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Johann Sebastian Bachâs St John Passion (BWV 245): A Theological Commentary
With a new Study Translation by Katherine Firth and a Preface by N. T. Wright
Series: - Studies in the History of Christian Traditions, Volume: 168
Author:
This Theological Commentary is the first full-length work in English to consider Johann Sebastian Bachâs St John Passion in its entirety, both the words and the music. Bachâs oratorio is a globally popular musical work, and a significant expression of Lutheran theology.
The commentary explains the Biblical and poetic text, and its musical setting, line by line. Bachâs Passion is shown to be the work of a master craftsman and trained theologian, in the collaborative and cultural milieu of eighteenth-century, Lutheran Leipzig.
For the first time, this work makes much German scholarship available in English, including archival sources, and includes a new scholarly translation of the libretto. The musical and theological terms are explained, to enable an interdisciplinary understanding of the Passionâs meaning and continued significance.
The commentary explains the Biblical and poetic text, and its musical setting, line by line. Bachâs Passion is shown to be the work of a master craftsman and trained theologian, in the collaborative and cultural milieu of eighteenth-century, Lutheran Leipzig.
For the first time, this work makes much German scholarship available in English, including archival sources, and includes a new scholarly translation of the libretto. The musical and theological terms are explained, to enable an interdisciplinary understanding of the Passionâs meaning and continued significance.
The Very Revd Dr Andreas Loewe is Dean of Melbourne and a Fellow and Lecturer in Music at the Melbourne Conservatorium of Music. A historian and theologian, his research centres on the European Early Modern and pre-Enlightenment periods, with an emphasis on the use of language, meta-language and other media to communicate ideas. Recent research includes publications on Lutheran educational drama, Lutherâs music theory, and Lutheran music-making. Loewe has lectured extensively and published on the music of Johann Sebastian Bach, and has curated both concert and liturgical performances of Bachâs major works, for which he provided both scholarly introductions and specially commissioned sermons.
List of Tables and Illustrations
List of Abbreviations
Preface N. T. Wright
Acknowledgements
Introduction
From the âFifth Evangelistâ to the Birth of the Neue Bachausgabe
Theological Bach Research: Back to the Sources
Considering Anti-Judaism in Bachâs Music
Bach and Theology Re-assessed
Purpose and Scope of this Study
Part 1: Composer and Work
Learning the Craft of a Church Musician
1.1. Bachâs Schooling
1.2. Singer, Instrumentalist, Church Musician
1.3. âSinging preaching and praising of Godâ
âIt pleased God that I should be calledâ â Bachâs Office and Craft
2.1. The Purpose of Church Music
2.2. âGnaden-Gegenwartâ: Godâs Presence in Sacred Music
2.3. Music for the Glory of God
Proclaiming Scripture through Music â The Development of Bachâs Cantatas
3.1. Musical and Textual Models for Bachâs Early Cantatas
3.2. The âModern Cantataâ
3.3. From Köthen to Leipzig: from Capellmeister to Lutheran Cantor
3.4. The Leipzig Cantatas: Words and Music that Amplify Scripture
3.5. Composing, Rehearsing and Performing the Cantata
Bachâs St John Passion
4.1. The Development of the Lutheran Responsorial Passion
4.2. The Liturgical and Homiletic Context of Bachâs St John Passion
4.3. The Libretto of Bachâs St John Passion
4.3.1. Textual Elements of the St John Passion: Biblical Text
4.3.2. Textual Elements: Madrigalic Texts
4.3.3. Textual Elements: Chorales
4.4. The Purpose and Message of Bachâs St John Passion
Part 2: Commentary
Study Translation Katherine Firth
Commentaries and Sermon Collections
2.1. Abraham Calovâs âGreat German Bibleâ (1682)
2.2. Johannes Oleariusâ Haupt SchlüÃel (1681)
2.3. Sermon Collections: Martin Luther (1528-29)
Commentary
1. Prima Parte â First Part of the Passion
Exordium â Prologue
Hortus â Jesus in the Garden of Gethsemane
Pontifices â Jesus Before the Chief Priests
2. Parte Secunda: Nach der Predigt â
Second Part of the Passion: Following the Sermon
Pilatus â Jesus Before Pilate
Crux â Jesus Dies on the Cross
Sepulchrum â Jesus is Laid in the Tomb
Bibliography
Index
TABLES
1: Libretti published in Salomo Franckâs Evangelisches Andachts-Opffer, Geist und Weltlicher Poesien Zweyter Teil and Evangelische Sonn- und Festtages-Andachten (1716)
2: Libretti published in Zieglerâs Versuch in gebundener Schreib-Art (1728)
3: Libretti published in Picanderâs Ernst-Schertzhaffte und Satyrische Gedichte
4: Libretto of Bachâs St John Passion as first performed in 1724 (I)
5: Libretto of Bachâs St John Passion as performed in 1725 (II)
6: Known and Unknown sources of Free Poetry in Bachâs St John Passion
7: Consolation and Commitment in Arias and Ariosos of Bachâs St John Passion
8: Interior Questions and Answers in the Chorus Arias of Bachâs St John Passion
9: Actus Chorales in Bachâs St John Passion
10: Petitions from Stockmannâs Passion Chorale in Bachâs St John Passion
ILLUSTRATIONS
1. Dedication of Solomonâs Temple: Frontispiece of the 1673 Eisenachisches Gesangbuch, Herzog August Bibliothek Wolfenbüttel, TL 45.
