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The Baroque Oratorio ion: A Conductor’s Guide to Compositional Techniques and Their Foundations
by
Robert Paul David Duff
A Treatise presented to the FACULTY OF THE SCHOOL OF MUSIC UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS (Choral Music)
December, 2000
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FIN A L T R E A T ISE APPROVAL This tre a tis e , written by ---------- R Q b ^ t . - £ a t t I _ D a y i d . . m £ f , under the supervision of
Guidance Committee, and approved by all
its , has been presented to and accepted by the Executive Com* mittee of the School of Music, in partial fulfillment of the requirement tor the degree of DOCTOR O F MUSICAL ARTS
with m ajor in„..C.U.QEsil . . C o n d u c t i n g ^
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Robert Paul David Duff
Dr. William Dehning ABSTRACT
THE BAROQUE ORATORIO ION: A CONDUCTOR’S GUIDE TO COMPOSITIONAL TECHNIQUES AND THEIR FOUNDATIONS The proclamation of the ion has been core to the faith of Christians for nearly two millennia. From earliest times, cultures have kept sacred this proclamation through rituals both liturgical and dramatic. This sacred observance is the basis of this treatise that, in broad , explores how music intersects with these ritualized commemorations. This treatise specifically examines one era of ion proclamation: the oratorio ion in Lutheran between 1643 and 1700.
The treatise surveys four settings of the ion, beginning with the first documented oratorio ion (Selle, 1643), and continuing with settings by Sebastiani (1665), Theile (1673) and Meder (1700). Comparative analyses illustrate significant differences between these settings and show how these differences are reflected in the extant ion settings of J.S. Bach.
The treatise is organized into eight chapters. Chapter one outlines the structure of the treatise. Chapter two provides an abbreviated history of the ion from early Christendom through the Baroque. Chapter three surveys Thomas Seile’s ion nach dem Evangelisten Johannes, one of the first oratorio ion settings. Chapter four
investigates the compositional process exemplified by Selle in 1643 and how it matured in Johann Sebastiani’s most successful composition, Das Leyden und Sterben unsers Henm und Heylandes Jesu Christi nach dem heiligen Matthaeo (1665). Chapter five examines
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Johann Theile’s ion nach dem Heiligen Evangelisten Matthdo (1673) and its progressive use of non-biblical texts in its four strophic arias, in Chapter six, Johann Valentin Mederis Oratorische ion nach Matthaus (1700) is featured, demonstrating the development of interpolated chorales, the more extensive settings in arioso, and Meder’s connection to Buxtehude. Chapter seven summarizes the findings of Chapters two through six, highlights the differences between the settings, and provides insight into Bach’s setting of the Matthdus-ion. Chapter eight summarizes the various items presented throughout the treatise and gives suggestions for score preparation.
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ii A CK N O W LED G M EN TS
I am thankful to the follow ing individuals for their assistance in the preparation o f this treatise: Drs. W illiam Dehning, D avid W ilson and Bruce Brown, o f the USC School o f M usic, for their participation on my G uidance Committee. I also w ish to express my deepest thanks and gratitude to the following people w ho so generously ed m e w ith their love, prayers and enthusiasm during my studies at U SC: my parents and family, Dr. Lynn B ielefelt o f the U SC School o f M usic, and above all my partner, David Pierce, for his unfailing encouragem ent and love.
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TA B L E O F CONTENTS
ACKNOW LEDGM ENTS.........................................................................................ii MUSICAL EXAMPLES ........................................................................................... v LIST OF T A B L E S................................................................................................... vii CHAPTER I: INTRODUCTION...............................................................................1 Purpose o f the Study .....................................................................................2 Organization o f the T reatise..........................................................................2 CHAPTER II: THE HISTORY OF THE PA SSIO N .............................................. 4 Early C hristendom ......................................................................................... 4 The Middle A g e s ........................................................................................... 5 The Renaissance............................................................................................. 7 The B aroque..................................................................................................15 CHAPTER HI: THOMAS SE L L E .......................................................................... 21 Biographical Information on Thomas S e lle .............................................. 21 Analysis o f the Selle P a ssio n ......................................................................24 CHAPTER IV: JOHANN SEBASTIANI ............................................................. 35 Biographical Information on Johann Sebastiani ...................................... 35 Analysis o f the Sebastiani P assio n ............................................................. 43 CHAPTER V: JOHANN THEILE ........................................................................ 52 Biographical Information on Johann Theile ............................................ 52 Analysis o f the Theile P a ssio n ....................................................................60 CHAPTER VI: JOHANN VALENTIN MEDER .................................................69 Biographical Information on Johann Valentin M e d e r..............................69 Analysis o f the Meder P assio n ....................................................................74 CHAPTER VII: COMPARATIVE ANALYSIS OF SETTINGS AND THEIR RELATIONSHIP TO J.S. BACH’S MATTHAUS-ION . . . 93 Introduction..................................................................................................93 Structure and Form .....................................................................................94 Interpolations..............................................................................................102 Dramatic P ersonae..................................................................................... 110 The Use o f Instruments .............................................................................119
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CHAPTER VDI: CONCLUSION
123
SELECTED BIBLIOGRAPHY............................................................................. 126 APPENDIX A: EXCERPT FROM MONOPHONIC PLAINSONG ION SETTING FER1A SEXTA IN IONE D O M IN I.......................... 130 APPENDIX B: ST. MATTHEW ION TEXT AND TRANSLATION .......................................................................................... 131 APPENDK C: ST. JOHN ION TEXT AND TRANSLATION ............. 146 APPENDIX D: CHRONOLOGICAL LISTING OF IMPORTANT IONS ....................................................................................156 APPENDIX E: EXTANT ION SETTINGS............................................... 160
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v MUSICAL EXAMPLES
Figure
Page
1. Elongation o f Notational Value (S e lle ) ............................................................. 28 2. Selle Turba Chorus “Kreuzige ihn" ........................................................
29
3. Selle’s Use o f Instrumental Text P ain tin g ........................................................30 4. Selle’s Trio representing Trinity
................................................................31
5. Sebastiani’s ion: Title p a g e ..........................................................................38 6. Sebastiani’s ion: D edication........................................................................40 7. Sebastiani’s ion: Forward to M u sician s......................................................42 8. Sebastiani’s Turba Chorus “Weifiage uns, C h ris te " ........................................46 9. Sebastiani’s Setting “Eli, Eli, Lama asabathani"............................................ 47 10. Sebastiani’s Interpolation “Gott sei g e lo b e t" ................................................ 48 11. Sebastiani’s Text Painting Techniques ........................................................... 49 12. Sebastiani’s Use o f Durational Techniques.....................................................51 13. Theile’s ion: Title P a g e .............................................................................. 56 14. Theile’s ion: D edication............................................................................ 58 15. Theile’s ion: Foreward to M usicians....................................................... 59 16. Theile’s Use o f Instrumental Text P ainting.....................................................63 17. Theile’s Turba Chorus “Gegriifiet seist d u " ...................................................64 18. Theile’s Turba Chorus “Weifiage uns, Christe " ............................................ 65 19. Theile’s Aria “Du duldig Lamm, O Gottes Sohn ” ........................................ 67
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20. M eder’s Arioso Setting o f Jesus Narrative ..................................................... 82 21. Meder’s Use o f Text Painting .......................................................................... 83 22. M eder’s Turba Chorus: "Wozu dienet dieser U n r a t? " .................................. 84 23. Meder’s Turba Chorus: “Der du den Tempel” ...............................................86 24. Meder’s Aria “HerrJesu Christ, w ahr’ Mensch u n d G o tt" ..........................89 25. J.S. Bach’s String Accompaniment to Jesus Arioso .................................... 112 26. Sebastiani’s Turba Chorus “Lafi ihn kreuzigen” ...........................................115 27. Theile’s Turba Chorus “Lafi ihn kreuzigen ” ................................................. 116 28. Meder’s Turba Chorus “Lafi ihn kreuzigen ” ................................................. 116 29. Bach’s Turba Chorus “Lafi ihn kreuzigen"................................................... 117
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vii LIST OF TABLES
Table
Page
1.
Tenth century Holy Week Readings ........................................................... 5
2.
Comparison o f Plainsong and Recitative Settings.....................................13
3.
Selle’s Interpretation o f Romanian Letters ...............................................27
4.
Sebastiani’s Structural Division o f St. Matthew ion.......................... 43
5.
Structural Analysis o f Theile ion ..................................................... 61
6.
Structural Analysis o f Meder ion ....................................................... 75
7.
Meder’s Interpolations in Original and Revised V ersions........................ 77
8.
Meder’s Placement o f C h o rales.................................................................. 87
9.
Meder’s Orchestration o f “O Traurigkeit, o Herzeleid” .......................... 91
10.
St. Matthew ion Text D iv isio n ............................................................95
11.
Comparative Settings o f the St. Matthew ion T e x t............................ 96
12.
Divisions o f the St. John ion Text ..................................................... 99
13.
Scope o f Drama in the Ss. Matthew and John A ccounts...................... 100
14.
Interpolations in the St. Matthew ion S e ttin g s.................................102
15.
Interpolations in Selle’s S t John S e ttin g ................................................. 107
16.
Interpolations in J.S. Bach’s Matthaus-ion ..................................... 108
17.
Turba Choruses in the St. Matthew S e ttin g s........................................... 113
18.
Bach’s Turba Choruses ............................................................................. 117
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CHAPTER I INTRODUCTION
The proclamation of the ion has been core to the faith of Christians for nearly two millennia. From earliest times, cultures have kept sacred this proclamation through rituals both liturgical and dramatic. This sacred observance is the basis of this treatise that, in broad , explores how music intersects with these ritualized commemorations. This treatise specifically examines one era of ion proclamation: the oratorio ion in Lutheran between 1643 and 1700. Given the centrality of the ion story to both the Christian faith and the choral repertoire, it is surprising how little scholarship has been devoted to this subject in English. Volumes abound from scholars in but it was not until 1937 that a book was written in English on the subject. This book today remains the sole source for information in that language, and while it received cridcal acclaim in its day, it does not provide detailed analysis, given its broad coverage. Through a more careful analysis of the four ion settings included in this treatise, the conductor preparing a ion performance should be able to gain insight into compositional technique, performance practice and methodology. This information will allow for more informed decisions by the conductor while preparing for a ion performance.
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2
Purpose of the Study The primary purpose of this treatise is to provide the conductor wishing to perform a Baroque ion, particularly one by J.S. Bach, with a resource of information about the development of the oratorio ion. Through a fuller understanding of the traditions from which Bach drew, the conductor in his score preparation will more fully realize the significance of existing musical elements. The treatise will survey four settings of the ion, beginning with the first documented oratorio ion (Selle, 1643), and continuing with settings by Sebastiani (1665), Theile (1673) and Meder (1700). Comparative analyses will be provided to point out significant differences between the settings, as these differences are reflected in the extant ion settings of J.S. Bach. In order to place the oratorio ion in context, this treatise will include a brief history of the ion from the fourth century through the settings of Bach. Chapters will also be devoted to the aforementioned ion settings, providing detailed analysis of (1) text and form; (2) delineation of dramatic personae; (3) orchestration; (4) harmony; and (5) other compositional techniques.
Organization of the Treatise This treatise is organized into eight chapters. Chapter two briefly details the history of the ion from early Christendom through the Baroque. Chapter three is a survey of Thomas Selle’s ion nach dem Evangelisten Johannes, one of the first oratorio ion settings. Chapter four investigates the compositional process
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3 exemplified by Selle in 1643 and how it matured in Johann Sebastiani’s most successful composition, Das Leyden und Sterben unsers Herm und Heylandes Jesu Christi nach dem heiligen Matthaeo (1665). Chapter five examines Johann Theile’s ion nach dem Heiligen Evangelisten Matthao (1673) and its progressive use of non-biblical texts in its four strophic arias. In Chapter six, Johann Valentin Meder’s Oratorische ion nach Matthaus (1700) shows the development of interpolated chorales, the more extensive settings in arioso, and his connection to Buxtehude. Chapter seven summarizes the findings of Chapters two through six, highlights the differences between the settings, and provides insight into Bach’s setting of the Matthaus-ion. Chapter eight will be a summary and conclusion of the various items presented throughout the treatise along with suggestions for score preparation.
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4 CHAPTER H THE HISTORY OF THE ION
Early Christendom In the early Christian Church, the events detailed in the Gospels of iontide were commemorated in two separate ways, one primarily dramatic and the other primarily musical. Beginning in the fourth century, there is tangible evidence that this commemoration took place in a dramatic form. The origins can be traced back to this time through the diary of Egeria, a pilgrim of the early church.1 It is reported that the readings were commemorative in nature. A schedule for the proclamation of the ions during Holy Week was created by Pope Leo the Great c. 450 A.D. Within this schedule the ion according to St. Matthew was assigned to be read during the Masses for Palm Sunday and Wednesday of Holy Week, and the ion according to St. John on Good Friday. These texts were to be chanted by a single singer, the diakon, and there is no definitive evidence that they were sung by more than one person until the thirteenth century. In the seventh century, the ion according to St. Luke replaced that of Matthew on Wednesday, as decreed two centuries earlier. In the tenth century, the Gospel of St. Mark was assigned to be read at Mass on the Tuesday of Holy Week, allowing for all four gospel s of Christ’s ion during Holy Week (Table 1).
‘Kurt von Fischer, “ion,” New Grove Dictionary o f Music and Musicians 14 (1980): 277.
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5 Table 1: Tenth century Holy Week Readings. Day in Holy Week
Gospel Reading
Sunday
Matthew 26: 1 -27:66
Tuesday
Mark 14: 1 -15:47
Wednesday
Luke 22:1 - 23:56
Friday
John 18:1 - 19:42
The Middle Ages Early ion plays, dramatic presentations of the ion story, were presented in churches during the Middle Ages with elaborate music, costumes and stage properties. These dramas served as religious instruction and grew out of the improvisatory nature of tropes within the Roman Catholic liturgy. Between the tenth and thirteenth centuries a large number of liturgical dramas were written. These dramas, including the ion plays, were of great importance as they marked the reintroduction of theatrical performances in western Europe after their demise in the Dark Ages. The music of these early ion plays consisted most probably of unaccompanied chant. These plays were acted out solemnly before the altar in the church’s Latin tongue. Marchand reports that there are few surviving examples of
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6 these early dramas but their modem descendants are still regularly given at Oberammergau, and at Thiersee in the Austrian Tyrol.2 Manuscripts of monophonic plainsong ions survive from as early as the ninth century. These manuscripts include tempo, pitch and dynamic markings as indicated by the literae significativae, or Romanian letters.3 The Romanian letters were placed beside the various sections of text4 within the ion to show how the separate characters were to be sung. These Romanian letters are attributed to the legendary singer Romanus, who supposedly introduced Gregorian chant at St. Gall at the end of the eighth century. When, around the beginning of the fifteenth century, it became customary for three persons to present the various roles of the ion, the three Romanian letters were retained but with new interpretation:3 Romanian Letter
Original Meaning
Fifteenth century Interpretation
c
Celeriter (quickly)
Cantor or chronista
s
Sursum (in a raised voice)
Synogoga or succentor
t
Trahere (drag) or tenere (to hold)
Interpreted as a cross not as a “t”, which became Christus
2Terry Marchand, “Musical Settings of the Evangelist in the ion” (D.M.A. diss.. University of Kansas, 1982), 5. 3Basil Smallman, The Background o f ion Music (New York: Dover, 1970), 121.
4Bertram Schofield, “A Newly Discovered Fifteenth Century Manuscript of the English Chapel Royal” Musical Quarterly 32 (July 1946), 509. sSmallman, 123.
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It should be noted that in addition to the three Romanian letters listed above, other letter-symbols are found in various printed missals of the Sarum rite, also indicating voice pitches of the various participants: these include A for alta vox (all turba and individual characters except Christ), M for media vox (the evangelist), and B for bassa vox (Christ).
*
The change in practice from the ion being intoned by one person to being intoned by three persons was recognized and permitted by the church. In the Rationale divinorum officiorum, the Church addressed the issue of intonation by multiple persons, stadng that the words of Christ were “to be spoken softly and sweetly," and the words of the “most impious Jews with loud cries and course voices.” In connection with the Romanian letters, specific tones or plainsong formulae for proclaiming the text were used in musical settings of the ion. In , Christus’s plainsong was centered around f and d, the Chronista’s around a and c, and the Synagoga or Turba’s around c and f.6
The Renaissance As the roles of the ion characters became more delineated, a tendency towards dramatic realism or comio grew, causing the presentation of the turba to expand in style and length. Previously a third person had been relegated to chanting the turba parts. Now this role was now given to a choir to sing in a homophonic
6An excerpt of a monophonic ion, Feria Sexta in ione Domini, illustrating ion tones can be found in Appendix A.
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falsobordone style. The first of such a setting can be found as early as the fourteenth century. In Walther’s St. Matthew ion, this new falsobordone style is exhibited and clearly illustrates how the choral response is set off from the traditional plainsong setting of the Evangelist and Christi. This ion setting had great influence on composers of later Lutheran ion settings in , as it was used as a prototype for future ion settings.
The Influence o f Martin Luther and the Reformation Many of the musical developments that took place in Europe during the Baroque may not have occurred if Martin Luther himself had not been a musician albeit an amateur- and had not himself created such an indispensable role for music within the Lutheran church. If Luther had been more closely aligned to Calvin in restricting most forms of music in the church sanctuary, the Lutheran church music of the Baroque might never have existed. Luther’s personal experiences with music undoubtedly informed his liturgical reforms. He favored retaining the Latin language in those churches where it would be understood (mainly urban centers), and even suggested that some music by Catholic composers be introduced into the service (in German translation), so that his congregation would not be deprived of hearing these fine compositions.7 Many of
7John Haberien, “A Critical Survey of the Oratorio ion in North to 1700” (D.M.A. diss., University of Illinois at Urbana, Champaign, 1973), 147.
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9 the tunes for Lutheran chorales are contrafacta of old Catholic melodies, such as “Nun komm, der Heiden Heiland,” which is taken almost literally from the Latin hymn “Veni redemptor gentium.” Chorale hymns borrowed text and melodies not only from Catholic sources but also from secular songs of the day and from stile andco motets. Additionally, new melodies were also written. The early chorales were sung in unison by all voices, many of which had a madrigal-like rhythmic freedom due to the borrowing from the secular realm. One example of such a piece is the tune Mein Gemtith ist mir Verwirret (1623), by Lassus, which ultimately became O Haupt voll Blut und Wunden (J.S. Bach's ion chorale). The evolution of the rhythm of this chorale, as well as many others, can be traced, as it was first published in the Hamburg Gesangbuch in 1604. The Hamburg Gesangbuch, as well as published songbooks by Shein and Scheidt, influenced choral rhythm, shaping chorale tunes from unbarred meter into music that set each syllable of text to one beat. Luther believed that the services of Holy Week should be consistent with other services of the church calendar in of order, ceremonial action, and ritual.8 He warned against excesses, such as prolonged preaching and covering the statues. He considered word and sacrament to be the focal points of the Holy Week observance. Within this framework, he was against “die vier ion singen,”9 and
8Stanley Anthony Malinowski, Jr., “The Baroque Oratorio ion” (Ph.D. diss., Cornell University, 1978), 67. ^ id ., 69.
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10 cautioned against any ion setting that would detract from the reverent nature of the ion. He therefore opposed elaborate through-composed or motet ion settings, in which the text became obscured in polyphony, favoring responsorial ions, which were monophonic. His desire to possess a suitable German ion allowed for the commission of Johann Walther to compose polyphonic settings of the turbae that would be sung by the choir. Hence the German responsorial ion came into existence.
The Responsorial ion The numerous sources for the German responsorial ion attest to the popularity that it had attained in the sixteenth and early seventeenth centuries. The responsorial ion (also called choral ion and dramatic ion) had actually begun during the fifteenth century and was a result of theological trends that reached beyond comio to an imitatio Christi, or tangible first-hand experience of the ion. ion plays became longer, and for the first time polyphony was introduced in the settings of the turba.10 Composers spanning both the Renaissance and the Baroque who wrote in this style include G.M. Asola (c. 1532-1609), Samuel Besler (1574-1625), William Byrd (1543-1623), Leonhard Lechner (1553-1606), Jakob Meiland (1542-1577), Heinrich Schiitz (1585-1672) and Tomds Vittoria (1548-1611). The polyphonic settings of the turba that were established by these composers continued through the Reformation and Counter-Reformation periods.
10Alec Harman and Anthony Milner, Man and His Music: The Story o f Musical Experience in the West, vol. 2 (New York: Schocken Books, 1962), 285.
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11 In these settings, the monophonic narrative sections chanted by the Evangelist are distinguished from the turba and other characters in one of four ways: 1.
The turbae that are speeches of groups of people are set polyphonically.
2.
All turbae are set polyphonically.
3.
All direct speech of individual characters apart from that of Christ is set polyphonically.
4.
The words of Christ are also set polyphonically.
Within each of these settings, Stanley Malinowski writes, “the old Latin ion tone, which continued to be used in only some localities, staged a comeback midway through the sixteenth century in and the sources reflect this resurgence of the medieval formulas (within the responsorial ion).”11 In addition to the four types listed above, the sections entitled exordium and conclusio within each responsorial ion were set polyphonically. These sections of the ion respectively introduced and concluded the ion narrative and were based on non-biblical texts. The exordium served as an invitation to the congregation to listen to the ion according to the particular Evangelist. The conclusio served as a statement of belief and thanksgiving for the salvation gained through the ion and death of Christ.
"Malinowski, 7.
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12 Most important perhaps within the settings of responsorial ions was the influence of the seconda prattica that had begun in Italy.12The monodic style of singing began to find its way into the long narrative portions of the ion, as it was believed that music complemented the poetry and that art illuminated the emotional power of the verse. Stile rappresentivo was based in these theories, out of which came recitative. The replacement of plainsong by recitadve in these settings was viewed only as a new means of dramatic expression, not as an improved means. To understand the merits of both means, a comparison might prove helpful. Within plainsong settings, special cadential formulae were employed for the Evangelist so as to distinguish his utterances from those of the crowd. Four notes ascending to the final consistently signify a question mark within the text. Early recitative paralleled plainsong closely. The end of a sentence was marked by a perfect fourth down, with a perfect cadence answering to resolve the phrase. Further comparison of the two types of settings shows these differences (Table 2). Parallel to this line of ion writing was another that began with the three ions of Jakob Meiland (1567-70). For the first time, the turbae was altogether removed from any trace of the original Latin cantus flrmus, and dramatic elements gradually came to the forefront.
12Edward Dickinson, Music in the History o f the Western Church. (New York: Charles Scribner’s Son’s, 1927), 274.
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13 Table 2: Comparison of Plainsong and Recitative settings. Plainsong
Recitative
Originated in liturgy and was ritualistic in style
Originated from secular, theatrical compositions
Phrases set to rigidly constructed music formulae
Phrases set to music that attempts word and phrase paindng
Narrow range
Wide and flexible range
Breaks at end of musical phrases
Breaks and rhetorical pauses throughout
Free rhythm of recitatation tone
Imitated spoken word and thus rhythm and notation more precise.
Unaccompanied melody
Use of dissonance in continuo to stress emotional impact of particular words (i.e., Bach's use of dim. 7th for pain, fear, sorrow and death)
Duets for the two false witnesses, the close succession of repeated phrases for the apostles’ “Herr bin ich’s,” and the increase in the number of choral voices beyond the traditional four represent changes that began to be made in the responsorial ion as represented by Vulpius (1613), and Schultze (1653). These developments would have a long-term impact that would affect ion development culminating, in the Matthaus-ion by J.S. Bach.
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14 The Motet ion In the motet ion, the complete text of the ion is sung in motet style by an unaccompanied choir.13 Instead of solo voices for individual characters a reduced number of voices was used to contrast with a four- or five-part choir singing the words of narration and turba. From the beginning of the seventeenth century, three kinds of settings may be identified in the motet ion: 1.
Settings of the complete text according to one of the Gospels;
2.
The Summas ionis, consisting of sections from all four Gospel s, including the seven last words of Christ and an exordium and conclusio;
3.
Settings of the shortened text of one Gospel.
The motet ion provided a sensitive medium for musical expression, but lost the vividness and realism created in the plainsong and responsorial ion settings. This loss was due to the change in contrast within the performing forces. While the responsorial ions could be used liturgically, the extensive choral writing found in the motet ions caused them to become too lengthy to be used in the context of Mass. While the forces differed and their performance venue changed, the motet ion still incorporated the older plainsong ion tones in the choral texture.
l3Malcolm Boyd, Oxford Composer Companions: J.S. Bach (Oxford: Oxford University Press, 1999), 360.
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15 The tones were placed in each appropriate voice part: in the bass for Jesus, in the tenor for the Evangelist, and in the alto for the synogoga.14 Many motet ions were set either Latin or German texts during the sixteenth century. One of the first German motet ions was composed by Joachim a Burck (1545-1610). Burck’s ion according to St. John became the standard for many later German settings. The motet ion style died due to its incompatibility with the new monodic style. The conservative harmonic language of the homophonic settings of the turba was found to be less effective when composed polyphonically.
The Baroque Oratorio ions Before the turn of the sixteenth century in Florence, the Florentine Camarata developed new ideas that would greatly influence music history. This group preferred a texture in which a solo voice was ed by simple chords from an accompanying instrument, rather than the thick polyphonic style previously used. The application of this monodic style ultimately resulted in the creation of a new genre, opera. In the wake of opera, there followed the development of oratorio. Opera and oratorio developed along similar lines, using similar musical techniques but differing in both subject matter and method of dramatic presentation. In opera, the drama was presented on stage as a play with sung dialog. In oratorio, the action was propelled
l4This practice can be found in Christoph Demantius’ ion Nach dem Evangelisten Joannem of 1643.
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16 forward by the historicus, a narrator who linked scenes together through narrative.15 The function of the historicus paralleled that of the Evangelist in the older ion settings. These new musical concepts from Italy led to three important changes in the composition of ion settings for liturgical use: 1.
Instruments were used to accompany the voices of soloists and chorus alike, and the whole was ed by the basso continuo;
2.
Music based on a non-bibiical ion text was introduced;
3.
Freely-composed recitative was substituted for the traditional ion tones.
Instrumental Accompaniment From what we have learned about performance practice in the late Renaissance, it is logical to hypothesize that instruments may have doubled the vocal parts in ions long before there was any written indication of this practice. The exact manner of performance is open to speculation, but the possibility does exist. The earliest surviving ion manuscript to include a written continuo part is by Thomas Selle of Hamburg (1643).16 In his setting of ion nach dem Evangelisten Johannes, Selle writes idiomatically for positiv organ, three or more “pandoras o violones" to the Evangelist, a bassoon and two violins for the part of Jesus.
I3Marchand, 14. l6Malinowski, 104.
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17 Selle’s incorporation of instrumental forces in his ion of 1643 extends past basic continuo . Through the concerted use of instruments, Selle is able to clearly identify characters. The role of Jesus can be distinguished by its accompaniment of two violins, and Pilate is always accompanied by two cometti and trombone. The practice of incorporating instruments in this style of ion writing can be seen in many other settings, beginning in northern c. 1650. This practice ultimately served as the basis for a new tradition; a tradition that would be observed by Bach in his two ion settings. The importance of allowing opportunity for meditation by the worshipers during the ion proclamation had always been stressed by the Catholic Church. Early in the history of the plainsong ion, one finds the rubric “Hie genuflecritur et pausatim aliquantulum” (“here genuflect for a while”), after the death of Jesus. In the ion settings of the Catholic composer Johann Walther there is an indication in the same spot in the narrative for a pause to permit silent recitation of the prayer Voter unser)1 Within the Lutheran settings, this point of meditation is not observed to the same extent as in the Catholic settings. The appearance of the Intermedium occurs for the first time with Selle; its function was to provide time for reflection in each of the three scenes of the ion. In oratorical ion settings, these Intermedia are found as motets,18 arias, sinfonias, but rarely duets or trios.
17Smallman, 25. 18In the 1643 ion of Selle, the three Intermedia are written in Venetian polychoral style.
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18 The Addition o f Non-Biblical Texts By 1600, composers of polyphonic settings of the ion incorporated a pair of non-biblical texts. These texts, labeled exordium and conclusio, were found respectively at the beginning and end of the settings. The exordium functioned as a pseudo-fanfare, heralding the proclamation of the ion that was to be read. The conclusio served as a vehicle for affirming communal belief in the ion of the Lord. The exordium and conclusio developed in length and complexity in the motet ion, and their purpose was reaffirmed as Lutheran theology developed and was incorporated into the new liturgy. The same impetus to enhance the ion text with die exordium and conclusio allowed for additional texts to be set. At the same time, the Baroque gave rise to new forms of sacred music that featured the use of accompanying instruments, solos, duets, trios and choruses. These forms certainly influenced the composers of the ions, who sought opportunities to create such movements. Since biblical s of the ion did not lend themselves to musical embellishment, composers turned to non-biblical texts to supplement the narrative. At first chorales were added, either for the whole congregation to sing or for soloists.19 It was natural within the Lutheran church for German composers to turn to chorales to allow for congregational participation in the unfolding of the ion narrative.
19Selle’s ion of 1643 is the first documented setting in which a chorale is included. It is placed after the conclusio, however.
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19 Once operatic style found its way into the minds of ion composers at the beginning of the eighteenth century, it was not long before poetic s of the ion story began to replace those in the Bible, resulting in the genre often termed Oratorio ion. This practice had many advantages, among them the idea that improved poetic texts could improve the Gospel story, and that non-liturgical texts would allow the production of ions to occur in theaters during Lent, when the theaters were normally closed.20 Basil Smallman points out, however, that it was “an age of Great German musicians - not poets.”21 Though the music of these ion settings was of high quality, the Pietist-inspired texts on which these settings were based fell out of fashion after the eighteenth century.
The Incorporation o f Recitative The cold and impersonal nature of the ion tones was found lacking by the generation of Schiitz, who looked for new means of dramatic expression. Schiitz and his colleagues moved away from the formulaic conventions. Chromaticism, rhetorical figures and complex harmonies created a narration that was extensively filled with drama, when compared to the tonic-dominant-tonic feeling of the ion tone. In addition to presenting all the events in a more dramatic manner, the recitative began to function as the foundation that held the additional music in the ion setting together.
■“Smallman, 96. 21Ibid., 97.
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20 Since the early Baroque was a time devoted to seconda prattica style, composers found that when trying to fit words to previously written music, problems arose. The solution to one of these problems was to replace the traditional ion tone with newly composed recitative. As Smallman states, “while plainsong was designed for the musical presentation of a ritual language, recitative was fashioned for the infinitely more difficult task of presenting the inflections of a living tongue.”22
"Ibid., 47.
