ∑ œ œ œ œ nœ œ nœ œ œ œ œÿ œ œ œ œ œ bœ œ ÿ œ ÿ œÿ Vla. B b œ œ j j ‰ Œ ∑ ∑ b J œ œ S b nœ œ œ œ œ. œ & b Ó Œ œ œ œ #œ #œ œ œ. sollt ich a - ber end - lich glei - - - -

B. C. œ œ ? b œ œ nœ œ ‰ œ œ œ œnœ œ œ ∑ b J J œ œ ^ Y ^ Y & ^ X b j j j & b œ œ œ nœ ‰ œ nœ˙ œ bœ ∑ œ œ nœ œ œ ˙ œ #œ œ œ œ œ ? b œ œ nœ ‰ œ œ œnœ œ œ ∑ b J J œ œ œ œ Wo gehet Jesus hin? 147 70 Adagio Vivace U Vln. I bb œ ‰ œ nœ ‰ œ œ.œ œ Œ Œ ‰ œ œ œ œœ œ œ œœœ & J J œ œ œ œ œ œ œ œ œ œ œÿ œ œ œ œ œÿ ˙ U Vln. II b œ œ œ œ.œ œ & b ‰ J nœ ‰ J Œ Œ ‰ œ#œ œ œ #œœœ œ œ j œ œ œ œ œ œ ˙ œ œ œ œ ÿ ÿ œÿ ÿ Vla. b œ œ œ œ œ œ j B b ∑ ∑ Ó Œ ‰ J J J J œ U S b œ œ œ œ œ œ œ & b œ#œ œ œ œ œ Œ nœ ‰ ‰ J nœ. Œ bœ. œ œ Œ Ó - - ten, ach, soJ nimm dich mei - ner, mei - ner an.

B. C. U j ? b ∑ œ œ œ j œ j œ b w ˙ œ œ J œ œ Y``````^4``````%y`````^4 Y`````^4 Z X ^ X ^ Z j b U œ j œ j j œ & b ∑ ˙ n˙œ œ œ˙ œ œ #œ œ œ œ #œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ j ? b ∑ œ œ œ j œ j b w ˙ œ œ J œ œ œ 74

Vln. I œ bb œ Œ Ó Ó bœ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ ÿ ÿ œ ÿ œÿ bœ nœ œ œ œ œÿ œ Vln. II b & b œ œ Œ Ó Ó œ œ œ œbœ œ œ œ œ ÿ œÿ œ œ œ œ œ œÿ œ nœ œ œ œ œ ÿ bœ ÿ œÿ Vla. ÿ B bb œ œ Œ Ó ∑ ∑

S b œ œ œ œ. œ œ œ & b Œ œ œ nœ nœ . œ bœ œ œ Sollt ichœ œa - berœ end - lich glei - - - - -

B. C. ? b œ œ œ œ Œ œ œ œ œ œ Ó ∑ b œ œ œ # & ^`Z ^ Y b & b œ œ˙ bœ œ nœ Ó ∑ œ œ ˙ œ œ œ ? b œ œ œ œ œ œ œ b œ œ œ Œ œ œ Ó ∑ Wo gehet Jesus hin? 77 148 Adagio D.C. al Fine U Vln. I bb Œ Œ ‰ ‰ Œ ‰ œ ‰ Ó & œ œ œ œ nœ œ œ. œnœ œ ˙ Vln. II b U & b Œ œ Œ œ ‰ œ ‰ œ nœ Œ œ ‰ œ ‰ œ. œnœ Ó œ ˙ Vla. b œ B b ∑ Ó œ œ Œ œ ‰ ‰ ˙ ˙ Ó D.C. al Fine S b œ.#œ œ j U œ œ ‰ nœ œ ˙ & b œ ‰ œ ‰ œ œ ‰ ‰ œ œ Œ ‰ œ #œ. Ó - ten, ach, soJ nimm dich mei - ner nimm dich mei - ner an. D.C. al Fine B. C. U œ ˙ ? b œ ‰ œ ‰ ‰ œ Œ ‰ œ ‰ ˙ Ó b n˙ J œ œ ^ ^z ^ ^ ^4 œ%y ^5 4```````%x^ D.C. al Fine b j ‰ Ó & b ˙ œ ‰ œ œ ‰ œ œ nœ Œ œ n œ œ˙ œ ˙ Ó ˙ œ œ œ œ œ œ ‰ œ ‰ œ #œ ˙ U ? œ ‰ œ ˙ bb n˙ œ ‰ œ œ ‰ œ ‰ œ Œ ‰ ˙ Ó J œ 149 Wo gehet Jesus hin? VI. Recitative: Der Geist hat alle Willigkeit œ. œ. Bass ? œ œ œ. j œ œ œ œ c Œ J œ œ J œ œ œ J R ≈ œ œ œ. J Der Geist hat al - le Wil - ligR -keit, inJ die - ser Zeit, Ro GotR - tesR Lamm, mit

Basso Continuo ? c w ˙ ˙ #˙ ˙ # ^ & c w ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ? c w ˙ ˙ #˙ ˙ 4 œ. œ œ œ œ. œ. œ œ B ? œ. J R J J œ œ œ #œ J #œ œ œ #œ œ œ J J œ. œ œ J J ‰ J ‰#œ J J ‰ J J R dir denJ Lei-dens-pfad zu ge-hen. Doch ach, dasJ Fleisch istR oft zu schwach,dieJ har - ten Pro-ben aus-zu B. C. ? ˙ œ ˙ œ #˙ ˙ n˙ #˙ ˙ ^ X ^ &x```````^ ^4™`x ^5 & w #œ œ ˙ ˙ #˙ ˙ ˙ w œ œ #˙ #œ˙ œ ˙ ˙˙ ˙ ? ˙ œ ˙ œ #˙ ˙ n˙ #˙ ˙ 8 œ œ. œ B ? œ œ œ œ œ œ #œ. œ œ. œ œ œ œ œ œ œ œ ‰ J ≈ R R J J J J J ‰ J ‰ J steJ - hen.J Je - doch inR dei-ner Kraft will ich den Nach - gang wa - gen. Ich tu - e, was ich B. C. ˙ ˙ ? œ ˙ ˙ œ ˙ œ ˙ œ X X ^ X ^ & œ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ##œ œ ˙ #˙ ˙ ˙ #œ œ ˙ ˙ ? ˙ ˙ ˙ œ ˙ œ œ ˙ œ ˙ Wo gehet Jesus hin? 12 150 œ. œ. B ? r œ j bœ. œ œ œ œ œ œ œ œ œ œ œ œ œ. œ ≈ œ œ R œ J R J J J J ‰ J J œ. J J J J œ kann, ich willR mit dir die Kreu - zes-bür - de tra - gen Ach Je - su, Je - su nimm den gu - ten Wil - lenR

B. C. ? ˙ ˙ ˙ b˙ œ œ Nw ˙ ^4£ ^`Z # &``````^ œ & ˙ ˙ b˙ œ œ œ ˙ œœ ˙ ˙ ˙ ˙ b˙ œ œ ˙. ˙ ? ˙ ˙ ˙ b˙ œ œ Nw ˙ 16

B ? œ Œ Ó an. B. C. œ ? Œ ˙

Œ œ ˙ & œ ˙ œ ? Œ ˙ 151 Wo gehet Jesus hin? VII. Chorale: Dies alles, ob's für schlecht

(h = 84-88) Violin I w ˙ ˙ & c ∑ ˙ ˙ ˙ #˙

Violin II & c w ˙ ˙ #˙ ˙ #˙ ˙ ˙. œ ˙ ˙

Viola B c ∑ ∑ ∑

Soprano w ˙ ˙ & c ∑ ˙ ˙ ˙ #˙ Dies al - les, ob's für schlecht,

Alto & c w ˙ ˙ #˙ #˙ ˙ ˙. œ ˙ Dies al - les, ob's für˙ schlecht, für schlecht ˙

Tenor V c ∑ ∑ ∑

Bass ? c ∑ ∑ ∑

Basso Continuo ? c ∑ ∑ ∑

& c ∑ ∑ ∑

? c ∑ ∑ ∑ Wo gehet Jesus hin? 152

4 Vln. I w ˙ . & ˙ w ˙ ˙ ˙ ˙ ˙ œ

Vln. II & ˙ #˙ #˙ ˙ ˙ #˙ w ˙ ˙ ˙ ˙

Vla. B ∑ ∑ w w w

S w ˙ . & ˙ w ˙ ˙ ˙ ˙ ˙ œ ob's für schlect zwar ist zu

A & ˙ #˙ #˙ ˙ ˙ #˙ w ˙ ˙ ˙ ˙ für schlecht zwar ist zu

T V ∑ ∑ w w w Dies al - les B ? ˙ ∑ w ˙ ˙ ˙ ˙ ˙. œ ˙ Dies al - les ob's für schlecht zwar B.C. ? ˙ ∑ w ˙ ˙ ˙ ˙ ˙. œ ˙ &x```````^4 %4 X ^ ^ ∑ ˙ ˙ ˙ ˙ ˙ w ˙ & #˙ ˙ ˙ #˙ ˙ ˙ w ˙ ˙ ? ˙ ∑ w ˙ ˙ ˙ ˙ ˙. œ ˙ Wo gehet Jesus hin? 153

