INTRODUCTION The Passion according to St. Luke performed by Carl sion of the gospel narrative—identical to that of the 1771 Philipp Emanuel Bach in 1779 (H 792; BR-CPEB D setting—is summarized below: 6.2) is based on his 1771 St. Luke Passion (H 784; see No. Text Incipit Chapter: Verses CPEB:CW, IV/6.1), which in turn was based on Georg 3. Und er ging hinaus nach seiner 22:39–46 Philipp Telemann’s 1760 St. Luke Passion (TVWV 5:45).1 Gewohnheit Telemann’s 1760 setting also served as the model for Bach’s 5. Da er aber noch redete 22:47–62 1787 St. Luke Passion (H 800; see CPEB:CW, IV/6.5). 8. Die Männer aber, die Jesum hielten 22:63–65 Bach’s two other St. Luke Passions, performed in 1775 10. Und als es Tag ward 22:66–69 and 1783 (respectively, H 788 and H 796; see CPEB:CW, 12. Da sprachen sie alle 22:70–23:9 IV/6.2 and IV/6.4), draw instead on a setting by Gott- 14. Die Hohenpriester aber 23:10–25 fried August Homilius (HoWV I.5). 16. Und als sie ihn hinführeten 23:26 Like the 1771 Passion, the 1779 St. Luke Passion is a pas- 18. Es folgte ihm aber nach ein großer 23:27–34a ticcio crafted by Bach mostly from pre-existing works by Haufe Volks other composers. It uses recitatives originally by Telemann 20. Und sie teileten seine Kleider 23:34b–43 to convey the biblical narrative and weaves in expressive 23. Und es war um die sechste Stunde 23:44–46 movements (arias, accompanied recitatives, and choruses), borrowed and adapted by Bach to fit the context of the gospel narrative. The 1779 Passion was prepared for mul- The differences between Bach’s 1771 and 1779 Passions tiple Lenten performances in Hamburg and was scored to are few in terms of structure and scope. They might best include the full complement of strings (including two con- be discussed instead as a series of substitutions. Since certante violins), two oboes (switching to flutes as needed), Bach had already extracted the narrative portions of Tele- two horns, two bassoons, and basso continuo.2 Bach’s divi- mann’s 1760 Passion as the basis of the 1771 Passion, what remained for him in 1779 was to select a new opening cho- 1. For a comparison of Telemann’s 1760 St. Luke Passion and Bach’s rus, arias, and two accompanied recitatives, all of which 1771 St. Luke Passion, see CPEB:CW, IV/6.1, xii–xiii (table 1). Un- til recently, the exact derivation of Bach’s 1771 Passion had been in he then thoughtfully adapted for placement within the ex- question. Heinrich Miesner, for example, wrote that the recitatives isting musical scaffolding (see table 1). Bach reused all of and turba choruses in the 1779 Passion went back to Telemann’s 1764 the chorales from the 1771 Passion (all but two of which Passion: “Mit welcher Bequemlichkeit E. Bach zu Werke ging, zeigt sich came from Telemann’s 1760 setting) in the 1779 Passion. darin, daß er die Volkschöre der Passion von 1771 der Telemannischen Lukaspassion von 1764 entnahm; ebenso verfuhr er 1779 und 1787. In The chorale texts were different with a single exception diesem letztgenannten Jahre benutzte er auch die Rezitative von 1764” (see table 2). (Miesner, 55). In 2011, Ralph-Jürgen Reipsch discovered a different line Bach borrowed the non-recitative movements in the of transmission for Telemann’s 1760 Passion and was able to demon- strate definitively that it, and not the 1764 setting, was Bach’s source 1779 Passion from three of his regular sources: sacred (pace Uwe Wolf, “Der Anteil Telemanns an den Hamburger Passionen works by Homilius (HoWV I.4 and II.72), Georg Benda Carl Philipp Emanuel Bachs,” in Telemann, der musikalische Maler. (L 515, 542, and 548), and Georg Heinrich Stölzel (Pas- Telemann-Kompositionen im Notenarchiv der Sing-Akademie zu Berlin. sion oratorio Sechs Geistliche Betrachtungen des leidenden Bericht über die internationale wissenschaftliche Konferenz Magdeburg, 10. bis 12. März 2004, anlässlich der 17. Magdeburger Telemann-Festtage, ed. und sterbenden Jesu). A few of the movements that Bach Carsten Lange and Brit Reipsch [Hildesheim: Georg Olms, 2010], 412– adapted for the 1779 Passion were actually twice-bor- 22); see R.-J. Reipsch, “Eine unbekannte Quelle zu Telemanns Lukas- rowed, which is to say that he had already used them in passion 1760 TVWV 5:45,” Mitteilungsblatt der Telemann-Gesellschaft other contexts, then re-appropriated (and re-texted) them 25 (2011): 24–31. for use in this Passion. 