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21 CHAPTER IK THOMAS SELLE: ion nach dem Evangelisten Johannes (1643 Edition)
Biographical Information on Thomas Selle Thomas Selle is an influential figure in the history of the ion in that his ion nach dem Evangelisten Johannes mit Intermedien of 1643 is probably the first composition to belong to the genre of oratorio ion. Selle’s ion is remarkable as it is the only documented instance of this type of writing before that of Sebastiani in 1663. Although clearly based on the former motet ions, this work employs concerted forces and provides reflective interpolations. These interpolations served as the basis for future insertions of non-biblical texts, and therefore greatly affected the development of the Baroque ion. Selle was bom on March 2 3 ,1S99, in Zorbig, a town near Bitterfeld, Saxony. Due to the lack of extant records, little is known about Selle’s family or his youth; one of the first pieces of information available on the composer is taken from the title page of Selle’s first work, printed in Rostock in 1623. The publication of this work, as well as the remainder of his oeuvre during his own lifetime, attests to the high esteem in which he was held by his colleagues. Selle began four years of study in composition with Johann Schein in 1622 at the University of Leipzig. Leipzig, with its long tradition of education, afforded Selle the opportunity to encounter many composers who would ultimately influence his own writing. It was there that Selle was exposed to Schein’s use of the concertato
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22 style and its application to the chorale, the use o f basso continuo and the new monodic song. It was also in Leipzig that Selle learned of Calvisius and his polyphonic-linear phrases of the Renaissance a cappella style. Finally, it was in Leipzig that Selle witnessed the rising religious sentiment that was prompted by the Thirty-Years’ War. In addition to its effect on subject matter of texts (and the prevailing Pietism), the war had a significant and devastating effect on performing forces.1 After a short-lived teaching position at the Heide School in 1624, Selle assumed the post of heaster at a large parish church in Wesselburen in 1625. It is in Wesselburen that many of his important accomplishments, both personal and professional, were achieved. In 1627 and 1628 Selle published his Hadiodecamelydrion and Monomachia II, respectively. In the prefaces to these volumes, Selle recorded his views and sadness over the famine and devastation incurred by the war. In the midst of this hardship, Selle met and married his wife, Anna Weihe. Selle’s works of this period, intended for use in both church and school, show a turning to the small Konzert form and a fostering of cantus firmus principles. Within this form Selle sets in long values the cantus firm i in the tenor, frames them in the upper voices with animated discant and in the lower voice with basso continuo.
’The reduction in forces caused Schiitz for instance to compose and publish Kleine geistliche Konzerte, small sacred concerti for one or a few voices with basso continuo. The publication of these concerti reflects the affect of the war on the musical personnel of Dresden.
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23 The publication of Concertuum binis vocibus (1632) fully illustrates this technique. In 1634, after nine years in residence at Wesselburen, Selle was invited by the City Council of Itzhoe to take the examination for cantorship. Itzehoe proved to be a fertile ground for Selle; as the choral director for both the school and church, Selle obtained a vast istrative experience that would later serve him in his position at Hamburg. In Itzehoe, Selle wrote solely sacred works, including Concertuum latino sacrorum, Concertuum tirvocalium, and the motet Ecco quomodo, composed for the funeral of Albert Fabricius, organist in Itzehoe in 1641. In 1641, Selle accepted the position of Music Directorship of Hamburg. This position as music , which he would hold for twenty-two years, included the responsibilities of Cantorship at St. John’s Church, and the position of of the Church music programs for the four principal churches of Ss. Peter, Nicolas, Catherine and Jacob within the city. As a music educator and trained vocalist, Selle brought a high standard of professionalism to both the music education system and the music program in Hamburg.2 During his tenure, Selle created a music program that allowed performances of sacred music to blossom; figural music occurred thrice weekly. His 1643 performance of ion nach dem Evangelisten Johannes brought favorable reviews from all the city’s chronicles, and subsequently, the music program in Hamburg flourished tremendously under Selle.
2As part of Selle’s reform and education plan, he published in 1642 Anleitung zur Singekunst, a treatise on vocal pedagogy. Outlined in this treatise are the foundadons for proper singing and Selle’s beliefs in the necessity of teaching intervals, uniformity of dicdon and solmizadon within the schools.
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24 By 1648 Selle’s goals for music in Hamburg were realized and he had become overwhelmed by the amount of work involved in istering such a large program. In a letter to the city council of Hamburg, Selle requested additional assistance in providing services to the population.3 The council was somewhat responsive to Selle’s request, although records clearly indicate that his job duties continued to be taxing. In 1660, when the city of Hamburg established its collegium musicum, they assigned Matthias Weckmann to the post. It is unclear whether this assignment was made with Selle’s prior knowledge or approval. By this time, however, Selle was in his last years of his life. He died in 1663, the same year that he prepared his Opera Omnia, which he willed along with his entire library to the City of Hamburg.
Analysis of the Selle ion The Gospel Narrative As mentioned above, Selle’s ion nach dem Evangelisten Johannes of 1643 is a work that foreshadowed many of the later ion settings through its introduction of many new elements that had not been used previously by other composers. In fact, the 1643 edition of the ion is a revision of an earlier published version of the same name. In this revision, Selle adds three interpolations that he names intermedia, two that are injected within the story and one that follows
3Selle also stated in this letter a desire to present both music written in stile antico and stile modemo styles.
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25 the conclusio* The first two intermedia are, for all intents and purposes, polychoral motets in the Venetian style, based on parallel biblical ages that reflect the drama that has unfolded. The third intermedia is different from the first two in that it is based on the chorale “O Lamm Gottes unschiildig,” taken directly from the Lutheran liturgy. The work is scored for SAATTB choir (with alto, tenor and bass soloists), ornamental instruments (2 flutes, 2 cometti, 1 trombone, 1 solo violin, 3 ensemble violins, 2 bassoons) and fundamental instruments (two continuo groups consisting of organ, harpsichord, violoncello, and contrabass). Selle’s orchestration clearly reflects the Venetian influence to which he was exposed by Schein at Leipzig. The writing in stile concertato and the designation of fundamental versus ornamental instruments is typical of mid-seventeenth century composition.3 This type of writing must have startled the congregation in Hamburg. The long-held tradition that the music of Holy Week be austere and without accompaniments was observed even by Schiitz in Dresden.6 Selle must have been aware of this, as he indicated in the forward for the piece options for performance that included reduced instrumentation and omission of the intermedia.
4Smallman argues the choral intermedia in this work are really interludes between the three main parts of the ion and not direct interpolations into the middle of the narrative. Smailman, 71. 5Marchand, 18. 6Only in Schiitz’ Christmas Oratorio, Seven Last Words, and Psalms o f David is this type of instrumentally accompanied music found.
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26 The text of the work is taken from the Gospel of St. John (John 18:1 - 19:42). Selle is quite faithful to the text, although he chose to set the text in a tripartite form rather than the traditional bipartite form. This decision, perhaps influenced by the stage works in Hamburg, creates the following division of the story:
Part I: The Arrest and Arraignment
John 18: 1-23
Part 0: The Trial of Christ
John 18: 28 -19: 15
Part HI: The Crucifixion
John 19:16-37
To balance the sections in this tripartite form, Selle omitted two scenes from the first part, namely the striking of the high priest’s servant’s ear and the denial of discipleship by Simon Peter. This decision to omit this text seems very odd, given the progressive nature of the work and its apparent dramatic intent. If Selle truly wished to exploit all dramatic potential, surely he would have chosen to set these scenes of doubt and misguided acts. One plausible reason for their omission could be Selle's sensitivity to the balance of traditional and progressive elements, a balance with which he struggled all his life. This balance can be seen in the wedding of monodic elements and varying types of recitative, including arioso, to a traditional system of recitation tones derived from the Romanian letters (Table 3). The recitation tones, in particular for the Evangelist, remain to a great extent on the single pitch of c ’ and follow traditional formulae for the incipit and cadences. In addition, the dramatic personae of the story,
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27 namely Jesus, Pilate, the Maid, the Soldier, and the Evangelist, all follow the ancient rules o f range.
Table 3. Selle’s Interpretation of Romanian Letters. Romanian Letter
Original Meaning
Fifteenth Century Interpretation
Selle’s Characters
c
Celeriter (quickly)
Cantor or chronista
Evangelist (tenor)
s
Sursum (in a raised voice)
Synogoga or succentor
Pilate, the Maid and the Soldier (all sung by an alto)
t
Trahere (drag) or tenere (to hold)
Interpreted as a cross not as a “t”, which became Christus
Jesus (bass)
Furthermore, to enhance the characterization of each dramatic persona, Selle uses certain instrumental combinations: two bassoons always accompany the Evangelist, two flutes and bassoon accompany Peter and the servant, two cometd and trombone accompany Pilate, and two violins accompany Jesus. Particularly effective in Selle’s ion is the accompaniment for Pilate, which suggests a sense of pomp and regalness whenever Pilate speaks. This practice of instrumental characterization can be seen in other compositions of the period,7 and ultimately leads to the St. Matthew ion of Bach, where Jesus is accompanied by a “halo” of strings.
7Schiitz’s Christmas History (1664) allots to Herod two clarini, the chief priests two trombones, and the angels two violette.
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28 This characterization is also incorporated into the style of writing for a particular character. The pan of the Evangelist, for example, is set primarily in a style that is half-way between plainsong and monodic recitative. This writing is fairly conservative and inexpressive due to the encumbered complexity of the accompanying continuo pan. However, there are instances where the Evangelist speaks of Christ, and during these instances the quality of the recitative is transformed to that of Christ’s (Figure 1).
IM Fl>U>lMickfMd«a OtamMftiai
4tr
■w Figure 1. In this example, the first three measures illustrate the predominate recitation tone on c ’ and show clearly the forward movement of the evangelist’s setting. The texts translates as “And Pilate wrote an inscription for his Cross.” When the story describes the inscription as “Jesus of Nazareth, King of the Jews,” the style in which the recitative is written changes in both the vocal and instrumental parts to arioso. Its longer note values immediately are highlighted, compared to the preceding content. Additionally, the long note values have been reserved for the role of Jesus, again calling on the trahere tradition employed since the ninth century.
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29 The turba settings in Selle’s ion are, without exception, homophonic chordal responses that are mostly tonally static. The level of expression is minimal, and is only set apart by the full instrumental ensemble accompanying colla parte. The natural textual accents are achieved through quasi-speech rhythms. Selle reserves the use of chromaticism for highly dramatic points, and uses it sparingly to build excitement. One spot where this occurs is on the text “Kreuzige ihn” (Figure 2).
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Figure 2. Selle did not reserve his tools of characterization only for his vocal forces. His manuscript is very precise and detailed, more so than many comparable manuscripts of his time. One example of the instrumental characterization of the
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30 fanaticism displayed in Figure 2 is found in a later reprise of this material with the markings for the performing forces forte, presto. This is the first use of tempo and dynamic marks in the Gospel narrative, and clearly informs the performers of his intent that the second time should be stronger, affecting a greater emotion. A more direct attempt at characterization through pictorialism can be found only occasionally in the ion . Two instances that illustrate most succinctly Selle’s approach are described below. The first is found in Part I. The Evangelist, who is accompanied by two bassoons and continuo, speaks of the Lord going across the Kidron brook. As soon as the brook is mentioned, the second bassoon line deviates (Figure 3). The rhythm of this deviation mimics the murmuring of a brook and is unlike any writing thus far in the work. F ag o tti
f f- r f f i f P
A Pagott II
Evangelist
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j
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Figure 3. The second example is more subtle, but is one that is found in numerous compositions of the Baroque that refer to Christ’s death. Upon the final words
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31 uttered by Jesus, “Es ist vollbracht,’’ the two violins move in contrary motion, one ascending upward, the other following to meet at the octave (Figure 4). This movement is echoed by the two bassoons accompanying the Evangelist’s text “Und neiget das Haupt und verschied” (And bowed His head and was gone). The symbolism here is that of the spirit ascending and the body falling. The symbolism of the two instruments, if seen in light of the writings on J.S. Bach’s symbolism, would represent the unity of the Father and the Son.8
i'ji l - r - r A rr T
r r i
—
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r *=\m--r. m J. f . r-r F t —1-
—
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fm n r r ■* - r r 1■» » t r M m t e l i - i l i r i - ■ i w hat 1 ^ 1 j-i— rf r w w 9
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Figure 4.
‘Karl Geiringer, Symbolism in the Music o f Bach: A Lecture Delivered in the Whittall Paviolin o f the Library o f Congress (Washington, DC: Library of Congress, 1956), 5.
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32 The Intermedia The three intermedia are the most interesting sections of this ion setting, since they illustrate the direct influence of Gabrieli, Praetorius and Schein, and how their compositional styles were incorporated into the genre of the North German ion. The first two intermedia should be viewed as a set, given that they share the same polychoral motet style and are based on biblical texts, while the third is based on a chorale tune by Decius. There has been much discussion of the validity of considering these intermedia as direct interpolations. Friedrich Blume states that Selle’s three Intermedium are “prophetical or contemplative paraphrases of the ion story.”9 Smallman, however, argues that since the interpolations are not direct parallel ages that reflect on the immediately preceding events, they should be viewed more as intermezzi.10 Smallman’s argument is strengthened by the fact that Selle, knowing the radical nature of this composition, gave an option in his forward for removal of the intermedia in accordance with customs. While Smallman’s argument is sound, the very inclusion of this type of composition for the first time in the context of ion setting merits consideration. The first two intermedia are based on Isaiah S3: 1-5 and Psalm 22: 1-22, respectively. They are both composed in motet style, musically treating each textual phrase as discrete units. The performing forces are divided into two groups throughout:
Friedrich Blume, Protestant Church Music: A History (New York: W.W. Norton & Company, Inc., 1974). 10Smallman, 37.
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33 (1) SAATB choir accompanied by three violins, two bassoons and the first continuo group; and (2) STB soloists accompanied by solo violin and the second continuo group. These two forces are employed antiphonally throughout the first two intermedia with little exception. The sole exception to this antiphonal treatment is reserved for textual ages referring to the communal assembly, where the two groups merge into homophony. For instance, in the first intermedium the forces sing antiphonally until m. SO, where they come together on the text “Aber er ist um unser Missetat willen verwundet und um unser Siind willen zerschlagen” (Wounded on of our misdeed and smitten down on of our sin). A second clear example of this treatment is in the second intermedium beginning in m. 34 on the text “Aber du bist heilig, der du wohnest unter dem Lob Israel” (But You are holy and live under the praise of Israel), which continues with the text “Unsre Vater hoffeten auf dich, und da sie hoffeten, halfest du ihnen aus” (Our fathers placed their hope in You, and in their hope, You helped them). The tonality of the first two intermedia is more expressive than in Selle’s setting of the ion narrative. Selle holds fast to a conservative tonal style (both in F major and neither modulating for any lengthy period) but employs chromaticism for text-painting. An example of this type of chromaticism is found in the second intermedium in measures 38-43, where the chord progression modulates from A major to D major (though incorporating E major and F major triads) that ultimately resolves to G major. The pace at which Selle advances through this progression
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34 gives the implied characteristic of chromaticism, although he’s basically written a progression built on the circle of fifths. The second intermedium contains one other interesting compositional technique that bears mentioning. Beginning in m. 92, and until the end of the intermedium, there is a step-wise progression in the bass line. This ascending bass progression for the twelfth and thirteenth verses of Psalm 22 has been mentioned in writings as being a common practice of Baroque composers,11 although the author could not the statement of this practice.
"Harold Alexander Daugherty, Jr., “The Two ions According to S t John by Thomas Selle” (M.M. diss., Los Angeles, CA: University of Southern California, 1967), 41
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35 CHAPTER IV JOHANN SEBASTIANI: Das Leyden und Sterben unsers Herm und Heilandes Jesu Christi nach dem heiligen Mattaeo
Biographical Information on Johann Sebastiani The ion according to St. Matthew by Johann Sebastiani is considered to be the next important composition in the genre of ion oratorio after Thomas Selle’s setting.1 It deserves this consideration as it is the earliest surviving ion that includes chorales printed in the score. This ion serves as the culmination of Sebastiani’s career in Konigsberg, where he served as Kantor.2 Bom on September 30,1622, Sebastiani was raised in the vicinity of Weimar.3 Little is known of his youth until around 1650, when he traveled to Konigsberg and established himself as a composer within the city. A composition entitled Geisdiches Madrigal oder zusammen getragener aussen hohen leid
‘Smallman, 32. bounded in 1255, Konigsberg received civic privileges in 1286 and entered the Hanseatic League in 1340. A political and military center, it was the residence of the grand master of the Teutonic Knights from 1457, and from 1525 until 1618 the residence of the dukes of Prussia. Konigsberg’s economy during the seventeenth century was focused on trade. Due to the constant shifting of the water levels leading to its harbor, its economy during this period was badly stymied. In addition, the First Northern War and the Second Northern War caused severe damage to the city. By the end of the 17th century, however, it had experienced a great recovery. From this period arose a strong Lutheran musical tradition. This tradition was developed by many musicians including Johann Eccard (1553-1611) and Johann Stobaeus (1580-1646). 3John D. Amn. “Johann Sebastiani,” New Grove Dictionary o f Music and Musicians 16 (1980): 96-97.
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36 Salomonis, published in Konigsberg in 1653, exemplifies his popularity and the established life he held there by that time.4 On August 11, 1661, Sebastiani was appointed to the positions of Kapellmeister to the Prince of Brandenburg and Kantor at the cathedral. His musical responsibilities to both court and church produced a treasury of sacred music as well as occasional music commissioned for public festivities. His duties at court were allinclusive; he was solely responsible for the musical establishment of the court chapel. During his first three years, Sebastiani had at his disposal a court organist, a Precantor, and several choirboys. In 1664, he was granted six court instrumentalists to supplement the extant performing forces. It was during this period of expansion that Das Leyden und Sterben unsers Herm und Heilandes Jesu Christi nach dem heiligen Mattaeo was composed, as evidenced by the instrumentation of this setting. From 1658 to 1672 Sebastiani was involved in several academic festivities in the municipal church. During this time, he composed numerous occasional pieces for weddings, funerals, and other commemorative events. The majority of his works are influenced by five-voiced models of Stobaeus and Albert, founders of the Konigsberg lied school. In 1672 Sebastiani was married and from that point until the end of his life he was concerned primarily with the publication of his works. In 1672, he published a collection entitled Erster Theil der Pamass-Blumen, oder Geist- und Weltlich
Mosepb Muller-Blattau, Die musikalischen Schdtze der Koniglichen- und Universitats-Bibliothek zu Konigsberg in Preussen (Bonn: Adolph Marcus, 1890. Reprint: Hildesheim: Georg Olms, 1971), 33.
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37 Lieder..., which was comprised of sixty ensemble songs in three to five parts. In 1675, another publication was produced, Ander Theil Der Pamass-Blumen, a collection of seventy-seven compositions for solo voice and basso continuo. This publication shows the direct influence of the early Baroque in its emphasis on textual clarity through solo singing, and thus was a breaking point from the Konigsberg tradition and earlier studies in . Much of the historical importance attributed to Sebastiani is due to his ion setting Das Leyden und Sterben unsers H eim und Heilandes Jesu Christi nach dem heiligen Mattaeo.5 Two extant manuscripts of the ion dating from 1663 and 1664 have led authorities to place its composition in 1663 or earlier.6 The work remained in manuscript form until it was first published in 1672 by Friedrich Reusnem in Konigsberg. The title page of the work (Figure 5) clearly states the new features of the work. These features include the interpolation of eight chorales and scriptural texts, the free use of concerted instruments and their respective roles in delineating each dramatic persona, and the replacement of traditional recitation tones with newlycomposed recitative. The title o f the work reads as follows in translation: The Suffering and Death of our LORD and Savior JESUS CHRIST according to St. Matthew. Set in a reciting harmony of five voices and six instrumental parts together with a Basso Continuo; in which various verses from the usual church songs have been introduced and
sJohann Sebastiani and Johann Theile, “ions-musiken,” Denkmdler deutscher Tonkunst, vol. 17 ed. Hans J. Moser (Wiesbaden: Breitkopf & Hartel, 1958), 7-103. This edition, which contains two ions, will hereafter be abbreviated as DDT. 6Ibid., 1.
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38 added to the text in order to arouse greater devotion. By the Prussian Kapellmeister, in the service of the Prince of Brandenburg, Johannes Sebastiani from Thuringia.7
WErtJtfia.'
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Figure 5.
7Haberlen, 72.
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39 The dedication message attached to the work (Figure 6) conveys the typical subservient rhetoric employed by the Baroque composer of the seventeenth century. Sebastiani’s dedication, however, goes beyond the typical rhetoric, and one can sense his desire for promotion of the work in other countries under the influence of the Prince. My most honorable and mighty Prince / Gracious Lord At your princely feet do I lay now my musical ion which has been dedicated to God and to the glory of his church in the Dukedom of Prussia. I beg your majesty to accept this work with gracious eyes and hands into your mighty protection as a sign of my humble devotion to you. Although my humble work has had success with many high and lower class people in this place I should have started printing this work a long time ago were it not for my lack of financial means. This poor work would, however, be much more successful in other countries if your Majesty would begin to make this print a favorite of his. I remain your humble servant and wish the best blessings and protection of the God of the heavens for you and your princely house. May God give you and your lofty electoral family (dynasty) health and many more years to live so that our country will have a mighty protector and I, myself a fatherly benefactor. May the lands and houses of the Dukedom bestow great presents unto You, and may I wish you many years of great growth and constant health. Your unworthy servant Johann Sebastiani.8 In addition to these two specific inscriptions, Sebasdani writes one more message (Figure 7) to the musicians who would be performing his ion. The letter contains important guidelines for its performance and oudines several alternatives to make the work more accessible to the local community in which it would be performed. It translates as follows:
8Ibid.,4.
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40
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©On uni fcina Xirtitn |u ©frm in Sure Jprtogtfnift $ra#ca Mifafti Muficalifty ions-Zririt is ricfffiir D«natf i b tn / iM R ttiilgjl U ttnbtl fdltt o!< tin ftultigtf 3 ri4 « atciacr aamtfdnlgflai Devotion a ft ©sAbtota Zugcn uab (inbtB {a ©etc ©rc£md$rigfh Protection oaf aab aajaaffaMa. ©taa 06 jtcet tlcfe m int gcringt Zr6
iaai0ti<$ta ariafttabc/baf bttftOt £ » . ©fcurfl. Danfl. p fcratm OUgicraag/ oUtr ©m taabt aab Uattctfoata p ad^rigtt Qkftfeauag/ aiiv aW p r ©adbigfka fOctfotgc noQ aid 3 a fn la grtftaa Flor aab>NMablgnt 0tfaabW* tD totlif a f t t a mtHk.
9m. CfacfL SatifL UatMflalgjhr ibaft
Johan Sebaftiani. Figure 6. Dedication.
To the music loving friend and the director! Dear Sir and friend: I have not published or printed this minor music ion of mine in order to show off great art and skillfulness but because this ion has already been in use here and in other places for the reason that it has been so popular here in the Royal Prussian province that demands were made to have the ion printed. This is the reason I have at many places corrected my work and then published it to the honor of God and the church. I hope that my good intention will not be interpreted the wrong way. In performing the ion one should be careful that it is performed with a choir and a covered organ, positiv; or a Qave-Cimbal [harpsichord] together with
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41 other subtle instruments such as lutes, theorba, viola da gamba or braccio and also with two “bound” violins. If there are no deep viols one can leave out the third and fourth parts as long as the bass line is well set. The choral parts, especially the ones of Jesus and the evangelist, should be sung by good singers. It is to be noted that at two places (according to the preference of each town) a ion text is to be read from the altar, namely after the verse; “Erbarm dich mein Herrlich Gott’ and after the third verse of “O Lamm Gottes unschuldig.” From the interpolated chorales one may sing one verse of one’s choice except in “Herr Jesu Christ, wahr Mensch und Gott,” where one can choose two verses to be sung. From the chorale “O Traurigkeit” one may sing either one verse or the entire song and if a director from a different town does not like the melody of the song “In dich hab ich gehoffet Herr” from which I have taken the verse “Herr meinen Geist befehlich dir,” then he may use the melody which is customarily sung in his town. Besides this it is to be noted that the puncta which are found on the lines should stand in space just beside the following note. In the same way the b flats which are found in the General and Bass viol spaces above the first line and the ones underneath in the bass clef belong actually to the other lower lines, second line bass clef and the following notes. Furthermore one must know that the Discant part has l'/i bifolios (4 pp.) the Alto 1; the Evangelist: as the first tenor, 4; the other tenor, 1; the Bass: JESUS: 2; the first violin I ; the second 1. The first Viol di Gambe 2, the second 2, the third 1, the fourth 1 1/4. The General Bass 2lA. In the same style as this composition which is in the reciting style and also decorated with church songs according to the newest fashion I have set the Evangelist scriptures in German for Sundays as well as holidays throughout the whole year. If a music lover could be found to publish it, I would be glad to do this for the honor of God and the church. It is also possible that other works would follow eventually. I remain faithfully honoring you the music lover. Your undeserving servant, Johann Sebastiani.9
nbid., 5.
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42
2fn ten jjiitiffigen Mufic-liebenben ftreunt unb Directorem. ©
unfitaer £ e n r u n t $ r c u n t/ ta § tiefe m eine geringc M uficaliftye
PaffJons-lrbcit gcbrutft fceroug gefce / tguc i$ ni^t barumb / ale rooltc itg tarinnen greffe £unfi unb ©cfigicfligfcit crwcifen eber fcgcn laffcn/ fcnbern rotit ticfelbe gier unb anfctrtno ftgen vet btm gcftgricbcn gebrauigt / nab von victcn aOgier im ©gurfl. $crgegtgumb ^rcuftn ifl bclicbcr unb |um ©rutf begegret roerbcn/ babe i«b fie in eielcn Orten corrigiret unb © ett jn ©bren unb bcr jfrrigcn jum beflcn publicircn roollcn; Olitgt iroeiffclnbc/ meinc roolgcmcinte Intention roetbe niibt ubel auggclcgct roerbcn. Sabev iff in a
Figure 7.
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43 Analysis of the Sebastiani ion Sebastiani's setting is based on the ion according to St. Matthew, and is scored for two violins, three viola da gamba or da braccio, viola bassa, soloists, fivevoice SATTB choir, and continuo (organ). The ion follows the normative structural model for Renaissance and early Baroque ion settings. This division creates a two-part story, the first beginning with the conspiracy against Jesus (Matthew 26: 1) through the denials of Peter (Matthew 26:77), and the second beginning with Jesus taken before Pilate (Matthew 27: 1) through the guard at the tomb (Matthew 27:66). The two parts are separated by a reading o f the ion text by the priest at the altar.10 The subdivisions within this broad division exemplify the tendency towards symmetry in the Baroque period. Focus on symmetrical form can be seen in both instrumental and vocal music, including the later ion settings through the time of Bach. In Sebastiani’s setting, this focus is demonstrated by the five subdivisions within each part and their similar opening and closing segments (Table 4). Table 4. Sebastiani’s Structural Division of St. Mathew ion P art I
P art 11
Opening
Symphonia (and Exordium)
Symphonia h. 4
Scene I
The conspiracy against Jesus The anointing at Bethany
Jesus is taken before Pilate The death of Judas
Chorale
0 Welt, ich muB dich lassen
Vater unser in Himmelreich (v. 7)
l0DDT, 58. The text includes “Hie gehet der Priester vors Altar zum erstenmal und lieset einen ionstext ab."
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44
Table 4 (continued) P a rtn
P a r ti Scene II
Judas betrays Jesus Preparations for the over supper The treachery of Judas foretold The institution of the Eucharist
Jesus before Pilate
Chorale
Gott Sei Gelobet und Gebenedeit
0 Lamm Gottes Unschuldig (v. 2 & 3)
Scene m
Peter’s denial foretold Gethsemane
Jesus is crowned with thorns The Crucifixion The crucified Jesus is mocked
Chorale
Vater Unser in Himmebeich Symphonia Vater Unser in Himmelreich (v. 4)
Herr Jesu Christ, Wahr’ Mensch und Gott
Scene IV
The arrest Judas before the Sanhedrin
The death of Jesus
Chorale
0 Lamm Gottes Unschuldig
Herr, meinen Geist befehl ichdir Mit Fried Und Freud
Scene V
Peter’s denials
The burial The guard at the tomb
Chorale
Erbarm dich mein 0 Herre Gott
Conclusio
Sebastiani’s inclusion of simple chorales within the printed score is the earliest instance of this practice.11 Within the work, Sebastiani includes eight different chorale melodies and introduces thirteen chorale verses. Each chorale is
1‘Smallman, 81 .
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45 set for solo voice, accompanied by viols and basso continuo. This type of setting would imply that the chorales were intended as solo meditations. However, Smallman writes “the existence of a booklet on the performance of ion music, which was published at Konigsberg in 1682... was expressly designed for the guidance of congregations, [and] indicates clearly that at certain points a solo voice is to sing and at others the whole congregation.”12 Sebastiani’s strategic placement of the chorales is used as a form of punctuation to the dramatic unfolding of the ion story.13 The majority of the chorales are inserted between scenes and their texts either summarize or give reflection on the drama that has just occurred. Interestingly though, Sebastiani also inserts the same chorale tune in various places throughout the story, providing melodic unity. The most poignant example of this practice is found in the setting the chorale tune O Lamm Gottes unschuldig, a translation of the Agnus Dei by Nicholas Decius, which occurs twice throughout the story, first after the scene “Jesus before the Sanhedrin” in part one, and later in part two during the scene of “Jesus before Pilate.” This tune would have been most familiar to the congregations in Konigsberg, as it was an element of the Lutheran liturgy since its inception. Another method for unification was Sebastiani’s ing of specific dramatic personae to both range and fixed instrumentation. Sebastiani respected the
12Ibid., 81. 13Although the traditional chorale tune was used as structural punctuation, it should be noted that its use also allowed for the involvement of the Lutheran congregation in the performance of the ion.
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46 underlying principles of the Romanian letters in of pitch. Although he abandoned use of the traditional recitation tones that were so prominent in the responsorial ion settings of his time, he developed a pitch class for each dramatic persona to allow for clear discernment by the listeners. To this end, the Evangelist remained pitched as a tenor, Jesus as a bass (with a range descending to F), Judas as an alto, and the other minor characters with higher pitched inteijecdons. Ail the minor characters, as well as the Evangelist, are accompanied throughout by three viols and basso continuo, while Jesus is accompanied by two violins and continuo. The tonal contrast of the reedy viols and the sweet violins distinctly set Jesus off from all other characters in this ion setting. The use of three voices implies the presence of the Trinity. The manner in which the three voices are intertwined differs throughout, creating a sense of a living, discrete presence separated from the worldly action surrounding the divine Christ. This practice has also been referred to as the “halo” effect, the strings symbolizing the divinity of Christ while on earth. Sebastiani clearly understood this theology, as there is only one point where the strings fall silent. This point is the proclamation of Jesus “Eli, Eli Lama asabthani” (My God, why have you abandoned me?) (Figure 8).
ffr.tif t t i f f
TTk
Figure 8.
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47 The turba choruses in Sebastiani’s setting are fairly conservative and are reminiscent of those by Johann Walther and the composers of the previous century. The majority of the turba utterances are homophonic, except where Sebastiani wishes to convey a sense of the crowd (Figure 9). To create this sense, Sebastiani either sets portions of the turba response polyphonically or staggers the entrances of the performing forces. In each of the turba choruses though, one gets a sense in the turba choruses of a keen awareness by Sebastiani for natural textual stress and the turba’s realism via direct inteijections into the ongoing drama.
TattL M—
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J
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Figure 9.
Harmonically, Sebastiani’s setting is very conservative, using diatonic progressions throughout. To differentiate between scenes, Sebastiani fluctuates between the tonalities of F major and d minor, and remains faithful to whichever he has chosen until the scene draws to its conclusion. To this end, when a scene closes in a key that is different from the key of the chorale to follow, Sebastiani inserts a transitional interlude that serves both as a vehicle for modulation and also as an
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48 interpolation (Figure 10). This happens though only three times within the work and each occurrence coincides with a dramatic point in the drama. The sole exception to the conservative tonal writing is the inclusion of a major triad built on the flat second scale degree contained in a segment of recitative. This non-diatonic chord is reserved for text-painting on the word “Silberlinge” (meaning “silverpieces”), occurs on the weak portion of the measure, and does not recur.14
n t . Ai a it iiak la
H l.W
V» .
viouni.