7 Vln. I ˙. w œ w & œ œ œ œ œ ˙ œ w

Vln. II œ & ˙ ˙ œ œ #œ ˙. œ ˙ ˙ ˙ w ˙

Vla. B w #w w w w w S ˙. w œ w & œ œ œ œ œ ˙ œ w schät zen,

A & ˙ œ œ œ #œ ˙. œ ˙ ˙ ˙ ˙ schät˙ - - - - zen ob's für schlecht w

T V #w w w w w ob's fürw schlecht zwar ist zu B ? ˙ ˙ ˙ ˙. œ ˙ ˙ ˙ ˙ ˙ w ist zu schät - - - zen, ob's zwar ist B.C. ? ˙ ˙ ˙ ˙. œ ˙ ˙ ˙ ˙ ˙ w X ^ X ^ ^ %```````^ Ó & #w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙w ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ w ? ˙ ˙ ˙ ˙. œ ˙ ˙ ˙ ˙ ˙ w Wo gehet Jesus hin? 154

10

Vln. I & ˙ b˙ ˙. œ #˙ w ˙ Ó ˙ ˙ ˙

Vln. II „ & ˙ ˙ ˙ ˙ w w

Vla. B W W „

S & ˙ b˙ ˙. œ #˙ w ˙ Ó ˙ ˙ ˙ ob's für schlecht zu schät - zen, wirst du es

A & ˙ ˙ ˙ „ für˙ schlecht zu schätw - zen,w

T V W W „ schät - - - zen,

B ? ˙ ˙ ˙ ˙ w w „ für schlecht zu schät - zen,

B.C. ? ˙ ˙ ˙ ˙ w w „

^ Z ^ X``````%4 ```````````````X ˙ b˙ w w w ∑ & ˙ ˙ ˙w ˙ #w˙ w w ˙

? ˙ ˙ ˙ ˙ W „ Wo gehet Jesus hin? 155

13 Vln. I w & w Œ œ œ œ ˙ ˙ #˙ w ˙

Vln. II Ó w. & ˙ ˙ ˙ ˙ œ œ œ œ w

Vla. B „ „ ∑ w

S w & w Œ œ œ œ ˙ ˙ #˙ w ˙ doch nicht, wirst du es doch nicht gar, nicht

A & Ó ˙ ˙ w. ˙ wirst˙ du es doch nicht garœ œ œ œ w

T V „ „ ∑ w wirst

B ? Ó ˙ ˙ ˙ w. ˙ w. ˙ wirst du es doch nicht gar, nicht

B.C. ? Ó ˙ ˙ ˙ w. ˙ w. ˙

& ^ ````````````^ ^ X```^4```%4 X & Ó w ˙ w ˙ ˙ #˙ ˙ ˙ ˙ w ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ? Ó ˙ ˙ ˙ w. ˙ w. ˙ Wo gehet Jesus hin? 156

16

Vln. I & ˙ w ˙ ˙ b˙ Ó ˙ ˙ w b˙

Vln. II & ˙ ˙ ˙. œ w œ ˙ œ œ œ œ œ ˙ ˙

Vla. B w w w w w. ˙

S & ˙ w ˙ ˙ b˙ Ó ˙ ˙ w b˙ gar bei - sei - te wirst du es doch

A & ˙ ˙. œ w œ ˙ œ œ œ ˙ bei - sei - te set - - œ - - œ ˙- zen,˙ T w w. ˙ V w w w du es doch nicht gar bei - B ˙ ˙ œ ? ˙ . ˙. œ œ ˙ ˙ Ó ˙ ˙ ˙ gar bei - sei - te set - zen, nicht gar bei - B.C. ˙ ˙ œ ? ˙ . ˙. œ œ ˙ ˙ Ó ˙ ˙ ˙

^ $````````# ^ ^`Z ˙ ˙ ˙ ˙ w ˙ ˙ Ó w b˙ & ˙ ˙ ˙ ˙ w ˙ ˙ w ˙ ˙ ˙ œ ? ˙ . ˙. œ œ ˙ ˙ Ó ˙ ˙ ˙ Wo gehet Jesus hin? 157

19

Vln. I & ˙ ˙ w ˙ bœ œ ˙ ˙ b˙. œ w

Vln. II Ó ˙ ˙ ˙ & ˙ ˙ ˙ ˙ ˙ w ˙ Vla. B w w W W

S & ˙ ˙ w ˙ bœ œ ˙ ˙ b˙. œ w nicht gar bei - sei - te set -

A & Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ wirst˙ du es doch nicht gar bei - sei - te set - T w w V W W sei - te set - - - zen,

B ˙. bœ œ ? ˙ œ ˙ ˙ ˙. œ ˙ ˙ w sei - - - - - te set - - -

B.C. ˙. bœ œ ? ˙ œ ˙ ˙ ˙. œ ˙ ˙ w

Z %```````^ ^5 Z ^5`z (`````* b˙ w ˙ ˙ ˙ ˙ bw bw w & ˙ w˙ ˙ ˙ ˙ w w˙ ˙ ˙w ˙ ˙. bœ œ ? ˙ œ ˙ ˙ ˙. œ ˙ ˙ w Wo gehet Jesus hin? 158

22 Vln. I ˙ ˙ & w. w ˙ œ œ œ œ œ œ ˙

Vln. II ˙ ˙ w Ó & ˙ œ œ ˙ ˙ ˙ #˙ ˙

Vla. B „ „ „

S ˙ ˙ & w. w ˙ œ œ œ œ œ œ ˙ zen, in Gna - - - - den, in

A & ˙ ˙ ˙ w ˙ ˙ #˙ Ó ˙ œ œ zen,˙ in Gna - - - den, in

T V „ „ „

B ? w. Ó „ „ zen,

B.C. ? w. Ó „ „

$````# ˙ ˙ . ˙ ˙ w ˙ ˙œ œ ˙ ˙ ˙ & w˙. w ˙ ˙. œ ˙. œ ˙ #˙ ˙ ˙ ˙. ˙ ˙. œ œ ˙ ˙ w ? w. Wo gehet Jesus hin? 159

25

Vln. I & ˙ bw ˙ œ œ bœ œ ˙. œ ˙ ˙ ˙ ˙

Vln. II ˙ & w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

Vla. B „ ∑ w w w

S & ˙ bw ˙ œ œ bœ œ ˙. œ ˙ ˙ ˙ ˙ Gna - - - - - den wirst du dies von

A & ˙ w ˙ ˙ ˙ ˙ Gna - - - den˙ wirst du˙ dies von˙ mir,˙ von˙

T V „ ∑ w w w in Gna - den

B ? „ ∑ Ó ˙ ˙ ˙ ˙. œ in Gna - den

B.C. ? „ ∑ Ó ˙ ˙ ˙ ˙. œ

^ ^5 # (`````* & ˙ bw ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ b˙. œ ˙. œ w ? ˙ ˙ ˙ ˙ ˙. œ Wo gehet Jesus hin? 160

28 Vln. I w ˙ ˙ & ˙. œ ˙ ˙ ˙ œ œ w

Vln. II Ó Ó & ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ Vla. B w w w w w w

S w ˙ ˙ & ˙. œ ˙ ˙ ˙ œ œ w mir von mir an - neh -

A & Ó Ó œ œ mir˙ an˙ - neh˙ - men,˙ in˙ Gna˙ - den˙ wirst du dies˙ von˙

T V w w w w w wirst duw dies von mir an - B ˙ . ? ˙ ˙ ˙ bw w w ˙ wirst du dies von mir, von mir an - B.C. ˙ . ? ˙ ˙ ˙ bw w w ˙ ^ $````# % ^ ^`````% %4``````3 &`````^`````^4™ ˙ w ˙ & ˙ ˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙w ˙ ˙ ˙ ˙œ œ ˙ ˙ w ˙ ˙ ˙ ˙ . ? ˙ ˙ ˙ bw w w ˙ Wo gehet Jesus hin? 161

31

Vln. I & #w w ˙ #œ œ w „

Vln. II & w. ˙ w w Ó ˙ ˙ ˙

Vla. B „ W W

S & #w w ˙ #œ œ w „ men,

A & w. ˙ w w Ó ˙ ˙ ˙ mir an - neh - men mich nicht be -

T V W „ neh - men,W B ? ˙ ˙ ˙ W w ˙ ˙ neh - men,. mich nicht be - schä - B.C. ? ˙ ˙ ˙ ˙ W w. ˙ ^x`````````^4 %4``````x X ^z # # # & #w w w˙ #œ œ ˙ ˙ b˙ ˙ ˙ n˙ w w w #˙ b˙ ˙ ˙ ˙ ? ˙ ˙ ˙ ˙ W w. ˙ Wo gehet Jesus hin? 162

34 Vln. I w & Ó œ œ ˙ w ˙ œ œ œ œ #˙ ˙

Vln. II & ˙ œ œ œ œ œ œ œ ˙ ˙ ˙. œ œ œ œ œ ˙ ˙ Vla. B „ „ ∑ w

S w & Ó œ œ ˙ w ˙ œ œ œ œ #˙ ˙ mich nicht be - schät - - - - -

A & œ ˙ œ œ œ œ œ œ ˙ ˙. œ œ œ schä - - - ˙ - - - œ -œ ˙ ˙- T w V „ „ ∑ mich ˙ B ? w ˙ ˙ œ œ ˙ ˙ w. ˙ men, mich ˙ B.C. ? w ˙ ˙ œ œ ˙ ˙ w. ˙ &``````^ $2 &x &`````^`````^4™`x ^ ˙ ˙ & w w ˙ ˙ #˙ ˙ w˙ ˙ #˙ ˙ w ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ? ˙ w ˙ ˙ œ œ ˙ ˙ w. ˙ Wo gehet Jesus hin? 163