2. Exterior and Interior of St Thomasâ Church Leipzig: Frontispiece of the 1710 Leipziger Kirchen-Staat, Niedersächsische Staats- und Universitätsbibliothek Göttingen, 8 H E RIT I, 11920.
3. Picanderâs Texts for the Passion-Music according to the Evangelist Matthew set to music by Bach in the St Matthew Passion, 1727, from the 1748 Ernst-Scherzhafte und Satyrische Gedichte, p. 471, Bayerische Staatsbibliothek München, P.O. germ. 600 e/2.
4. Frontispiece of Bachâs copy of Calovâs annotated New Testament from the Great German Bible, Concordia Theological Seminary, St Louis, Missouri.
5. Mors: Oleariusâ commentary on Johnâs account of the death of Jesus, Bayerische Staatsbibliothek München, 2 Exeg. 650 e-5.
6. Autograph Score, p. 11: Different Cross-motifs (1-3, 2-4 and 1-4, 2-3) on âJesum von Nazarethâ, Bach Digital Project.
7. Autograph Score, p. 12: Cross-motifs (1-4, 2-3) on âJesum von Nazarethâ, Bach Digital Project.
8. Autograph Score, p. 17: Cross-motif (1-4, 2-3) on âJesu nach undâ, Bach Digital Project.
9. Intrade Herrn Sebastian Knüpfers, Kritischer Bericht.
10. Autograph Score, p. 34: Answers to Questions, though not in Bachâs hand, Bach Digital Project.
11. Johann Saubert, DYODEKAS emblematum sacrorum (1625): The alto voice as an expression of the Holy Spirit, Bibliothèque Municipale de Lyon, SJ CS 320/5.
List of Abbreviations
Preface N. T. Wright
Acknowledgements
Introduction
From the âFifth Evangelistâ to the Birth of the Neue Bachausgabe
Theological Bach Research: Back to the Sources
Considering Anti-Judaism in Bachâs Music
Bach and Theology Re-assessed
Purpose and Scope of this Study
Part 1: Composer and Work
Learning the Craft of a Church Musician
1.1. Bachâs Schooling
1.2. Singer, Instrumentalist, Church Musician
1.3. âSinging preaching and praising of Godâ
âIt pleased God that I should be calledâ â Bachâs Office and Craft
2.1. The Purpose of Church Music
2.2. âGnaden-Gegenwartâ: Godâs Presence in Sacred Music
2.3. Music for the Glory of God
Proclaiming Scripture through Music â The Development of Bachâs Cantatas
3.1. Musical and Textual Models for Bachâs Early Cantatas
3.2. The âModern Cantataâ
3.3. From Köthen to Leipzig: from Capellmeister to Lutheran Cantor
3.4. The Leipzig Cantatas: Words and Music that Amplify Scripture
3.5. Composing, Rehearsing and Performing the Cantata
Bachâs St John Passion
4.1. The Development of the Lutheran Responsorial Passion
4.2. The Liturgical and Homiletic Context of Bachâs St John Passion
4.3. The Libretto of Bachâs St John Passion
4.3.1. Textual Elements of the St John Passion: Biblical Text
4.3.2. Textual Elements: Madrigalic Texts
4.3.3. Textual Elements: Chorales
4.4. The Purpose and Message of Bachâs St John Passion
Part 2: Commentary
Study Translation Katherine Firth
Commentaries and Sermon Collections
2.1. Abraham Calovâs âGreat German Bibleâ (1682)
2.2. Johannes Oleariusâ Haupt SchlüÃel (1681)
2.3. Sermon Collections: Martin Luther (1528-29)