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■ad go.ba.aa . dM.ai, B la.te,
te w n l . W hat p dM fik m a^Ian OoU, ■
jpi.to.
Figure 10.
l4DDT, 63.
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49 Other examples of text-painting occur throughout the work. Since the effects are reserved for special texts, they are clearly in contrast to the stepwise motion of the recitatives and responses and are easily discemable. These madrigalisms can be categorized into five groups, as follows: instrumental, rhythmic, pitch and range, melismas and use of imitation. Examples of each are as follows:
Figure 11. Sebastiani’s Text-Painting Techniques.
Instrumental (Fig. 1la): The first violin leaps on the word “krdhet" (to crow). V io l 1.
VloLlL
Rhythmic (Fig. 1lb):
The word “schlafend"(sleeping) is set o ff rhythmically. At
Pitch (Fig. 1lc):
The word “laut" (loud) is set using the extreme range o f the Evangelist.
U a k iii
■taa.feaMJI.ai
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50
Melismas (Fig. 1Id): The word “flohen " (to flee away) is represented by the fleeing o f the notes through melisma.
6»«KlkJ«nua il.U
Imitation (Fig. 1le)
A more subtle type of madrigalism found in Sebastiani’s ion is pacing and tempo. The precept of “music as the servant of text”as exemplified in the seconda prattica style- and this practice within the Baroque- places a strong influence on all vocally oriented compositions and affects even the recitatives of the Evangelist. From the earliest times, the role of the Evangelist was to deliver the narrative portion of the ion in an uninvolved, objective manner. This
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51 practice was continued through the responsorial ions into the seventeenth century. Sebastiani deviates from this practice twice in his setting by purposefully elongating the duration of pitch in the recitatives. This is done to emphasize the solemnity of the texts being set, and in one of the two instances the only tempo marking in the whole piece is given (Figure 12).
j
Adagio
Diaa 1st JI-M S,
darJudon KB.
A fa g io
Figure 12.
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52 CHAPTER V JOHANN THEILE: Das Leiden und Sterben unsers Herm Jesu Christes nach dem Evangelisten Matthao
Biographical Information on Johann Theile Johann Theile was bom on July 29,1646 in Naumburg, a small town in the region of Saxony.1 Little is known of his childhood, but it is believed that Theile received his basic education in Magdeburg, a town located approximately eighty kilometers north of his birthplace. It was in Magdeburg that Theile received his first music lessons from Johann Scheffler in voice, composition and viola da gamba.2 After completing his ad hoc education in Magdeburg, Theile attended the Gymnasium at Halle, where he continued his education. In 1666 he began his studies in law at the University of Leipzig.3 Well educated German musicians frequently studied subject matters other than music, such as theology, rhetoric or law, as they were often required to teach subjects other than music in the church Gymnasium. Theile was no exception. In addition to his studies at the University, Theile certainly was exposed to music at the Thomaskirche in Leipzig. During his time there, Sebastian Kniipfer (1633-1676) served as cantor. It is not known whether Theile took
■Jocelyn Mackey, “Johann Theile,” New Grove Dictionary o f Music and Musicians 17 (1980): 730-731. Nicolas Slonimsky, The Concise Edition o f Baker’s Dictionary o f Musicians, eighth edition (New York: Schirmer Books, 1994), 1027. 3Smallman, 8.
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53 pan in certain services, but it is presumed that Theile “enjoyed the benefit of Knupfer’s teaching, whose leaning toward strong contrapuntal work he shared.”4 Between the time that he began studies at Leipzig and 1672, it is theorized by many music historians that Theile studied with Heinrich Schiitz, although the pupilteacher relationship remains mere speculation, given the lack of evidence to this claim. Between 1670 and 1673 Theile may have been active in Liibeck, which would have afforded him the opportunity to attend the Abendmusiken, which Dietrich Buxtehude managed and with whom Theile enjoyed a cordial relationship.1 At these evening concerts Theile was probably most exposed to the expansive form of Buxtehude’s cantatas. While in Liibeck, Theile published two major compositions, the ion Domini Nostri Jesu Christi secundum Evangelistem: Matthaeum and Pars prima Missarum. The publication of these works in LUbeck would seem to imply that Theile had developed working relationships in the city of Liibeck and had become involved in its musical life by 1673. In 1673, Theile assumed the position of Kapellmeister in Gottorf, succeeding Augustine Pfleger (c. 1636-1685).6 Before his departure from Liibeck, Theile dedicated the io to his new patrons, Duke Christian Albrecht and his wife,
4Haberlen, 91. 5See introductory ages to ion. 6Ibid., 92.
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54 Friedrica Amalia. Theile’s stay in Gottorf abruptly ended due to ensuing political events that forced the entire court to flee. Theile escaped to Hamburg, where he performed and produced several operas that may have been composed while in Gottorf.7 It was here in Hamburg that Theile secured a place in music history with the production of his biblical singspiel, Adam und Eva, oder der erschaffene, gefallene, und wieder auffgerichtete Mensch. This singspiel was selected as the fust opera to premiere at the new Hamburg Opera House on January 2, 1678. Theile’s opera was met with great success, and he was requested to produce two other operas, Orontes, oder der verlohme und wieder gefundene Konigliche Prinz aus Candia, and Die Geburt Christi. Unfortunately, the music to each of these operas has been lost and only the libretti survive. From 1686 to 1691, Theile served as Kapellmeister in WolfenbUttel under Duke Anton Ulrich (1633-1714). During his time in WolfenbUttel, Theile published two collections of music, Noviter inventum opus musicalis compositions, and Opus secundum, movae Sonatae rarissimae artis et suavitatis musicae, both of which are now lost. In 1691, Theile left WolfenbUttel and entered into service at the court of Duke Christian II (1653-1694) in Merseburg. Theile’s length of service here is unknown. According to Haberlen, “none of Theile’s biographers have been able to with certainty his activities from this point until he ed his son, Benedikt
7Smailman, 25.
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55 Friedrich, in Naumburg in 1718.”6 The only documentation of this period is a catalogue printed in Merseburg (1708) of Theile’s most select sacred works. From 1718 until 1724, Theile lived in Naumburg with his son. He died at the age of 77 in June 1724. According to Mackey, Theile’s extant music is as follows: Three sets of his published works have survived: The Weltliche Arien und Consonetten, the Pars prima Missarum, and the io. Two Masses, 24 sacred compositions for voices and instruments, ten solo motets, duets and trios, all with instruments are preserved in manuscript. A humorous madrigal and two suites are also extant. In seven extant treatises, Theile provides a systematic demonstration of the contrapuntal principles and skill.7 Theile’s io was not written for any particular church but was rather designed as a gift to the general public. Though the ion was created “to the most high God in praise and thankfulness for gracious salvation from death,”8 Theile chose through-composed arias rather than the chorale interpolations that had become popular by this time. The five arias included in Theile’s io are based on freely composed poetic texts and reflect gready Theile’s involvement with the lied and opera forms of North . The texts are deeply reflective, and each conveys a sense of Pietism. The title page and opening dedications give evidence of the instrumentation and performing forces for which Theile conceived the work (Figure 13).
‘Haberlen, 94. 7Mackey, 57. 8Johannes Theile. “Forward to his Gracious friends of music” in the io. Reprinted in DDT.
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56
IO, Domini Noftri JEfu Chrifti fecundum Evane: Matthaeum con & Jim Strom m t:
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57 The title is translated as follows: The ion, of our Lord Jesus Christ according to the Gospel of St. Matthew with or without instruments Or: The Suffering and Death of our Lord Jesus Christ, set according to the holy evangelist Matthew; (with five instruments in the ritomelli, five voices in the choruses. Characters: Christ with 2 violas da gamba or braccio, Evangelist with two braccio, and the remaining characters solo, etc., or to be sung musically without instruments) by the Capellmeister to the illustrious ruling Prince of Schleswig-Holstein Johann Theile of Naumburg. Liibeck, in the publishing house of Michael Volck, printed by the heirs of the late Gottfried JSger. In the year 1673.9
Theile’s listing of the instrumentation and its specific designation to solo characters clearly defines the work as being set in a new style. Theile was shrewd in understanding his potential market for this composition, as within this title page he gives various options for performance. Following the dedication of the ion to his new patrons, Theile adds a special message to his new employers (Figure 14) that translates as follows: Most worthy and most illustrious Prince, Most gracious Lord. Most illustrious Princess, Most gracious Lady. Ever since the hour when your most illustrious Royal Highnesses honoured me by accepting me into your service, I immediately have taken it upon myself to serve you through some modest gifts which God and Nature granted me. Although I could have created a cheerful secular work for this purpose I have nevertheless decided to begin with the sacred composition of the tragic ion of the suffering and death of our Lord Jesus Christ I do not doubt that your most excellent and illustrious Royal Highnesses with your world-renowned, highly praiseworthy piety and fear of God will hear the ion with
’Johann Theile, ions-musiken, 105.
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58 gracious ears, will accept and receive it as a sign of my deepest gratitude and will further keep me in your royal grace. Your illustrious Royal Highnesses, I submissively offer to you my humble services and all my efforts for the future and wish you and your entire royal household long-lasting health and a peaceful, happy, and blessed reign, loyally and humbly recommending you thus to almighty God, under your command, remaining Your royal Illustrious Highnesses’ Most humble and obedient servant Johann Theile.10
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Figure 14.
10Ibid., 107.
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59 In addition to the dedication, Theile offers a general guide to musicians outlining the alternative performance methods of his ion (Figure 15).
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The translation is as follows: Gracious friend of Music. Here I give to you from a benevolent heart the ion set by me, which I impart again to the most high God in praise and thankfulness for gracious salvation from death. If God lends further health and life, various works shall follow. Since instrumental music is not customary during Lent in several places I have decided to add here how this small work can be performed without instruments: the
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60 Evangelist can sing his entire text alone, as a chant. Jesus may also sing his part likewise. The choruses, which are set contrapuntally, require a somewhat rapid tempo. As to other details, a knowledgeable director will best use his score or tablature for conducting. The arias found in the work are set by me in a simple manner and without instruments; German church songs can replace these sections. Because of my hasty departure for Gottorf according to God’s will, I have not had time to look through the composition, nor to wait for it to be printed. Should there be anything incorrect, the gracious friend of music is asked to take the liberty to correct it and remain well-disposed towards his faithful Johann Theile.11
It is interesting that although the arias are Theile’s chief contribution to the ion form, he gives the performer an alternative of not using them. This may be seen as a manifestation of his desire to see this work promulgated. Many churches of the time might find the inclusion of secular arias as being too radical to be accommodated by their liturgical traditions.
Analysis of the Theile ion Theile’s ion according to St. Matthew is scored for two viole da braccio, two viole da gamba, five-part chorus (SSATB), continuo and organ. The ion is divided into the traditional bipartite form. This would be expected by the mid seventeenth century, but what is extraordinary about the work is the secular influence, both in of the freely composed arias as mentioned above, and the use
"Ibid., 110.
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61 of the term “Actus” to denote the two parts. Theile’s terminology for structuring the work reflects his knowledge and love for the operatic forms of the day as well as the cantatas of Buxtehude. The setting is otherwise faithful to the gospel narrative and does not abbreviate or omit any of St. Matthew’s of the ion. Theile’s setting of the ion is punctuated by interpolations. These interpolations either reflect on the action that has just occurred or serve as points of meditation that help control the pacing of the story. A structural analysis can be derived through an critique of these interpolations. (Table 5). Table 5. Structural Analysis of Theile ion. (Part)
Actus I
Actus n
Sinfonia & Exordium One
The Conspiracy against Jesus The anointing at Bethany Judas betrays Jesus Preparations for over supper The treachery of Judas foretold The institution of the Eucharist Aria
Jesus is taken before Pilate The death of Judas Jesus before Pilate Jesus is crowned with thorns Aria
Two
Peter’s denial foretold Gethsemane The arrest Jesus before the Sanhedrin Aria
The crucifixion The crucified Jesus is mocked The death of Jesus The burial The guard at the tomb Aria
Three
Peter’s denials Aria
Within this established framework are many dramatic elements that move the work forward. The greatest of these elements is the recitative writing for the
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62 Evangelist, Jesus and the minor characters. The fairly simple, freely-composed recitatives throughout are comprised of repeated eighth notes or broken chords. Unlike the responsorial ion settings, Theile’s setting is characterized by elaborate accompaniment for the recitative. Throughout the work, the recitative of the Evangelist is accompanied by two viole da gamba and basso continuo and the recitative of Christ is accompanied by two viole da braccio and basso continuo. This creates a definite contrast in tonal quality, giving the words of Jesus a sweeter quality. There are however two flaws in Theile’s recitative writing. The first is that the accompaniments composed for the recitatives throughout are highly elaborate and imitative, which constricts any flexibility that the vocal line might need for proper declamation. This is due primarily to Theile’s skill as a contrapuntalist. These accompaniments, given their independent and constant motion, do not allow for clear declamation of the text, which is a main purpose for writing in the recitative style. The second flaw relates specifically to the recitatives of Jesus. Theile was unable to divorce the vocal line from the basso continuo part and therefore the lines of Jesus are often obscured by the instrumental parts and lack individuality. Madrigalisms are used only rarely to underscore important text Theile does this in two ways: first through an expanded harmonic vocabulary (seventh chords and Neapolitan chords, etc.), and second through the instrumental portraying of text, as illustrated by the violas on the word “krahet” meaning “to crow.” (Figure 16).
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Figure 16. The turba choruses included are much more fully developed and lengthier than those found in earlier responsorial ions, and reflect Theile’s love and skill for counterpoint. Of Theile’s nineteen turba choruses, all but three contain strict imitative writing. The majority of these utterances begin imitatively, the entrance of each voice overlapping the previous voice, giving the effect of the crowd through textual repetition. Once all the voices have entered, most of the choruses continue to develop the musical motif through repetition of the phrase until all the voices come together homophonically to conclude the phrase. An excellent example of this style of writing can be found in Actus II, when the guards of the High Priests mock Jesus, saying “GegriiBet seist du, Judenkonig!” (Figure 17). The use of solo voices in place of a full tutti turba occurs twice in the piece, the first time in Act I, where the false witnesses state “Er hat gesagt: ich kann den Tempel Gotten abbrechen, und in dreien Tagen den selben bauen.”12 This statement was set regularly for solo voices, as in the setting by Sebastiani. The second instance
I2Ibid., 155.
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64
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65 where solo voices are used instead of the full tutd turba occurs again n Actus I, after the crowning of thorns, where the guards state “WeiBage uns, Christe, wer ist’s, der dich schlug?”13This setting for solo voices is atypical but persuasive, due to the realistic parallelism created between the numbers involved in the turba and the numbers involved in the legion of guards (Figure 18).
Figure 18.
Theile diverges from the imitative style of writing for three turba choruses, all of which are consecutive in the unfolding of the drama in Actus II. Each of the three turbae are short inteijections by the crowd, first for the release of Barabbas, and then to condemn Christ to death.14All three begin in G minor and conclude in G major, sharing the same tonal scheme as the majority of the interpolated arias.
t3Ibid., 149. ,4See DDT,168-170.
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66 The arias, as seen above, are placed at established points in the narration: after the Institution of the Eucharist, after the turba “WeiBage uns, Christe, wer ists, der dich schlug?”, after Peter’s remorse and at the conclusion of the ion text. “Du duldig Lamm, O Gottes Sohn” (Figure 19), which was placed after the striking of Christ, exemplifies the style of writing Theile used for his arias in this ion. The harmonic structure is tightly constructed and well-balanced, and exhibits Theile’s sensitive use of an advanced harmonic style. The ritomello that follows “Du duldig Lamm, O Gottes Sohn” is a contrapuntal variation of the aria and hints both at the aria’s melody and its harmonic progression. These ritomelli are tied specifically to the arias through their harmonic relationship and are intended as interludes between the different stanzas.
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67
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68 Of the five arias, Theile scores three for solo soprano, one for solo tenor and one for tutti chorus. The performing forces for which he writes underscore Theile’s desire for greater realism in the drama. The only aria set for tenor is placed after the scene of Peter’s denial and remorse. It must have been composed for tenor voice in order to align it for the same soloist who portrays the role of Peter. This aria, “Ach, wo soil ich mich hinwenden,” meditates on Peter’s begging forgiveness for his deed and is very personal: 1.
Ach, wo soil ich mich hinwenden, meine Not zu Ubersehn? Wird Gott keine Gnade senden, ach, so ist’s mit mir geschehn, mein bds Gewissen plaget mich, daB ich geflucht so ffeventlich, und dreimal meinen Got verleugnet
2.
Weint, ihr Augen, Trine nquellen, zu bereuen meine Schuld, mich hat troffen Angst der Hollen, daB verloren Gottes Huld, o ach und Not! Das Herz pofft mir, o Jesu, ach, ich liege hier und bitte tr&nend um Gnade.13
15Ibid., ISS. 1. Ah, where should I turn to consider my misery? If God does not send any favor, I’ll be lost My wicked conscience tortures me because I have cursed so wickedly, and once more my God I deny. 2. Weep, o eyes, flow tears to regret my guilt I have suffered the fear of Hell thinking that I lost God’s mercy. O woe and sorrow! My heart beats hard, O Jesus, alas, I lie here, and weeping, beg for your grace.
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69 CHAPTER VI JOHANN VALENTIN MEDER. ionsoratorium nach dem Evangelischen Matthaus
Biographical Information on Johann Valentin Meder
Johann Valentin Meder was bom in 1649 in the little town of Wasungen, which is located near Meiningen in the province of Franconia. According to local church records, Meder was baptized on the third day of May in 1649.16 He was bom into a musical family, the youngest of five brothers. His father, Johann Erhard, was the town cantor and educated his sons in the skills of music. Like Selle and Sebastiani, little is known about Meder’s youth. It is thought that Meder moved to Leipzig in 1666 where he later began studies at the University in 1669.17 There is no evidence to indicate whether Meder was acdve in the collegium musicum, of which Theile was a member, at this dme. It is most probable that Meder, if he were not a member, certainly was exposed to the collegium, given his musical training and accomplishments. In 1670, Meder left Leipzig to pursue continued studies at the University of Jena. Unable to secure a position there at the University, Meder resorted to taking a post as a professional singer in the Hofkappele of Duke Ernst der Fromme (d. 167S), in Eisenach, near his hometown. It was here that Meder was possibly exposed to the
16Johann Bolte, “Johann Valentin Meder,” Vierteljahrsschriftfu r Musikwissenschafi 7 (1891), 43-44. "Ibid., 44.
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70 music of Carissimi and Cesti, as many Italian musicians were employed at the court of Duke Emst.1® Again unable to secure a position for any length of time, Meder continued working as a professional singer at Gotha (1671), Bremen (1672-3), and Copenhagen (1674). On the advice of a friend, Meder set out toward East Prussia to seek employment.19 On his journey east, Meder stopped in Liibeck (1674) where he met Buxtehude and developed a relationship.20 After wandering from position to position for the better part of five years, Meder secured employment in 1674 as cantor at the gymnasium at Reval (now Tallinn). He would hold this position until 1680, and it seems that during his tenure here Meder composed his first works. Meder remained in Reval until 1684, when he made his next move southwesterly to Riga (now capital of Latvia), a city located on both banks of the Western Dvnia River. Riga was one of the most important trade centers on the Baltic, having ed the Hanseatic League in 1282. It was granted autonomy of government by the Swedes in 1621, and remained independent until the Russians conquered Sweden in 1710.21
lgHaberlen, 103. 19Ibid., 105. ^Uolte mentions an entry in Meder’s autograph book suggesting that his acquaintance with Buxtehude was not of a superficial nature. 21“Riga,” Encyclopaedia Britannica, 15* ed. (Chicago: Encyclopedia Britannica, 1975).
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71 Records in Riga show that Meder, while living there, composed a ion secundum Lucam in a new style, incorporating interpolations.22 Meder’s ion secundum Lucam was deemed worthy by the town council for printing and distribution. The council, however, did not permit its performance, due in part to the length of the work, caused by the polyphonic setting.23 In 1687 Meder accepted the position of Kapellmeister at St. Marie in Danzig, succeeding Balthasar Erbem. The Church of St. Marie was at the time one of the largest Christian churches in the world and reflected the affluence and opulence of Danzig during the seventeenth century. The musical traditions at St. Marie were firmly established earlier in the century by Thomas Strutius and Balthasar Erben, but had fallen into disrepair due to Danzig’s fluctuating economy in the 1680s. Meder’s first act as Kapellmeister was to create a new cappella from the remnants that he inherited. In a report to the council on the state of music within the Church, Meder stated that he had under his charge “a cantor, an organist, one discant singer, one alto, one tenor, one tenor-bass, one bass, and two student singers,” and that he required an additional eight singers. As for instrumentalists, Meder had at his disposal on a regular basis “a first violinist, a second violinist, a comettist, and a viola da gambist.” In addition to these instrumentalists, Meder requested two more violinists, a bassoonist, and a player for the Bombara. Ideally, Meder would have liked eighteen singers and thirteen instrumentalists for the chapel. Meder’s request
^ o lte , 455-458. a Ibid., 455-456.
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72 seems to have been denied by the Church officials, for later records indicate a further decline in the state of musical affairs.24 During his stay in Danzig, Meder suffered from health and financial problems, both of which would plague him until his death. By 1692, Meder was experiencing failing eyesight and loss of hearing. In a letter to the town council, Meder attributes his health problems to his poor living conditions: I have drained my strength and my health not so much through my daily labors, which I have been accustomed to since my early youth, but rather through the very unhealthy, small, wet and dark apartment... Thus, the doctors have said repeatedly that medicine will not cure me unless I seek more comfortable housing.23
In addition to his pleas for appropriate housing, Meder petitioned the council in 1693 for the sum of the money left by Balthasar Erbem for destitute musicians. Records indicate that the council responded by raising his salary 200 florins a year.26 Meder, influenced by the early operatic activities in Hamburg and Leipzig, composed several works for the stage while in Danzig, including, Nero, Die bestdndige Argenia and Die wiederverehligte Coelia. In 1698 Meder unsuccessfully petitioned the town council for of a performance of his opera Die wiederverehligte Coelia. With the council flatly refusing his request, Meder decided to produce Coelia in the nearby town of Schottland with hope of financial success.
24Haberlen, 108. “ Hermann Rauschning, “Geschichte der Musik und Musikpflege in Danzig,” Quellen und Darstellungen zur Geschichte Westpreussens 15 (1931), 283. “ Ibid., 283-284.
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73 The Danzig council, upon learning of this “illegal” performance, forbade the performance of Meder’s opera and dismissed Meder from his post. Unable to overcome his financial problems, Meder fled secretly to Konigsberg in 1699, escaping both his creditors and debtor’s prison. Meder briefly held the position of Kan tor at the Cathedral at Konigsberg until his return to Riga in 1700. The town council appointed Meder to the position of Director of Choir Music at the cathedral, a position that he held for nine years until the return of the cathedral’s choir director, Johann Georg Andrei, in 1709. Upon Andrea’s return, Meder was appointed to the post of organist at the cathedral, a position he retained until his death in 1719. Meder’s career and compositional output flourished during his time in Riga, as he was able to produce occasional works for the Church and town. This is quite extraordinary, given that “the war had caused the arts and sciences to come to a standstill [in Riga] for eight years during which time the musical situation was deteriorating,” according to a letter by Meder. Mattheson points out that, had the Swedish king not been involved in wars for so long, Meder would probably has been appointed director of music at the Swedish court in Stockholm. Meder’s life, however, did not end with such glory. Meder, while living his last years in Riga with his sons, not only contended with the effects of war, but also contracted the plague, which ravaged Riga. Meder died at the age of seventy in 1719.
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74 Meder’s works, inventoried by his son Erhard Nikolaus upon his death, include thirty-seven choral scores and ninety-two sets of parts for choral compositions. The majority of these works were composed for sacred occasions. The music of the twenty extant compositions reflects Meder’s prowess to incorporate essential characteristics of the Italian style. According to Mattheson, Meder had held an outstanding reputation as a singer. His music incorporates a sensitivity to the needs of the singer, made possible only through his own experience. Meder’s melodies are quite lyrical, as he predominantly sets them diatonically with frequent sequential ages. Harmonically, his compositions are conservative and rather unimaginative. Meder’s varied instrumentation in his sacred works, however, shows to some extent the influence of Buxtehude.
Analysis of the Meder ion
ionsoratorium nach dem Evangelischen Matthaus by Johann Meder in its published version is scored for two recorders, two oboes, two violins, continuo (organ), five-part SSATB choir, and soloists.25 The work is structured traditionally in two parts, and Meder has divided the work into seventy-three movements that are comprised of scriptural narrative, sinfoniae, and interpolated chorales, set as solos, duets and choruses.
Although Meder did not subdivide the work further, a textual
^Basil Smailman suggests that since the oboes and recorders never play together, perhaps Meder expected the same musicians to perform on both instruments.
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75 analysis of the work based on the division of the biblical narrative produces a schematic plan (Table 6). T a b le 6.
Part 1
2
Structural Analysis of Meder ion. Scene
Movements
Chapter
Introduction
1,2
Sinfonia & Exordium
I
3,4
Matthew 26: 1-5 The conspiracy against Jesus
2
5,6
Matthew 26: 6-13 The anointing at Bethany
3
7,8
Matthew 26: 14-19 Judas betrays Jesus Preparations for the over supper
4
9,10
Matthew 26: 20-25 The treachery of Judas foretold
5
11-16
Matthew 26: 26-29 The institution of the Eucharist
6
17-22
Matthew 26: 30-46 Peter’s denial foretold Gethsemane
7
23-24
Matthew 26:47-56 The arrest
8
25-31
Matthew 26:57-68 Jesus before the Sanhedrin
9
32-35
Matthew 26:69-76 Peter’s denials
1
36-39
Matthew 27:1-10 Jesus is taken before Pilate The death o f Judas
2
40-49
Matthew 27:11-26 Jesus before Pilate
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76
Table 6 (continued) Part 2
Scene
Movements
Chapter
3
50-53
Matthew 27: 27-31 Jesus is crowned with thorns
4
54,55
Matthew 27:32-38 The crucifixion
5
56-61
Matthew 27: 39-44 The crucified Jesus is mocked
6
62-70
Matthew 27:45-56 The death of Jesus
7
71,72
Matthew 27:57-61 The burial
8
73,74
Matthew 27:62-66 The guard at the tomb
This schematic is based on Meder’s placement of the scenes of the narrative. The biblical scenes that are clearly placed at the beginning of a movement have been designated in this chart as a scene. Those biblical scenes that Meder subverts via elision are not given their own scene but rather inserted within (i.e., part one, scenes three and six, and part two, scene one). The published edition is based on the autograph manuscript, which consists of fifty-two folios, consecutively numbered; it is presently located in the Staatsbibliothek, PreuBischer Kulturbesitz, Musikabteilung, in Berlin. The manuscript, in score form, contains the complete ion story. The manuscript bears certain features that have led musicologists to ascertain that Meder constructed his ion and then later revised it, adding a set of new
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77 interpolations.26 To corroborate this theory, physical characteristics of the score have been identified, including (1) pencil marks eliminating certain arias; (2) inserted chorales to replace these arias, copied on separate half-sheets of manuscript paper, (3) identical script in the original and later manuscripts; and finally, (4) differing ink and watermarks on both versions.27 An outline of Meder’s structure for the interpolations and turbae movements illuminates the differences between the original and revised versions (Table 7). Movements that are listed in boldface print were added to replace the earlier interpolation marked with the same number. Table 7. Meder’s Interpolations in Original and Revised Versions of the ion. No.
Text
Type
1.
Sinfonia
2.
Introitus
Horet das Leiden...
3.
Chorus
Ja nicht auf das Fest
4.
Chorus
Wozu dienet dieser Unrat...
5.
Chorus
Wo willst du...
6.
Chorus
Herr, bin ich’s?
7.
Canto or Tenor solo
Herr Jesu Christe
8.
Canto or Tenor solo
Herr Jesu Christe
9. 9.
Two cantos Canto solo
Das Blut Jesu... Das Blut Jesu...
“ Smallman states that this revision was based directly on the Riga Gesangbuch of 169S. With only minor exception, the interpolations are exacdy the same in both ions. 27Haberlen, 116-119.
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Table 7 (continued) Text
Type
No. 10.
Sinfonia
11.
Sinfonia
12.
Sinfonia
13.
Sinfonia
14.
Alto and Tenor
Er hat gesagt...
15.
Chorus
Er ist des Todes schuldig
16.
Sinfonia
17. 17.
Canto solo Canto solo
0 Lamm Gottes unschuldig (verse 1) Herzliebster Jesu and Ritornello
18.
Chorus
WeiBage uns...
19.
Canto solo
Was ist doch...
20.
Chorus
Wahrlich, du bist auch einer...
21. 21.
Sinfonia Sinfonia and Tenor solo
Mein Siind
22.
Chorus
Was gehet uns das an...
23.
Chorus
Es taugt nicht
24.
Chorus
Barrabam
25.
Chorus
LaB ihn kreuzigen
26.
Chorus
LaB ihn kreuzigen
27.
Chorus
Sein Blut..
28. 28.
Canto solo Sinfonia and Canto solo
0 Lamm Gottes unschuldig (verse 2) Ach mein Jesu...
29.
Chorus
Gegriifiet
30.
Aria
Aria in Common meter (instruction only)
31.
Canto solo
Wie wunderbariich...
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79
Table 7 (continued) No.
Text
Type
32. 32.
Canto solo Canto solo
Christe du Lamm (verse 1) Dein Trost...
33.
Chorus
Der du den Tempel
34.
Canto solo
Christe du Lamm Gottes (verse 2)
35.
Chorus
Andem hat er...
36. 36.
Chorus Canto solo
0 Lamm Gottes unschuldig (verse 3) ... muB mein
37.
Chorus
Er rufet...
38.
Chorus
H alt lass sehen...
39.
Chorus
Christ du Lamm Gottes (verse 3)
40. 40.
Chorus Canto solo
In dieser nicht... H err Jesu C hrist
41.
Chorus
Wahrlich..
42. 42.
Aria Ritornello and Canto solo
Aria Number 2 (instruction only) Elemente selbst..
43. 43.
Chorus Canto solo
0 Trauigkeit... O selig ist..
44.
Chorus
Herr, wir haben gedacht...
45.
Conclusio
Dank sei unserm Herren
As one can see, Meder revised his ion setting substantially to make room for new innovations that he had discovered by his time at Riga. The influence of the Riga Gesangbuch was only partially responsible for the modifications. Meder’s knowledge and interest in the Germanic opera tradition, his experience as a professional singer and his exposure to the music of Buxtehude, Cesti and Carissimi, among others, influenced his setting of the S t Matthew ion.