37

Vln. I & ˙ #˙ Ó ˙ #w #w ˙ w œ œ

Vln. II & ∑ Ó ˙ ˙ ˙ ˙ ˙ œ œ #œ œ w Vla. B w w W W

S & ˙ #˙ Ó #w #w ˙ w œ men, mich˙ nicht be - schä - - - œ

A & ∑ Ó w ˙ men,˙ mich˙ nicht˙ be˙ - schäœ œ #- œ œ - - T V w w W W nicht be - schä - - - men. B ? ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ mich nicht be - schä - - - - - B.C. ? ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ & &x ^ ^x X ^`X ^5 & ˙ #˙ w w #w ˙ ˙ w w w #w w ˙ #˙ w ? ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ Wo gehet Jesus hin? 164

40

Vln. I & W W

Vln. II & ˙ œ #œ w #W

Vla. B W W

S & W men.W

A & ˙ œ #œ w #men.W

T V W W

B ? W W men. B.C. ? W W (`````* X w w W & ww w #W ? W W 165 Violin I Christoph Graupner (1683-1760) Wo gehet Jesus hin? Edited by Kevin Michael Seal I. Accompagnato: Wo gehet Jesus hin? ( = 62) q œ #œ œ œ #œ ˙ ˙ ˙ #œ œ & c ˙ ‰ ˙ ˙ ˙ œ ˙ œ

7 œ œ ˙ #˙ œ œ ˙ ˙ œ œ & #œ œ Ó ˙ bœ œ ˙ J ‰ J ‰

13 j œ w œ œ œ œ œ. œ œ œ Œ #œ ‰ ‰ Œ œ ‰ J ‰ J ‰ J ‰ J J ‰ J ‰ Œ j & J J J œ œ œ œ œ œ w 166 Violin I Wo gehet Jesus hin? II. Aria: Ach, saurer Gang

œ œ w œ #œ œ & c w œ œ œ w Œ œ œ œ œ

7 œ œ œ#œ œ #œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ#œ œ. œ w Œ œ œ œ œ

13 œ œ œ. œœ œ œ œ œ. œ #˙ #œœœ œœ œ œ#œ#œ #œ ˙ ∑ & œ. œ#œ. œ œ 3 3 œ

19 ˙ œ œ œ œ ‰ Œ œ ‰ Œ Ó Œ bœ. œ bw Œ œ œ œ œ œ & œ J J œ œœ œ

25 3 ˙ œ œœ œ œ œ #˙ ˙ œ œ j #œ œ œ 3 œ œ Œ ˙ ∑ œbœ œ œ œ œ œ & 3 œ œ 3 . . .

Fine 31 U ˙ œ. œœ œ œ & œ#œ œ œ œ œ. œ œ #œ. œ Œ Œ #œ œ œ œ œ œ œ œ œ. œœ œ Œ

37 bœ Ÿ & ∑ ∑ Œ œ œ bœ nœ œ œ œ œ œ. œœ. œœ Œ ∑ ∑

44 Ÿ Ÿ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ. œ#œ. & ∑ ∑ Œ œ #œ #œ Wo gehet Jesus hin? 167 49 Ÿ . œ#œ œ.œœ œ. œ #œ. œœ œ œ & #œ œ Œ Ó Ó Œ œ œ Œ Ó ∑ Œ œ œ œ œ

55 œ œ bœ. œ œ bœ nœ œ œ. œ œ œ œ. œ. œœ œ œ œ. #œ œ œ & J œ œ. œ œ œ œ J œ œ J

60 D.C. al Fine œ . œ œ #œ œ & œ J œ #œ œ 168 Violin I Wo gehet Jesus hin? III. Chorale: Herzleibster Jesu ( = 72) q ˙ ˙ w & b c ∑ w ˙. nœ #œ œ w #˙ #˙ ˙

5 w œ œ œ œ œ œ . & b w w œ #œ ˙ nœ œ œ w #˙

9 w. ˙. bœ ˙ & b ˙ ˙ #˙ Œ œ œ œ ˙ œ œ ˙ ˙ ˙

13 ˙ bw ˙ & b œ œ w w ˙ ˙ ˙ ˙ ˙. nœ ˙

17 ˙ w ˙ b˙. & b œ w ˙ w #œ œ œ œ w n˙

21 ˙ #˙ w. ˙ ˙ œ & b #˙ œ œ œ #˙ ˙ ˙ ˙ Ó ˙

25 W & b ˙ ˙ ˙. œ ˙ œ œ ˙ #˙ w œ œ œ œ 169 Violin I Wo gehet Jesus hin? V. Aria: Jesu, öffne mir die Augen Vivace ( = 76) q Ÿ Ÿ~ b 4 œ. œœ œ œ œ œ œ œ œ œœœ œ œ œ œ œ & b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ Œ

4 Ÿ Ÿ~ Ÿ~ b œ. œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ. œœ

7 œ œ œ bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ. œ œ. œ œ. œœœ œ Œ & œ œ œ œ œ

10 œ b œœœœœœ œ œ œ œ œ œ œ œ bœ œ. œ & b œœœ Œ Ó ‰ J ‰ Œ ‰ ‰ ‰ œœœ œ Ó ‰ J

15 Ÿ~ œ b œ œ œ œ œ œ œ œ œ œ œ œ & b J J nœ œ. nœ Œ Ó ≈ œ œ œ œ œ œ. œœ œ œ œ œ œ œ œ œœ Œ

19 b œ œ œ œ œ œnœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b ≈ œ œ œ œœœ œœœ œ œ œ œ œ œ œ Œ Ó

22 b œ œ & b Ó œ ‰ œ ‰ J ‰ Œ Ó Ó Œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

26 bœ bœ bœ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œœ œ œ. œ & b œ J ‰ Œ ≈ Œ Œ ‰ J Œ ‰ J œ Wo gehet Jesus hin? 170

30 œ b bœ œ œ œ œ œ œ nœbœ œ œ . & b œ Œ ‰ œ œnœ œ œ œ œ Œ ‰ œœ Œ ‰ J œ œ œ. œ œ œ

34 œ œbœ œ œ b œ œ œ œ œ œ œ œœ œ œ œ œœ œ œ .œœ œ œ & b J J J J nœ Œ ‰ œ.œ œ ‰ œ ‰ œ œ œ œ œ œ

38 œ b œ œ œ œœ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b Œ J ‰ Œ J ‰ Œ ∑

42 Ÿ b œ. œœ œ œ œ œ & b ∑ ‰ œ œbœ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ

46 Ÿ Ÿ b œ œ œ œœœ œ œ œ œ œ œ œ. œœœ œ œ œ œ œ œ & b œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ Œ

49 Ÿ~ Ÿ~ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ. œœ œ œ

52 Fine œ œ œ œ Ÿ U œ œ œ bb œ œ œœ œ œ œ œ œ Œ nœ ‰ Œ Ó j‰ Œ Œ œ œnœ œnœ#œ œ œ & J bœ œ œ

57 b œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ nœ œ & b œ œ œnœ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ

62 Ÿ b œnœ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ & b œ œ Œ Ó œ œ. œœœœ œœ œ œœ Wo gehet Jesus hin? 171

67 U bb œ œ nœœœ œ ‰ Œ ∑ & œ œ œ J œnœ œ œ œ œ œ œ œ œ œ œbœ œ ÿ ÿ œ ÿ œÿ œ œ œÿ œ œ œ œ œÿ ˙ 71 Adagio Vivace b œ œ œ œ. œœ œ œ œ œ œœœ œ œ & b ‰ Jnœ ‰ J Œ Œ ‰ œ œ œ œ œ œœ œ œ œ œ Œ Ó

75 Adagio U bb Ó bœ Œ Œ ‰ ‰ Œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œnœ ÿ ÿ œ ÿ œÿ bœ nœ œ œ œ œÿ œ œ 79 D.C. al Fine bb ‰ œ ‰ Ó & œ œ. œ nœ ˙ 172 Violin I Wo gehet Jesus hin? VII. Chorale: Dies alles, ob's für schlecht

h = 84-88 w ˙ ˙ & c ∑ ˙ ˙ ˙ #˙ ˙ w ˙

5 w ˙ . ˙. w œ & ˙ ˙ ˙ ˙ œ œ œ œ œ œ ˙ œ

9 w & w ˙ b˙ ˙. œ #˙ w ˙ Ó ˙ ˙ ˙

13 w & w Œ œ œ œ ˙ ˙ #˙ w ˙ ˙ w ˙

17

& ˙ b˙ Ó ˙ ˙ w b˙ ˙ ˙ w ˙ bœ œ ˙ ˙

21 ˙ ˙ & b˙. œ w w. w ˙ œ œ œ œ œ œ ˙

25

& ˙ bw ˙ œ œ bœ œ ˙. œ ˙ ˙ ˙ ˙ ˙. œ ˙ ˙

29 ˙ w ˙ ˙ œ w ˙ & œ w #w #œ œ w Wo gehet Jesus hin? 173

33 w & „ Ó œ œ ˙ w ˙ œ œ œ œ #˙ ˙

37

& ˙ #˙ Ó ˙ #w #w ˙ w œ œ W W 174 Violin II Christoph Graupner (1683-1760) Wo gehet Jesus hin? Edited by Kevin Michael Seal I. Accompagnato: Wo gehet Jesus hin? ( = 62) q c ‰ œ œ œ œ œ ˙ ˙ ˙ #˙ œ & ˙ ˙ ˙ #œ œ ˙ #œ