Commentary
1. Prima Parte â First Part of the Passion
Exordium â Prologue
Hortus â Jesus in the Garden of Gethsemane
Pontifices â Jesus Before the Chief Priests
2. Parte Secunda: Nach der Predigt â
Second Part of the Passion: Following the Sermon
Pilatus â Jesus Before Pilate
Crux â Jesus Dies on the Cross
Sepulchrum â Jesus is Laid in the Tomb
Bibliography
Index
TABLES
1: Libretti published in Salomo Franckâs Evangelisches Andachts-Opffer, Geist und Weltlicher Poesien Zweyter Teil and Evangelische Sonn- und Festtages-Andachten (1716)
2: Libretti published in Zieglerâs Versuch in gebundener Schreib-Art (1728)
3: Libretti published in Picanderâs Ernst-Schertzhaffte und Satyrische Gedichte
4: Libretto of Bachâs St John Passion as first performed in 1724 (I)
5: Libretto of Bachâs St John Passion as performed in 1725 (II)
6: Known and Unknown sources of Free Poetry in Bachâs St John Passion
7: Consolation and Commitment in Arias and Ariosos of Bachâs St John Passion
8: Interior Questions and Answers in the Chorus Arias of Bachâs St John Passion
9: Actus Chorales in Bachâs St John Passion
10: Petitions from Stockmannâs Passion Chorale in Bachâs St John Passion
ILLUSTRATIONS
1. Dedication of Solomonâs Temple: Frontispiece of the 1673 Eisenachisches Gesangbuch, Herzog August Bibliothek Wolfenbüttel, TL 45.
2. Exterior and Interior of St Thomasâ Church Leipzig: Frontispiece of the 1710 Leipziger Kirchen-Staat, Niedersächsische Staats- und Universitätsbibliothek Göttingen, 8 H E RIT I, 11920.
3. Picanderâs Texts for the Passion-Music according to the Evangelist Matthew set to music by Bach in the St Matthew Passion, 1727, from the 1748 Ernst-Scherzhafte und Satyrische Gedichte, p. 471, Bayerische Staatsbibliothek München, P.O. germ. 600 e/2.
4. Frontispiece of Bachâs copy of Calovâs annotated New Testament from the Great German Bible, Concordia Theological Seminary, St Louis, Missouri.
5. Mors: Oleariusâ commentary on Johnâs account of the death of Jesus, Bayerische Staatsbibliothek München, 2 Exeg. 650 e-5.
6. Autograph Score, p. 11: Different Cross-motifs (1-3, 2-4 and 1-4, 2-3) on âJesum von Nazarethâ, Bach Digital Project.
7. Autograph Score, p. 12: Cross-motifs (1-4, 2-3) on âJesum von Nazarethâ, Bach Digital Project.
8. Autograph Score, p. 17: Cross-motif (1-4, 2-3) on âJesu nach undâ, Bach Digital Project.
9. Intrade Herrn Sebastian Knüpfers, Kritischer Bericht.
10. Autograph Score, p. 34: Answers to Questions, though not in Bachâs hand, Bach Digital Project.
11. Johann Saubert, DYODEKAS emblematum sacrorum (1625): The alto voice as an expression of the Holy Spirit, Bibliothèque Municipale de Lyon, SJ CS 320/5.
All those interested in Life and Music of Johann Sebastian Bach, St John Passion, Lutheran Theology, Pietist Theology, Johannine Theology, Choral Music, Music History, Baroque Art, Development of the Lutheran Passion Oratorio, Pre-Enlightenment Germany, Anti-Judaism in St Johnâs Passion