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80 The ion begins with a separate movement marked “sinfonia” rather than the traditional exordium. This sinfonia has overture-like qualities and firmly establishes the tonality of F major, which by the late sixteenth century was the traditional key for oratorio ions. This sinfonia also serves to set the mood for the opening chorus, the exordium, set for five-part choir accompanied colla parte. The exordium is rather conservative, set in a homophonic style for the half of the text and then in imitation leading to homophony for the conclusion of the text. Meder included a total of eight sinfoniae in his ion. These sinfoniae serve one of three functions: (1) to emphasize a specific sentence or phrase within a speech; (2) to establish a mood for an scene; or (3) to introduce a sung interpolation (aria or chorale-paraphrase). Two of the most interesting sinfoniae found in the setting are in the first part of the scene in the Garden of Gethsemane. The first, no. 18 emphasizes the text of Jesus, “Setzet euch hie, bis daB ich dort hingehe und bete” (Stay here while I go over there and pray). In Sinfonia no. 18, Meder graphically depicts the scene of the garden, setting a pastoral sinfonia for two recorders and continuo. This movement in C minor is marked Adagio and, although simple in its harmonic language, is very beautiful in its suspensions and serves to punctuate the scene depicting the departure of Jesus from his disciples to a place of prayer. The second sinfonia of note is No. 20, which is titled “Sinfonia Sommus discipulorum” (Sleep of the disciples), a title written in by Meder at the top of the movement The title of this movement clearly indicates that the sinfonia is directly
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81 linked to the scene (Matthew 26:40), “Und er kam zu seinen Jiingem, und fand sie schlafend,” (And he came to his disciples and found them sleeping). This sinfonia is recapitulated in abbreviated form after verse 42 to symbolize the sleeping disciples yet again. In addition to its extraordinary title, the sinfonia employs solo obbligato recorder, two violins (tremolo) and continuo. This is interesting since the vocal line of Jesus throughout much of this ion is accompanied by two violins and continuo. When Meder wishes to exploit the dramatic potential of the vocal line of Jesus (most often underscoring important text), he adds the marking “tremolo” to the accompanying violins.28 This first occurs in no. 18 when Jesus states “Meine Seele ist betriibet bis in den Tod” (My Soul is troubled even unto death) (Figure 20). In “Sinfonia Somnus discipulorum” the obbligato recorder represents the sleeping of the disciples while the tremolo violins represent Jesus. The recitatives in the ion show a great advance in the technique of recitative composition. Because of his knowledge of opera, Meder wrote recitatives that contained much more dramatic potential and excitement He accomplished this by writing lines with a greater variety of note values, fewer repeated notes, wider leaps, dotted rhythms, and sequential motives. In addition, as a professional singer, he understood the vocal mechanism well and expanded the use of vocal melismas and ornamentation throughout the work. This excitement coupled with a freeing of
28Thomas Strut!us is the only other ion setting known to employ tremolo violins to accompany Jesus.
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Figure 20.
the recitative line from the continuo line, allowed for an unprecedented style in ion settings that foreshadows the recitatives of J.S. Bach. Many of Meder’s recitatives close with an instrumental cadendal extension, most often a cadential 6/4 extension, mimicking the two- or three-bar ritomelli found at the ends of the interpolated arias. The recitatives of Jesus in particular are quite lyrical and are written in arioso style. Meder pays close attention to the expressivity of the vocal line throughout, setting textual rhythms carefully according to natural word stress. The majority of the recitatives are set in common meter, with one notable exception. During the fifth scene, The Institution of the Eucharist, the vocal line of Jesus is transformed from duple to triple meter to underscore the sanctity of the text, “Nehmet, efiet, das ist
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83 mein Leib’’ (Take, eat, this is my Body). This was doubtless a deliberate reference to the holiness of the number three.29 Other rhetorical gestures occur throughout the work, predominantly in vocal ornamentation or extended melismas. Meder reserved such techniques for poignant moments in the dramatic narrative, such as the cutting off of the high priests’ servant’s ear30 and the events following the death of Jesus. In the latter example, the vocal line of the Evangelist falls an octave to convey the meaning of the word “zerriB” (ripped), referring to the veil of the Temple being ripped in two. Meder sets this text, as well as another occurrence of the same text, with great rhythmic syncopation (Figure 21). Also in Figure 21, the vocal ornament on the word “erbebete” (quake) clearly infers the meaning of the text
Figure 21. 29This happens once again in No. 73 when Meder is depicting the Resurrection. “ Meder, 28.
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84 Meder extended his practice of writing melismas in recitatives to his turba choruses, developing a much more vital energy for the choral interjections. Another element that underpins this vitality is the duetting of ascending vocal lines and the subsequent entrances of other vocal parts entering in imitation (Figure 22).
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85 The dense turba choruses are all accompanied colla parte and employ a fivepart texture. When greater weight is needed, Meder writes the turba chorus in triple meter, giving a broader space for the text to be pronounced. In the turba setting in part two, scene five (no. 57: Matthew 27: 39b, 40), the crowd proclaims “Der du den Tempel Gottes zerbrichst und bauest ihn in dreien Tagen, Hilf dir selber! Bist du Gottes Sohn, so steig herab vom Kreuz!" (You who would destroy the Temple in three days, help yourself! If you are God’s Son, come down from that cross!). This utterance is set in 3/2 and begins homophonically with great weight. Meder is not satisfied with this weight however, and sets the forces in opposition with each other (mm. 8-16). This treatment causes textual stress to occur more frequently through contrasting forces and thereby achieves greater tension (Figure 23). The sung interpolations throughout the ion are designated by the term “Aria.” Some movements have combined tides such as “Sinfonia coll’ aria” (no. 35) or “Ritomello e Aria” (no. 70), the only difference being there is an instrumental introduction included in the movement. These thirteen interpolations can be categorized in three families: (1) newly composed melodies with texts by anonymous authors; (2) established chorale tunes printed more or less verbatim from the hymnal; and (3) established chorale tunes paraphrased in a new musical structure with instrumental interludes inserted between phrases. Of the thirteen arias, only three fall into this third family (no. 16,53 and 72). A detailed examination o f the arias shows that the placement of chorale tunes is more concentrated at the end, to coincide with the persecution and death of Christ (Table 8).
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87 Table 8. Meder’s Placement of Chorales. Mvt.
Type
Performing Forces
Librettist
Tune
12
Aria
recorder, 2 vln, tenor, b.c.
14
Aria (=12)
recorder, 2 vln, tenor, b.c.
16
Chorale paraphrase (siciliana)
2 recorders, canto, b.c.
J. Heermann (1630)
Auf meinen lieben Gott
28
Chorale
2 vln, canto solo, b.c.
J. Heermann (1630)
Herzliebster Jesu, was hast du verbrochen? (v. 1)
31
Chorale (=28)
2 vln, canto solo, b.c.
J. Heermann (1630)
Herzliebster Jesu, was hast du verbrochen? (v. 3)
35
Sinfonia coll’ aria
recorder, 2 vln, canto, b.c.
J. Herrmann (1630)
Wenn mein Stiindlein vorhanden ist (v. 2)
49
Sinfonia e aria
recorder, 2 vln, canto, b.c.
53
Chorale paraphrase
recorder, 2 vln, canto, b.c.
J. Rist (1641)
0 Traurigkeit, o Herzeleid v. 5
55
Chorale
recorder, 2 vln, canto, b.c.
M. Behm(1602)
0 Jesu Christ, meins Lebens Licht (v. 6)
61
Aria
recorder, 2 vln, canto, b.c.
67
Chorale
ob, 2 vln, canto, b.c.
P. Eber(1563)
Herr Jesu Christ, wahr Mensch und Gott (v. 1-2)
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88
Table 8 (continued) Mvt.
Type
Performing Forces
70
Ritomello e Aria
2 ob., 2 vln, canto, b.c.
72
Sinfonia e aria.
Tutti
Librettist
Tune
J. Rist (1641)
0 Traurigkeit, o Herzeleid (w . 1-8)
The majority of Meder’s arias serve to represent the congregation and its pietistic response to the unfolding of the drama. The text o f these arias borders on realism, yet is objective in its viewing the actions from outside the perspective of the characters in the drama. A good example of this can be found in part two, scene nine, movement 67, immediately following the death of Jesus. The text of the aria is as follows:
Herr Jesu Christ, wahr’ Mensch und Gott, der du litt’st Matter, Angst und Spott, fur mich am Kreuz auch endlich starbst und mir deins Vaters Huid erbarst:
Lord Jesus Christ, true Man and God, who suffered torture, fea r and mocking, fo r me on the cross you ultimately died, and graced me with Your Father’s pity.
Ich bitt’ durch's bitter Leiden dein, du wollst mir SOnder gnddig sein, wenn ich nun komm in Sterbens Not und ringen werde mit dem Tod.
/ beg (of) you in your bitter ion, that you will be gracious to me, a sinner, when I come now in fear and struggle with death.
The objectivity of the text is emphasized by the simple setting of the familiar chorale tune by Paul Erber “Herr Jesu Christ, wahr Mench und Gott” (Figure 24). Set in a key very comfortable for congregational singing, this chorale as well as the
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89 other chorales set in a straightforward manner (movements 28, 31, 35 and 55), may have been intended for participation by the congregation.
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*
90 Two arias break away specifically from the role of representing the congregation and are directed towards character development. This was a relatively new phenomenon in ion music and took its lead from the development of aria in opera as a meditative piece sung by a character to reflect upon the drama. The two arias that serve this function are movement 35, representing Peter after his triple denial of Christ, and movement 55, representing the guard after he offered a sponge filled with wine and gall to Jesus. The arias also allowed an opportunity for Meder to experiment more freely, both incorporating new compositional techniques and challenging the traditions of ion writing, which he knew so well. These techniques were based on a keen awareness of structure and the possibilities of unifying a work through repetition. Meder repeated music both in sinfoniae (movements 20 and 22) and in the arias (movements 12 and 14,28 and 31, and 53 and 72). The structural placement of the chorale tune “O Traurigkeit, o Herzeleid” by Johann Rist in movement 53, served two purposes of which Meder must have been aware. Meder chose the text from the fifth verse of the chorale, which translates as follows: O siifier Mund! O Glaubensgrund, wie bist du doch zuschlagen? Alles, was auf Erden lebt, muB dich ja beklagen.
O sweet mouth! O Basis o f my faith, how are you shut? Everything that lives on the earth must wail for you.
The choice of this particular text provides an opportunity for poignant meditation on the beating, scouring and crucifixion of Christ It is a reflective text
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91 looking backward for a moment and stopping the narrative to give time to reflect. The second half of the text, however, “Alles, was auf Erden lebt, tnuB dich ja beklagen,” foreshadows the wailing at the death of the Crucifixion and is, in a sense, prophetic. This prophetic quality is secured by the reprise of “O Traurigkeit, o Herzeleid” after Christ had been buried. This reprise of “O Traurigkeit, o Herzeleid” is the pinnacle of the whole work in of its orchestration and structure. All eight verses of the chorale tune are set in this movement, and with varying combinations of performing forces for each verse (Table 9). The Sinfonia and Aria is easily the longest movement in the work. Through it, Meder brings the ion to its fulfilling completion.
Table 9. Meder’s Orchestration of O Traurigkeit, o Herzeleid Section
Measure Numbers
Performing Forces
Sinfonia
mm. 1-10
ob, 2 vln, be.
Verse 1
mm. 1-20
2 vln, canto, b.c.
Verse 2
mm. 21-30
2 ob, tenor, b.c.
Verse 3
mm. 31-40
2 ob, SATB choir, b.c.
Verse 4
mm. 1-20
2 vln, canto, b.c.
Verse 5
mm. 21-30
2 ob, tenor, b.c.
Verse 6
mm. 31-40
2 ob, SATB choir, b.c.
Verse 7
mm. 41-50
obbligato ob, STB soli, b.c.
Comments
siciliana style, ornate accompaniment
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Table 9 (continued) Verse 8
92 mm. 51-69
ob, 2 vln, SATB chorus, b.c.
Highly virtuosic violin parts
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93 CHAPTER VH COMPARATIVE ANALYSIS OF SETTINGS AND THEIR RELATIONSHIP TO J.S. BACH’S MATTHAUS-ION
Introduction The four settings of the ion included in this study were carefully chosen for inclusion based on the characteristics they each possess that illustrate the musical idioms of their day. The previous chapters of this study have examined each setting individually, drawing attention to the critical features of each setting. While the sample presented is small, it is possible through comparison of these settings to note important differences between them. These differences, however, do not necessarily imply that one setting directly influenced any another setting. Rather, the progression of compositional technique as demonstrated by the composers of these settings reflects the musical language and idioms, as well as the theology and culture, in which they were steeped. This chapter is devoted to the examination of the similarities and differences between the four settings. The differences in settings may simply be considered as individualistic interpretations of the composer, while similarities may be viewed as possible adherence to musical tradition. For instance, the revised version of the St. Matthew ion by Johann Valentin Meder, which was reviewed in the last chapter, bears a striking resemblance to the Oratorio ion found in the Riga Gesangbuch of 1695. Meder’s familiarity with this songbook probably had an effect on the rethinking of his own setting. In turn, if the setting of 1695 was based on settings by
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94 Flor and Funcke, as some musicologists have postulated, the tradition of setting the ion in a particular manner grows longer. To this end, the Matthaus-ion of J.S. Bach, unmistakably the most important eighteenth century ion, will be cited in the context of this comparative study. It is the hope of the author that this reference will highlight the commonalities it shares with the earlier settings through the examination of three areas: structure, dramatic personae, and orchestration.
Structure and Form The text setting of the ion is the first and foremost influence on the structure of each of the musical settings examined in this study. While Selle’s setting of the ion is the only setting in this study based on the Gospel of John, it is included due to its historic significance as the first extant oratorio ion. This inclusion allows for an examination of the origin of the ion oratorio and therefore the setting will be cited throughout this chapter. Selle’s setting will not, however, be included in the textual comparisons, as the scope of the narrative is different from Sebastiani, Theile and Meder’s setting of the St. Matthew text. The St. Matthew narrative is based on Matthew 26:1*11 through Matthew 2 7 :9.1The narrative can be separated into two balanced sections (Table 10).
'This numbering is based on the 1984 edition of the New Jerusalem Bible. This numbering corresponds to Matthew 26:1-75 through Matthew 27:1-66 in Luther’s bible.
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95 Table 10. St. Matthew ion Text Division P a rt One: Chapter 26 1.
The Conspiracy against Jesus
Matthew 26:1-5
2.
The anointing at Bethany
Matthew 26:6-13
3.
Judas betrays Jesus
Matthew 26:14-16
4.
Preparations for the over supper
Matthew 26:17-19
5.
The treachery of Judas foretold
Matthew 26:20-25
6.
The Institution of the Eucharist
Matthew 26:26-29
7.
Peter’s denial foretold
Matthew 26: 30-35
8.
Gethsemane
Matthew 26:36-46
9.
The arrest of Jesus
Matthew 26:47-56
10. Jesus before the Sanhedrin
Matthew 26:57-68
11. Peter’s denials
Matthew 26:69-76
P art Two: Chapter 27 1. Jesus is taken before Pilate
Matthew 27:1-2
2. The death of Judas
Matthew 27: 3-10
3. Jesus before Pilate
Matthew 27:11-26
4. Jesus is crowned with thorns
Matthew 27:27-31
5. The crucifixion
Matthew 27:32-38
6. The crucified Jesus is mocked
Matthew 27:39-44
7. The death of Jesus
Matthew 27:45-56
8. The burial
Matthew 27:57-61
9. The guard at the tomb
Matthew 27:62-66
The faithfulness of each composer to the S t Matthew narrative can be gauged through a study of the musical divisions in each setting. The works in this study all
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96 include interpolations that serve as markers for structural punctuation. Within each setting, the composer has divided the text in the manner that he feels most appropriate for the musical style of the culture in which he lived. This division of text can be very sharp, as is the case when a chorale, turba or new movement is placed at the end of an entire scene as listed above in Table 10.2 In other instances, the division may be more subtle, being marked by an internal cadence or harmonic shift. Finally, in other cases, the text may be through-composed, bearing no divisions. Each composer gave attention to textual division in one o f the six following ways: (1) by sectionalizing movements that provide clear breaks; (2) by inserting interpolations between the biblical narrative; (3) by inserting turba choruses that conclude the scene; (4) by creating harmonic shifts that signal a new tonal center; (5) by providing weak cadences for less important breaks; and (6) by ignoring the textual division through musical elision. Table 11 shows how each composer dealt with the issue of textual division on a scene-by-scene basis.
Table 11. Comparative Settings of St. Matthew Text Sebasdani
Theile
Meder
1. The Conspiracy against Jesus
Turba
Turba
Movement
2. The anointing at Bethany
Turba
Elision
Harmonic
Part I: Chapter 26
2In Meder’s setting of the ion, these interpolations are found in Part One after scenes two, nine and eleven, and in Part Two after scenes four, seven and eight
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Table 11 (continued)
97 Sebasdani
Theile
Meder
3. Judas betrays Jesus
Elision
Internal Cadence
Elision
4. Preparations for the over Supper
Harmonic shift
Elision
Elision
5. The treachery of Judas foretold
Elision
Elision
Elision
6. The Institution of the Eucharist
Chorale
Aria Ritomeilo
Aria
7. Peter’s denial foretold
Elision
Internal Cadence
Elision
8. Gethsemane
Elision
Elision
Harmonic
9. The arrest of Jesus
Elision
Elision
Elision
10. Jesus before the Sanhedrin
Turba
Aria
Turba
11. Peter’s denials
Chorale
Aria Ritomeilo
Sinfonia coll’ aria
1. Jesus is taken before Pilate
Elision
Elision
Elision
2. The death of Judas
Harmonic
Elision
Internal cadence
3. Jesus before Pilate
Harmonic
Elision
Sinfonia & Aria
4. Jesus is crowned with thorns
Chorale
Aria Ritomeilo
Aria
5. The crucifixion
Elision
Elision
Elision
6. The crucified Jesus is mocked
Elision
Elision
Movement
7. The death of Jesus
Chorale
Elision
Elision
8. The burial
Elision
Elision
Elision
9. The guard at the tomb
Conclusio
Aria
Aria
P art II: Chapter 27
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98
From examining Table 11, several facts become apparent. The first is that all three composers have included texts in their settings that are not directly from the ion scripture. In the case of Sebastiani these insertions took the form of chorales. Theile and Meder, on the other hand, inserted not only chorales in their settings but also arias and sinfonias. This facts may seem quite obvious, but when one looks at the textual division as a filter for these interpolations, one discovers four critical points of division. These four points are critical in that all three composers inserted these interpolations containing secondary texts: A.
Between the Institution of the Eucharist (Mt 26:26-29) and Peter’s denial foretold (Mt 26: 30-35)
B.
Between Peter’s Denial, the End of Part I (26: 69-76) and Part II (Mt 27)
C.
Between the Crowing of Thoms (Mt 27: 27-31) and the Crucifixion (Mt 27: 32-38)
D.
After the guard at the tomb (the end of the work) (Mt 27:66)
These divisions created sets of scenes that were treated as musical units. This fragmentation of the biblical narrative led the oratorio ion to become a vehicle for the Pietism and sentimentality that is foreshadowed by the Meder setting. The ion narrative according to St. John is based on the eighteenth and nineteenth chapters of the Gospel of John. This narrative is very different and its length is much shorter than the found in the Gospel of Matthew and, for the purposes of this study, will be discussed only in o f the scenes included
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99 in the narration. The text of Chapter 18 divides into three scenes, while the that of chapter 19 divides into nine scenes (Table 12). Table 12. Divisions of the St. John ion Text Part One: Chapter 18:1*24 Scene
Chapter
Correlating Verse in Matthew
The Arrest of Jesus
Jn 18:1-11
Mt 26: 30, 36,47-56
Jesus before the Sanhedrin
Jn 18:12-27
M t2 6 :57-68
(Jn 18:15-18)
Mt 26:69-76
(Peter’s denials)3
Part Two: Chapter 18:25 • C hapter 19:42 Jn 18: 28-19:11
M t2 7 :11-26
(Jn 19:1-3)
Mt 27:27-31
Jesus is condemned
Jn 19:12-16
Mt 26:17
The crucifixion
Jn 19:17-22
M t2 7 :32-38
Jesus’ garments divided
Jn 19:23-24
M t27: 35
Jesus and his mother
Jn 19:25-27
M t2 7 :55-56
The death of Jesus
Jn 19:28-30
Mt 27:48-50
The pierced Christ
Jn 19: 31-37
Non-existent
The burial
Jn 19: 38-42
M t2 7 :57-60, 62-66
Jesus before Pilate (Jesus is crowned with thorns)
The second column of Table 12 refers to the chapter and verse associated with the scene in column one. The third column, gives a corollary age in St. Matthew,
3Although “Peter’s denials” are not considered a separate scene in the narrative, it is included here as composers have discreetly set this text
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100 although the corollary age may include varying details of the ion. These details are minute in comparison to the scope of the dramatic sequence of both ions (Table 13). Table 13. Scope of Drama in Ss. Matthew and John s of ion Scene
St. Matthew
The Conspiracy against Jesus
X
The anointing at Bethany
X
Judas betrays Jesus
X
The Preparations for the over
X
St. John
supper The treachery of Judas foretold
X
The Institution of the Eucharist
X
Peter’s denail foretold
X
Gethsemane
X
The Arrest of Jesus
X
X
Jesus before the Sanhedrin
X
X
Peter’s denials
X
X (allusion)
Jesus is taken before Pilate
X
X
The death of Judas
X
Jesus before Pilate
X
X
Jesus is condemned to death
X (allusion)
X
Jesus is crowned with thorns
X
The crucifixion
X
The crucified Jesus is mocked
X
Jesus’s garments are divided
X
X
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101
Table 13 (continued) St. Matthew
Scene
S t John X
Jesus and His Mother The death of Jesus
X
X X
The pierced Christ The burial
X
The guard at the tomb
X
X
Obviously the scope of the by St. John is more limited than that of St. Matthew. To Lutheran composers looking to set dramatic settings of the ion, the St. John ion posed two obvious problems: (1) the textual imbalance between the length of part one and part two, and (2) the lack of dramatic possibility presented by the additional scenes in the St. Matthew (i.e., the death of Judas and the crowning of thorns). Selle solved the first problem of imbalance by inserting three interpolations into his ion. These three interpolations effectively divide the work into three parts, although the third interpolation technically comes after the conclusio, and therefore falls outside of its scope. Selle’s ion, therefore is divided as follows: A. Prima Pars
The Arrest of Jesus (Jn 18:1) and Jesus before the Sanhedrin (Jn 18:27)
B. Secunda Pars Jesus before Pilate (Jn 18:28) through Jesus is Condemned (19:16) C. Tertia Pars
The Crucifixion (Jn 19: 12) through the Burial (Jn 19:42)
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102
Interpolations Besides serving as the marker for major structural divisions, interpolations gave the composer control over the pacing of the ion narrative. This pacing allowed time for meditation on the events that had transpired in the story. This meditation took one of three forms: (1) chorales that were sung either by the congregation or soloist; (2) arias based on sacred or secular texts; and (3) instrumental interludes referred to by including sinfonia, symphonia, and ritomeilo. As the ion oratorio grew in popularity and spread, the inclusion of a greater number of interpolations became common practice. The interpolations, which continued to be non-scriptural in nature, also became more complex both in of structure and instrumentation, and began to lean on the form of the aria, borrowing from the operatic tradition. This development can be seen in the three settings of the St. Matthew ion discussed here (Table 14). This practice gave way to the Pietism leading to G.F. Handel’s Brockes ion, and ultimately was reconciled in both number and balance by J.S. Bach.
Table 14. Interpolations in Three Settings of St. Matthew ion Chapter
Composer
Title and Setting
Tonality
Length
Part 1: Chapter 26 N/A
Sebastiani Theile Meder
Symphonia. 4 violas, b.c. Sinfonia. 4 violas, b.c. Sinfonia. 2 oboes, 2 violins, b.c.
rim gm FM
18 10 11
26:12
Sebastiani
0 Welt, ich muss dich lafien. Vs. 1, Canto solo, 4 viols, b.c.
FM
25
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103
Table 14 (continued) Chapter
Composer
Title and Setting
Tonality
Length
26:26
Meder
Herr Jesu Christ, dein heiliger Leib Canto or Tenor solo, 1 recorder, 2 violins, b.c.
BbM-* gm
12
26:28
Meder
Herr Jesu Christ, dein heiliger Blut Canto or Tenor solo, 1 recorder, 2 violins, b.c.
BbM-* gm
12
26:29
Sebastiani
Goa sei gelobet und gebenedeiet vs. 1, canto solo, 4 viols, b.c.
D M -F M
13
Theile
0 Gottes Sohn, du Heil der Sunder Vss. 1-2, canto solo, b.c. Ritomeilo, 4 violas, b.c.
gm GM gm-* GM
14 14
Aufmeinen lieben Gott Vs. 9, Canto solo, 2 recorders, b.c.
gm-* GM
14
Voter unser im Himmelreich Vs. 1, Canto solo, 4 viols, b.c.
dm-* DM
30
cm
11
Meder
26:36
26:37 26: 39 26:42
26:54
Sebastiani
Meder
Sinfonia 2 recorders, b.c.
Sebastiani
Symphonia 3 viols, b.c.
AM-* DM
7
Sinfonia somnus discipulorum 1 recorder, 2 violins, b.c.
EbM
16
dm-* DM
30
EbM
7
gm
8
Meder Sebastiani
Voter Unser im Himmelreich Vs. 4, Canto solo, 4 viols, b.c.
Meder
Sinfonia 2 violins, b.c.
Meder
Sinfonia 2 oboes, 2 violins, b.c.
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Table 14 (continued)
104
Chapter
Composer
Title and Setting
Tonality
Length
26:66
Sebastiani
0 Lamm Gottes unschuldig Vs. 1, Canto solo, 4 viols, b.c.
FM
27
Sinfonia 2 oboes, 2 violins, b.c. Herzliebster Jesu, was hast du verbrochen? Vs. 1, Canto solo, 2 violins, b.c. Ritomeilo 2 oboes, 2 violins, b.c.
gm
9
gm
29
bm
4
Du duldig Lamm, o Gottes Sohn Vs. 1-2, Canto solo, b.c. Ritomeilo 4 violas, b.c.
gm -* GM
15
gm-* GM
7
Herzliebster Jesu, was hast du verbrochen? Vs. 3, Canto solo, 2 violins, b.c. Ritomeilo 2 oboes, 2 violins, b.c.
gm
11
gm
4
Sebastiani
Erbarm dich mein, 0 Herre Gott Vs. 1, Canto solo, 4 viols, b.c. Scripture Reading.
EM
32
Theile
Ach, VVo soil ich mich hinwenden Vss. 1-2, Tenor solo, b.c. Ritomeilo 4 violas, b.c.
gm-* GM
12
Sinfonia coll’Aria: Wenn mein Stiindlein vorhanden ist Vs. 2, Tenor solo, 2 oboes, 2 violins, b.c.
gm
Meder
26:68
Theile
Meder
26:75
Meder
gm-* GM 10 28
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105
Table 14 (continued) Chapter
Tonality
Length
E M -D M
16
Voter unser im Himmelreich Vs. 7, Canto solo, 4 viols, b.c.
dm — DM
30
0 Lamm Gottes unschuldig Vs. 2, Canto solo, 4 viols, b.c.
FM
27
cm
31
FM
27
Ach der Marter, ach der Pein Vss. 1-2, Canto solo, b.c. Ritomeilo 4 violas, b.c.
gm
12
gm —GM
7
Meder
0 Traurigkeit, o siifier Mund Vs. 5, Canto solo, recorder, 2 violins, b.c.
gm —GM
17
Meder
0 Jesu Christ, mein Lebens Ucht Vs. 6, Canto solo, 1 recorder, 2 violins, b.c.
BbM
19
FM
13
cm
20
AM
21
Composer
Title and Setting
Part 2: Chapter 27 N/A 27:5
27:23
27:26
27:31
Sebastiani Sebastiani
Sebastiani
Meder
Sebastiani
Theile
27: 34
27:44
27:46
Sebastiani
Symphonia a 4 4 viols, b.c.
Sinfonia: Ach! Mein Jesu der mufi sterben Canto solo, recorder, 2 violins, b.c. 0 Lamm Gottes unschuldig Vs. 3, Canto solo, 4 viols, b.c. A scripture reading
Herr Jesu Christ, wahr’ Mensch und Gott Vss. 1-2, Canto solo, 4 viols, b.c.
Meder
Nakket mufi mein Jesus hangen Canto solo, recorder, 2 violins, b.c.
Sebastiani
Herr meinen Geist befehl ich dir Vs. 1, Canto solo, 4 viols, b.c.
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Table 14 (continued)
106
Chapter
Composer
Title and Setting
Tonality
Length
27:49
Meder
Preludio 1 oboe, 2 violins, b.c. Christe, du Lamm Gottes Vs. 3, Canto solo, 1 oboe, 2 violas, b.c.
FM-*BbM
7
B bM~*FM
9
Sebastiani
Mit Fried und Freud Vs. 1, Canto solo, 4 viols, b.c. Ecce quomodo moritur (Gallus) SATB (Crone edition)
DM
26
Meder
Herr Jesu Christ, wahr’ Mensch und Gott Vss. 1-2, Canto solo, oboe, 2 violins, b.c.
FM
19
Meder
Ritomeilo and Aria: "Elemente selbst erschrecken iiber Christi Kreuz und Tod" Canto solo, 2 oboes, 2 violins, b.c.
FM
18
AM -* DM
19
gm
10
gm
69
27:50
27:54
27:60
Sebastiani
Meder
0 Traurigkeit, o Herzeleid Vss. 1-8, Canto solo, 4 viols, b.c. Sinfonia 1 oboe, 2 violins, b.c. 0 Traurigkeit, o Herzeleid Vss. 1-8
In addition to the mere proliferation of interpolations being set for dramatic purposes, some of them serve as secondary structural points. Like the four main dividing points outlined above, Table 14 shows some consensus regarding secondary points for inclusion of interpolations. There are three of these points in the first part (Mt 26:36,26:42, and 26:68) and this is balanced by three points in the second part (Mt 27:44,27:50 and 27:54). These secondary divisions have some level of
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107 importance as they each reflect upon important moments in the ion narrative. These same secondary divisions are also observed by J.S. Bach in his Matthdusion (movements 12,13,25,37, 59, 60,64 and 65). In comparison, the Selle ion of 1643 is very simple in structure (Table 15). The narrative is through-composed, with only two interpolations interrupting the recitative. Notable is the length of the intermedium, reminiscent of the concern of Schiitz and of the motet ions that came before. Table 15. Selle’s Interpolations. Chapter
Parallel age in Matthew
Title and Setting
Tonality
Length
18:23
c. 26:55
Intermedium I: Fuhrwahr er trug unsre Krankheit. STB soli, SAATB chorus, solo violin, 3 violins, 2 bassoons, 2 b.c. groups
CMFM
78
19:21
c. 27: 26
Intermedium II: Mein Gott, mein Gott warum hast du verlafien mich? (Ps. 22 1-22) STB soli, SAATB chorus, solo violin, 3 violins, 2 bassoons, 2 b.c. groups
FM
130
19: 35
After death; before burial c. 27:56
Intermedium III: 0 Lamm Gottes unschuldig Vss. 1-3, STB soli, SAATB chorus, 3 violins, 2 bassoons, 2 b.c. groups
FM
50
By the time Bach set the Matthdus-ion for the Good Friday service of 1729 in Leipzig, the inclusion of expanded musical forms, including the da capo aria, had
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108 become commonplace. Bach’s pairing of a recitative with an aria replaced in many cases the chorale interpolations. These arias provided contrasting textures and texts that allowed for a deeper personal meditation. Bach’s division of the Matthew narrative did not conform to the traditions that he inherited. Instead of the traditional split of the narradve into two parts (chapters 26 and 27 respectively), Bach’s Matthdus-ion is skewed by its first half of the narrative ending with the Arrest of Jesus (Mt 26:56). This creates a new balance, comprised of a reverse golden proportion that is informed by the Fibonacci principle of the golden section (0.618), and therefore creates new points of subdivision. Bach does recognize the traditional points of reflection as noted above. The interpolations included by Bach as they parallel the earlier settings in this study can be found in Table 16. Table 16. J.S. Bach: Matthdus-ion Interpolations. Mvt.