7 #œ œ #˙ ˙. ˙ #˙ œ j & œ œ Ó œ ˙. œ ˙ J ‰ œ ‰

13 œ & Œ œ ‰ œ ‰ Œ #w œ ‰ œ ‰ œ ‰ J ‰ ˙ œ ‰ œ ‰ Œ J J J J J J J œ œ œ œ œ w 175 Violin II Wo gehet Jesus hin? II. Aria: Ach, saurer Gang

c œ œ œ œ w Ó j Œ & w œ. œ w œ œ œ œ

7 œ & œ œ œ œ œ #œ œ œ œ œ œ œ œ œ ˙ Œ œ. œ #w Œ œ œ œ

13 3 œ & œ œ œ œ œ œ. œ#œ œ œ Œ Ó ˙ #œœœœœœ œ #œ#˙ Œ . œœ. œ 3 œ œ ˙

19 j j‰ Œ œ ‰ Œ j Œ ∑ & œ. œ ˙ œ J œ œ œ. œ w œ œ œ œ œ œ œ œ

26 3 3 & ˙ œbœ œ œ Œ œ. j œ œ œ œ œ œ œ œ#˙ bœ ˙ bœ œ œ œ #œ. œ.

31 U œ. œœ & #œ œ œ œ œ œ. œ œ œ ˙ Œ Œ Ó œ #œ œ œ #œ œ œ œ#œ œ Œ

37 ∑ ∑ ‰ j & w œ œ œ œ œ œ œ œ œ.#œœ œ œ œ ˙ œ œ #œ. œ

44

& œ œ ˙ œ œ œ#œ œ #œ #w œ #œ œ #œ œ œ œ œ #œ œ. #œ Wo gehet Jesus hin? 176 49 Ÿ œ & œ. #œ#œ œ œ œ œ. œ œ œ Œ Ó Ó Œ œ œ Œ Ó ∑ Œ œ œ Œ

55 j j Œ Œ œ œ . j . œ & ˙ œ œ œ. œœ œ œ œ œ œ œ œ œ œ. œ œ œ ˙ œ

61

& œ #œ œ #œ 177 Violin II Wo gehet Jesus hin? III. Chorale: Herzleibster Jesu ( = 72) q b c w. Ó ˙ ˙ & ˙ ˙ ˙ ˙ #˙ w w ˙

5

& b w w Ó w ˙ ˙ ˙ ˙ #˙ ˙. œ ˙ ˙

9

& b ˙. œ ˙ ˙ w ˙ ˙ Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙

13

& b ˙ ˙ w ˙ w œ œ ˙ w Ó Œ œ œ œ w

17 b ˙. œ ˙ & œ œ œ œ œ œ ˙ #˙ w. ˙ ˙. œ ˙. œ

21 ˙. ˙ ˙ & b ˙ w ˙ œ ˙ œ œ ˙. œ ˙. œ #˙ ˙

25 b & œ ˙ #œ ˙ ˙ #˙ ˙ ˙ ˙ œ œ œ #œ w

28 b & œ œ #œ œ w 178 Violin II Wo gehet Jesus hin? V. Aria: Jesu, öffne mir die Augen Vivace ( = 76) q Ÿ Ÿ~ Ÿ b b 4 œ. œœ œ œ œ œœœ œ j nœ. œœœ œ & 4 œ œ J œ J œ J œ œ œ œ œœœœœ œ œ œ œ J œ J 5 Ÿ~~ Ÿ~~ bb œ nœœœ œ j ≈ œ œ œ nœ œ œ œ œ œ œ bœ & J œ J œ œ œ œ œ œ œ œ œ œ œ œ œ. œœ œ œ

8 bb œœ œ œœ œ œ j Œ Ó œœœœœœ Œ Ó ‰ œ œœœ œ ‰ Œ ‰ œ œ ‰ & œ œ œJ œ œ œœœ J

13 Ÿ~ bb ‰ j Œ Ó ‰nœ œ œ œ œ œ ‰ Œ Ó ≈ œ œ œ & œ œ œ J J J œ œ œ œ œ œ œ œ œ. œœJ œ œ

18 bb œ j Œ ≈ & J œ œ œ œ œ œ œnœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œ œ œ œœœ œœœ

21 bb Œ Ó Ó œ ‰ œ ‰ œ ‰ Œ Ó Ó Œ ‰ j œ œ œ & nœ J œnœ œ œ nœ œ œ œ

26 bb œ. œ œ. œœ œ œ ‰ Œ ‰ œ œ œ Œ Œ ‰nœ œ œ œ Œ ‰ œ œ œ œ œ & J J œ œ œ J J

30 bb bœ œ Œ ‰ Œ ‰ œœœœœœ jœ œ Œ Œ ‰ bœ j œ œ œ & œœœ œ œ œ œ J œ #œ œ nœ œ œ J Wo gehet Jesus hin? 179

35 b j j & b bœ œ œ œnœnœ œ œ œ œ œ Œ Ó ‰ œ œ ‰ ‰ œ œ œœœ œœœ

38 bb œ œ œ œœœœœ œœœ œ œœœœœœœœ Œ œ ‰ Œ œ ‰ Œ ∑ ∑ & œ œœœ œ œ œ œ J J

43 Ÿ b & b ‰ j œ j j œ. œœœ œ œ œ œœœ œ j œ œ œ œ œ œ œ œ œœœ œ œ œ œœ œ œ œ J œ J œ J œ œ 47 Ÿ Ÿ Ÿ~ Ÿ bb nœ. œœ œ œ œ œœ nœœœ & œ œ œœœœœ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ. œœ œ œ. œœ

51 U bb œ œ œ œ œnœ œ œ bœ œœ œ œ œ œ j Œ j‰ Œ Ó j‰ Œ & œ œ œ œ œ J œ œ œ œ w

56 b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b œ œ œ nœ w nœ œ œnœ œ œ œ œ œ œ œ

61 b œ nœ œ œ œ œ œ œ œ & b nœ œ œnœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó

66 Ÿ b j j & b nœ. œœ œ œ œ œ jnœ ‰ Œ ∑ nœ œ œ œ œ œ bœ œ œ œ œ œ œ ÿ œÿ œ œ œ œ œ œÿ œ Adagio Vivace ÿ 70 b U œ œ œ. œ œ & b ‰ Jnœ ‰ œ Œ Œ ‰ œ#œ œ œ #œœœ œ œ j œ œ œ œ œ œ ˙ J œ œ œ œ ÿ ÿ œÿ ÿ Wo gehet Jesus hin? 180 Adagio 74 b U & b œ œ Œ Ó Ó œ œbœ œ Œ Œ œ œ œ ÿ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ ÿ ÿ ÿ bœ ÿ œÿ œ 78 ÿ bb ‰ ‰ Œ ‰ œ ‰ Ó & œ œ œ nœ œ œ. œ nœ ˙ 181 Violin II Wo gehet Jesus hin? VII. Chorale: Dies alles, ob's für schlecht

h = 84-88

& c w ˙ ˙ #˙ ˙ #˙ ˙ ˙. œ ˙ ˙

4 œ & ˙ #˙ #˙ ˙ ˙ #˙ w ˙ ˙ ˙ ˙ ˙ ˙ œ œ #œ

8

& ˙. œ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ w w

12 „ Ó w. & ˙ ˙ ˙ ˙ œ œ œ œ w

16 . œ Ó ˙ ˙ & ˙ ˙ ˙ œ w œ ˙ œ œ œ œ ˙ ˙ ˙

20 ˙ ˙ w & ˙ ˙ ˙ ˙ ˙ w ˙ ˙ œ œ ˙ ˙

24 ˙ Ó ˙ ˙ & #˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

28 Ó Ó w. ˙ & ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ Wo gehet Jesus hin? 182

32 Ó & w w ˙ ˙ ˙ œ ˙ œ œ œ œ œ œ ˙ ˙ ˙. œ

36

& œ ∑ Ó œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ #œ œ w

40

& ˙ œ #œ w #W 183 Viola Wo gehet Jesus hin? Christoph Graupner (1683-1760) Edited by Kevin Michael Seal I. Accompagnato: Wo gehet Jesus hin? ( = 62) q #˙ ˙ B c ˙ Ó Ó ˙ ˙ ˙ ˙ #˙ œ ˙ œ

7 ˙ œ ˙ ˙ œ œ œ œ œ B œ Ó œ ˙ œ œ ˙ ˙ ˙ J ‰ J ‰ Œ J ‰ J ‰ Œ

14 œ ˙ #˙ œ œ œ J ˙ œ œ B J ‰ J ‰ J ‰ ‰ J ‰ J ‰ Œ œ ˙ w 184 Viola Wo gehet Jesus hin? II. Aria: Ach, saurer Gang

w #œ B c w ∑ #œ œ œ œ w Œ œ œ œ Œ œ œ

8 #œ j #œ B œ ˙ œ œ œ Œ Ó œ. œ w Œ œ œ œ Œ œ œ œ œ Ó

15 œ #œ œ #œ ‰ #œ ˙ œ œ œ œ œ. œ#œ œ B Œ ‰ ‰ Œ Ó œ œ 3 œ œ#˙ J J 3 œ

20 œ œ œ. œ w œ œ œ œ œ B J ‰ Œ J ‰ Œ Ó Œ Œ œ œ œ ∑ ∑

27 3 œ B ˙ bœ œbœœ œ bœ n˙ bœ nœ œ œ œ ˙ œ œ œ#œ œ œ œ œ œ #˙ œ 3 œ œ .

