User:Dgljr5121973/Sandbox

St John Passion

Title page of Johann Sebastian Bach's St John Passion BWV 245 BC D 2e in the revised form (1739-1749)

Many musical works we now consider to be milestones and which have proven to be pivotal works in the life histories or career histories of their composers were often shrowded in controversy or were considered by the audience, the composers themselves, or future generations to be of a weaker caliber or quality when compared to other works by the same composers. Such was the fate of the first version of Pyotr Ilyich Tchaikovsky's Romeo and Juliet (Tchaikovsky) Fantasy-Overture. And so also was the case of the work being discussed here--the Paßions-Musik nach dem Evangelisten Johannes "Herr, unser Herrscher" or St John Passion BWV 245 of Johann Sebastian Bach. When it was premiered on 7 April 1724, it was already mired in controversy. And later generations have viewed it as a weaker composition when compared to Bach's later St Matthew Passion BWV 244. They have even stated that there is no one definitive version of the work. However, such was the views of a musical work that has since proven to be as much a milestone in the field of "Classical" music and Sacred music as its sister composition of three years later. This Passion setting has captured the minds and thoughts of audiences for nearly three centuries.

Background notes

Before delving into a deeper discussion about this work and its historical and musical contexts, a few words must be addressed in order to achieve a fuller and deeper appreciation of this work.

The first concept to be dealt with is the concept of "versions". When dealing with Baroque and other Early Music works, the current tendency is often to speak of the different forms of a work as versions of that work. However, this is often not the case, but rather people applying 20th–21st-century concepts of "finished" musical works to prior periods in music history. However, this was not the case in the Baroque period. Musicians back then, for the most part, did not have a sense of posterity. Furthermore, many factors would go into the composition of a piece, such as:

• number of and availability of performers (vocal and instrumental)
• context in which music is being written
• personal desires of the composer
• text (if vocal piece)
• dictates from above (whether royal or otherwise [i.e., conciliar, etc.])
• event music is being written for

etc...

I see that I mentioned in the last bullet "event music is being written for". In the Baroque era (and sometimes even in later periods), music was, for the most part, written for a specific occasion or to meet a specific commission or duty. Hence, for the most part, music in the Baroque period would be what we today would classify as "occasional music". As such, even though the material is still extant, the performance of a particular work would be a one-time-only affair.

For all these factors and reasons, the modern concept of "versions" of a work such as the St John Passion is not applicable. Each so-called "version" is a complete work in and of itself.

Another issue to deal with is the actual size of ensembles being used. The current practice is to use a large vocal and instrumental ensemble (even in the case of so-called "Historically Informed" performances). However, this too is not in keeping with Bach's time (or even his own practices). Bach himself states the following about the Vocal forces in a little tract he wrote and addressed to the Leipzig town council dated 23 August 1730 and entitled Kurtzer; iedoch höchstnöthiger Entwurff einer wohlbestallten Kirchen Music; nebst einigem unvorgreiflichen Bedencken von dem Verfall derselben:

“ Zu einer wohlbestellten Kirchen Music gehören Vocalisten und Instrumentalisten. Die Vocalisten werden hiesiges Ohrts von denen Thomas Schülern formiret, und zwar von vier Sorten, als Discantisten, Altisten, Tenoristen, und Baßisten. So nun die Chöre derer Kirchen Stücken recht, wie es sich gebühret, bestellt werden sollen, müßen die Vocalisten wiederum in 2erley Sorten eingetheilet werden, als: Concertisten udn Ripienisten. Derer Concertisten sind ordinaire 4; auch wohl 5, 6, 7 biß 8; so mann nemlich per Choros musiciren will. Derer Ripienisten müßen wenigstens auch achte seyn, nemlich zu jeder Stimme zwey....Die Anzahl derer Alumnorum Thomanæ Scholæ ist 55. Diese 55 werden eingetheilet in 4 Chöre, nach denen 4 Kirchen, worinne sie theils musiciren, theils motetten und theils Chorale singen müßen. In denen 3 Kirchen, als zu S. Thomæ, S. Nicolai und der Neüen Kirche müßen die Schüler alle musicalisch seyn. In die Peters-Kirche kömmt der Ausschuß, nemlich die, so keine music verstehen, sondern nur nothdörfftig einen Choral singen können. Zu iedweden musicalischen Chor gehören wenigstens 3 Sopranisten, 3 Altisten, 3 Tenoristen, und eben so viele Baßisten, damit, so etwa einer unpaß wird (wie denn sehr offte geschieht, und besonders bey itziger Jahres Zeit, da die recepte, so von dem Schul Medico in die Apothecke verschrieben werden, es ausweisen müßen) wenigstens eine 2 Chörigte Motette gesungen werden kan. (NB. Wiewohln es noch beßer, wenn der Coetus so beschaffen wäre, dass mann zu ieder Stimme 4 subjecta nehmen, und also ieden Chor mit 16. Persohnen bestellen könte.) ”

which translates to:

“ A well-appointed Church Music requires Vocalists and Instrumentalists The Vocalists are in this place [Leipzig] made up of the pupils of the Thomas-Schule (Thomasschule zu Leipzig), being of four kinds, namely, Sopranos (Discanten), Altos, Tenors, and Bass (voice type)es. In order that the Choruses of Church Pieces may be performed as is fitting, the Vocalists must in turn be divided into two sorts, namely, Concertists and Ripienists. The Concertists are ordinarily 4 in number; sometimes also 5, 6, 7, even 8; that is, if one wishes to perform music for two choirs [per choros]. The Ripienists, too, must be at least 8, namely, two for each part....The Number of the Alumni Thomanae Scholae (resident students of the Thomas-Schule) is 55. These 55 are divided into 4 Choirs, for the 4 Churches in which they must perform partly concerted music, partly motets, and partly chorales. In the 3 Churches, St. Thomas Church, Leipzig, St. Nicholas Church, Leipzig, and the New Church (Matthäikirche Leipzig), the pupils all must be musical. The St. Peter's Church, Leipzig receives the remainder, namely those who do not understand music and can only just barely sing a chorale. Every musical Choir should contain at least 3 Sopranos, 3 Altos, 3 Tenors, and as many basses, so that even if one happens to fall ill (as very often happens, particularly at this time of year, as the prescriptions written by the school Physician for the Apothecary must show) at least a double-chorus motet may be sung. (Note: Though it would be still better if the classes were such that one could have 4 singers on each part and thus could perform every chorus with 16 persons.) This makes in all 36 persons who must understand musicam. ”

He also lists in a note dating from about the same year (1730) the minimum requirements for the churches mentioned in the Entwurff:

In the Nicolai-Kirche the 1st choir requires:	At the Thomas-Kirche the 2nd choir:	At the New Church the 3rd choir:	The 4th choir* (And this last choir must also take care of the Peters-Kirche.)
3 Sopranos	3 Sopranos	3 Sopranos	2 Sopranos
3 Altos	3 Altos	3 Altos	2 Altos
3 Tenors	3 Tenors	3 Tenors	2 Tenors
3 Basses	3 Basses	3 Basses	2 Basses

• The same would also constitute the concerted parts in his large-scale religious works.

In the Entwurff, Bach also states thus about the Instrumental forces required:

“ Die Instrumentalisten werden auch in verschiedene Arthen eingetheilet als: Violinisten, Hautboisten, Fleutenisten, Trompetter und Paucker. NB. Zu denen Violisten / gehören auch die die, so die Violen Violoncelli und Violons spielen....Machet demnach der numerus, so Musicam verstehen müßen, 36 Personen aus. Die Instrumental Music bestehet aus folgenden Stimmen; als:

• 2 biß 3 zur Violino 1.
• 2 biß 3 zur Violino 2.
• 2 zur Viola 1.
• 2 zur Viola 2.
• 2 zum Violoncello.
• 1 zum Violon.
• 2 auch wohl nach Beschaffenheit 3 zu denen Hautbois.
• 1 auch 2 zum Basson.
• 3 zu denen Trompeten.
• 1 zu denen Paucken.

==

• summa. 18. Persohnen wenigstens zur Instrumental-Music. NB. füget sichs, dass das KrichenStück auch mit Flöten, (sie seynd nun à bec oder Traversieri), componiret ist (wie denn sehr offt zur Abwechselung geschiehet) sind wenigstens auch 2 Persohnen darzu nötig. Thun zusammen 20 Instrumentisten. Der Numerus derer zur Kirchen Music bestellten Persohnen bestehet aus 8 Persohnen, als 4. StadPfeifern, 3 KunstGeigern und einem Gesellen. Von deren qualitäten und musicalischen Wißenschafften aber etwas nach der Warheit zu erwehnen, verbietet mir die Bescheidenheit. Jedoch ist zu consideriren, dass Sie theils emeriti, theils auch in keinem solchen / exercitio sind, wie es wohl seyn solte..