Type
Length
Tonality
PART ONE 3
Choral: Herzliebster Jesu, was hast du verbrochen?
11
em-* BM
5
Recitativo (Alto): Du lieber Heiland du
10
bm -* f#m
6
Aria (Alto): Bufi und Ruh
105
f#m
8
Aria (Soprano): Blute nur, du liebes Herz
45
bm
10
Choral: Ich bins, ich sollte biifien
12
At>M
Recitativo (Soprano): Wiewohl mein Herz in Trdnen schwimmt Aria (Soprano): Ich will dir mein Herze schenken
13
(em) -* CM
48
GM
12
A M -E M
12/13
15
Choral (Chor I/H): Erkenne mich, mein Hitter
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109
Table 16 (continued) Mvt.
Type
Length
Tonality
17
Choral: (Chor 1/D): Ich will hier bei dir stehen
12
AbM -EbM
19/20
Recitativo (Tenor, Chor I/II): 0 Schmerz! Hier zittert das gequdlte Herz Aria (Tenor, Chor I/II): Ich will bei meinem Jesu wachen
30
fm —GM
91
cm
Recitativo (Bass): Der Heilandfallt vor seinem Voter nieder Aria (Bass, Chor II): Geme will ich mich bequemen
10
dm—BbM
102
gm
Choral (Chor I/II): Was mein Gott will, das gescheh allzeit
16
bm —BM
Recitativo (Soprano, Chor I/n altos): So ist mein Jesus nun gefangen
63
em —bm
Choral (Soprano ripieno, Chor I/II): 0 Mensch, bewein dein Siinde grofi
99
EM
22/23
25
27 29
PART TWO 30
Aria (Alto, Chor I/II): Ach, nun ist mein Jesus hin
123
bm-* fWm
32
Choral (Chor I/II): Mir hat die Welt truglich gericht
11
BbM
34/35
Recitativo (Tenor): Mein Jesus schweigt zu falschen Liigen stille Aria (Tenor): Geduld
10
dm-* AM
47
am
37
Choral (Chor I/II): Wer hat dich so geschlagen
12
FM
39
Aria (Alto, Chor I): Erbarme dich
54
bm
40
Choral: Bin ich gleich von dir gewichen
16
f*m -* AM
44
Choral: Befiehl du deine wieder
16
D M -D M
46
Choral: Wie wunderbarlich ist doch diese Strafe!
11
em —BM
Recitativo (Soprano): Er hat un alien wohlgetan Aria (Soprano, Chor I): Aus Liebe will mein Heiland sterben
12
em —CM
74
am
48/49
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110
Table 16 (continued) Mvt.
Type
Length
Tonality
51/52
Recitativo (Alto): Erbarm es Gott Aria (Alto, Chor II): Konnen Trdnen meiner Wangen
12 91
CM gm
Choral: 0 Haupt voll Blut und Wunden
16
FM
Recitativo (Bass): Jafreilich will in un das Fleisch und Blut Aria (Bass, Chor I): Komm, stifles Kreuz
6
FM -* dm
54
dm
Recitativo (Alto): Ach Golgotha Aria (Alto, Chor I/D): Sehet, Jesus hat die Hand
15 52
AbM EbM
Choral: Wienn ich einmal soli scheiden
16
am-* EM
Recitativo (Bass): Am Abend, da es kiihle war Aria (Bass): Mache dich, mein Herze, rein
18
gm
81
BbM
54 56/57
59/60 62 64/65
gm
67
Recitativo (Bass, Chor II): Nun ist der Herr zur Ruh bebracht
17
EbM -* cm
68
Chorus (Chor I/II): Wirsetzen unsmit Trdnen nieder
128
cm-*Eb-*cm
Dramatic Personae The development of the characters of the ion clearly can be traced through these settings. From the earliest ion oratorio, the words of Jesus are uniquely paired with two instruments, representing the three persons of the trinity. In the case of Selle’s setting the instruments were two violins. Sebastiani followed this practice some twenty years later, also employing two violins, and Theile used two viole da braccio. Meder not only followed this practice by using two violins, but also set the text of Jesus in arioso style, foreshadowing Bach’s setting.
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Ill The practice of omitting the violin accompaniment for the text of Matthew 27:46a “Eli, Eli lama sabathani” (My God, why have you foresaken me) represents a breaking away from the divine nature of the trinity and the humanity of Christ on the cross. This practice was observed by Selle and Sebastiani in their settings. Sebastiani’s setting, in particular, is interesting in that the violins fall silent during this utterance but reenter for the Evangelist’s translation (Mt 27:46b) “Das ist: mein Gott, warum hast du mich verlaBen?” (That is: my God, why have you abandoned me?). What makes this setting fascinating is that the violin accompaniment is reserved solely for the divine Christ except for this particular spot. Bach did not follow Sebastiani’s lead, but did employ the practice of the accompanying strings (Figure 25). The only exception occurs in the accompaniment for the text “Eli, Eli lama sabachthani,” (My God, why have you abandoned me?) when Bach also omits the strings. An examination of the sections of recitative found in each setting shows the development from chant-based recitative to newly composed recitative with natural text inflection. In Selle’s setting, the recitative is rather inexpressive, relying on quarter notes as the primary note value and stepwise motion for all tex t Sebastiani varies the duration of the notes, moving more frequently between the quarter and eighth notes, to create a sense of long and short syllabic stresses. In addition, Sebastiani uses some melodic skips and a greater range for the recitative. Theile’s recitative settings, while incorporating the characteristics found in Sebastiani’s recitatives, are less successful for two reasons: (1) Theile sets the accompanying
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112
60
RECITATIVO. Coro I',
Violiiiu I.
r
); —
—
~^r -----— ■■■
Viol I no II. VIola.
ui' m
- 1r
=y
-I
»
=
Evangelist. Iraftw fct
Jesus.
«itt I Oc-kot kia la Motto* a 11- ooa^ai •yrtak* ■
Orf mo •
Continuo.
mm
Ikaii DnMclaUrUM Ur m -m i
Mot.aa %MjU kior, M U M l l r A i S -
Figure 25. instruments in a highly animated, imitative style that does not allow freedom in the vocal line; and (2) Theile is unable to divorce the basso continuo line from the recitatives of Jesus and other bass characters. Meder’s handling of recitative shows
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113 the greatest refinement in technique. There is a wide range of durational value, range and intervallic leaps that produce exciting lines that resemble spoken speech. The settings of the turba choruses are basically parallel in style to the settings of recitatives discussed above. The repetition of text becomes a more prominent characteristic with the former settings, due in part to the expanded use of contrapuntal technique. This technique, which is most strongly seen in the setting by Theile, allowed for a more realistic interpretation of the crowd due to its many imitative entrances. Meder increased the dramatic tension of these arias by varying concerted forces and extending melismatic writing from recitatives to turbae choruses. Table 17 provides a comparison of the three pre-Bach settings of the St. Matthew .
Table 17. Turbae Choruses in the St. Matthew Settings Tide
Composer
Length
Meter
Repeats
Style*
Tonality
Ja, nicht auf das Fest
Sebastiani Theile Meder
5 12 4
C C C
none a lot little
H I H
FM —AM gm —DM CM
Wozu dienet
Sebastiani Theile Meder
8 9 8
C C C
none little little
H I-H H-I-H
dm-* DM gm -* GM CM-* GM
Wo willst du
Sebastiani Theile Meder
5 7 4
C C C
little a lot none
H I-H H
dm - * am gm-* DM FM —CM
Herr, bin ichs?
Sebastiani Theile Meder
4 7 5
C C 3/2
litde a lot a lot
I I I-H
CM gm —GM gm
EristdesTodes
Sebastiani Theile Meder
4 7 5
C C c
none little little
H I H
dm —DM gm—BbM BbM
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114
Table 17 (continued) Title
Composer
Length
Meter
Repeats
Style*
Tonality
WeiBage uns
Sebastiani Theile Meder
6 6 3
C C
none little little
I-H I H
F M -A M FM—BbM BbM
Wahrlich, du bist
Sebastiani Theile Meder
6 9 8
none a lot a lot
H I H
dm —FM BbM - GM F M -C M
Was gehet uns
Sebastiani Theile Meder
4 8
none a lot a lot
H H H
dm —FM BbM FM
Es taug nicht
Sebastiani Theile Meder
7 11 6
c c c c c c
none a lot none
H I H
F M -D M BbM—FM FM
Barrabam
Sebastiani Theile Meder
4
3/1
none a lot none
H I H
FM gm —GM CM
LaB ihn kreuzigen
Sebastiani Theile Meder
4
little little little
H H H
AM gm —GM CM
Sein Blut
Sebastiani Theile Meder
7 8 8
3/2
none a lot none
I-H I H
dm —AM gm—BbM F M -C M
GegriiBet seist du
Sebastiani Theile Meder
6 15 5
3/1 3/2 C
none a lot a lot
H I-H I-H
F M -C M FM FM
Der du den Tempel
Sebastiani Theile Meder
16 10 18
3/1 C 3/2
none little little
H H-I-H H
C M -D M gm —GM FM
Andem hat er
Sebastiani Theile Meder
23 19 13
C C
little none little
H H-I-H H
F M -D M BbM—DM BbM
Der rufet
Sebastiani Theile Meder
2 7 3
none a lot none
H I H
F M -C M BbM-EbM BbM
Halt, lafi sehen
Sebastiani Theile Meder
5 5 7
none little none
H I H
AM BbM F M -C M
5
5
2
5 5
c c c c
c c c c c c c
c c c c c c 3/2
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Table 17 (continued)
115
Title
Composer Length
Meter
Repeats
Style* Tonality
Wahrlich dieser ist
Sebastiani Theile Meder
5 11 6
C C
H I H
dm-* DM dm—GM
3/2
none a lot none
Sebastiani Theile Meder
23 32 36
C** C** c**
none none a lot
H I-H-I H-I-H -I-H
F M -D M gm—BbM FM —DM
Herr, wir haben gedacht
F M -C M
H =Homophonic, I = Imitative Each composer sets the text of Matthew 27:63b, “Er sei auferstanden von den Toten” (He has risen from the dead) in triple meter and then reverts back to common meter.
Similarities can be found between the turba settings of each composer. Theile’s use of imitation sures both Sebastiani’s and Meder’s and associates their settings more closely to each other. The sole turba chorus that is set in similar fashion in all three settings is “LaB ihn kreuzigen” (Let him be crucified). All three composers set this turba succinctly and as a homophonic statement in common meter, utilizing textual repetition for emphasis (Figures 26-28).
■
1
, f
.
1r
r> r f - g i
»
if
f-l
ID
Lal ika Ikjaa.iLpa, 1*1 _ iknb«D.ai. p a, lal ika k m
B 1 1
Lai ika kna-lLpa, 1*1. _ frkknaoi. p a , lal ika k m . Tnttt
f
ika kiaa.iLpa, lal.
I
.
,
i
"h
-
h
-
Lal ika Ihaa.li p a,
1
i-
iU k m .il. p a, lal ika f e r n .
. ti . •»« A - ti . A . ri .
--
I-*
■A. ,
A A*— u ^ J ^ kM . . li . 1-1 ika _fi__
k l£ U k m -ii. P . U
1 J 1 1f
U lik a kna.tL pa,lal. __ i b k n u i . p * la l ika k m .
. ti .
igure 26. Sebastiani L
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116 Tottl Oa L*A Ottkmci .jpa» 1*1 ika
U l ika kiraai 1 gaal
Lal ihAkm ti. f ts , lal ika
ika
Lal ika k**osi .j(Q« lal ika
ika kn aaifn , lal ika
Figure 27. Theile.
m
v
Figure 28. Meder. Bach opted to set the turba “LaB ihn kreuzigen” in a very different manner. Set in fugato style, this turba’s layered entries are based on the motive of a diminished fourth that recurs many times. The restatement of this interval, interaction of the voices, and an accompanying harmonic modulation from b minor to C# major create a dramatic frenzy that mimics the fanatic crowd (Figure 29).
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117
Atm
T«
1 Lm
K T.
Figure 29. Bach.
Many of Bach’s turbae, however, do resemble those of Meder in style. The major difference between the two settings is that Meder sets each turba as a separate movement, often preceding the turba with a cadence to conclude the previous recitative. A table of Bach’s turbae is given to illustrate the similarities (Table 18). Table 18. Diagram of Bach’s Turbae in Matthaus-ion Title
Length
Meter
Repeats
Style*
Tonality
Ja, nicht auf das Fest
6
C
a lot
polychoral
C M -G M
Wozu dienet
11
C
a lot
H-I-H
EM
Wo willst du
11
3/4
a lot
H predominant
GM-DM
Herr, bin ichs?
5
C
a lot
I-H
ftn-CM
Er ist des Todes
5
C
a lot
I-H
GM
WeiBage uns
8
a lot
polychoral
dm-* FM
Wahrlich, du bist
4
c c
little
H (animated)
DM-* AM
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Table 18 (continued)
*
118
Title
Length
Meter
Repeats
Style*
Tonality
Was gehet uns
5
3/4
a lot
polychoral
BM
Es taug nicht
9
C
little
I-H
CM —BM
Barrabam
VS
C
none
H
BM
La£ ihn kreuzigen (first time)
8
c
a lot
I-H
am-* BM
LaB ihn kreuzigen (second time)
8
c
a lot
I-H
bm—C#M
Sein Blut
18
a lot
H-I-H
bm —DM
GegriiBet seist du
4
a lot
polychoral
dm-AM
Der du den Tempel
12
a lot
polychoral
film
Andem hat er
20
c c c c
a lot
polychoral I-H
em
Der rufet
2
none
H
cm
Halt IaB sehen
3
none
H
gm —dm
Wahrlich dieser ist
2
little
polyphony
AbM
Herr, wir haben gedacht
23
c c c c
little
H-I-H
EbM-DM
In addition to homophonic and imitative settings, Bach’s turbae are also set in concerted polychoral style (antiphonal) and in polyphonic textures that are not imitative in nature.
The length of Bach’s turba settings are comparable to those by Sebastiani, Theile and Meder. The metrical scheme for the turbae follow the norms set by the other ion setdngs with the excepdon of the chorus D erdu den Tempel, which Bach sets in common meter versus triple meter, and the last turba, Herr, wirhaben gedacht, with its secdon in triple meter referring to the resurrection.
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119 Striking similarities can be found in the compositional styles of Meder and Bach. Meder’s tonal schemes are more modulatory than those of Bach within each turba, but the use of homophonic and polyphonic devices is comparable. A good example of this similarity is the turba chorus “Andem hat er” ; Meder sets this chorus in an imitative style that closes with a homophonic statement, “Ich bin Gottes Sohn.” Bach, with two choirs at his disposal, sets “Andem hat er” in a polychoral fashion also employing imitadve entrances and concluding with a similar homophonic statement.
The Use of Instruments
The addition of instrumental accompaniment first occurred within the context of the oratorio ion. Traditionally, the ions had been sung unaccompanied, given their performance during Lent.4This may explain why early oratorio ions, with the exception of Selle’s unusual setting, were conservatively scored for strings only. Meder was the first to break decisively away from the tradition of an all-string accompaniment, by adding recorders and oboes to his ion score. The function of the instruments within the ion was to perform instrumental interpolations (sinfoniae, ritomelli, interludes) and to the vocal lines. Sebastiani clearly designates the instrumentation for his setting in the published foreward to musicians: two violins, four viole da gamba, organ and
4Many churches banned the use of musical instruments during Lent due to the penitential nature of the liturgical season.
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120 continuo.5 He does go on to state that the “third and fourth viola da gamba parts may be eliminated if the bass line is set well.”6 Sebastiani may have included this statement to make his work more accessible to a church with a smaller music establishment. The effect of leaving out the latter gambas results in little loss of sonority since they are only active during the interpolations and choruses. Theile’s setting is scored for two viole da braccio, two viole da gamba and basso continuo. The viole da braccio serve two purposes: to accompany the words of Jesus throughout, and to double the two canto parts in the turba choruses and interpolations. The two viole da gamba, with their more strident quality, accompany the recitatives of the Evangelist and also double the alto and tenor parts throughout The basso continuo accompanies throughout the entire setting and logically doubles the choral bass pan in the turba choruses and interpolations. Johann Meder’s St. Matthew ion is scored for the following instruments: two recorders, two oboes, two violins, two violas, one violetta and organ.7 The only composer to add instruments other than strings, Meder employed the oboes in five sinfoniae, one ritomello and one aria and recorder in four sinfoniae and four arias as follows:
5Sebastiani, 6. 6Ibid., 6. 7The “viola” and “violetta” were used in the seventeenth and eighteenth centuries to refer to violas of different sizes with the same tuning..
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121
Sinfonia
Ritomello
Aria
Oboe
#1, #24, #27, #35, #72
#70
#67
Recorder
#18, #20, #22, #49
#12, #16, #53, #61
Bach's familiarity with the compositional traditions related to ion settings is well established.8 His early visit and attendances at the Abendmusiken in 170S underscore Bach’s exposure to the vocal and instrumental writing that was shared by the ion and cantata forms.9 In addition, Bach performed Reinhard Keiser’s St. Mark ion in 1713 during his time at Weimar.10 In fact, he was so taken by Keiser’s setting that he composed several movements to supplement that setting. Although there is no direct evidence that Bach was acquainted with the settings by Selle, Sebastiani or Meder, the prominence they held in the ion repertory would suggest the possibility that Bach at least knew of their existence. More important, the ion oratorio settings from Hamburg were introduced in Leipzig by 1721.11 J.S. Bach’s scoring of the Matthdus-ion reflects and expands the concept presented by Sebastiani of a ion setting utilizing two continuo groups. Bach’s
8Albert Schweitzer, J.S. Bach (New York: Dover, 1966), 75. 9Ibid., 76. l0Boyd, 360. "Ibid., 360. Boyd reports that the St. Mark ion of Johann Kuhnau was first performed in 1721 in the main Leipzig churches.
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122 plan of expansion, of course, employs two full orchestras, each consisting of violin I, violin II, viola, viola da gamba, violoncello, violone bass, two transverse flutes, two oboes (also two oboes d’amore and two oboes da caccia), bassoon, and continuo.12 Bach’s addition of wind instruments clearly reflects the emergence of idiomatic writing, which Johann Meder had championed two decades earlier.
l2Helmuth Rilling, Johann Sebastian Bach, St. Matthew ion: Introduction and Instructions fo r Study (Frankfurt: Henry LitolfFs Verlag, 1975), 6.
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123 CHAPTER V m CONCLUSION
The oratorio ion of the seventeenth century grew out of a long tradition of ion writing that was rooted in the liturgical life of the Church. This tradition includes ions set in plainsong, responsorial, and motet style.1 ions set in these styles are easily discemable, given their limited models and set compositional devices. The oratorio ion, on the other hand, is less apt for comparison, as it was in a constant state of flux as it developed. The development of the oratorio ion can be traced from Selle’s ion nach dem Evangelisten Johannes (1643 edition) through Bach’s Matthdus-ion and beyond. This development, however, is not always a progression that can be described as causal. The traditions inherited by each composer, combined with their musical training, influenced the setting that was created. For example, the influence of Buxtehude and his cantatas on Johann Theile is clearly manifested in Das Leiden und Sterben. A further example is the influential role that the 1695 Riga Gesangbuch had on Johann Meder, causing a revision of his ion setting so that it would conform more closely to the interpolations set forth in the songbook. The new musical genres, idiomatic styles of writing, and basso continuo that emerged with the advent of the Baroque were incorporated into the oratorio ion settings. The most important of these genres included opera, oratorio and the cantata,
•See Appendix D for a listing of extant ion settings sorted by composer.
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124 which included the use of recitatives, arias and chorales based on strict biblical texts, paraphase or newly composed sacred texts. The new writings of sacred texts, as well as those in the secular realm, were strongly influenced by the prevailing Pietism found in the Lutheran church.2This allowed for the inclusion of recitatives and arias based on non- biblical texts. The primary interpolations found in oratorio ion settings were placed at common structural points in the narrative. These interpolations included intermedien (Selle), chorales (as first documented in Sebastiani’s setting), sung arias (Theile and Meder) and instrumental sinfoniae. Other interpolations, however, varied in their placement and grew in number as the century progressed. This ultimately led to the development of ion oratorio, such as the Brockes ion, which can be differentiated from the oratorio ion only in its greater inclusion of non-biblical texts and exclusion of portions of biblical narrative. J.S. Bach brought back the balance between sacred and secular texts, while expanding the use of interpolations for greater dramatic purpose. His instrumentation clearly drew upon the tradition established by Sebastiani in his setting of two continuo groups and by Meder in his incorporation of woodwind instruments. Bach’s reliance on tradition was forged with new innovation, which is the mark of all oratorio ions. In the opening chorus of Matthaus-ion, Bach acknowledges the strong role that the sinfonia, exordium and chorale (particularly
:The Pietism movement in the Lutheran church began in the later seventeenth century and was dedicated to spiritual and ecclesiastical renewal.
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125 0 Lamm Cones unschuldig) had played in ion settings. Ingeniously, these elements are merged into a new composite form, which allows the congregation to partake of the ion story once again with new and open ears.
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126 SELECTED BIBLIOGRAPHY
Blackenburg, Walter. “ion,” Das Crofie Lexikon der Musik in acht Bdnden, vol. 6. Freiburg: Herder, 1976. . “ion,” Die Musik in Geschichte und Gegenwart. 9 (Kassel: B&renreiter, 1949). Blume, Friedrich et al. Protestant Church Music: A History. New York: W.W. Norton and Company Inc., 1974. Bolte, Johann. “Johann Valentin Meder," Vierteljahrsschrift fu r Musikwissenschaft 7 (1891): 43-52. Boroff, Edith. The Music o f the Baroque. Dubuque: William. C. Brown Company Publishers, 1970. Boyd, Macolm, ed. Oxford Composer Companions: J.S. Bach. Oxford: Oxford University Press, 1999. Brainard, Paul. “Bach’s Parody Procedure and the St. Matthew ion,” Journal o f the American Musicological Society. 22/2 (summer 1969), 241-260. Braun, Weme. “Theile-Studien,” Festschrift A m o Forchert zum 60. Geburtstag. Kassel: Barenreiter, 1986. Bukofzer, Manfred. Music in the Baroque Era: from Monteverdi to Bach. New York: Norton Publishers, 1947. Buszin, Walter E. “Luther on Music,” The Musical Quarterly 32 (Jan. 1946), 80-97. Carver, Anthony F. Cori Spezzati. Volume 1: The Development o f Sacred Polychoral Music to the Time o f Schiitz. New York: Cambridge University Press, 1988. Daugherty, Harold Alexander. “The Two ions According to St. John by Thomas Selle.” M.M. diss., University of Southern California, 1967. David, Hans T. The Bach Reader: A Life o f Johann Sebastian Bach in Letters and Documents. New York: W.W. Norton & Company, Inc., 1966.
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127
Dickinson, Edward. Music in the History o f the Western Church. New York: Haskell House Publishers Ltd., 1969. Drummond, Andrew Landale. German Protestantism Since Luther. London: The Epworth Press, 1951. Eichom, Hogen. “Thomas Selle’s Opera omnia in Spiegel ihrer Druckvorlagen,” Jahrbuch alte Musik vol. 2 (1993), 131-91. Fischer, Kurt von. “ion," New Grove Dictionary o f Music and Musicians, ed. Stanley Satie. London: Macmillian Publishers, 1980, 14:277. Fischer, Kurt von. “ion,” Die Musik in Geschichte und Gegenwart. 7 (Kassel: Barenreiter, 1998). Geiringer, Karl. Symbolism in the Music o f Bach: A Lecture Delivered in the Whittall Pavilion o f the Library o f Congress. Washington, DC: Library of Congress, 1955. Haberlen, John Black. “A Critical Survey of the Oratorio ion in North to 1700." D.M.A diss., University of Illinois at Urbana-Champaign, 1973. Harman, Alec and Miller, Anthony. Late Renaissance and Baroque Music (c. 1525 - c.1750). Fair Lawn, NJ: Essential Books, 1959. Hannan, Alec and Milner, Anthony. Man and His Music: Late Renaissance and Baroque Music. New York: Schocken Books, 1972. Kalb, Friedrich. Theology o f Worship in 17d'-Century Lutheranism, trans. Henry P.A. Hamann. Saint Louis: Concordia Publishing House, 1965. Malinowski, Stanley Anthony Jr. “The Baroque Oratorio ion." PhD . diss., Cornell University, 1978. Marchand, Richard. “Evolution of the Evangelist in ion Music: Chant through Bach.” D.M.A. diss.. University of Kansas, 1982. Meder, Johann Valentin. “Oratoriche ion nach Matthaus ftlr Solotimmen, fiinfstimmigen Chor und Instrumente," Das Chorwerk, Heft 133. WolfenbUttel: MtSseler, c. 1985.
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128 Muller-Blattau, Joseph. Die musikalischen Schdtze der Koniglichen- und Universitats-Bibliothek zu Konigsberg in Preussen. Bonn: Adolph Marcus, 1890. Reprint: Hildesheim: Georg Olms, 1971. Palisca, Claude V. Baroque Music. Englewood Cliffs, NJ: Prentice Hall, 1991. Rauschning, Hermann. “Geschichte der Musik und Musikpflege in Danzig,” Quellen und Darstellungen zur Geschichte Westpreussens 15, (1931).
Rifkin, Joshua. “The Chronology of Bach’s Saint Matthew ion,” The Musical Quarterly. 61/3 (July 1975), 360-387. Rilling, Helmuth. Johann Sebastian Bach, St. Matthew ion: Introduction and Instructions fo r Study. Frankfurt: Henry Litolff s Verlag, 1975. Schofield, Bertram. “A Newly Discovered Fifteenth-Century Manuscript of the English Chapel Royal,” Musical Quarterly 32: (July 1946). Schweitzer, Albert. J.S. Bach. New York: Dover Publications, Inc., 1966. Sebastiani, Johann. “Das Leyden und Sterben unsers Herm und Heylandes Jesu Christi nach dem heiligen Matthaeo,” Denkmaler deutscher Tonkunst. 1. Folge, Bd. 17. Wiesbaden: Breitkopf & Hhrtel, 1961. Selle, Thomas. “ion nach dem Evangelisten Johannes, mit Intermedien flir Solostimmen, Chor und Instrumente,” Das Chorwerk. Wolfenbtittel: MOseler, 1934. Slominsky, Nicolas. The Concise Edition o f Baker’s Biographical Dictionary o f Musicians, eighth edition. New York: Schirmer Books, 1994. Smallman, Basil. The Background o f ion Music: J.S. Bach and his predecessors. New York, NY: Dover Publications, Inc, 1970. Smither, Howard E. A History o f the Oratorio: Volume 1. Chapel Hill, NC: The University of North Carolina Press, 1977. Smither, Howard E. A History o f the Oratorio: Volume 2. Chapel Hill, NC: The University of North Carolina Press, 1977. Somervell, D.C. “The Bach ions and Greek Tragedy,” Music cmd Letters 27 (1946): 221- 24.
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129 Stapert, Calvin R. My Only Comfort: Death, Deliverance and Discipleship in the Music o f Bach. Grand Rapids: William B. Eerdmans Publishing Company, 2000. Stoeffler, F. Ernest. The Rise o f Evangelical Pietism. Leiden: E.J. Brill, 1965. Theile, Johann. “io nach dem Heiligen Evangelisten Matthdo,” Denkmdler deutscher Tonkunst. 1. Folge, Bd. 17. Wiesbaden: Breitkopf & Hdrtel, 1961. Young, Percy M. The Choral Tradition, revised ed. New York: W.W. Norton & Company, Inc., i981.
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130 APPENDIX A EXCERPT FROM MONOPHONIC PLAINSONG ION SETTING FERIA SEXTA IN IONE DOMINI
(VANGtUUM PA flR M I |T W A T* DOMM aCUW UM B 1 W I
i «r w o r n oom m
mcwauu
criM__________I
— kkL.
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JU S -O O M -tf ■■■< k a C W k
n u » i
mm*
^tun
tit
'U lllll M l l l l U l l ' T
I n - . -
I
- - ............. ...
di/vwvv*-'
i; rvt *vv; HIS W I
CM*hBi«liia.
C k k iM i
mh
i t l______
liisssasi! fO a iM lC lM
iTtrtMaa htonaST1*' '^k
tp* mMin ■ »«l Ml 1 poll
Ib -n h i
—
^Sa»fmn L 't.T o L rzI, zl Ur xn , ill
b. Synagoga (twba)
a. Chrooiiti
t o * *+*■•* c. Christas
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131
APPENDIXB ST. MATTHEWION TEXTANDTRANSLATION1 Chapter/ Verse (The conspiracy against Jesus)
26: 1
Undes begab sich, da Jesus alle diese Rede vollendei hatte, sprach er zuseinen JUngern:
Jesus hadnowfinished all he wanted to say, and he told his disciples,
26:2
“IhrwiBet, daft nach zweienTagen Ostemwird; unddes MenschenSohn wird Uberantwortet werden, daBer gekreuziget werde.”
“It will be over, as you know, in two days' time, andthe Son of manwill be handedoverto be crucified.”
26:3
Da versammleten sich die Hohenpriester undSchriftgelehrten unddie Altesten im Volk, indemPalast des Hohenpriesters, derdahieS Kaiphas; undhielten Rat, wie sie Jesummit Listen griffen und tdteten. Sie sprachen aben
Thenthe chief priests andthe elders of the people assembled in the palace of the highpriest, whose name was Caiaphas, andmade plans to arrest Jesus by some trickandhave himput to death. They said, however,
“Ja nicht aufdas Fest, aufdaBnicht ein Aufruhr werde in Volk!”
“It must not be during the festivities; there must be no disturbance among the people.”
26:4 26:5
(The anointing at Bethany)
Da nunJesus warzu Betanien imHause Simonis, des Aussatzigen, trat zu ihmein Weib, das hatte ein Glas mit kdstlichem Wasser; undgoBes auf sein Haupt, daer zuTische saB. Dadas seine JUnger sahen, wurdensie unwillig, und sprachen:
Jesus was at Bethany in the house of Simon, a man who had suffered froma virulent skin-disease, when a woman came to himwithanalabasterjarof very expensive ointment, andpoured it on his head as he was at table. Whenthey saw this, thedisciples said indignantly,
26:9
“Wozudienet dieser Unrat? Dieses wasserhatte mftcht teuer verkauft und den Armengegeben werden."
“Whythis waste? This could have been sold fora high price andthe money given the poor.”
26: 10
Dadas Jesus merkete, sprachErzu ihnen:
But Jesus noticed this andsaid.
26:6 26:7 26:8
IThis translation is based on the 1984 edition of the New Jerusalem B ible. This numbering corresponds to Matthew 26:1-75 through Matthew 27:1-66 in Luther’s bible.
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132
26: 11-
26: 13
“Was bekiimmert ihrdas Weib? Sie hat ein gut Werkanmirgetan. Ihrhabt aliezeit Armenbei Euch; mich aber habt ihn nicht alleziet. DaBdie das Wasser hat auf meinen Leib gegoBen, hat sie getan, daBmanmichbegraben wird.
“Why are you upsetting the woman? What she has done for me is indeeda good work! You have the poor withyou always, but you will not always have me. Whenshe pouredthis ointmenton my body, she did it to prepare me forburial.