33 œ. œ œ œ œ. œ Uœ #w B Œ Œ ∑ Œ œ œ J Œ ∑ ∑

40

B ‰ œ œ œbœ œ œ œ œ œ œ Œ Ó Œ œ œ ˙ œ ˙ Œ œ ˙. œ w

47 œ œ. œ œ B Ó ‰#œ œ œ œ œ œ œ #œ œ œ œ Œ Ó Ó Œ #œ œ Œ Ó Wo gehet Jesus hin? 185

53 œ B ∑ Œ œ œ Œ ˙ œ œ œ œ œ Œ Œ œ œ œ œ œ œ œ œ

59

B œ œ œ #œ œ ˙ œ œ Œ Œ œ 186 Viola Wo gehet Jesus hin? III. Chorale: Herzleibster Jesu ( = 72) q ˙ B b c ∑ ∑ w w w w ˙

5 B w. ˙ #˙. œ ˙ ˙ œ œ b ˙ ˙ ˙ ˙ œ œ ˙ ˙

9 ˙. œ ˙ ˙ ˙ B b #˙ ˙ w ˙ ˙ ˙ w ˙ ˙

13 w.. B b ˙. œ ˙ ˙ bœ ˙ œ œ ˙ ˙ ˙ ˙ œ œ œ nœ

17 ˙ b˙ ˙ ˙ ˙. B b ˙ ˙ ˙ ˙ œ ˙ œ œ #w w

21 ˙ ˙ œ ˙ w B b #˙ nœ œ œ œ œ ˙. œ ˙. œ ˙ ˙. #œ

25 œ #œ B b ˙. œ œ œ œ œ ˙ œ ˙. œ ˙ w œ œ W 187 Viola Wo gehet Jesus hin? V. Aria: Jesu, öffne mir die Augen Vivace ( = 76) q B b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b 4 J J J J J J œ œ nœ œ J J

5 b œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ B b J J œnœ œ ‰ œ œ J J J J J J Œ Ó

10 œ œ œ œ j œ B bb œ Œ œ Œ Ó ‰ œ J œ Œ ‰ ‰ ‰ œ œ œ Œ Ó ‰ œ J

15 bœ B b œ œ œ ‰ œ œ œ Œ Ó ‰ œ œ j œ œ j œ j œ Œ b J J œ J œ œ

19 B bb ∑ ∑ ∑

22 œ œ œ œ œ œ œ B b Ó œ ‰ œ ‰ J ‰ Œ Ó Ó Œ ‰ œ œ œ œ œ œ J œ œ J ‰ Œ Œ ‰ J Œ b J J J J

28 bœ œ œ œ œ œ œ B b Œ ‰ œ œ œ Œ ‰ J œ Œ ‰ j Ó Œ ‰ œ œ œ œ Œ b J œ œ J œ

33 bœ B b Œ œ œ œ ‰ œ œ œ ‰ Œ ‰ œ œ œ Œ Ó ‰ œ œ ‰ œ j‰ Ó b œ œ J J J œ J œ Wo gehet Jesus hin? 188

38 b œ œ B b ∑ ∑ J ‰ Œ J ‰ Œ ∑ ∑

43 B b ‰ j j j j j j j œ œ œ œ œ œ œ œ œ œ œ j œ. œ œœœ jœ j b œ œ œ œ œ œ œ œ œ œ œ J J J J J œ œ œ nœ

48 b œ œ œ œ œ œ œ œ œ œ œ j œ nœ œ œ œ œ œ œ œ œ j jœ œ œ œ œ B b J J J J J nœ ≈ œ œ œ J J J œ œ J J J

53 b U œ œ B b œ Œ Ó ∑ Ó œ œ ˙ œ œ œ Œ Œ œ nœ œ

59 B bb ∑ w œ Œ Ó w œ Œ Ó w œ Œ Ó

Adagio Vivace 66 B b œ. œ œ œ œ œ œ j j‰ Œ ∑ ∑ ∑ ∑ Ó Œ ‰ œ b J J J J œ œ J Adagio 73 b œ œ œ œ œ j œ B b J J J œ œ Œ Ó ∑ ∑ ∑

78 œ B bb Ó œ œ Œ œ ‰ ‰ ˙ ˙ Ó 189 Viola Wo gehet Jesus hin? VII. Chorale: Dies alles, ob's für schlecht

h = 84-88

B c ∑ ∑ ∑ ∑ ∑ w w w

7 B w W #w w w w w W

12 B „ „ „ ∑ w w w

17 B w w w. ˙ w w W W

22 B „ „ „ „ ∑ w

27 B w w w w w w w w W

32 B „ „ „ ∑ w W

37

B w w W W W W 190 Basso Continuo Christoph Graupner (1683-1760) Wo gehet Jesus hin? Edited by Kevin Michael Seal I. Accompagnato: Wo gehet Jesus hin? ( = 62) q ? ˙ ˙ ˙ œ c ˙ Ó Ó ˙ #˙ Ó Œ œ #˙ Œ w

8 ? ˙ ˙ œ ˙ w #˙ œ ‰ œ ‰ Œ j‰ j‰ Œ ˙ #˙ ˙ œ ˙ œ œ

15 ˙ ? ˙ ˙ ˙ Œ œ ˙ w 191 Basso Continuo Wo gehet Jesus hin? II. Aria: Ach, saurer Gang

? c ∑ w Ó Œ œ. œ w Œ œ #œ œ Œ w #œ #œ œ

8 œ œ œ ? Ó œ #œ œ Œ œ œ Œ œ œ œ Ó ˙ w œ w

15 œ œ œ bœ ? Œ #œ #œ Œ Œ ∑ ˙ œ œ œ œ œ œ œ œ#˙ œ 3 3 w

21 œ #œ ? bœ œ œ œ œ #œ œ œ œ w Œ œœ œ œ Œ œ #œ œ Œ Œ

27 3 ? ˙ bœ œbœ œ œ bœ nœ œ œ œ œ ∑ œ 3 œ œ œ œ #˙ ˙. #œ. œ 3 3 œ œ ˙

Fine 33 œ U ? . #œ œ ˙ œ œ Œ œ œœ Œ ∑ Œ ˙ Ó Œ œ œ œ œ Œ Ó

40 ? œ œ œbœ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ ˙ œ#œ œ ˙ ˙ œ Œ

46 œ œ œ œ œ ? ˙ Ó Ó ‰ œ#œ œ œ Œ œ Œ ‰ œ œ ‰ œ ‰ œ ‰#œ ‰ œ ‰ œ œ œ J J Wo gehet Jesus hin? 192

52 ? ‰ j œ #œ œ #œ œ Œ ˙ œ œ Œ Œ œ #œ œ œ œ œ œ œ #œ bœ œ œ œ

58 D.C. al Fine ? œ. œ ˙ ˙ œ. œ œ. œ œ Œ Œ œ J ˙ J J 193 Basso Continuo Wo gehet Jesus hin? III. Chorale: Herzleibster Jesu ( = 72) q ? b c ∑ ∑ ∑ ∑ w ˙ ˙ #w w

7 w ˙ w ? b ˙ ˙ ˙ ˙ w ∑ w ˙ w

12 ˙. œ ˙ ˙ w ? b w ∑ ∑ w ˙ ˙

17 ? b w w ˙ ˙ ˙. œ w w ∑ ∑

22 w w. ? b ∑ ˙ w w W W

27

? b W W 194 Full Score Wo gehet Jesus hin? IV. Recitative: Das Fleisch ist leider blind

Soprano b j œ œ œ œ. r j œ r r & b c ‰ œ œ J œ ‰ œ J œ œ J œ ≈ œ œ œ œ. œ œ œ Das FleischJ ist lei - der blind, denJ Lei - dens-rat des Herrn undR sei - ne WunJ - derR zuJ verJ - Basso Continuo ˙ ˙ ? bb c ˙ ˙ #˙ ˙

4 S b j j r œ œ r j j œ œ j œ œ. j j & b œ œ ≈ œ œ . œ œ œ œ ‰ œ . œ J œ œ œ œ œ ste - hen. Es istR nichtR soJ wie erJ ge - sinnt, es wollJ - teR gern mit ihm au EhJ - renJ - höJ - hen B.C. ? b n˙ w b œ œ ˙ ˙ 7 S b j j r r œ j œ. œ j j j j r œ & b œ œ ≈ œ œ œ . œ J nœ ‰ œ œ œ bœ . œ ‰ ge - hen. Al - lein derR Weg zur Kreu - zes-schmach scheint ihm zu hart zu sein,œ drumJ