2. The entry for the 1779 Passion in NV 1790 (p. 60) reads: “Paßions- Musik nach dem Evangelisten Lucas. H. 1778 und 1779. Mit Hörnern, Bach seems generally to have had access to compositions Flöten, Hoboen und Fagotts.” by Benda, the music director at the court of Saxe-Gotha [ xi ] table 1. derivations of the individual movements in bach’s 1779 st. luke passion 1779 No. Type Incipit Origin Remarks 1. Chor O Gottes Lamm, das unsre Sünde träget HoWV I.4, no. 39 Bach eliminated B section, changed obbligato flutes to concertante violins, and added horns 2. Choral O Lamm Gottes, unschuldig unknown; similar to H 784, no. 3 with different TVWV 10:1, no. 37 verses (HG 1766, no. 118, vv. 1–3 instead of just v. 1) 3. Recitativ Und er ging hinaus nach seiner Gewohnheit TVWV 5:45, nos. 3, 5, 7, H 784, no. 4 and 10 (mm. 1–7) 4. Arie Ach, dass wir Erbarmung fünden Stölzel, Sechs Betrachtungen, H 785, no. 5 with different text; II. Betrachtung, no. 3 Bach eliminated B section 5. Recitativ Da er aber noch redete TVWV 5:45, nos. 10 H 784, no. 6 (mm. 8–16), 12–14, 16, and 18 6. Accompagnement Wo ist der Held probably newly composed by Bach 7. Arie Fließet, sanfte Tränen L 548, no. 4 H 821g, no. 7 with different text; soloist changed by Bach from tenor to soprano 8. Recitativ Die Männer aber, die Jesum hielten TVWV 5:45, nos. 20–22 H 784, no. 8 9. Choral Wer hat dich so geschlagen unknown H 784, no. 9 with different verses; new verses: HG 1766, no. 122, vv. 3–4 10. Recitativ Und als es Tag ward TVWV 5:45, nos. 24–26 H 784, no. 10 (mm. 1–7) 11. Arie Du hast vom Anfang die Erde gegründet HoWV II.72, no. 5 H 821g, no. 5 with different text 12. Recitativ Da sprachen sie alle TVWV 5:45, nos. 26 H 784, no. 12 (m. 8)–34 13. Choral Du, ach, du hast ausgestanden TVWV 5:45, no. 36 H 784, no. 13 with different verse; new verse: HG 1766, no. 117, v. 2 14. Recitativ Die Hohenpriester aber TVWV 5:45, nos. 37–41 H 784, no. 14 15. Choral Der Fromme stirbt, der recht und richtig wandelt TVWV 5:45, no. 43 H 784, no. 15 with same verse (HG 1766, no. 114, v. 5) 16. Recitativ Und als sie ihn hinführeten TVWV 5:45, no. 44 H 784, no. 16 17. Choral O große Lieb, o Lieb ohn alle Maße TVWV 5:45, no. 45 H 784, no. 17 with different verse; new verse: HG 1766, no. 114, v. 7 18. Recitativ Es folgte ihm aber nach ein großer Haufe Volks TVWV 5:45, nos. 46, 49, H 784, no. 18 and 51 (mm. 1–3a) 19. Arie Sein Blut, am Kreuz herabgeflossen L 542, no. 3 H 821h, no. 5 with different text; soloist changed by Bach from alto to bass 20. Recitativ Und sie teileten seine Kleider TVWV 5:45, nos. 51 H 784, no. 20 (mm. 3b–5) and 53–57 21. Accompagnement O du, die Liebe selbst probably newly composed by Bach 22. Arie Für seinen Feind zum Himmel flehn H 821c, no. 3, possibly Bach eliminated B section; by Bach no other currently known antecedent 23. Recitativ Und es war um die sechste Stunde TVWV 5:45, no. 59 H 784, no. 22 [ xii ] table 1. (continued) 1779 No. Type Incipit Origin Remarks 24. Arie Das Opfer stand auf Golgatha L 515, no. 3 Bach eliminated B section 25. Choral Solche große Gnade TVWV 5:45, no. 61 H 784, no. 24 with different verse; new verse: HG 1766, no. 110, v. 4 Key: HoWV I.4 = Homilius St. John Passion; HoWV II.72 = Homilius cantata Musste nicht Christus solches leiden; L 515 = Benda can- tata Das Jahr stürzt hin; L 542 = Benda cantata Bewaffnet mit Schrecken; L 548 = Benda cantata Der Herr lebet, und gelobet sei mein Hort; TVWV 5:45 = Telemann 1760 St. Luke Passion; TVWV 10:1 = Telemann Fast allgemeines Evangelisch-Musicalisches Lieder-Buch (Hamburg, 1730); H 784 = CPEB 1771 St. Luke Passion; H 785 = CPEB 1772 St. John Passion; H 821c = CPEB Einführungsmusik Schuchmacher; H 821g = CPEB Einführungsmusik Friderici; H 821h = CPEB Einführungsmusik Gerling table 2. the chorales HG 1766 Chorale Melody No. Incipit (No., Verses) Poet (Zahn No.) 2. O Lamm Gottes, unschuldig 118, 1–3 Nikolaus Decius O Lamm Gottes, unschuldig (Z 4361) 9. Wer hat dich so geschlagen 122, 3–4 Paul Gerhardt O Welt, ich muss dich lassen (Z 2293b) 13. Du, ach, du hast ausgestanden 117, 2 Ernst Christoph Homburg Jesu, der du meine Seele (Z 6804) 15. Der Fromme stirbt, der recht und richtig wandelt 114, 5 Johannes Heermann Wend ab deinen Zorn (Z 967) 17. O große Lieb, o Lieb ohn alle Maße 114, 7 Johannes Heermann see no.