“Wahrlich, ich sage euch: wo das Evangeliumgeprediget wird inder ganzen Welt, da wird manauch sagenzu ihremGedachtnis, was sie getan hat.”
IntruthI tell you, wherever in all the world this gospel is proclaimed, what she has done will be told as well, in remembrance of her.” (Judas betrays Jesus)
26: 14
Daging hin derZwOlfeneiner, mit Namen Judas Ischarioth, zuden Hohenpriestemundsprach:
Thenone of the Twelve, the mancalled Judas Iscariot, went to thechief priests andsaid,
26: 15
“Was wollt ihrmirgeben? Ich will ihn euch verraten.”
"What are you preparedto give me if I handhimover to you?’
26: 16
Undsie boten ihmdreiBig Silberling. Undvon demansuchte erGelegenheit, daBer Ihren verrSte.
They paid himthirtysilver pieces, and fromthenonwards he began to lookfor anopportunityto betrayhim. (Preparations for the over supper)
Aber amerstenTage des sttBenBrot tratendie Jiinger zuJesu, undsprachen zulhm:
Nowon the first dayof Unleavened Bread the disciples came to Jesus to say,
“Wo willst du, dafi wirdir bereiten, das OsterlammzueBen?"
“Wheredo you want us to make the preparations foryou toeat the over?”
26: 18
Ersprach: “Gehet hin in die Stadt zu einem, undsprecht zu ihm: DerMeister laBt dirsagen: 'Meine Zeit ist hier, ich will bei dirdie Ostemhalten mit meinen JUngern.’”
He said, “Go to acertain maninthe city andsay to him, TheMastersays: My time is near. It is at your house that I am keepingover withmydisciples.”
26:19
Unddie JUngertaten, wie Jesus Ihnen befohlen hatte, undbereitetendas Osterlamm.
The disciples did what Jesus toldthem andprepared theover.
26: 17
(The treachery of Judas foretold)
26:20 26:21
UndamAbendsetzte Ersich zu Tische mitdenZwdlfen, undda sie afien, sprach Er
When evening came he was at table with the Twelve. And while they were eating he said.
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133
26: 22
26: 23 26: 24
26:25
“Wahrlich, ich sage euch, einer unter euch wirdmich verraten.”
“Intruth I tell you, one of you is about to betrayme.”
Und sie wurdensehrbetriibt, undhuben an, einjeglicher unter ihnen, undsagten zu ihm:
They were greatly distressed andstarted asking himin turn,
“Herr, binichs?"
“Not me. Lord, surely?"
Erantwortet undsprach:
He answered,
“*Dermit der Handmit mirindie Schiissel tauchet, der wird mich venraten. Des Menschen Sohn gehet zwardahin, wie von ihmgeschrieben stehet; doch wehe demMenschen, durch welchendes MenschenSohn verratenwird! Es ware besser, daBderselbe Mensch nochnie geboren ware.”
“Someone who has dipped his handinto the dish with me will betrayme. The Sonof man is going to his fate, as the scriptures say he will, but alas forthat manby whomthe Son of manis betrayed! Better for that manif he had never been bom!”
Da antwortet Judas, derIhnverriet, und sprach:
Judas, who was to betrayhim, askedin his turn,
“Bin ichs. Rabbi?”
“Not me. Rabbi, surely?”
Ersprachzu ihm:
Jesus answered,
“Du sagst’s.”
“It is you who say it" (The institution of the Eucharist)
Da sie aberaflen, nahmJesus das Brot, danket, undbrach’s undgab’s seinen JUngem, undsprach:
Nowas they wereeating, Jesus took bread, andwhen he hadsaid theblessing he broke it andgave it to thedisciples.
“Nehmet efiet; das ist meinLeib.”
‘Take it andeat'”he said, “this is my body.”
26:27
UndErname den Kelch, unddanket, und gab ihnenden, undsprach:
Then he took acup, andwhenhe had given thanks he handed it to themsaying,
26:28
“Trinket alle daraus; das is mein Blut des NeuenTestaments, welches fttrviele vergoBen wird; zurVergebungder Siinden. Ichsage euch: ich werde von nunan nicht mehrvondiesemGew&hs des Weinstocks trinken, bis andenTag, da ich’s neutrinken werdemit euchin meines Vaters Reich."
“Drinkfromthis, all of you, for this is myblood, theblood of die covenant pouredout for manyforthe forgiveness of sins. Fromnowon, I tell you, I shall never againdrinkwine until thedayI drinkthe newwine withyou inthe kingdomof myFather.'
26:26
26:29
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134 (Peter's denial foretold)
26: 30 26:31
26: 32
26: 33
26: 34
26: 35
Und dasie denLobgesang gesprochen hatten, gingen sie hinaus anden Oleberg. Da sprachJesus zu ihnen:
After the psalms hadbeensung they left forthe Mount of Olives. ThenJesus said to them,
"Indieser Nacht werdet ihreuch alle argemanmir. Dennes steht geschrieben: Ich werde den Hirtenschlagen, unddie Schafe der Herde werdensich zerstreuen. Wenn ich aber auferstehe, will ich voreuch hingehenin Galilaam."
“You will fall away fromme tonight, for the scripture says: I shall strike the shepherd and the sheep of theflock will be scattered, but after myresurrection I
shall go aheadof you to Galilee.”
Petrus aberantwortet, undsprachzu ihm:
At this, Peter said to him.
“Wennsie auch alle sich andirSrgerten, so will ichdoch mich nimmermehr argem.”
“Even if all fall awayfromyou, I will never fall away.”
Jesus sprachzu ihm:
Jesus answeredhim,
“Wahrlich, ich sage dir indieser Nacht, ehe derHankrahet, wirst du mich dreimal verleugnen.”
“IntruthI tell you, this very night, before the cockcrows, you will have disowned me three times.”
Petrus sprach zu ihm:
Peter said to him,
“Und wenn ich mit dirsterben mtiQte, so will ichdichdoch nicht verleugnen.”
“Even if I have to die withyou, I will neverdisown you.'
Desgleichen sagten auchalle JUnger.
Andall the disciples said the same. (Gethsemane)
Da kamJesus mit ihnenzueinemHofe, der hieBGethsemane, undsprachzu seinen JUngera:
ThenJesus came withthemto a plot of landcalled Gethsemane; andhe said to his disciples,
“Setzet euchhie, bis daBich dorthin gehe, undbete:”
“Stay here while I go over there to pray.'
26: 37
Und nahmzusich Petrum, unddie zweene Sdhne Zebedei, under fing anzu traurenundzu zagen.
He tookPeter andthe two sons of Zebedee withhim. Andhe beganto feel sadness andanguish.
26:38
Da sprachJesus zu ihnen:
Thenhe said to them,
“Meine Seele ist betrilbet bis indenTod; bleibet hier, undwachet mit mir.”
“My soul is sorrowful to thepoint of death. Wait here andstay awake with __e.» m
26: 36
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135
Undging hinein wenig, fiel niederauf sein Angesicht, betet undsprach:
And going on a little furtherhe fell on his face andprayed. “My Father,” he said,
“Mein Vater, ist’s mijglich, so gehe dieser Kelch von mir; doch nicht wie ich will, sondemwie du wilst.”
“if it is possible, let this cup me by. Nevertheless, let it be as you, not I, would have it”
26: 40
Und er kamzu seinen Jiingem, und fand sie schlafend, und sprachzu Petro:
He came backto the disciples andfound themsleeping, andhe said to Peter,
26:41
“Kdnnet ihrdenn nicht eine Stunde mit mir wachen? Wachet undbetet, daBihr nicht in Anfechtung fallet. Der Geist ist willig; aberdas Fleisch ist schwach.”
'So you had not the strengthto stay awake with me for one hour? Stay awake, andpraynot to be put to the test The spirit is willing enough, but human nature is weak.”
26: 42
Zumanderamal gingeraberhin, betet und sprach:
Again, a second time, he went away and prayed:
“Mein Vater, ist’s nicht mtiglich, daB dieser Kelch vonmirgehe, ich trinke ihn denn; so geschehe dein Wille."
“My Father,” he said, “if this cupcannot me by, but I must drinkit your will be done!”
Under kam, undfandsie aberalle schlafend, undihreAugen waren voll Schlafs. Under lieSsie, undging abermal hin, undbetet zumdrittenmal, undredet dieselbigen Wort Da kamer zuseinen JUngem, undsprach zu ihnen:
And he came backagain andfound them sleeping, theireyes were so heavy. Leaving themthere, he went away again andprayed for the thirdtime, repeating the same words. Then he came backto the disciples andsaid:
“Ach, wollt ihr nunschlafen und ruhen? Siehe, die Stunde ist hie, daBdes Menschen Sohn inderSiinderHhnde iiberantwortet wird. Stehet auf, lafit uns gehen; siehe, er ist da, dermich verrht”
“Youcansleep on nowandhave your rest Look, the hourhas come whenthe Sonof man is to be betrayed into the hands of sinners. Get up! Let us go! Look, mybetrayeris not far away.
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(The arrest)
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Undals er nochredet siehe, dakam Judas, derZwfilfeneiner, undmit ihm eine groBe Schar, mit SpieBenundmit Stangen, von denHohenpriestemund Altesten des Volks. Undder VerrSter hatte ihneneinZeichengegeben, und gesagt:
And suddenly while he was still speaking, Judas, one of theTwelve, appeared, andwithhima large number of men armed withswords andclubs, sent by the chief priests andelders of the people. Nowthe traitorhadarrangeda sign withthemsaying,
“Welchen ich kufienwerde, derist's, greifet”
“The one I kiss, he is the man. Arrest him.”
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Und alsbald trat er zu Jesu, undsprach:
So he went uptoJesus at once and said,
“GegriiBet seist du. Rabbi!”
“Greetings, Rabbi,"
undkiifiet ihn. Jesus aber sprach zu ihm:
andkissed him. Jesus said to him,
“Mein Freund, warumbist du kommen?”
“Myfriend, do what you are here for.”
Da tratensie hinzu, und legten die Hdnde aufJesum, undgriffen Ihn. Und siehe, einer aus denen, die mit Jesu waren, recket die Handaus, undzog sein Schwert aus, undschlug des Hohenpriesters Knecht, undhieb ihmein Ohrab.
Thentheycame forward, seized Jesus andarrestedhim. And suddenly, one of the followers of Jesus grasped his sword anddrewit; he struckthe high priest's servant andcut off his ear.
Da sprachJesus zu ihm:
Jesus thensaid,
“Stecke dein Schwert anseinemOrt; denn werdas Schwert nimmt, der soli durchs Schwert umkommen. Oder meinest du, daBich nicht ktinnte meinen Vaterbitten, daBer mirzuschickte mehr denn zwdlf Legion Engel? Wie wiirde aberdie Schrift erfiillt? Es muBalso geschehn.”
“Put yourswordback, forall whodraw the sword will die by the sword. Ordo you thinkthat I cannot appeal to my Father, who would promptlysend more thantwelve legions of angels to my defense? But then, howwould the scriptures be fulfilled that say this is the way it must be?”
ZuderStundesprachJesus zu den Scharen:
It was at this time that Jesus said to the crowds,
“Ihrseid ausgegangen, als zueinem Mdrder, mit Schwerterundmit Stangen, mich zu faBen. Bin ichdoch thglich geseBen bei euch, undhabe gelehret im Tempel, undihrhabt michnicht gegriffen. Aberdies ist alles geschehen, daBerfUllet wtirdedie Schrift der Propheten.” Da verlieBenihnalle Jilnger, undflohen.
“AmI a bandit, that you hadto set out to capture me withswords andclubs? I sat teaching in theTemple day afterdayand you never laid ahandon me. Nowall this happened to fulfil the prophecies in scripture.” Then all the disciples deserted himandranaway.
(Jesus before the Sanhedrin)
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Die aberJesumgegriffen hatten, fUhrten ihnzumHohenpriesterCaiphas, dahin die Schriftgelehnen undAltestensich versammelt hatten. Petrus aberfolgete ihmnach vonfeme, bis indenPalast des Hohenpriesters; undging hinein, und setzte sich bei die Knechte, auf daBer sche, wo es hinaus wollte. Die HohenpriesteraberundAltesten, undder
The men who hadarrestedJesus led him off to the house of Caiaphas the high priest, where the scribes andthe elders wereassembled. Peterfollowed himat adistanceright to the highpriest’s palace, andhe went in andsat down with the attendants tosee what theend would be. The chief priests andthe whole Sanhedrinwere looking forevidence
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ganze Rat suchten falsche Zeugnis wider Jesum, aufdaBsie ihntdteten; und fundenkeines. Und wiewohl viel falscherZeugen hinzu traten, funden sie doch keines. Zuletzt tratenhinzu zweene falsche Zeugen, undsprachen:
against Jesus, however false, on which they might have himexecuted. But they could not find any, though several lying witnesses came forward. Eventually two came forward and madea statement. This mansaid,
“Erhat gesagt: ‘Ich kanndenTempel Gottes abbrechen, undindreienTagen denselben bauen.”’
“I have power to destroy the Temple of Godandin three days build it up.”
UndderHohepriester stand auf, und sprachzu ihm:
The high priest thenrose andsaid to him.
“Antwortest du nichts zu dem, das diese widerdich zeugen?”
“Have you no answer to that? What is this evidence these men are bringing against you?”
Jesus aberschwieg stille. Undder Hohepriesterantwortet und sprachzu ihm:
But Jesus was silent. And the high priest said to him,
“Ichbeschwdre dich bei demlebendigen Gott, daBdu uns sagest, obdu seist Christus, derSohnGottes.” 26:64
“I put youon oathby the living God to tell us if you are theChrist, the Son of God."
Jesus sprachzu ihm:
Jesus answered him,
“Du sagst's. Doch sag icheuch: vonnun anwird’s geschehen, daBihrsehen werdet des Menschen Sohn sitzen zur RechtenderKraft, undkommen inden Wolken des Himmels.”
“It is you who say it But I tell you that fromthis time onward you will see the Son of manseated at the right handof thePowerandcoming on the clouds of heaven.”
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DazerriBderHohe Priesterseine Kleider, undsprach:
Then the high priest tore his clothes and said,
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“Erhat Gott gelastert; was dilrfen wir weiterZeugnis. Siehe, jetzt habt ihr seine Gottes Listening gehdret. Was dUnket euch?"
“He has blasphemed. What needof witnesses have we now? There! You havejust heardthe blasphemy. What is youropinion?”
Sie antworteten, undspachen:
Theyanswered,
“Erist des Todes schuldig.”
“He deserves to die.”
Da speieten sie aus in sein Angesicht, undschlugen ihnmit Fausten. Etlichen aberschlugen ihn ins Angesicht, und sprachen:
Then they spat in his face and hit him withtheirfists; others said as they struck him.
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“WeiBage uns, Christe, wer ist’s, der dich schlug?"
“Prophesy to us, Christ! Who hit you then?” (Peter's denials)
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Petrus abersaBdrauBenimPalast; und es trat zu ihmeine Magd, undsprach:
Meanwhile Peter was sitting outside in the courtyard, and aservant-girl came up to himsaying,
“Und du warest auch mit demJesu aus Galilaea.”
“You, too, were withJesus the Galilean.”
ErIeugnet aber vorihnen alien, und sprach:
But he denied it in front of themall, saying:
“Ich weiBnicht, was du sagest”
“I do not knowwhat you are talking about” he said.
Als eraberzurTiirhinaus ging, ersahe ihneine andere Magd, undsprach zu denen, die dawaren:
Whenhe went out tothe gateway anotherservant-girl sawhimandsaid to thepeople there,
“Dieser warauchmit demJesu von Nazareth.”
“This man was withJesus the Nazarene.”
Under leugnete abermal, und schwur dazu:
And again, withanoath, he denied it
“Ichkenne des Menschen nicht”
“I do not knowthe man."
Und Ubereine kleine Weile tratenhinzu, die da stunden, undsprachenzu Petro:
Alittle laterthe bystanders came upand said to Peter,
“Wahrlich, dubist aucheiner von denen; denn deine Sprachverrat dich.”
“You arecertainly one of themtoo!”
Da huber ansich zu verfluchen undzu schwdren:
Why, youraccent gives you away.” Then he startedcursing andswearing,
“Ichkenne des Menschen nicht”
“I do not knowthe man.”
Undalsbald krahetder Hahn. Dadachte Petrus andie WortJesu, daer zu ihm sagte:
And at once the cockcrowed, andPeter edwhat Jesus hadsaid.
“Ehe derHahnkrahenwird, wirst du michdreimal verleugnen.”
“Before the cockcrows you will have disowned me threetimes.”
Undging heraus, und weinet bitterlich.
Andhe went outside andwept bitterly.
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139 (Jesus is taken before Pilate)
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Des Morgens aber hielten alle Hohepriester und Altesten des Volks einen Rat widerJesum, daBsie Ihn toteten. Und bunden ihn, fiihreten ihn hin, und iiberantworteten ihndem LandpflegerPontio Pilato.
Whenmorningcame, all the chiefpriests andthe elders of the people met in council tobringabout the deathof Jesus. They had himbound and led himaway to hand himover to Pilate, the governor. (The death of Judas)
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Da das sahe Judas, der ihn verratenhatte, daBer verdammet war zumTode, gereuet es ihm, undbrachte herwieder die dreiBig Silberlinge den Hchen Priesternund Altesten des Volks, und sprach:
Whenhe found that Jesus hadbeen condemned, thenJudas, his betrayer, was filled withremorse and took the thirty silver pieces backto the chief priests and elders saying,
“Ich habe Ubel getan, daBich unschuldig Blut verratenhabe.
“I have sinned. I have betrayed innocent blood."
Sie abersprachen:
Theyreplied,
“Was gehet uns das an? Da siehe du zu.”
“What is that to us? That is your concern.”
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Under warfdie Silberlinge inden Tempel, hubsich davon, ging hin und erhenket sich selbst
And flinging down the silver pieces in the sanctuary he made off, andwent and hanged himself.
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Aberdie Hohenpriester nahmendie Silberling, undsprachen:
The chief priests picked up the silver pieces andsaid,
“Es taugt nicht, daBwirsie inden Gotteskasten legen; denn es ist Blutgeld.”
“It is against the Lawto put this into the treasury; it is blood money.”
Sie hielten abereinen Rat, undkauften einenTOpfers Ackerdarura, zum BegrSbnis derPilger. Daherist derselbige Ackergennent derBlut Acker, bis auf denheutigenTag. Da ist erfiillet, was gesagt ist dutchden ProphetenJeremias, derda spricht: “sie habengenommendreiBig Silberlinge, damitbezahlet wardderverkaufte, welchen sie kauftenvonden Kindern Israel; und habensie gegeben umeinen TOpfers Acker, als mirderHerrbefohlen hat”
So theydiscussed the matterandwithit bought the potter’s field as agraveyard for foreigners, and this is whythe field is still called the Field of Blood. The word spoken through the prophet Jeremiah was then fulfilled: “And they
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took the thirty silver pieces, the sum at which the precious One was priced by the children of Israel, and they gave themfor the potter’s field, just as the Lord directed me."
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140 (Jesus before Pilate)
Jesus aber stundt vor den Landpfleger; undderLandpfleger fraget ihn, und sprach:
Jesus, then, was brought before the governor, and the governor put to him this question,
“Bist duderJuden Konig?"
“Are you the kingof the Jews?”
Jesus aber sprach zu ihm:
Jesus replied,
“Du sagst."
“It is you who say it.”
Und daer verklaget ward von den HohenpriestemundAltesten, antwortet er nichts. Da sprachPilatus zu ihm:
But when he was accused by the chief priests and the elders he refused to answerat all. Pilate then said to him,
“HOrest du nicht, wie hart sie dich verklagen?”
“Do you not hearhowmanycharges they have madeagainst you?’
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Under antwortet ihnnicht aufein Wort, also, daBsich auchderLandpflegersehr verwunderte.
But to the governor’s amazement, he offered not a wordinanswer to anyof the charges.
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Auf das Fest aber hattederLandpfleger Genohnheit, demVolkeinen Gefangenen los zu geben, welchen sie wollten. Er hatte zuderZeit einen Gefangenen, der hieBBarrabas, derwar fast rilchtig. Unddasie versammlet waren, sprach Pilatus zu ihnen:
At festival time it was the governor's practice to release a prisoner forthe people, anyone theychose. Nowthere was thena notorious prisonerwhose name was Barabbas. So whenthe crowd gathered, Pilate said to them.
“Welchen willt ihr, daBicheuch losgebe, BarrabamoderJesum, denmanChristum nennet?”
“Whichdo you want me to release for you: Barabbas, orJesus who is called Christ?"
DennerwuBte wohl, daBsie ihnaus Neid Uberantwortet hatten. Unddaer aufdemRichtstuhl saB, schickte sein Weibzu ihm, und lieBihmsagen:
ForPilate knewit was out ofjealousy that theyhad handedhimover. Nowas he was seated in the chairofjudgement, his wife sent himamessage,
“Habedu nichts zuschaffen mit diesem Gerechten; ich habe heut viel erlittenim Traumvon seinetwegen.”
“Have nothing to do with that upright man; I have been extremely upset today by adreamthat I hadabout him.”
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Aberdie HohenpriesterundAltesten Qberredetendas Volk, daBsie um Barrabambittensollten, undJesum umbrdchten.
The chief priests andthe elders, however, hadpersuadedthe crowdto demandthe releaseof Barabbas andthe executionof Jesus.
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Da antwortet nunderLandpfleger, und sprachzu ihnen:
So whenthe governorspoke andasked them.
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“Welchen wollt ihr unterdiesen zweien, den ich euch soil losgeben?”
“Whichof the two do you want me to release foryou?’
Sie sprachen:
Theysaid,
“Barrabam, Barrabam, Barrabam.”
“Barabbas.”
Pilatus sprachzu ihnen:
Pilate saidto them,
“Was soil ich denn machen mit Jesu, von demgesaget wird, er sei ChrismsT
“But in that case, what amI to do with Jesus who is called Christ?”
Sie sprachen alle:
Theyall said,
“LaBihn kreuzigen, laBihnkreuzigen!”
“Let himbe crucified!”
DerLandpflegersagete:
He asked,
“Was hat erdenn Obels getan?”
“But what harmhas he done?"
Sie schrieenabernoch mehr, und sprachen:
But they shoutedall the louder.
“LaBihnkreuzigen, laBihnkreuzigen, laBihn kreuzigen!”
“Let himbe crucified!”
Da aberPilatus sahe, daBernichts schaffe, sondemdaBviel ein grOBer GetUmmel war, nahmer Wasser, und wusch die Hdnde vordemVolk, und sprach:
ThenPilate sawthat he was making no impression, that in fact ariot was imminent So he took some water, washed his hands in front of the crowd andsaid,
“Ich bin unschuldig andemBlut dieses Gerechten; sehet ihrzu!"
“I aminnocent of this man's blood. It is yourconcern.”
Da antwortet das ganze Volk, und sprach:
Andthe people, every one of them, shoutedback,
“Sein Blut komme Uberuns undilber unsere Kinder!"
“Let his bloodbe on us andonour children!”
Da gaber ihnen BarrabamIos; Jesum aberlieBergeiBeln, undUberantwortet ihn, daBErgekreuziget wtirde.
Then he released Barabbas forthem. After havingJesus scourged he handed himover to be cmcified. (Jesus is crowned with thorns)
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Da nahmendie Kriegsknechte des Landpflegers Jesumzu sich indas Richthaus, undsammletenUberihndie ganze Schar, undzogen ihnaus, und
Thenthe governor’s soldiers tookJesus with theminto the Praetoriumand collected the whole cohort roundhim. Andthey strippedhimand put a scarlet
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legten ihmeinen Purpurmantel an; und flochten eine DomenKrone, und setzten sie auf sein Haupt, undein Rohr inseine rechte Hand, undbeugeten die Kniee vor ihm, und spotteten ihn, undsprachen:
cloak roundhim, and having twisted some thoms into acrown they put this on his headandplaced a reed in his right hand. To make fun of himthey knelt to himsaying,
‘•GegriiBet seist du, derJuden Konig!”
“Hail, kingof theJews!”
Und speieten ihn an, und nahmendas Rohr, und schlugen damit sein Haupt. Und da sie ihn verspottet hatten, zogen sie ihmdemMantel aus, undzogen ihm seine Kleideran, undfiihreten ihn hin, daBsie ihn kreuzigten.
And they spat on himand tookthe reed andstruck himon the head with it And when they hadfinished making funof him, they tookoff the cloak anddressed himin his ownclothes andled himaway to crucifixion. (The crucifixion)
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Und indemsie hinaus gingen, fundensie einen Menschen von Kyrene, mit Namen Simon; den zwungen sie, daBer ihmsein Kreuze trug. Unddasie andie Stdtte kamen, mit NamenGolgatha, das ist verdeutschet Schadelstatt, gaben sie ihm Essig zu trinken mit Gallen vermischt; unddaer’s schmecket, wollte er’s nicht trinken. Da sie ihnabergekreuziget hanen, teileten sie seinemKleider, und worfendas Los darum; auf daBerfiillet wiirde, was gesagt ist durchden Propheten: sie haben meine Kleider unter sich geteilet, und UbermeinGewand habensie das Los geworfen. Undsie saBenallda, und hUtetensein. Undoben zu seinen HUuptenhefteten sie die Ursach seines Todes beschrieben, n&nlich:
Ontheir way out, theycame across a man fromCyrene, called Simon, and enlisted himto carry his cross. When they hadreacheda place called Golgotha, that is the place of the skull. They gave himwine to drinkmixed with gall, which he tasted but refused to drink. When they hadfinished crucifying him they sharedout his clothing bycasting lots, andthensat down andstayed there keeping guardover him. Above his head was placed the charge against him; it read:
“Dies ist Jesus, derJudenKtinig.”
“This is Jesus, the Kingof theJews."
Und da wtirden zwene Mdrdermit ihm gekreuziget, einer zurrechten, undeiner zurlinken.
Then two bandits were crucified with him, one on the right andone on the left. (The crucified Jesus is mocked)
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Die abervorUbergingen, lUstertenihn, undschUtteltenihre Kopfe, und sprachen:
The ers-byjeered at him; theyshook theirheads and said.
“DerdudenTempei Gottes zerbricht, undbauest ihnin dreienTagen, hilf dir
“So you would destroythe Temple and in three days rebuild it! Thensave
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143
selber! Bist duGottes Sohn. so steig herab vomKreuz!”
yourself if youareGod's son andcome down fromthecross!”
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Des gleichen auchdie Hohenpriester spotteten sein, sambt den Schriftgelehrten undAltesten, und sprachen:
The chief priests with the scribes and elders mockedhimin the same way, withtheirwords,
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“Andemhat ergeholfen, und kann ihm selber nicht helfen. Ist erder KOnig von Israel, so steig er nun vomKreuz, so wollen wirihmglduben; er hat Gott vertrauet, dererlose ihn, liistet’s ihm; denner hat gesagt: ‘ich binGottes Sohn.”’
“He savedothers; he cannot save himself. He is the king of Israel; let him come down fromthecross now, and we will believe inhim. He has put his trust inGod; nowlet God rescue himif he wants him. For hedidsay, "IamGod's ___ son.H*t
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Des gleichen schmdhetenihn auchdie Mtirder, die mit ihmgekreuziget waren.
Eventhe bandits who were crucified with himtauntedhimin the same way.
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(The death of Jesus) Und von dersechsten Stunde an ward eine Finstemis tlberdas ganze Land, bis andie neunte Stunde. Und umdie neunte Stunde schrieJesus laut undsprach:
Fromthe sixth hourthere was darkness overall the landuntil the ninthhour. And about the ninth hour, Jesus criedout ina loud voice,
“Eli, Eli, Eli, Lamaasabthani.”
“Eli, eli, lama sabachthani?'
Das ist: “meinGott, warumhast du mich verlaBen?”
that is, “My God, my God, why have you forsaken me?'
Aber, die dastunden, da sie das hOreten, sprachensie:
Whensome of those who stood there heard this, they said,
“Derrufet denElias.”
“The manis calling onElijah,"
Undbald lief einer unterihnen, nahm einen Schwamm, undfUllet ihn mit Essig, undsteckt ihnaufein Rohr, und trfnket ihn. Die andemabersprachen:
andone of themquicklyranto get a sponge which he filled with vinegarand, putting it on areed, gave it himto drink. But the rest of themsaid,
“Halt, laBsehen, ob Elias komme, und ihmhelfe!”
“Wait! And see if Elijah will come to save him.”
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AberJesus schrei abermal laut, und verschied.
But Jesus, againcrying out in aloud voice, yielded uphis spirit
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Undsiehe da, derVorhang imTempel zerrifi in zwei Stack, vonoben anbis
Andsuddenly, theveil of the Sanctuary was tomintwo fromtoptobottom, the
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unten aus. Und die Erde erbebete, und die Felsen zerrifien, unddie Grabertaten sich auf, undstunden auf viel Leibe der Heiligen, die schliefen, undgingen aus den Grabemnachseiner Auferstehung, und kamen indie heilige Stadt, und erschienen vielen. Aberder Hauptmann unddie bei ihmwaren, bewahreten Jesum, unddasie sahen das Erdbeben, und was dageschach, erschraken sie sehr, undsprachen:
earthquaked, the rocks were split, the tombs opened andthe bodies of many holy people rose fromthe dead, and these, afterhis resurrection, came out of the tombs, entered the holy city and appearedto a numberof people. The centurion, together with the others guardingJesus, hadseen the earthquake andall that was taking place, andthey were terrifiedandsaid.
“Wahrlich, dieser ist Gottes Sohn gewesen!”
“Intruththis man was son of God.”
Denn es waren viel Weiberda, die von feme zusahen, die daJesu waren nach gefolget aus Galilaa, und hattenihm gedienet. Unterwelchen warMaria Magdalena, undMaria, die Mutter Jacobi undJoses, unddie Mutterder KinderZebedei.
And manywomen were there, watching fromadistance, the same women who had followed Jesus fromGalilee and looked after him. Among themwere Maryof Magdala, Marythe motherof James andJoseph, and the motherof Zebedee's sons. (The burial)
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AmAbendaber kamein reicher Mann von Arimathia, derhieBJoseph, welcher auchein JUngerJesu war, derging zu Pilato, undbat ihn umden LeibJesu. Da befahl Pilatus, man soilt ihmihngeben. UndJoseph nahmden Leib, und wickelt ihn inein reinLeinwand; undlegte ihn in sein eigen neuGrab, welches er hatte laBen in einen Felsen hauen; undwiilzet einen groBenStein vordie Tiirdes Grabes, undging davon.
When it was evening, there came arich manof Arimathaea, called Joseph, who had himself become a disciple of Jesus. This manwent to Pilate andasked for the bodyof Jesus. Then Pilate ordered it to be handedover. So Joseph tookthe body, wrappedit ina clean shroud and put it in his own newtomb which he had hewnout of the rock. He thenrolled a large stone across the entrance of the tomb andwent away.
Es was aberallda MariaMagdalena, und die andere Maria, die setzten sich gegen das Grab.
NowMaryof Magdala andthe other Marywere there, sitting opposite the sepulchre. (The guard at the tomb)
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Des andemTages, derda folget nach demRiist Tage, kamendie Hohenpriester undSchriftgelehrten sdmtlichzu Pilato, undsprachen:
Next day, that is, whenPreparationDay was over, the chief priests andthe Pharisees went ina body to Pilate and said to him,
“Herr, wirhabengedacht, daBdieser VerfUhnr sprach, daer noch lebet: ‘ich
“Your Excellency, we recall that this imposter said, while he was still alive.