B.C. b˙ ? b ˙ ˙ b œ œ ˙ ˙ 10 S b œ. œ ˙ b˙ œ j œ œ & b nœ œ J R œ Œ Œ œ. œ œ œ. R œ ‰ bœ gehtJ esJ furcht - sam nach. Schwach - gläuJ - biR - ge, seht ihr'sJ nicht ein, der Hei - land B.C. ? b b˙ œ w b œ w b˙ ˙ 14 bœ S b j r j j j j j j j œ. œ œ œ œ œ J œ & b œ . bœ œ œ œ. œ bœ œ ‰ œ. œ œ J ‰ J nœ. fällt zwar in der Sü - der Hän - de alœ - leinJ desR HimJ - melsœ Herr - lich-keit istJ sei - ner Lei - denJ B.C. ? b ˙ w b w ˙ ˙ b˙ 18 S b j j & b œ œ Œ Ó En - de B.C. œ ? bb Œ ˙ 195 Basso Continuo Wo gehet Jesus hin? V. Aria: Jesu, öffne mir die Augen Vivace ( = 76) q ? 4 œ œ œ œ œ œ jœ œ œœœ nœ œ œ œ bb 4 œ œ J œ J J œ J œ J œ œ ‰ œ œ. œœ œ œ J œ J

5 œ œ ? b J œ œ jœ œ œ ‰ œ œ jœ j jœ œ jœ œ œ œ œ Œ Ó b J œ J œ œ œ œ œ nœ œ J œ J œ

10 ? b œ œ œ œ œ œ œ œ œ œ bœ. œœ œ œ j b œ Œ Œ œ œœœ œ œ œ ‰ J œ œœœ œ ‰nœ œ ‰ œ

15 œ bœ œ œ œ œ œ œ œ œ œ œ œ ? bb œ œ œ œ œ œ œ Œ Ó Ó ‰ œœœ œ œ œ Œ Ó

20 œ œ œ œ œ œ ? b ∑ Œ nœ œ#œ œ œ œ œ œ œ œ nœ œ œœ œ b œ J J œ

24 œ œ œ œ œ ? b œ œœœ œ œ œ œ J œ œ œ œ œ œ œ œ œ œ œ œ œ b J J J œ œ J ‰ Œ ‰ J ‰ œœ ‰ J œ

29 œ œ œ ? b œ ‰ J œbœ œ œ ‰ jœ ‰ œ œ ‰nœ œ ‰ j #œ œ œ œœ œ œ ‰ œ œ œ œ b œ J œ œ œ œ J œ

34 nœ œ œ œ bœ œ bœ œ œ bœ œ œ ? b œ œ œœœ œ œ Œ ‰ œœœ œ œ ‰ œ œ œ œ Œ b œ œ œ Wo gehet Jesus hin? 196

38 ? b œœœ œ œ œ œ œœ œ b ∑ Ó ‰ œ œ œ œœ œ œ Œ ‰ J

42 ? œ œ œ œ œ œ œ œ œ œ bb œ œ œ œ Œ Ó ∑ œ œ J œ J

46 œ œ Ÿ nœ œ œ ? b J œ œ jœ J œ ‰ œ. œœœœœ œ œ œ J œ œ J œ œ œ œ Œ œ œ ‰ œ œ œ b J œ œ œ J J œ œ

51 Fine U ? b jœ j jœ œ œ œ œ œ œ Œ Œ ‰ œ bœ œ Œ Œ ‰ œ œ Œ Ó b œ nœ œ J J J œ œ J J œ w

57 ? b ∑ ∑ Ó Ó b w w ˙ ˙ w

64 ? b Ó nœ œ œ j œ œ œnœ ‰ œ œ œnœ œ œ œ b ˙ œ œ œ œ œ œ œ J œ œ J J œ œ œ œ Adagio Vivace 69 ? b ∑ ∑ œ œ œ j œ j j œœœœ Œ b w ˙ œ œ J œ œ œ œ œ Adagio 75 U ? œœ bb œœœ Ó ∑ n˙ œ ‰ œ œ ‰ œ ‰ œ Œ œ J œ

79 D.C. al Fine œ œ ˙ ? bb ‰ ‰ ˙ Ó 197 Full Score Wo gehet Jesus hin? VI. Recitative: Der Geist hat alle Willigkeit œ. œ. Bass ? œ œ œ. j œ œ œ œ c Œ J œ œ J œ œ œ J R ≈ œ œ œ. J Der Geist hat al - le Wil - ligR -keit, inJ die - ser Zeit, Ro GotR - tesR Lamm, mit

Basso Continuo ? c w ˙ ˙ #˙ ˙ 4 œ. œ œ œ œ. œ. œ œ B ? œ. J R J J œ œ œ #œ J #œ œ œ #œ œ œ J J œ. œ œ J J ‰ J ‰#œ J J ‰ J J R dir denJ Lei - dens-pfad zu ge -hen. Doch ach, dasJ Fleisch istR oft zu schwach, dieJ har - ten Pro-ben aus - zu B. C. ? ˙ œ ˙ œ #˙ ˙ n˙ #˙ ˙ 8 œ œ. œ B ? œ œ œ #œ. œ œ. œ œ œ œ œ œ œ œ œ œ ‰ J ≈ œ R R J J J J J ‰ J ‰ J steJ - hen.J Je - doch inR dei-ner Kraft will ich den Nach - gang wa - gen. Ich tu - e, was ich

B. C. ? ˙ ˙ ˙ œ ˙ œ œ ˙ œ ˙ 12 œ. œ. B ? r œ j bœ. œ œ œ œ œ œ œ œ œ œ œ œ œ. œ ≈ œ œ R œ J R J J J J ‰ J J œ. J J J J œ kann, ich willR mit dir die Kreu - zes-bür - de tra - gen Ach Je - su, Je - su nimm den gu - ten Wil - lenR

B. C. ? ˙ ˙ ˙ b˙ œ œ w ˙ 16

B ? œ Œ Ó an. B. C. œ ? Œ ˙ 198 Basso Continuo Wo gehet Jesus hin? VII. Chorale: Dies alles, ob's für schlecht

h = 84-88 ? c ∑ ∑ ∑ ∑ w ˙ ˙ ˙ ˙

6 ? ˙ ˙ ˙ ˙ ˙. œ ˙ ˙. œ ˙ ˙ ˙ ˙ ˙ w

10 ? ˙ ˙ ˙ ˙ w w „ Ó ˙ ˙ ˙

14 ˙ ˙ œ ? w. ˙ w. ˙ ˙ . ˙. œ œ ˙ ˙

18 ˙. bœ œ ? Ó ˙ ˙ ˙ ˙ œ ˙ ˙ ˙. œ ˙ ˙ w

22 ? w. Ó „ „ „ ∑ Ó ˙

27 . ˙ . ? ˙ ˙ ˙ œ ˙ ˙ ˙ bw w w ˙

31 ˙ ? ˙ ˙ ˙ ˙ w W w. ˙ ˙ Wo gehet Jesus hin? 199

35 ? ˙ œ œ ˙ ˙ w. ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ

39 ? ˙ œ œ #œ œ œ œ W W 200 Keyboard Christoph Graupner (1683-1760) Wo gehet Jesus hin? Edited by Kevin Michael Seal I. Accompagnato: Wo gehet Jesus hin? ( = 62) q c ˙ Ó Ó ˙ ˙ ˙ Ó Œ œ ˙˙ ˙ œ œ Œ œ & ˙ ˙ ˙ ˙˙ œ #˙ #˙ œ #œ œ ? ˙ ˙ ˙ œ c ˙ Ó Ó ˙ #˙ Ó Œ œ #˙ Œ

7 #˙ œ œ ˙ j j & ˙. œ ˙ #˙ ˙ œ œ ˙ œ œ ˙ ˙ ˙ œ ‰ œ ‰ ˙ œ #˙ ˙ ˙ œ œ ˙ œ ˙ ˙ #˙ œ œ ? #˙ œ w ˙ ˙ ˙ œ œ ˙ ˙ w ‰ œ ‰

13 Œ j‰ j‰ Œ #˙˙ #˙ ˙ ˙ b˙˙ ˙ Œ œ & ##œ œ ˙ # ˙ #˙ ˙ ˙ ˙ œ œ. j w œ œ œ œœ w ˙ ? Œ j‰ j‰ Œ ˙ #˙ ˙ ˙ ˙ Œ œ ˙ w œ œ 201 Keyboard Wo gehet Jesus hin? II. Aria: Ach, saurer Gang ( = 88) q

& c w ∑ w Ó Œ œ. œ w Œ œ œ œ Œ œ œ œ w w œ. œ w œ œœ œ œ œœ œ ? c ∑ w Ó Œ œ. œ w Œ œ #œ œ Œ w #œ #œ œ

8

& œ #œ Ó w œ œ œ œ w Œ œ œ œ Œ œ œ œ œ œ Ó œ œ w #œ œ œ #w œ œ œ œ #œ œ œ #œ w œ #œ œ œ œ œ œ ? Ó w Œ œ œ Œ œ œ œ Ó ˙

15

& Œ #œ #œ #œ #œ Œ œ Œ ∑ ˙ œ œ œ œ #˙ w œ œ ˙ #œ œ œ œ ˙ w œ œ œ bœ ? Œ #œ #œ Œ Œ ∑ ˙ œ œ œ œ œ œ œ œ#˙ œ 3 3 w