”

which translates to:

“ The Instrumentalists are also divided into various Kinds, namely, Violinists (Violisten), Oboists, Flutists, Trumpeters, and Drummers. Note: The Violinists include also [i.e., in addition to the players of the Violin] those who play the Violas, the Violoncellos, and the Bass Viols (Violons)....The instrumental music consists of the following parts, namely:

• 2 or even 3 for the Violino 1
• 2 or 3 for the Violino 2
• 2 for the Viola 1
• 2 for the Viola 2
• 2 for the Violoncello
• 1 for the Violon[e]
• 2, or, if the piece requires, 3, for the Hautbois (Oboe)
• 1, or even 2, for the Basson (Bassoon)
• 3 for the Trumpets
• 1 for the Kettledrums (Timpani)

==

• Summa 18 persons at least, for the instrumental music

Note: If it happens that the Church piece is composed with Flutes also (whether they are à bec (Recorders) or Traversieri (Transverse flutes)), as very often happens for variety's sake, at least 2 more persons are needed. Making altogether 20 instrumentalists. The number of persons engaged for the Church music is 8, namely, 4 Town pipers (Stadt Pfeifer), 3 professional fiddlers (Kinst Geiger), and one apprentice. Modesty forbids me to speak at all truthfully of their qualities and musical knowledge. Nevertheless it must be remembered that they are partly emeriti and partly not at all in such exercitio as they should be.

”

Therefore, in a work such as this, the requirements would be:

• 3 for the Violino 1
• 3 for the Violino 2
• 2 for the Viola 1
• 2 for the Viola 2
• 2 for the Violoncello
• 1 for the Violon
• 2 for the Oboi
• 2 for the Flauti
• 2 for the Bassoon
• 2 for the Keyboard (1 for Organ (music) and 1 for Harpsichord)

==

• Total: 21 Instrumentalists to which would be added:

• 3 or 4 for the Soprano
• 3 or 4 for the Alto
• 3 or 4 for the Tenor
• 3 or 4 for the Bass

==

• Total: 12 or 16 Choristers and then:

• 2 for the Soprano
• 2 for the Alto
• 2 for the Tenor
• 2 for the Bass

==

• Total: 8 Soloists (Concertists) for a grand total of 41 or 45 musicians (depending on Choir size [12 or 16 persons per part]).

Of the instrumentalists (unless specified as soloists), the following would make up the Basso Continuo Group:

Number of persons	Instrument
2	Bassoon
2	Violoncello
1	Violon
1	Organ
1	Harpsichord

To this (on occasion) would be added 1 Viola da gamba and/or 1 Lute or Theorbo, which would play like the Keyboard instruments (that is, provide the harmonizations, unless otherwise specified [such as in BWV 198]). The Keyboards would provide the harmonizations (chord realizations) of the figured bass notations while the other instruments would play the bass notes.

Finally, there is the issue of the conductor. It is common nowadays for the conductor to lead the performance from a podium with back turned to the audience, and for him/her to determine all aspects of the performance. However, this is also not in keeping with Baroque practices. In those days, the conductor had one role and one role only: to beat the time. On top of that, it would have been viewed as the highest form of insubordination and disrespect in those days for anyone of that station (musicians were of the same station as lackeys, servants, etc.) to have his/her back to their superiors (who often were in the audience). Therefore, the conductor (who oftentimes was the composer of the work) would lead the performance from a number of possible places: from the 1st Violin, from the Harpsichord (Bach often did this), from the Organ, beating a pole or stick on the ground (this led to the death of Jean-Baptiste Lully), or (in some cases in Church music) behind the Organ waving a rolled-up sheet of paper, just to name a few.

Now that we have looked at some of the issues in performance, let us now investigate the work and its historical context.

Leipzig 1722–1724

Figural: Florid; the terms are used for a decorated line or to distinguish concerted music from plainchant or simple vocal polyphony.