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will nachdreienTagen auferstehen.’ Darumbefiehle, daBmandas Grab verwahre bis anden drittenTag, auf daB nicht seine Jiinger kommen undstehlen ihn, undsagen zu demVolk, *Ersei auferstanden;’ und werde der letze Betrug iirger, dennder erste.”
"Afterthreedays I shall rise again." Therefore give the orderto have the sepulchre kept secure until the thirdday, forfear his disciples come and steal him away andtell the people, "He has risen fromthedead." This last piece of fraud would be worse thanwhat went before.”
Pilatus sprach zu ihnen:
Pilate said to them,
“Da hat ihrdir Hiiter, geht hin, und verwahret’s, wie ihrwifieL”
“You mayhave your guard; go andmake all as secure as you knowhow.”
Sie gingen hin, und verwahretendas Grabmit Hiitem, und versiegelten den Stein.
So they went andmade the sepulchre secure, puttingseals on the stone and mountingaguard.
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146 APPENDIX C ST. JOHN ION TEXT AND TRANSLATION*
Chapter/ Verse
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(The arrest of Jesus)
Jesus ging liber den Bach Kidron, da war ein Garten, dareinging Jesus undsein Jiinger. Judas aber, der ihn verriet, wuBte den Ort auch, dennJesus versammelte sich oft daselbst mit seinen Jiingem; da nunJudas zu sich hatte genommendie Schar, undderHohenpriesterund PharisaerDiener, kOmmt erdahin mit Fackeln, Lampen, undmit Waffen. AlsnunJesus wuBte Alles, was ihm begegnensollte, ging er hinaus und sprach zu ihnen:
After he had said all this, Jesus left with his disciples andcrossed the Kidron valley where there was a garden into which he went withhis disciples. Judas the traitorknewthe place also, since Jesus hadoften met his disciples there, so Judas brought the cohort to this place together withguards sent by thechief priests and the Pharisees, all with lanterns andtorches and weapons. Knowing everything that was to happen to him, Jesus came forward andsaid.
“Wen suchest ihr?”
“Who are you looking for?”
Sie antworteten:
They answered,
"JesumvonNazareth.”
“Jesus the Nazarene.”
Jesus sprachzu ihnen:
He said,
“Ich, ichbins.”
“I amhe.”
Judas aber, derihn verriet, stund auch bei ihnen. Also nunJesus zu ihnen sprach: “Ich bin’s!” wichen sie zuriicke und fielen zu Boden. Dafragete ersie abermals:
NowJudas the traitor was standing among them. WhenJesus saidto them, 1 amhe,' theymovedbackandfell onthe ground. He asked thema second time,
“Wensuchet ihr?”
"Who areyou looking for?”
Sie abersprachen:
They said,
“Jesumvon Nazareth.”
“Jesus the Nazarene.”
Jesus antwortete:
Jesus replied.
'This translation is based on the 1984 edition of the New Jerusalem Bible.
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147
“Ich hab’s euch gesagt, daBich’s sei, suchet ihrdenn mich, so laBet diese gehen! Auf daBdas Wort erfiillet wiirde, welches sagte: Ichhabe der Keine verloren, die du mirgegeben hast.”
“I have told you that I amhe. If I amthe one you are looking for, let these others go.”This was to fulfil the words he had spoken, “Not one of those you gave me have I lost.”
18:10
Da hatte Simon Petrus ein Schwert, und zog es aus, und schlug nachdes Hohenpriesters Knecht, undhieb ihm sein recht’ Ohrab, undder Knecht hieB Malchus.
Simon Peter, who hada sword, drewit andstruckthe high priest's servant cuttingoff his right ear. The servant's name was Malchus.
18: 11
Da sprachJesus zu Petro:
Jesus said to Peter,
“Stecke dein Schwert indie Scheide; soli ich den Kelch nicht trinken, den mir mein Vatergegeben hat?”
“Put yoursword backin its scabbard; am I not todrink the cup that the Fatherhas given me?”
18: 9
(Jesus before Annas and Caiaphas Peter disowns him)
Die Scharaber undderOberhauptmann, unddie Diener derJudennahmenJesum und banden ihn und fiihretenihn aufs erste zu Hannas, derwarCaiphas’ Schwdger, welcher des Jahres Hoherpriester war; es waraberCaiphas, derdenJudenriet, es ware gut, daBein Mensch wiirde umbracht fUrdas Volk.
The cohort and its tribune andthe Jewish guards seized Jesus andbound him. Theytookhimfust to Annas, because Annas was the father-in-lawof Caiaphas, who was high priest that year. It was Caiaphas who hadcounseled the Jews, “It is better forone manto die for the people.”
18:16
Simon Petrus aberfolgete Jesu nach, und ein andererJilnger. Derselbige Jttnger wardemHohenpriesterbekannt, und ging mit Jesu hinein indes Hohenpriesters Palast, Petrus aberstund drauBenvorderTllr. Daging der andere Jilnger, derdemHohenpriesterbekannt war, hinaus, undredete mit der Tiirhilterinund filhretePetrumhinein.
Simon Peter, withanotherdisciple, followed Jesus. This disciple, who was known to the highpriest, went withJesus into the high priest's palace, but Peter stayed outside the door. So theother disciple, the one knownto the high priest, went out, spoke to the door keeper andbrought Peterin.
18:17
Da sprachdie Magd, dieTiirhilterin, zu Petro:
The girl on dutyat the doorsaid toPeter,
“Bist dunicht auchdieses Menschen JUngereiner?"
“Aren't you anotherof that man’s disciples?”
Ersprach:
He answered,
“Ichbins nicht”
“I amnot”
18:12 18: 13 18: 14
18: IS
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Es stunden aber die Knechte und Diener, und hatten ein Kohlfeuer gemacht, denn es war kalt und wiirmeten sich; Petrus aber stund bei ihnen und warmete sich.
Nowit was cold, and the servants and guards hadlit acharcoal fire and were standing there wanning themselves; so Peter stood there too, warming himself with the others.
18: 19
AberderHohepriesteraber fragteJesum umseine Jilnger und umseine Lehre. Jesus antwortet ihm:
The high priest questioned Jesus about his disciples and his teaching. Jesus answered,
18:21
“Ich habe frei offentlich geredet vorder Welt, ich habe allezeit gelehret inder Schule und indemTempel, da alle Juden zusammenkommen, und habe nichts im Verborgengeredet. Was fragst du mich darum? Frage darum, die gehtiret haben, was ich zu ihnen geredet habe; siehe, dieselbigen wiBen, was ich gesaget habe!”
“I have spokenopenly for all the world to hear; I have always taught in the synagogue andin the Temple where all theJews meet together, I have said nothing insecret Whyaskme? Askmy hearers what I taught; they knowwhat I said.”
18:22
Als er solches redet, gab der Dienereiner Jesus einemBakkenstreich undsprach:
At these words, one of the guards standing by gave Jesus aslap in the face, saying,
“Sollst dudemHohenpriesteralso antworten?”
“Is that the way you answer the high priest?”
Jesus aberantwortete:
Jesus replied,
“Habe ich Ubel geredet, so beweise es; daBes bdse sei; hab’ ich aberrecht geredet, warumschlagst dumich?”
“If there is some offense in what Isaid, point it out; but if not whydo you strike me?”
Und Hannas sandte ihngebunden zu demHohenpriesterCaiphas. Simon Peter stund, und warmete sich, dasprachensie zu:
Then Annas sent him, bound, to Caiaphas the high priest As Simon Peter stood there warming himself, someone said to him,
“Bist du nicht seine JUngereiner?”
“Aren't you anotherof his disciples?”
Er leugnete aberundsprach:
He denied it saying,
“Ich bin’s nicht!”
“I amnot”
Spricht des Hohenpriesters Knecht einer, einGefreund’terdes. demPetrus Ohr abgehauenhatte:
Oneof the high priest’s servants, a relationof the man whose ear Peterhad cut off, said,
“Sahe ichdich nicht imGartenbei ihm?"
“Didn't I see you in the gardenwith him?”
18:20
18:23
18:24 18:25
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Da verleugnete Petrus abermal, undalso bald krahete derHahn.
Again Peter denied it; andat once acock crew. (Jesus before Pilate)
Da fiihreten sie JesumvonCaiphas vor das Richthaus, undes war friihe. Undsie gingen nicht indas Richthaus. aufdaB sie nicht unrein wiirden, sondemOstem eBen mOchten. Da ging Pilatus zu ihnen hinaus undsprach:
They then led Jesus fromthe house of Caiaphas to the Praetorium. It was now morning. They did not go into the Praetoriumthemselves to avoid becoming defried and unable to eat the over. So Pilate came outside to themandsaid,
“Was bringet ihrfiir (Cage widerdiesen Menschen?”
“What charge do you bring against this man?"
Sie sprachen:
They replied,
18: 30
“Waredieser nicht ein Ubeltater, wir hattendir ihn nicht iiberantwortet.”
“If he were not acriminal, we should not have handedhimoverto you.”
18:31
Dasprach Pilatus zu ihnen:
Pilate said to them:
“So nehmet ihr ihn himundrichtet ihn nacheuremGefallen.”
‘Take himyourselves, andtryhimby yourown Law.”
Die Judensprachen:
The Jews answered,
“Wirdlirfen niemand tdten.”
“We are not allowed to put amanto death.”
18:32
Auf daBerfUllet wiirdedas Wort Jesu, welches er sagte, daerdeutete, welches Todes ersterben wiirde.
This was to fulfil the words Jesus had spoken indicating the way he was going to die.
18:33
Daging Pilatus wiederhinein indas Richthaus undriefJesumundsprach zu ihm:
So Pilate went back into the Praetorium andcalled Jesus to himandasked him.
“Bist duderJuden KOnig?”
“Are you the kingof the Jews?”
Jesus antwortet:
Jesus replied,
“Redest dudas von dirselbst oder haben’s dir andere vonmirgesagt?"
“Do you askthis of yourown accord, or have others said it to you about me?”
Pilatus antwortete:
Pilate answered.
18: 28
18:29
18:34
18:35
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“Bich ich ein Jude? Dein Volk unddie Hohenpriesterhabendich mir Qberantwortet; was hast dugetan?”
“AmI aJew? It is yourown people and the chief priests who have handedyou overto me; what have you done?”
Jesus antwortete:
Jesus replied,
“Mein Reich ist nicht von dieser Welt, ware mein Reich vondieser Welt, meine Diener wiirden darobkampfen, daBich den Juden nicht Oberantwortet wiirde! Aber, nun ist mein Reich nicht von dannen."
“Mine is not akingdomof this world; if my kingdomwere of this world, my men would have fought to prevent mybeing surrendered to theJews. As it is, my kingdomdoes not belong here.”
Pilatus sprachzu ihm:
Pilate said,
“So bist dudennochein KOnigT’
“So, then you area king?”
Jesus antwortet:
Jesus answered,
“Du sagests, ich binein Kdnig, ich bin dazugeboren undindie Welt kommen, daBichdie Wahrheit sagen soil. Wer aus der Wahrheit ist, derhOret meine Stinune.”
“It is you who say that I ama king. I was bomfor this, Icame into the world for this, to bear witness to the truth; and all who are on the side of truthlisten to my voice."
Spricht Pilatus zu ihm:
Pilate asked of him:
“Was ist Wahrheit?”
“What is Truth?”
Unddaerdas gesaget, ginger wieder hinaus zuden Judenundspricht zu ihnen:
And so saying he went out againto the Jews andsaid.
18: 39
“Ich finde keine Schuldamihm. Ihrhabt abereine Gewohnheit, daBicheuch einen losgebe: wollt ihrnun, daBich euchderJuden Ktiniglosgebe?”
“I find nocase against him. But according to a customof yours I should release one prisonerat the over, would you like me, then, to release for youthe kingof the Jews?”
18:40
Da schrieen sie allesamt undsprachen:
At this they shouted,
“Nicht diesen, sondemBarTabam!”
“Not this man’"theysaid, “but Barabbas.”
Barrabas aber warein Mdrder.
Barabbas was a bandit
Da nahmPilatus JesumundgeiBelt’ ihn unddie Kriegesknechte flochten eine Krone von Domen undsetzten sie auf
Pilate then hadJesus takenawayand scourged; andafterthis, thesoldiers twisted some thorns into acrown andput
18: 36
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18: 38
19:1 19:2
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sein Haupt und Iegetenihmein Purpurkleid anundsprachen:
it on his headanddressed himin a purple robe. They kept coming upto himandsaying,
“Sei gegriiBet, lieberJudenkonig.”
“Hail, kingof the Jews!”
Und gaben ihmBakkenstreiche.
andslapping himinthe face.
Da ging Pilatus wiederheraus und sprachzu ihnen:
Pilate came outside again andsaid to them,
“Sehet, ich fiihre ihnheraus zu euch, daB ihrerkennet, daBich keine Schuld an ihmfinde.”
“Look, I amgoing to bring himout to you to let you see that I find no case against him.”
Also ging Jesus heraus, undtrugeine Domenkone undPurpurkleid. Under sprachzu ihnen:
Jesus thencame out wearingthe crown of thorns andthe purple robe. Pilate said,
“Sehet, welch ein Mensch!"
“Here is the man.”
19:6
Da ihndie Hohenpriester unddie Diener sahen, schrieen sie undsprachen:
When theysawhim, the chief priests and the guards shouted,
19:7
“Kreuzige ihn. Wir habeneinGesetz und nachdemsoli ersterben, denner hat sich selbst zu Gottes Sohn gemacht!”
“Crucify him! We have aLaw, and according to that Lawhe ought tobe put to death, because he has claimedto be Son of God.”
19:8 19:9
Da Pilatus das Wort hdrete, fiirchtet’ er sich nochmehr, undging wiederhinein indas Richthaus, undsprachzuJesus:
WhenPilate heard themsay this his fears increased. Re-entering the Praetorium, he said to Jesus,
“Von wannen bist du?’
Where do you come from?”
AberJesus gab ihmkeine Antwort; dasprachPilatus zu ihm:
But Jesus made no answer. Pilate then said to him,
“Redest du nicht mit mir? WeiBest du nicht, daBich Macht habe, dich zu kreuzigen, undMacht habe, dich los zugeben?’
“Are you refusing to speakto me? Surelyyou knowI have powerto release you andI have powerto crucify you?”
Jesus antwortete:
Jesus replied,
“Duhattest keine Macht iibermich, wennsie dirnicht ware vonoben herab gegeben; darum, dermichdir iiberantwortet hat, derhat’s grbB’re SUnde.”
“You would have no poweroverme at all if it hadnot beengiven you from above; that is why theone who handed meover to you has the greaterguilt”
19: 3
19:4
19:5
19: 10
19: 11
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(Jesus is condemned to death) 19: 12
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Vondemtrachtete Pilatus, wie er ihm losIieBe. Die Judenaber schrieen und sprachen:
Fromthat moment Pilate was anxious to set himfree, but the Jews shouted.
“Ldfiet dudiesen los, so bist dudes Kaisers Freundnicht, denn wersich zum Konige machet, der ist widerden Kaiser.”
“If you set himfree you are no friendof Caesar’s; anyone who makes himself king is defying Caesar."
Da Pilatus das horet, fiihrete er Jesum heraus undsetzte sich auf den Richtstuhl, ander StStte, die da heifiet: Hochpflaster, auf Hebriiisch aber: Gabbatha. Es waraberder RUsttag in Ostem. umdie sechste Stunde, under spricht zudenJuden:
Hearing these words, Pilate hadJesus brought out, andseated himon the chair ofjudgment at aplace called the Pavement, inHebrewGabbatha. It was the Dayof Preparation, about the sixth hour whenPilate saidto the Jews:
“Sehet, das ist euerKtinig!”
“Behold, here is yourking,”
Sie schrieen:
But they shouted,
“Weg, weg mit dem. Kreuzige ihn!”
“Away withhim, away with him, crucify him.”
Spricht Pilatus zu ihnen:
Pilate said,
“Soli icheuren Kdnig kreuzigen?”
"Shall I crucify your king?”
Die Hohenpriesterantworteten:
The chief priests answered,
“Wir habenkeinen KOnigdennden Kaiser.”
“We have no king except Caesar.”
Da iiberantworteteer ihn, daBer kreuziget wiirde.
So at that Pilate handed himover to them to be crucified. (The crucifixion)
19: 17
19:18 19:19
Sie nahmenaberJesumund fUhreten ihn hin, undertrugsein Kreuz undging hinaus zurStatte, die da heiBet: Schlideistatt’, welches heiBet auf EbrSisch: Golgatha, allda kreuzigten sie ihn, undmit ihmzween andere zu beiden Seiten, Jesumabermitten inne. Pilatus aberschriebeine Oberschrift, undsetzte sie aufdas Kreuz, und wargeschriben:
They thentookcharge of Jesus, and carrying his owncross he went out to the Place of the Skull or, as it is called in Hebrew, Golgotha, where theycrucified himwithtwoothers, one on either side, Jesus being inthe middle. Pilate wrote out a notice andhadit fixed to the cross; it read
“Jesus vonNazareth, derJudenKdnig!”
“Jesus theNazarene, King of theJews.”
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19:20
19: 21
19: 22
Diese Oberschrift lasen viel Juden, denn die Statte war nahe bei derStadt, da Jesus gekreuziget ist. Und es war geschrieben auf ebraische, greichische undlateinische Sprache. Da sprachendie HohenpriesterderJuden zu Pilato:
This notice was readby manyof the Jews, because the place where Jesus was crucified was nearthecity, andthe writing was inHebrew, Latin andGreek. So the Jewish chief priests said to Pilate,
“Scheibe nicht: ‘derJuden Konig, sondemdaBer gesaget habe: Ichbin der JudenKbnig!”'
“You should not write ‘King of the Jews,’ but that the mansaid, 'I amKing of theJews.’”
Pilatus antwortet:
Pilate answered,
“Was ich geschrieben habe, das habe ich geschrieben.'’
“What I have written, I have written.” (Jesus' garments divided)
19:23
19:24
Die Kriegsknechte aber, dasie Jesum gekreuziget hatten, nahmenseine Kleider undmachten vier Teile, einemjeglichen Kriegesknechte sein Teil, dazu auchden Rock. Der Rockaberwar ungenShet, vonoben angewtirket durch unddurch. Dasprachen sie untereinanden
Whenthe soldiers hadfinished crucifyingJesus they took his clothing anddivided it into fourshares, one for eachsoldier. His undergarment was seamless, woven inone piece fromneck to hem; so they said to one another.
“LaBet uns den nicht zerteilen, sondem darumlosen, weBersein soil."
“Insteadof tearing it, let's throwdice to decide who is to have it.”
Auf daBerfUllet wtirde die Schrift, die da saget:
Inthis way the words of scripture were fulfilled:
Sie haben meine Kleider unter sich geteilet, und haben uber meinen Rock das Los geworfen.
They divide my garments among them and cast lots for my clothes.
Solches tatendie Kriegesknechte.
That is what the soldiers did. (Jesus and his mother)
19: 25
Es stundaberbei demKreuzeJesuseine Mutterundseiner Schwester, Maria, Geophas’ Weib, undMariaMagdalena.
Nearthecross of Jesus stood his mother andhis mother’s sister, Marythe wife of Gopas, andMaryof Magdala.
19:26
DanunJesus seine Muttersahe undden Jilngerdabei stehen, dener lieb hatte, spricht er zu seinerMutter:
Seeing his motherandthe disciple whom he loved standing nearher, Jesus saidto his mother,
“Weib! Siehe, das ist dein Sohn.”
“Woman, this is yourson.”
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19:27
Damach spricht erzu demJiingen
Then to the disciple he said,
“Siehe, das ist deine Mutter!”
“This is yourmother.”
Und von Stund’ an nahmsie de Jiinger zusich.
And fromthat hour the disciple tookher into his home. (The death of Jesus)
19: 28
19: 29 19: 30
Damach, als Jesu wuBte, daBschon alles vollbracht war. daBdie Schrift erfiillet wiirde, spricht er:
After this, Jesus knewthat everything had nowbeen completed and, so that the scripture should be completely fulfilled, he said:
“Michdiirstet!”
“I am thirsty."
Da stund ein GefMBevoll Essigs. Sie fulleten abereinen Schwammmit Essig und legten ihn umeinen Isoppen und hielten es ihmdarzumMunde. Da nun Jesus den Essig genommenhatte, sprach er.
Ajar full of sour wine stood there; so, putting asponge soaked in the wine on a hyssop stick, they held it upto his mouth. AfterJesus hadtaken the wine he said.
"Es ist vollbracht"
“It is fulfilled.”
und neigte das Haupt undverschied.
andbowing his head he gave uphis spirit (The pierced Christ)
19:31
19: 32
19: 33 19:34
19: 35
Die Judenaber, dieweil es derRtisttag war, daBnicht die Leichname amKreuze blieben denSabbat Uber(denn deselbigen Sabattags warsehrgroB), batensie Pilatum, daBihre Beine gebrochen, undsie abgenommen wiirden; da kamendie Kriegsknechte undbrachendemerstendie Beine, und demandem, dermit ihmgekreuziget war.
It was the Day of Preparation, and to avoid the bodies' remainingon thecross duringthe Sabbath - since that Sabbath was adayof special solemnity - theJews askedPilate to have the legs brokenand the bodies taken away. Consequentlythe soldiers came andbroke the legs of the first man who hadbeencrucified with himandthenof the other.
Als sie aberzuJesukamen, dasie sahen, daBerschon gestorben war, brachensie ihmdie Beine nicht; sondemder Kriegsknechteeinererdffhete seine Seite mit einemSpeer, und alsobaldging Blut undWasserheraus.
Whentheycame to Jesus, theysawhe was alreadydead, andso insteadof breaking his legs one of the soldiers pierced his side with a lance; and immediatelythere cameout blood and water.
Undderdas gesehen hat derhat es bezeuget undsein Zeugnis ist wahr, und derselbige weiB, daBerWahrheit saget
This is the evidence of one who sawit • trueevidence, andhe knows that what he says is true - andhe gives it so that you
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19:37
auf daBihrglaubet. Denn solches ist geschehen, daBdie Schrift erfiillet wiirder Ihr sollet ihm kein Bern zerbrechen, und abermal spricht eine andere Schrift: Sie werden sehen, in welchen sie gestochen haben.
maybelieve as well. Because all this happened to fulfil the words of scripture: Not one bone of his will be broken; and again, in antherplace scripture says: They will look to the one whom they have pierced. (The burial)
19: 38
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19:40 19:41 19:42
Damach bat PilatumJoseph von Arimathia, derein JilngerJesu war(doch heimlich, aus Furcht vorden Juden), daB ermochte abnehmenden LeichnamJesu. Und Pilatus erlaubete diese. Derowegen kamer und nahmden LeichnamJesu herab. Es kamaberauch Nicodemus, der vormals inderNacht zuJesukommen war, undbrachte Myrrhenund Aloen untereinander, bei hundert Pfunden. Da nahmen sie den LeichnamJesu, und bundenihn in leinen Tilcher mit Spezereien, wie die Juden pflegen zu begraben. Es war aberanderStMtte, da ergekreuziget ward, ein Garten, und im Gartenein neuGrab, imwelches niemandje gelegen war, daselbst him legten sie Jesum, umdes Riisttags willen derJuden, die weil das Grabnahe war.
After this, Josephof Arimathaea, who was adisciple of Jesus - thougha secret one because he was afraid of theJews asked Pilate to let himremove the body of Jesus. Pilate gave permission, so they came andtook it away. Nicodemus came as well - the same one who hadErst come toJesus at nighttime - andhe brought a mixtureof myrrhandaloes, weighing about a hundred pounds. They tookthe body of Jesus andbound it in linen cloths with the spices, following the Jewish burial custom. At the place where he hadbeen crucified there was a garden, and in this garden anewtomb in which no one hadyet beenburied. Since it was the Jewish Day of Preparationand the tomb was nearby, they laidJesus there.
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APPENDIX D CHRONOLOGICAL LISTING OF IMPORTANT ION SETTINGS1 Year
Composer
Work
1490 1526
Richard Davy Johann Bugenhagen
1527 1532 c. 1540 1541 1541 1543 1543 1550 1553 c. 1555 c. 1560 1560 1561 c. 1563
sco Corteccia sco Corteccia Johann Walther Gaspar de Albertis Gaspar de Albertis Balthasar Resinarius Claudin de Sermisy Cipriano de Rore Wac aw z Szamotu Jan Nasco Paolo Aretino Jakob Haupt Giovanni Contino Manfred Barbarini Lupus
1565 1565 1565 1565 1567 1568 1568 1568 1569 1570 1570 c. 1570 1575 1575 1576
P. Ferrarensis P. Ferrarensis P. Ferrarensis P. Ferrarensis Jakob Meiland Joachima Burck Jakob Meiland Antonio Scandello Paalo Isnardi Jakob Meiland Clemens Stephani Vincenzo Ruffo Orlando Lassus Vincenzo Ruffo Johann Steurerlein
1576 1578
Johann Steurerlein P. Bucenus
St. Matthew ion Historia des Leidens und der Auferstehung St. John ion St. Matthew ion St. Matthew ion St. Matthew ion St. John ion Summa ionis Christi St. Matthew ion St. John ion Exclamadones ionum St. Matthew ion St. John ion St. Matthew ion ion (unknown) Miserere mei Deus Quoniam Tribulor St. Matthew ion St. John ion St Mark ion St. Luke ion St. Matthew ion St. John ion St. Mark ion St. John ion St. Matthew ion St John ion St. Matthew ion St. John ion St. Matthew ion St Matthew ion Die Deutche ion nach St Johanne St. John ion St Matthew ion
1Appendix E contains more detailed information on each work cited in this Appendix.
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157 Year
Composer
Work
1578 1579
Ludwig Daser Floriano Canali
1579 1580 1580 1580 1580 c. 1580 c. 1580 1580 1582 1583 1585
Vincenzo Ruffo Grammateo Asola Grammateo Asola Grammateo Asola Jacob Handl Orlando Lassus sco Rovigo Giaches de Wert Jacob Reiner Grammateo Asola Francisco Guerrero
1585 1585 1587 1588 1589 1590 1593 1593 1594
Tomis Victoria Tomds Victoria Jacob Handl Bartholomaus Gesius Matthaus Ludecus Jacob Regnart Leonard Lechner Johann Machold Johannes Herald
1600 1601 1602 1604 1604 1607 1610 1612 1613 1621 1629 1630 1631 1642 1643
G. Sulcius Pietro Amico Giacobetti Thomas Mancinus Serafino Cantone Serafino Cantone William Byrd Ambrosius Beber Samuel Besler Melchior Vulpius Otto Siegfried Hamisch Heinrich Grimm Juan Gutierrez de Padilla Christoph Demantius Thomas Selle Luigi Rossi
Per signum Crucis (John) Harmonie officia in tridno dominicae ionis St. Luke ion St. Luke ion St. Mark ion St. Matthew ion io Domini secundumMatthaeo St. Mark, Luke, John ions St. Luke ion ion (unknown) St. Mark &Luke St John ion io Domini Nostri Jesu Christ secundum Mattaeumet Joannem St John ion St Matthew ion io Domini secundum Ioannem St. John ion St. Matthew ion St. Matthew ion ion According to St. John St. Matthew ion Historia des Leidens und Sterbens unsers Herm und Heilands Jesu Christ aus dem Heiliger Evangelisten Mattheo mit 6 Stimmen Componiert St. John ion St. John ion St. Matthew & St. John ions St. John ion St. Matthew ion St. John ion St. Mark ion St. Matthew ion St. Matthew ion St Matthew ion St Matthew ion St Matthew ion St John ion Sl Matthew ion Oratorio per la Settimana santa
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1S8 Year
Composer
Work
1643
Thomas Selle
1645 1653 1660 1663
Heinrich Schutz Christoph Schultze JobstHeider Johann Sebastiani
1664
Thomas Strutius
1665 1665 1665 c. 1665 1667 1668 1670 1670
Heinrich Schiitz Heinrich Schiitz Heinrich Schiitz Tobis Zeutschner Christian Flor Marco Giuseppe Peranda Friedrich Funcke Augustin Pfleger
1672 1673
Johann Sebastiani Johann Theile
1680 1685 1692 1700
F. Funccius Johann Philipp Krieger Georg Christoph Strattner Johann Kuhnhausen
c. 1700 1700 1700 1704 1704 1704 1711 1712
Johann Meder Alessandro Scarlatti Johann Schelle George Friedrich Handel Christoph Hunold Reinhard Keiser Georg Bdhm Reinhard Keiser
1712
Johann Heinrich Kyburz
1714 1715
J.G. Seebach Reinhard Keiser
1717
Reinhard Keiser
ion secundumJohannema 6 cumCapella, a 5 sine Intermediis Seven Last Words of Christ St. Luke and St Mark ions Mt. ion Das Leyden und Sterben unsers Herm und Heylands Jesu Christi nach demheiligen Matthaeo Das Leiden und Sterben... Jesu Christi nach... Matthaeo St John ion St. Matthew ion St. Luke ion St. Matthew ion Sl Matthew ion St. Markion St Matthew ion 1 16 Die Sieben Worte des Heilands am Kreuz St. Matthew ion io Domini Nostri Jesu Christi secundumEvangelium Matthaeum St. Matthew ion Historia inis in 6 Akten Sehet doch, ihr Menschenkinder io Christi secundum Matthaeum St Matthew ion St John ion ion a 19 St John ion (Brakes’ text) Der blutende und sterbende Jesus Der blutende und sterbende Jesus St Luke ion Der fttr die Silnde der Welt gemarterte und sterbende Jesus ionsandachten in Geistliche Seelen-Music Der leidende und sterbende Jesu Der zumTode verurtheilte und gecreutzigte Jesus St Markion
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
159
Year
Comnoser
1717
Johann Mattheson
1718 1718 1721 1721 1723-1765 1723 1723 1723 1729 1730 1730 1731 1741
1742 1743 1744 1750 1750 1755 1768 1770 1783 c. 1783 1785 1787 1792 1835
Work
ions-Andacht iiber den verlaBenen Jesum Jesu Christo nell’orto Johann Fux St. Matthew ion Anton Koch ion nach dem Evangelisten Johann Kuhnau Marcus ion nach dem Evangelium Georg Riedel Sancto Matthaei 46 ions Georg Telemann St. John ion Johann Sebastian Bach La morte e sepoltura di Cristo Antonio Caldara Sechs Andachten als der... Historie G.H. Stolzel des bittern Leidens St. Matthew ion Johann Sebastian Bach Meines Jesu ion muBmir alien Johann Balthasar Konig Segen bringen Trostvolle Gedanken Uberdas Carl Graun Leiden... Christi St. Mark’s ion Johann Sebastian Bach Betrachtungen Uber die Christoph Graupner Hauptumstande des GroBen Versdhnungsleidens unseres Erldsers I pellegrini al sepolcro Johann Adolph Hasse Die Sieben Worte des Heilands am Christoph Graupner Kreuz La deposizione della croce Johann Adolf Hasse Der blutschwitzende Jesus Johann Ernst Erberlin St. Matthew ion J.D. Pucklitz Der Tod Jesu Carl Heinrich Grauns “So gehst du nun, mein Jesu hin” Gottfried Homilius (Mark ion) Die letzen Leiden des Erldsers Carl Philip Emmanuel Bach Die Feyer des Todes Jesu Johann Rolle Die letzen Stunden des leidenden Ernst Wolf Erldsers amKreuze Der sterbende Jesu Antonio Rosetti Die sieben Worte des Erldsers am Joseph Haydn Kreuz Johann AbrahamPeter Schulz Der Christi Tod Des Heilands letzte Stunden Louis Ludwig Spohr
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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
APPENDIX E: E xtant P assion S ettings Composer
Life
Work
Year
j '1 Genre 1
Country
Church
Features
Caspar de Albertis
c. 1480 -c. 1560
Si. John ion
1541
Responsorial
Italy
Catholic
Part o f Christ set polyphonically
Caspar de Albertis
c. 1480 -c. 1560
Si. Matthew ion
1541
Responsoria!