21 Œ & œ œ œ bœ bw Œ œ œ œ œ œ œ œ œ #œ œ œ Œ #œ Œ œ œ œ œ w œ œ œ #œ œ œ œ œ œ œ œ œ œ œ #œ j ? bœ œ œ œ œ œ #œ œ œ œ w Œ œœ œ œ Œ œ #œ œ Œ Œ Wo gehet Jesus hin? 202

27 ∑ ˙ œ bœ œ œ ˙ ˙ œ œ œ ˙ & ˙ œ œ b˙ œ œ œ œ #˙ ˙ #œ œ ˙ #œ #˙ b˙ nœ œ œ 3 ˙ ˙ œ ˙ ? ˙ bœ œbœ œ œ bœ nœ œ œ œ œ ∑ œ 3 œ œ œ œ #˙ ˙. #œ. œ 3 3 œ œ ˙ Fine 33 U & Œ œ. œ œ Œ ∑ Œ œ #œ œ œ #œ ˙ Ó Œ œ #œ œ œ œ œ. œ œ œ œœ œ œ˙ œ ˙ œ œ œ #œ œ œ U ? . #œ œ ˙ œ œ Œ œ œ œ Œ ∑ Œ ˙ Ó Œ œ œ œ

39 j & œ Œ Ó ‰bœ nœ œ œ œ ˙ œ œ œ ˙ œ œ œ Œ ˙ #œ œ œ bœ œ œœ ˙ œ œ ˙ œ œ #˙˙ ˙ ? œ œ œ bœ œ œ œ œ œ œ #œ œ œ œ œ Œ Ó ‰ œ œ ˙ œ#œ œ ˙ ˙ œ Œ

45 j œ & ˙ œ œ ˙ Ó Ó ‰ #œ œ œ œ œ#œœ œ #œ Œ œ Œ ˙ œ œ #˙ œ #œ #œ # œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ ˙ Ó Ó ‰ #œ œ œ Œ œ Œ

50 j j j œ & ‰ œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰#œ œ ‰ œ œ œœ œ œœ#œ œœ #œ œ œ Œ œ œ œ bœœ œ œœ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ #œ œ j œ #œ œ œ ‰ J ‰ ‰ ‰ ‰ J ‰ œ œ ‰ œ œ œ œ #œ œ #œ Œ Wo gehet Jesus hin? 203

55 œ œ j & ˙ b˙ œ œ œ œ œ œ Œ Œ œ œ œ ˙ ˙ ˙ ˙ œ œ œ. œ ˙ œ œ œ œ œ œ œ œœ œœ ˙œ œ ˙ œ ˙ #œ œ œ œ. œ ? ˙ œ œ Œ Œ œ #œ œ œ. œ ˙ ˙ œ. œ œ. œ bœ œ œ œ J ˙ J J

61 D.C. al Fine

& #œ Œ Œ œ œ œ ? œ Œ Œ œ 204 Keyboard Wo gehet Jesus hin? III. Chorale: Herzleibster Jesu ( = 72) h w & b c ∑ ∑ ∑ ∑ w w #w w w w w w ? b c ∑ ∑ ∑ ∑ w ˙ ˙ #w w

7 b ˙ ˙ ˙ w ˙ #˙ ∑ ˙ #˙ ˙ ˙ & ˙ ˙ ˙ #˙ w w w ˙ ˙ w ˙ ? b ˙ ˙ ˙ ˙ w ∑ w ˙

11 b ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ w ∑ ∑ & ˙ ˙ w ˙ ˙ ˙ ˙ ˙ b˙ w w ˙. œ ˙ ˙ w ? b w w ∑ ∑

16

& b w ˙ ˙œ nœ w ˙w ˙ ˙ ˙ ˙ #˙ ˙ ˙ ˙ #˙ ˙ ˙ ˙ ˙ w b˙ ˙ w w ? w b ˙ ˙ w w ˙ ˙ ˙. œ w w Wo gehet Jesus hin? 205

20 ˙ & b ∑ ∑ ∑ ˙w ˙ ˙w ˙ ˙ ˙ ˙ #˙ ˙ w w ˙ #˙ ˙ ˙ ˙ ˙ ˙ w w. ? b ∑ ∑ ∑ ˙ w w

25

& b œ ˙ #œ w #˙ ˙ ˙ ˙ w w ww #w ˙ ˙ w ˙˙ ˙ w w w w w ? b W W W W 206 Keyboard Wo gehet Jesus hin? IV. Recitative: Das Fleisch ist leider blind

Soprano b j œ œ œ œ. r j œ r r & b c ‰ œ œ J œ ‰ œ J œ œ J œ ≈ œ œ œ œ. œ œ œ Das FleischJ ist lei - der blind, denJ Lei - dens-rat des Herrn undR sei - ne WunJ - derR zuJ verJ - Basso Continuo ˙ ˙ ? bb c ˙ ˙ #˙ ˙ &`````^ ^ ^ ^ bb c ˙ ˙ ˙ ˙ ˙ ˙ & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ? bb c ˙ ˙ #˙ ˙

4 S b j j r œ œ r j j œ œ j œ œ. j j & b œ œ ≈ œ œ . œ œ œ œ ‰ œ . œ J œ œ œ œ œ ste - hen. Es istR nichtR soJ wie erJ ge - sinnt, es wollJ - teR gern mit ihm au EhJ - renJ - höJ - hen B.C. ? b n˙ w b œ œ ˙ ˙ X ^ ^ b & b œ œ ˙ w ˙ #œ œ ˙ w ˙ ˙ ? b n˙ w b œ œ ˙ ˙ 7 S b j j r r œ j œ. œ j j j j r œ & b œ œ ≈ œ œ œ . œ J nœ ‰ œ œ œ bœ . œ ‰ ge - hen. Al - lein derR Weg zur Kreu - zes-schmach scheint ihm zu hart zu sein,œ drumJ

B.C. b˙ ? b ˙ ˙ b œ œ ˙ ˙ ^ ^`Y Z bb n˙ & nœ œ ˙ b˙ ˙ b˙ ˙ œ œ ˙ ˙ b˙ ? b œ ˙ ˙ ˙ b œ ˙ Wo gehet Jesus hin? 10 207 S b œ. œ ˙ b˙ œ j œ œ & b nœ œ J R œ Œ Œ œ. œ œ œ. R œ ‰ bœ gehtJ esJ furcht - sam nach. Schwach - gläuJ - biR - ge, seht ihr'sJ nicht ein, der Hei - land B.C. ? b b˙ œ w b œ w b˙ ˙ ^ Y ^ %`Z ^`Z b & b ˙ œ œ w bw ˙ nœ œ w bw w ? b b˙ œ w b œ w b˙ ˙ 14 bœ S b j r j j j j j j j œ. œ œ œ œ œ J œ & b œ . bœ œ œ œ. œ bœ œ ‰ œ. œ œ J ‰ J nœ. fällt zwar in der Sün - der Hän - de alœ - leinJ desR HimJ - melsœ Herr - lich-keit istJ sei - ner Lei - denJ B.C. ? b ˙ w b w ˙ ˙ b˙ %`Z ^ ^z b & b bw ˙ ˙ ˙ b˙ bw w ˙ ˙ ˙ ˙ w ? b ˙ w b w ˙ ˙ b˙ 18 S b j j & b œ œ Œ Ó En - de B.C. œ ? bb Œ ˙ Y bb Œ nœ ˙ & œ ˙ œ ? bb Œ ˙ 208 Keyboard Wo gehet Jesus hin? V. Aria: Jesu, öffne mir die Augen Vivace ( = 76) b q j j j j j j j j j & b 4 œ œ œ œ œ œ œ œ œ œ œ œ ‰bœ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ ? 4 œ œ œ œ œ œ jœ œ œœ œ nœ œ œ œ bb 4 œ œ J œ J J œ J œ J œ œ ‰ œ œ. œœ œ œ J œ J

5 j b j j j œ ‰ j j j j œ j j j j j & b œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ nœ bœ œ œ œ œ.œ œ œ œ Œ Ó œ œ J œ nœ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b J œ œ jœ œ œ ‰ œ œ j œ j j œ œ jœ œ œ œ œ Œ Ó b J œ J œ œ œ œ œ nœ œ J œ J œ

10 b j j j j j & b œ Œ œ Œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ bb œ Œ Œ œ œ œ œ œ œ œ œ ‰ J œ œ œ œ œ ‰ nœ œ

14 b j ‰ j b bœ. œ nœ œ œ œ œ œ nœ œ nœ œ œ œ œ œ Œ Ó & œ œ œ œ œ œ œœ œ œ. œ œ œ œ œ nœ œ J J œ œ œ ? b bœ. œ œ œ œ j bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b ‰ œ œ Œ Ó Wo gehet Jesus hin? 209

18 Œ j j bb Ó ‰ œ œ œ œ Œ Ó ∑ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ nœ œ bœ œ#œ œ nœ ˙ œ œ œ ? b Ó ‰ œ œ œ Œ Ó ∑ Œ nœ œ#œ œ œ œ œ œ œ b œœ œ œ J J

23 b j j j j j j j j j j j & b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ ‰ Œ œ œ œ œ œ nœ œ œ œ œ œnœ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b œ nœ œ œ œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ œ b œ J J J œ œ J ‰ Œ