On 5 June 1722, the highly esteemed and revered poet, author, advocate, composer, and Cantor (church) of the Thomaskirche Leipzig and Director musices of the city, Johann Kuhnau, died, leaving the post vacant. Immediately, the search began for his successor. On 9 August, the position was offered to Georg Philipp Telemann upon successful completion of his examination, but he withdrew his application after receiving an increase in pay at Hamburg. By 21 December the same year (1722), six men had presented their applications for the post:

• Christian Friedrich Rolle, Kapellmeister to the court at Magdeburg,
• Johann Christoph Graupner, Kapellmeister to the court at Darmstadt,
• Georg Balthasar Schott, Cantor of the New Church in Leipzig,
• Johann Friedrich Fasch, Kapellmeister of the court at Zerbst,
• Georg Friedrich Kauffmann, Court Organist and Cantor to the court of Merseburg, and
• Johann Sebastian Bach, then Kapellmeister to Leopold, Prince of Anhalt-Köthen

However, Fasch declared that he could not teach, and so dropped out. The Leipzig town council then resolved to put the remaining candidates to examination. Graupner was examined on 15 January 1723, and became the favored candidate (especially after Kauffmann acknowledged Graupner to be superior to himself). on 7 February, Bach made his examination (he performed for the occasion Cantatas BWV 22 and 23). By 9 April, Graupner reported that he could not obtain his dismissal from his current post and dropped out of competition, but not before putting in a word for Bach's candidacy. On 5 May, Bach was officially elected by the council to the post, which he officially entered into on 30 May 1723.

At the time Bach entered into his duties, the annual performance of figural Passion music was only a relatively newly-founded tradition in the city. The evidence of pre-1700s performances is at best sketchy. Of course, responsorial Passion performances had been a staple in the liturgical life of Leipzig since at least the 16th century, but figural Passions were relatively few and far between. The two crowning examples we have are that of Thomaskantor Sebastian Knüpfer (whose Saint Matthew Passion was performed before the Sermon on Judica Sunday 1669 at the Nikolaikirche) and Thomaskantor Johann Schelle (who performed a now-lost 19-part Passion).

The evidence of performance of Passion Oratorios (like those of Bach) was even newer when Bach took up the post. The first performance of a Passion Oratorio in Leipzig took place at the Neukirche on 26 March 1717 (one year after the work’s premiere and composition) by the then organist and music director Johann Gottfried Vogler. The work featured at this performance was the Brockes-Passion by the then Kantor in Frankfurt-am-Main Georg Philipp Telemann. Four years later, Bach’s predecessor Johann Kuhnau composed and premiered his only known Passion work (the Markus-Passion) at the Vespers services at the Thomaskirche on 11 April 1721. This work was possibly performed again the following two years. By this time, the decision was made by the Leipzig town council that the performance of Passion music would be an annual tradition and would alternate between the two main churches (the Nikolaikirche and the Thomaskirche).

Unlike his prior positions (where his Passion works often came as the result of commissions), in Leipzig, Bach was responsible for providing Passion music every year for a special Good Friday Vespers service. The outline of the service was as follows:

Ordnung der Vesper "Mittags-Predigt" an den Leipziger Hauptkirchen am Karfreitag ( ca. ab 1721) zur Zeit Bachs in Leipzig

Order No.	Gemeinde (Congregation)	Chor (Choir)	Prediger & Minestranten mit Ausnahme der Kanzelstücke im Rezitationston gesungen (Preachers and Ministers (with Exception of the Pulpit Pieces sung in Recitation))
1	volles Geläut (ca. 13:15 Uhr)	Als "de tempore" Lied "Da Jesus an dem Kreuze stund" (ca. 13:30 Uhr)
2		Passion (figuraliter) Teil I
3	Lied "O Lamm Gottes, unschuldig"
4			Priester betritt die Kanzel (Priest enters the pulpit) Kanzelgruß (Greeting from the Pulpit) Ankündigung der Predigt (Announcement of the Sermon)
5	Lied "Herr Jesus Christ, dich zu uns wend"
6			(Vater unser - still gebetet ? - ?)
7			Verlesung des Predigttextes "Historia vom Leiden Christi Grablegung" Passionsharmonie nach Bugenhagen, daraus den Abschnitt des Begräbnisses Jesu
8			Predigt (ca. 1 Std.) (Sermon {ca. 1 hour))
9			Kanzelsegen (Pulpit blessing)
10		Passion (figuraliter) Teil II
11		Motette "Ecce quomodo moritur justus" (SATB acapella; Jacob Handl 1550-1591)
12	(Lied: "O Traurigkeit, o Herzeleid"?)
13			Kollekte (Collects) Segen (Blessing [Benediction])
14	Lied: "Nun danket alle Gott"