27 b œ œ j j j j & b œ ‰ œ œ ‰ œ œ œ ‰ nœ œ bœ œ œ ‰ œ œ œ œ œ bœ ‰ œ nœ ‰ œ J œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ ? b œ œ œ œ œ œ œ œ œ œbœ œ œ œ j œ œ b ‰ J ‰ œœ ‰ J œ ‰ J ‰ œ ‰ J

31 b j j j j j j j & b œ ‰ œ œ ‰ œ œ œ œ œ œ œ œ œ ‰ œ œ œ bœ œ œ œ œ œ œ œ œ œ nœ bœ œ œ œ œ œ #œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ bœ œ ? b œ ‰nœ œ ‰ j #œ œ œ œ œ œ œ ‰ œ œ œ œ bœ œ œ œ œ b œ œ œ œ J œ

35 j j j j bb bœ œ œ Œ ‰ œ œ ‰ œ œ œ œ Œ ∑ Ó ‰ œ & œ œœ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ J œ œ ? b bœ œ œ œ œ œ Œ ‰ œœœ œ ‰ œ œ œ œ Œ ∑ Ó ‰ œœœ œ b œ œ œ œ Wo gehet Jesus hin? 210

40 b j & b œ œ œ œ œ œ bœ Œ ‰ œ œ œ œ œ œ œ Œ Ó ∑ œ œ œ œ œ œ œ œ œ œ œ œ ? b œ œ œ œœ œ œ œ œ œœœ œ b œ œ œ œœ œ œ Œ ‰ J œ œ œ Œ Ó ∑

45 b j j j j j j j & b œ œ œ œ œ œ œ œ œ œ Œ œ ‰ bœ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ ? œ œ œ œ œ œ œ œ œ œ nœ œ œ œ bb œ œ J œ J J œ J œ Œ œ œ ‰ œ œ. œ œ œ œ J œ J

49 Fine j U b j j ‰ j j j j œ j j j j j j & b œ œ nœ œ œ Œ œ œ œ œ œ œ œ œ œ nœ bœ œ œ œ œ.œ œœ œ Œ Œ ‰nœ œ œ œ nœ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ U ? b J œ œ œ Œ œ ‰ œ œ jœ j j œ œ œ œ œ œ œ Œ Œ ‰ œ b J œ œ œ œ œ œ nœ œ J J J œ œ J

54 ‰ j bb œ Œ Œ œ nœ Œ Ó ∑ ∑ ∑ ∑ ∑ & bœ œ œ œ ? b bœ œ œ œ b Œ Œ ‰ J œ Œ Ó w ∑ w ∑ w

61 j bb ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ j & œ œ œ œ œœnœ œ nœ œ œ œ ? b Ó Ó Ó nœ œ œ j b ˙ ˙ w ˙ œ œ œ œ œ œ œ J œ œ Wo gehet Jesus hin? 211

67 Adagio b j j j U & b œ œ œ œ ‰ œ ˙ œ ∑ ∑ ˙ n˙œ œ œ œ nœ nœ œ n˙œ œ #œ œ bœ nœ œ œ œ ? b œ œ œ nœ ‰ œ œ œnœ œ œ œ ∑ ∑ b J J œ œ œ œ w

72 Vivace j j j j bb œ œ œ œ œ œ œ œ œ œ œ œ ˙ bœ œ nœ Ó ∑ & œ˙ œ œ #œ œ œ œ #œ œ œ œ œ œ ˙ œ œ œ ? b œ œ œ j œ j j œœœœ Œ œœœœœ Ó ∑ b ˙ œ œ J œ œ œ œ œ œ

77 Adagio D.C. al Fine b j ‰ Ó & b ˙ œ ‰ œ œ ‰ œ œ nœ Œ œ n œ œ˙ œ ˙ Ó ˙ œ œ œ œ œ œ ‰ œ ‰ œ #œ ˙ U ? œ ‰ œ ˙ bb n˙ œ ‰ œ œ ‰ œ ‰ œ Œ ‰ ˙ Ó J œ 212 Keyboard Wo gehet Jesus hin? VI. Recitative: Der Geist hat alle Willigkeit œ. œ. Bass ? œ œ œ. j œ œ œ œ c Œ J œ œ J œ œ œ J R ≈ œ œ œ. J Der Geist hat al - le Wil - ligR -keit, inJ die - ser Zeit, Ro GotR - tesR Lamm, mit

Basso Continuo ? c w ˙ ˙ #˙ ˙ # ^ & c w ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ? c w ˙ ˙ #˙ ˙ 4 œ. œ œ œ œ. œ. œ œ B ? œ. J R J J œ œ œ #œ J #œ œ œ #œ œ œ J J œ. œ œ J J ‰ J ‰#œ J J ‰ J J R dir denJ Lei-dens-pfad zu ge-hen. Doch ach, dasJ Fleisch istR oft zu schwach,dieJ har - ten Pro-ben aus-zu B. C. ? ˙ œ ˙ œ #˙ ˙ n˙ #˙ ˙ ^ X ^ &x```````^ ^4™`x ^5 & w #œ œ ˙ ˙ #˙ ˙ ˙ w œ œ #˙ #œ˙ œ ˙ ˙˙ ˙ ? ˙ œ ˙ œ #˙ ˙ n˙ #˙ ˙ 8 œ œ. œ B ? œ œ œ œ œ œ #œ. œ œ. œ œ œ œ œ œ œ œ ‰ J ≈ R R J J J J J ‰ J ‰ J steJ - hen.J Je - doch inR dei-ner Kraft will ich den Nach - gang wa - gen. Ich tu - e, was ich B. C. ˙ ˙ ? œ ˙ ˙ œ ˙ œ ˙ œ X X ^ X ^ & œ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ##œ œ ˙ #˙ ˙ ˙ #œ œ ˙ ˙ ? ˙ ˙ ˙ œ ˙ œ œ ˙ œ ˙ Wo gehet Jesus hin? 12 213 œ. œ. B ? r œ j bœ. œ œ œ œ œ œ œ œ œ œ œ œ œ. œ ≈ œ œ R œ J R J J J J ‰ J J œ. J J J J œ kann, ich willR mit dir die Kreu - zes-bür - de tra - gen Ach Je - su, Je - su nimm den gu - ten Wil - lenR

B. C. ? ˙ ˙ ˙ b˙ œ œ Nw ˙ ^4£ ^`Z # &``````^ œ & ˙ ˙ b˙ œ œ œ ˙ œœ ˙ ˙ ˙ ˙ b˙ œ œ ˙. ˙ ? ˙ ˙ ˙ b˙ œ œ Nw ˙ 16

B ? œ Œ Ó an. B. C. œ ? Œ ˙

Œ œ ˙ & œ ˙ œ ? Œ ˙ 214 Keyboard Wo gehet Jesus hin? VII. Chorale: Dies alles, ob's für schlecht

h = 84-88 ˙ ˙ ˙ & c ∑ ∑ ∑ ∑ #˙ ˙ ˙˙ #˙ ˙ ˙ ? c ∑ ∑ ∑ ∑ w ˙ ˙ ˙ ˙

6 w ˙ Ó & w ˙ ˙ #w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙w ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ w ? ˙ ˙ ˙ ˙ ˙. œ ˙ ˙. œ ˙ ˙ ˙ ˙ ˙ w

10 ˙ b˙ w w w w ∑ Ó w ˙ & ˙ ˙ ˙ ˙ #w˙ w ˙ w ˙

? ˙ ˙ ˙ ˙ W „ Ó ˙ ˙ ˙

14

& w ˙ ˙ #˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ œ ? w. ˙ w. ˙ ˙ . ˙. œ œ ˙ ˙ Wo gehet Jesus hin? 215

18 Ó w b˙ b˙ w ˙ ˙ ˙ ˙ bw bw w & w ˙ ˙ w˙ ˙ ˙ ˙ w w˙ ˙ ˙w ˙ ˙. bœ œ ? Ó ˙ ˙ ˙ ˙ œ ˙ ˙ ˙. œ ˙ ˙ w

22 ˙ ˙ . ˙ ˙ w ˙ ˙œ œ ˙ ˙ ˙ ˙ bw ˙ & w˙. w ˙ ˙. œ ˙. œ ˙ #˙ ˙ ˙ ˙. w œ w ˙ ˙. ˙ ˙. œ œ ˙ ˙ w b˙. œ ˙. œ ? w.

26 ˙ & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙œ œ ˙ ˙ w ˙ w . ˙ ? ˙ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙ bw w

30 ˙ & w ˙ ˙ #w w w˙ #œ œ ˙ ˙ b˙ ˙ ˙ n˙ ˙ ˙ ˙ w w w #˙ b˙ ˙ ˙ ˙ ? w. ˙ ˙ ˙ ˙ ˙ W w. ˙

34 ˙ ˙ & w w ˙ ˙ #˙ ˙ w˙ ˙ #˙ ˙ ˙ #˙ w w ˙ ˙ ˙ ˙ ˙ w ˙ ˙ w w ? ˙ w ˙ ˙ œ œ ˙ ˙ w. ˙ ˙ ˙ ˙ ˙ Wo gehet Jesus hin? 216

38

& w #w ˙ ˙ w w w W #w w ˙ #˙ w ww w #W ? ˙ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ W W 217

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