Italy
Catholic
One o f first setting in which part of Christ set polyphonically
Paolo Aretino
1508-1584
Si. John ion
c. 15501570
Responsorial
Italy
Catholic
Grammateo Asola
c. 1532-1609
Si. Luke ion
1580
Responsorial
Italy
Catholic
Grammateo Asola
c. 1532-1609
Si. Mark ion
1580
Responsorial
Italy
Catholic
Grammateo Asola
c. 1532-1609
Si. Matthew ion
1580
Responsorial
Italy
Catholic
Grammateo Asola
c. 1532-1609
Si. John ion
1583
Responsorial
Italy
Catholic
§
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
C o n n e r: ’
Life
Work
Year
Genre
Country
Church
Features
Johann Sebastian Bach
1685-1750
Si. John's ion
1723
Compromise between dramatic/opera ion
Lutheran
Brookes' test and Gospel narrative
Johann Sebastian Bach
1685-1750
St. Matthew's ion
1729
Compromise between dramatic/opera ion
Lutheran
Ijhrctlist: Christian llcnrici (1700-1764) aka I’icandcr, with Gospel narrative.
Johann Sebastian Bach
1685-1750
St. Mark's ion
1731
Lutheran
Carl Philip Emmanuel Bach
1714-1788
Die letzen Leiden des Erldsers
1770
ion oratorio
Lutheran
IJhrcttist: Luisc Karscn.
Ambrosius Beber
ft. 1610-1620
St. Mark ion
1610
Oratorical
Lutheran
Com promise between rcsporuorial/molet. Solo part o f Evangelist and high dramatization places it in the oratorical category
Samuel Besler
1574-1625
St. Matthew ion
1612
Responsorial
Lutheran
Based on W althcr's ion
I I
C7\
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Composer
lif e
Work
Year
Si. Luke ion
1711
P. Buccnus
Si. Matthew ion
1578
Johann Bugenhagen
Historia des Leidens und der Au/ersiehung
Georg Bohm
1661-1733
Genre
Country
Church
Features
Lutheran
Responsorial
Lutheran
1526
ion harmonie
Lutheran
Narrative o f combined gospels of Matthew, Luke, John and Math, combined with the seven words on the cross.
Uililizes ion tones throughout. W ritten in German vernacular.
Joachim a Burck
IS46-I6I0
Si. John ion
1568
Motet
Lutheran
William Byrd
1343-1623
Si. John ion
1607
Responsorial
England
Catholic
Antonio Caldara
1670-1736
La morte e sepoltura di Cristo
1723
Oratorio
Italy
Catholic
Floriano Canali
c. 1550 ft. 1579-1603
Harmonic officia in tridno dominicae ionis
1579
Responsorial
Italy
Catholic
Serafino Cantone
Jl. 1580-1627
St. John ion
1604
Responsorial
Italy
Catholic
Part o f Christ set polyphonically
ON ts>
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Composer
Life
Work
Year
Seraftno Cantonc
fl. 1580-1627
Si. Matthew ion
1604
Johann Balthasar Christian Freislich
c. 1687 - 1764
St. Matthew ions (2)
1720 1755
Giovanni Contino
c. 1513-c. 1574
ion (unknown)
1561
sco Corteccia
1502-1571
St. John ion
sco Corteccia
1502-1571
Ludwig Daser
Genre Rcsponsorial
Country
Church
Features
Italy
Catholic
Pan o f Clirisi sci polyphonically
Lutheran
1 leal by llm ckcs
Responsoria!
Italy
Catholic
1527
Rcsponsorial
Italy
Catholic
St. Matthew ion
1532
Responsorial
Italy
Catholic
1525-1589
Per signum Crucis (John)
1578
Through-composed
Protestant
Richard Davy
c. 1465-c . 1507
St. Matthew ion
1490
Responsorial
England
Catholic
Christoph Demantius
1567-1643
St. John ion
1631
Motet
Lutheran
Johann Ernst Erbcrlin
1702-1762
Der blutschwitzende Jesus
1750
Catholic
Based on gospel narrative o f John plus the seven Iasi words o f Chrisl
O ne o f the Iasi m o ld ions. S d for 6 voices.
ON
u>
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Composer
Life
Work
Year
Genre
Country
Church
Features Pan of Chnst set polyphonically
P. Ferrarensis
St. John ion
1565
Responsorial
Italy
Catholic
P. Ferrarensis
Si. Luke ion
1565
Responsorial
Italy
Catholic
P. Ferrarensis
Si. Mark ion
1565
Responsorial
Italy
Catholic
P. Ferrarensis
Si. Matthew ion
1565
Responsorial
Italy
Catholic
Pan o f OmM scl polyphonically
Si. Matthew ion
1667
Dramatic
Lutheran
Frequent arias and orchestral symphonies
Christian Flor
c. 1620-1680
Georg Forster
c. 1510-1568
F. Funccius
c. 1568
Si. Matthew ion
1680
Lutheran
Friedrich Funcke
1642-1699
Ml-P d 16
1670
Johann Fux
1660-1741
Jesu Christo nell' orto
1718
Oratorio
Italy
Catholic
Bartholomlius Gesius
c. 1555-1613
Si. John ion
1588
Oratorical
Lutheran
Influenced by Scandello ion
I
I
5
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Composer Pietro Amico Giacobctti
Life fl. 1579-1616
Work
Year
Genre
Country
St. John ion
1601
Rcsponsorial
Italy
Church
Features
Catholic
Carl Graun
1704-1659
Trostvolle Gedanken liber das Leiden... Christi
1730
opcra-ion
Lutheran
Carl Graun
1704-1759
Der Tod Jesu
1755
opera-ion
Lutheran
Revives features of earlier oratorio including choral fugue, but even more Italian than his contcmpories in its sentimentality.
Carl Heinrich Grauns
1704-1759
Der Tod Jesu
1755
Cantata
Lutheran
Librettist: C.W. Ramlcr
Christoph Graupner
1683-1760
Betrachtungen iiber die Hauplumsldnde des groflen Versohnungsliedens unseres Erldsers
1741
Damstadt
Lutheran
Christoph Graupner
1683-1760
Die Sieben Worte des Heilands am Kreuz
1743
Darmstadt
Lutheran
On in
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Composer
Life
Work
Year
Genre
Country
Church
Heinrich Grimm
c. 1593-1637
St. Matthew ion
1629
Oratorical
lolheran
Francisco Guerrero
1528-1599
io Domini Nostri Jesu Christ secundum Mattaeum el Joannem
1585
Responsorial
Spain
Catholic
George Friedrich Handel
1685-1759
St. John ion (Brockes text)
1704
opera-ion
Lutheran
Jacob Handl
1550-1591
io Domini secundum Matthaeo
1580
Responsorial
Catholic
Jacob Handl
1530-1391
io Domini secundum loannem
1587
ion harmonic
Catholic
Otto Siegfried Hamisch
c. 1568-1623
St. Matthew ion
1621
Responsorial
Lutheran
Johann Adolph Hasse
1699-1783
1pellegrini al sepolcro
1742
Oratorio
Italy
Catholic
Johann Adolf Hasse
1699-1783
La deposizione della croce
1744
ion Oratorio
Italy
Catholic
Features
Retained some Gospel narrative. 1548-1611 Ubrcstisc t’oslcl.
Narrative of combined gospels of Matthew, Loire and John with appended prayer and Amen.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Composer Jakob Haupt
U fe fl. 1548-1566
Work
Year
St. Matthew ion
1560
■ Genre Responsorial
Country
Church
Lutheran
Franz Joseph Haydn
1721-1809
Die sieben Worte des ErlOsers am Kreuz
1787
Austria
Catholic
Jobs! Heider
fl. 1654
Matthew ion
1660
Hannover
Lutheran
Johannes Herold
c. 1550-1603
Historia des Leidens und Sterbens unsers Herm und Heilands Jesu Christ aus dem Heiliger Evangelislen Mattheo mit 6 Stimmen Componiert
1594
Lutheran
Gottfried Homilius
1714-1785
"So gehsl du nun, mein Jesu hin" (Mark ion)
1768
Lutheran
Christoph Hunold
1681-1721
Der blutende und sterbende Jesus
1704
Lutheran
Paolo Isnardi
1536-1596
St. Matthew ion
1569
Italy
Catholic
Motet
Responsorial
Features
6-voice motet ion.
Falsobordone style
1
Os
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
--------- 1-------------------i Genre 1
Country
Composer
Lire
Reinhard Keiser
1674-1739
Der blutende und surbende Jesus
1704
ion oratorio
Lutheran
Abandons all Gospel narrative. Exaggerated expressions of emotion.
Reinhard Keiser
1674-1739
Der flir die Siinde der Well gemarierte und slerbende Jesus
1712
opera-ion
Lutheran
Librettist: Brocke (1680-1747). Popular poem which was also set by Telemann, M attheson and Handel (1716)
Reinhard Keiser
1674-1739
Der zum Tode verurtheilte und gecreulzigte Jesus
1715
opera-ion
Lutheran
1ibrettist: Kdnig.
Reinhard Keiser
1674-1739
St. Mark ion
1717
opera-ion
Lutheran
Work
Year
Church
Anton Koch
fl. 1710-1745
Ml. ion
1718
Lutheran
Johann Balthasar Kttnig
c. 1691-1758
Meines Jesu ion mufl mir alien Segen bringen
1730
Lutheran
Johann Philipp Krieger
c. 1649-1725
Hisioria ionis in 6 Akten
1685
Lutheran
Features
0\ 00
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Life
Work
Genre
Year
Johann Kuhnau
1660-1722
ion nach dem Evangelisten Marcus
1721
Johann KUhnhausen
d. 1714
io Chrisli secundum Matthaeum
1700
Johann Heinrich Kyburz
fl. 1711
ionsandachten in Geistlicher Seeten-Music
1712
ion oratorio
Country
Church
Lutheran
Lutheran
Lutheran
Features
8 interpolations
Orlando Lassus
1532-1594
Si. Matthew ion
1575
Responsorial
Catholic
Orlando Lassus
1532-1594
St. Mark, Luke, John ions
c. 1580
Responsorial
Catholic
Influenced many other Catholic works due to a stricter liturgical attitude and clearly recognizable ion tone. Also influenced 16thcentury Protestant ion music, patticulary that of Lechncr.
Leonard Lechncr
c. 1550-1606
ion According to St. John
1593
Motet
Lutheran
Gospel narrative plus seven words on the cross.
Os VO
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Composer
Life
Work
Year
Genre
Country
Church
Features
Matthltus Ludecus
1527-1606
St. Matthew ion
1589
Responsorial
Lutheran
Manfred Barbarini Lupus
fl. 1518-1530
Miserere mei Deus Quoniam Tribulor
c. 1563
Responsorial
Italy
Catholic
Johann Machold
d. 1595
St. Matthew ion
1593
Motel
Lutheran
Thomas Mancinus
1550-c. 1611
St. Matthew A St. John ions
1602
Rcsponsorial
Lutheran
Johann Matlheson
1681-1764
ions-Andacht Uber den verlassenen Jesum
1717
opera-ion
Hamburg
Lutheran
Johann Medcr
1649-1719
St. Matthew ion
c. 1700
ion oratorio
Lutheran
20 interpolations
Jakob Meiland
1542-1577
St. Matthew ion
1567
Rcsponsorial
Lutheran
Based on Walther's ion
Jakob Meiland
1542-1577
St. Mark ion
1568
Responsorial
Lutheran
Jakob Meiland
1542-1577
St. John ion
1570
Responsorial
Lutheran
Jan Nasco
c. 1510-1561
St. Matthew ion
c. 15471561
Rcsponsorial
Italy
Catholic
In Latin
Utilizes ion tones throughout. W ritten in German.
o
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Com poser
Lire
Work
Year
Genre
Country
Church
Juan GutidrTez de Padilla
1590-1664
St. Matthew ion
1630
Responsorial
Mexico
Catholic
Marco Gioseppe Peranda
c. 1625-1675
St. Mark ion
1668
Responsorial
Lutheran
Augustin Pfleger
c. 1635-686
Die Sieben Worte des Heilands am Kreut
1670
St. Matthew ion
1750
Lutheran
J.D. Pucklilz Jacob Rcgnart
c. 1540-1599
St. Matthew ion
1590
Rcsponsorial
Lutheran
Jacob Reiner
c. 1560-1606
St. Mark & Luke
1582
Responsorial
Lutheran
Balthasar Resinarius
c. 1485-1544
Summa ionis Christi
1543
ionharmonie
Lutheran
Georg Riedel
1676-1738
ion nach dem Evangelium Sand Matthaei
1721
Lutheran
Johann Rolle
1716-1786
Die Feyer des Todes Jesu
1783
Lutheran
ion oratorio
Features
Based on Longueval ion (in Latin)
Librettist: Niemeyer.
1
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Composer
Life
Cipriano de Rore
I5I5-IS65
St. John ion
1550
Responsorial
Italy
Antonio Rosetti
c. 1750-1792
Der sterbende Jesu
1785
ion oratorio
Luigi Rossi
c. 1597-1653
Oratorio per la Sellimana sanla
1643
Oratorio
Italy
Catholic
sco Rovigo
c. 1541-1597
Si. Luke ion
c. 1580
Responsorial
Italy
Catholic
Vincenzo Ruflo
c. 1508-1587
Si. John ion
c. 1570
Responsorial
Italy
Catholic
Vincenzo Ruffo
c. 1508-1587
St. Matthew ion
1575
Responsorial
Italy
Catholic
Vincenzo Ruffo
c. 1508-1587
St. Luke ion
1579
Responsorial
Italy
Catholic
Antonio Scandcllo
1517-1580
St. John ion
1568
Compromise responsorial/lhrough composed
Lutheran
Alessandro Scarlatti
1660-1725
St. John ion
1700
Italy?
Catholic
Johann Schelle
1648-1701
ion it 19
1700
Lutheran
Work
Year
Genre
Country
Church
Features
Catholic Librettist: Zinkcmagel
Hrcl German to imililale North Italian style
Cousin = I. Kuhnau
|
ts>
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Composer
Life
Work
Year
Christoph Schultzc
c. 1660-1699
St. Ijike and Si. Mark ions
1653
Johann Abraham Peter Schulz
1747-1800
Der Chrisli Tod
1792
Heinrich SchUtz
1585-1672
Seven Last Words o f Christ
1645
Heinrich SchUtz
1585-1672
Si. John ion
Heinrich SchUtz
1585-1672
Heinrich SchUtz
Genre Through-composed
Country
Church
Features
Lutheran
Lutheran
Responsorial
Dresden,
Lutheran
1665
Rcsponsorial
Lutheran
Phrygian mode
Si. Luke ion
1665
Responsorial
Lutheran
Lydian mode
1585-1672
Si. Matthew ion
1665
Responsorial
Lutheran
Dorian mode
Johann Sebastiani
1622-1683
Das Leyden und Sterben unsers Herm und Heylands Jesu Chrisli nach dem heiligen Mallhaeo
1663
ion oratorio
Lutheran
12 interpolations
Johann Sebastiani
1622-1683
Si. Matthew ion
1672
ion oratorio
Lutheran
Increased harmonic and melodic variations to differentiate personages.
|
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Compeer
Life
J.O. Seebach
Work
Year
Der leidende und slerbende Jesu
1714
Genre
Country
Church
Lutheran
Features
Thomas Selle
1599-1663
St. Matthew ion
1642
Oratorical
Lutheran
Turba taken from Grimm's I'assion
Thomas Selle
1599-1663
ion secundum Johannem &6 cum Capeila, d 5 sine Inlermediis
1643
Dramatic/Oratorical
Lutheran
1640 original edition. 1643, revised. Farliesl exam ple o f ion oratorio. Different orcliestrestralion for each character. Itascd on Isiah and Psalm 22. Turba taken from Grimm's ion
Claudin de Sermisy
c. 1490-1562
St. Matthew ion
1543
Responsorial
Catholic
One o f two ealant French polyphonic ion o f the 16* century.
Louis Spohr
1784-1859
Des Heilands letite Stunden
1835
Catholic
Librettist: F. Rochlitz
Clemens Stephani
c. 1530-1592
St. Matthew ion
1570
Plainsong
Lutheran
Turba and early solo parts. Based on W alther’s ion.
Johann Steuerlein
1546-1613
St. John ion
1576
Responsorial
Lutheran
I 1 1
| -
j
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
'ftComposer
Life
.. «. .
Work -w
Year
Johann Slcurerlein
1546-1613
Die Deutsche ion nach St. Johanne
1576
O.H. Stdlzel
1690-1749
Sechs Andachten as der... Historie des bittern Leidens
Georg Christoph Straltner
1645-1704
Thomas Strutius
d. 1678
G. Sulcius
’
} ■"? . \ . V ' : ^ G e a r s '''
Motel
.Country
C huitti
Lutheran
1723
Lutheran
Sehet doch, ihr Menschenkinder
1692
Lutheran
Das Leiden und Sterben... Jesu Chrisli nach.. Matlhaeo
1664
Lutheran
St. John ion
1600
Responsorial
Lutheran Catholic
Wadaw z Szamotul
c. 1524- c. 1560
Exclamationes ionum
1553
Responsorial
Poland
Georg Telemann
1681-1767
46 ions
between 17231765
opera-ion
Features Utilizes ion tones throughout. W ritten in G om an.
W ritten annually in Hamburg a t a aeries.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Composer
'’
Life
;
Work
Year 7
. 1 Gfnre i
C o u n try
Church
Johann Theil(e)
1646-1724
io Domini Nostri Jesu Chrisli secundum Evangetium Matthaeum
1673
ion oratorio
Lutheran
Tomfts Victoria
1S48-1611
St. John ion
1585
Responsorial
Spain
Catholic
Tom b Victoria
1548-1611
Si. Matthew ion
1585
Responsorial
Spain
Catholic
Melchior Vulpius
c. 1570-1615
St. Matthew ion
1613
Through-composed
Lutheran
Johann Walther
1496-1570
St. Matthew ion
c. 1540
ion harmonie
Lutheran
Giaches de Wert
1535-1596
ion (unknown)
1580
Responsorial
Italy
Catholic
Ernst Wolf
1735-1792
Die lelzen Stunden des leidenden EriOsers am Kreuze
c. 1783
ion oratorio
Lutheran
Tobis Zeutschner
1615-1675
St. Matthew ion
c. 1665
Lutheran
Features 4 interpolations
Increased harmonic and melodic variations to difletentiate personages Based on W allhert ion
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The Baroque Oratorio ion: A Conductor’s Guide to Compositional Techniques and Their Foundations
by
Robert Paul David Duff
A Treatise presented to the FACULTY OF THE SCHOOL OF MUSIC UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS (Choral Music)
December, 2000
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FIN A L T R E A T ISE APPROVAL This tre a tis e , written by ---------- R Q b ^ t . - £ a t t I _ D a y i d . . m £ f , under the supervision of
Guidance Committee, and approved by all
its , has been presented to and accepted by the Executive Com* mittee of the School of Music, in partial fulfillment of the requirement tor the degree of DOCTOR O F MUSICAL ARTS
with m ajor in„..C.U.QEsil . . C o n d u c t i n g ^
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Robert Paul David Duff
Dr. William Dehning ABSTRACT
THE BAROQUE ORATORIO ION: A CONDUCTOR’S GUIDE TO COMPOSITIONAL TECHNIQUES AND THEIR FOUNDATIONS The proclamation of the ion has been core to the faith of Christians for nearly two millennia. From earliest times, cultures have kept sacred this proclamation through rituals both liturgical and dramatic. This sacred observance is the basis of this treatise that, in broad , explores how music intersects with these ritualized commemorations. This treatise specifically examines one era of ion proclamation: the oratorio ion in Lutheran between 1643 and 1700.
The treatise surveys four settings of the ion, beginning with the first documented oratorio ion (Selle, 1643), and continuing with settings by Sebastiani (1665), Theile (1673) and Meder (1700). Comparative analyses illustrate significant differences between these settings and show how these differences are reflected in the extant ion settings of J.S. Bach.
The treatise is organized into eight chapters. Chapter one outlines the structure of the treatise. Chapter two provides an abbreviated history of the ion from early Christendom through the Baroque. Chapter three surveys Thomas Seile’s ion nach dem Evangelisten Johannes, one of the first oratorio ion settings. Chapter four
investigates the compositional process exemplified by Selle in 1643 and how it matured in Johann Sebastiani’s most successful composition, Das Leyden und Sterben unsers Henm und Heylandes Jesu Christi nach dem heiligen Matthaeo (1665). Chapter five examines
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Johann Theile’s ion nach dem Heiligen Evangelisten Matthdo (1673) and its progressive use of non-biblical texts in its four strophic arias, in Chapter six, Johann Valentin Mederis Oratorische ion nach Matthaus (1700) is featured, demonstrating the development of interpolated chorales, the more extensive settings in arioso, and Meder’s connection to Buxtehude. Chapter seven summarizes the findings of Chapters two through six, highlights the differences between the settings, and provides insight into Bach’s setting of the Matthdus-ion. Chapter eight summarizes the various items presented throughout the treatise and gives suggestions for score preparation.
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ii A CK N O W LED G M EN TS
I am thankful to the follow ing individuals for their assistance in the preparation o f this treatise: Drs. W illiam Dehning, D avid W ilson and Bruce Brown, o f the USC School o f M usic, for their participation on my G uidance Committee. I also w ish to express my deepest thanks and gratitude to the following people w ho so generously ed m e w ith their love, prayers and enthusiasm during my studies at U SC: my parents and family, Dr. Lynn B ielefelt o f the U SC School o f M usic, and above all my partner, David Pierce, for his unfailing encouragem ent and love.
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TA B L E O F CONTENTS
ACKNOW LEDGM ENTS.........................................................................................ii MUSICAL EXAMPLES ........................................................................................... v LIST OF T A B L E S................................................................................................... vii CHAPTER I: INTRODUCTION...............................................................................1 Purpose o f the Study .....................................................................................2 Organization o f the T reatise..........................................................................2 CHAPTER II: THE HISTORY OF THE PA SSIO N .............................................. 4 Early C hristendom ......................................................................................... 4 The Middle A g e s ........................................................................................... 5 The Renaissance............................................................................................. 7 The B aroque..................................................................................................15 CHAPTER HI: THOMAS SE L L E .......................................................................... 21 Biographical Information on Thomas S e lle .............................................. 21 Analysis o f the Selle P a ssio n ......................................................................24 CHAPTER IV: JOHANN SEBASTIANI ............................................................. 35 Biographical Information on Johann Sebastiani ...................................... 35 Analysis o f the Sebastiani P assio n ............................................................. 43 CHAPTER V: JOHANN THEILE ........................................................................ 52 Biographical Information on Johann Theile ............................................ 52 Analysis o f the Theile P a ssio n ....................................................................60 CHAPTER VI: JOHANN VALENTIN MEDER .................................................69 Biographical Information on Johann Valentin M e d e r..............................69 Analysis o f the Meder P assio n ....................................................................74 CHAPTER VII: COMPARATIVE ANALYSIS OF SETTINGS AND THEIR RELATIONSHIP TO J.S. BACH’S MATTHAUS-ION . . . 93 Introduction..................................................................................................93 Structure and Form .....................................................................................94 Interpolations..............................................................................................102 Dramatic P ersonae..................................................................................... 110 The Use o f Instruments .............................................................................119
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CHAPTER VDI: CONCLUSION
123
SELECTED BIBLIOGRAPHY............................................................................. 126 APPENDIX A: EXCERPT FROM MONOPHONIC PLAINSONG ION SETTING FER1A SEXTA IN IONE D O M IN I.......................... 130 APPENDIX B: ST. MATTHEW ION TEXT AND TRANSLATION .......................................................................................... 131 APPENDK C: ST. JOHN ION TEXT AND TRANSLATION ............. 146 APPENDIX D: CHRONOLOGICAL LISTING OF IMPORTANT IONS ....................................................................................156 APPENDIX E: EXTANT ION SETTINGS............................................... 160
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v MUSICAL EXAMPLES
Figure
Page
1. Elongation o f Notational Value (S e lle ) ............................................................. 28 2. Selle Turba Chorus “Kreuzige ihn" ........................................................
29
3. Selle’s Use o f Instrumental Text P ain tin g ........................................................30 4. Selle’s Trio representing Trinity
................................................................31
5. Sebastiani’s ion: Title p a g e ..........................................................................38 6. Sebastiani’s ion: D edication........................................................................40 7. Sebastiani’s ion: Forward to M u sician s......................................................42 8. Sebastiani’s Turba Chorus “Weifiage uns, C h ris te " ........................................46 9. Sebastiani’s Setting “Eli, Eli, Lama asabathani"............................................ 47 10. Sebastiani’s Interpolation “Gott sei g e lo b e t" ................................................ 48 11. Sebastiani’s Text Painting Techniques ........................................................... 49 12. Sebastiani’s Use o f Durational Techniques.....................................................51 13. Theile’s ion: Title P a g e .............................................................................. 56 14. Theile’s ion: D edication............................................................................ 58 15. Theile’s ion: Foreward to M usicians....................................................... 59 16. Theile’s Use o f Instrumental Text P ainting.....................................................63 17. Theile’s Turba Chorus “Gegriifiet seist d u " ...................................................64 18. Theile’s Turba Chorus “Weifiage uns, Christe " ............................................ 65 19. Theile’s Aria “Du duldig Lamm, O Gottes Sohn ” ........................................ 67
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20. M eder’s Arioso Setting o f Jesus Narrative ..................................................... 82 21. Meder’s Use o f Text Painting .......................................................................... 83 22. M eder’s Turba Chorus: "Wozu dienet dieser U n r a t? " .................................. 84 23. Meder’s Turba Chorus: “Der du den Tempel” ...............................................86 24. Meder’s Aria “HerrJesu Christ, w ahr’ Mensch u n d G o tt" ..........................89 25. J.S. Bach’s String Accompaniment to Jesus Arioso .................................... 112 26. Sebastiani’s Turba Chorus “Lafi ihn kreuzigen” ...........................................115 27. Theile’s Turba Chorus “Lafi ihn kreuzigen ” ................................................. 116 28. Meder’s Turba Chorus “Lafi ihn kreuzigen ” ................................................. 116 29. Bach’s Turba Chorus “Lafi ihn kreuzigen"................................................... 117
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vii LIST OF TABLES
Table
Page
1.
Tenth century Holy Week Readings ........................................................... 5
2.
Comparison o f Plainsong and Recitative Settings.....................................13
3.
Selle’s Interpretation o f Romanian Letters ...............................................27
4.
Sebastiani’s Structural Division o f St. Matthew ion.......................... 43
5.
Structural Analysis o f Theile ion ..................................................... 61
6.
Structural Analysis o f Meder ion ....................................................... 75
7.
Meder’s Interpolations in Original and Revised V ersions........................ 77
8.
Meder’s Placement o f C h o rales.................................................................. 87
9.
Meder’s Orchestration o f “O Traurigkeit, o Herzeleid” .......................... 91
10.
St. Matthew ion Text D iv isio n ............................................................95
11.
Comparative Settings o f the St. Matthew ion T e x t............................ 96
12.
Divisions o f the St. John ion Text ..................................................... 99
13.
Scope o f Drama in the Ss. Matthew and John A ccounts...................... 100
14.
Interpolations in the St. Matthew ion S e ttin g s.................................102
15.
Interpolations in Selle’s S t John S e ttin g ................................................. 107
16.
Interpolations in J.S. Bach’s Matthaus-ion ..................................... 108
17.
Turba Choruses in the St. Matthew S e ttin g s........................................... 113
18.
Bach’s Turba Choruses ............................................................................. 117
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CHAPTER I INTRODUCTION
The proclamation of the ion has been core to the faith of Christians for nearly two millennia. From earliest times, cultures have kept sacred this proclamation through rituals both liturgical and dramatic. This sacred observance is the basis of this treatise that, in broad , explores how music intersects with these ritualized commemorations. This treatise specifically examines one era of ion proclamation: the oratorio ion in Lutheran between 1643 and 1700. Given the centrality of the ion story to both the Christian faith and the choral repertoire, it is surprising how little scholarship has been devoted to this subject in English. Volumes abound from scholars in but it was not until 1937 that a book was written in English on the subject. This book today remains the sole source for information in that language, and while it received cridcal acclaim in its day, it does not provide detailed analysis, given its broad coverage. Through a more careful analysis of the four ion settings included in this treatise, the conductor preparing a ion performance should be able to gain insight into compositional technique, performance practice and methodology. This information will allow for more informed decisions by the conductor while preparing for a ion performance.
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2
Purpose of the Study The primary purpose of this treatise is to provide the conductor wishing to perform a Baroque ion, particularly one by J.S. Bach, with a resource of information about the development of the oratorio ion. Through a fuller understanding of the traditions from which Bach drew, the conductor in his score preparation will more fully realize the significance of existing musical elements. The treatise will survey four settings of the ion, beginning with the first documented oratorio ion (Selle, 1643), and continuing with settings by Sebastiani (1665), Theile (1673) and Meder (1700). Comparative analyses will be provided to point out significant differences between the settings, as these differences are reflected in the extant ion settings of J.S. Bach. In order to place the oratorio ion in context, this treatise will include a brief history of the ion from the fourth century through the settings of Bach. Chapters will also be devoted to the aforementioned ion settings, providing detailed analysis of (1) text and form; (2) delineation of dramatic personae; (3) orchestration; (4) harmony; and (5) other compositional techniques.
Organization of the Treatise This treatise is organized into eight chapters. Chapter two briefly details the history of the ion from early Christendom through the Baroque. Chapter three is a survey of Thomas Selle’s ion nach dem Evangelisten Johannes, one of the first oratorio ion settings. Chapter four investigates the compositional process
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3 exemplified by Selle in 1643 and how it matured in Johann Sebastiani’s most successful composition, Das Leyden und Sterben unsers Herm und Heylandes Jesu Christi nach dem heiligen Matthaeo (1665). Chapter five examines Johann Theile’s ion nach dem Heiligen Evangelisten Matthao (1673) and its progressive use of non-biblical texts in its four strophic arias. In Chapter six, Johann Valentin Meder’s Oratorische ion nach Matthaus (1700) shows the development of interpolated chorales, the more extensive settings in arioso, and his connection to Buxtehude. Chapter seven summarizes the findings of Chapters two through six, highlights the differences between the settings, and provides insight into Bach’s setting of the Matthaus-ion. Chapter eight will be a summary and conclusion of the various items presented throughout the treatise along with suggestions for score preparation.
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4 CHAPTER H THE HISTORY OF THE ION
Early Christendom In the early Christian Church, the events detailed in the Gospels of iontide were commemorated in two separate ways, one primarily dramatic and the other primarily musical. Beginning in the fourth century, there is tangible evidence that this commemoration took place in a dramatic form. The origins can be traced back to this time through the diary of Egeria, a pilgrim of the early church.1 It is reported that the readings were commemorative in nature. A schedule for the proclamation of the ions during Holy Week was created by Pope Leo the Great c. 450 A.D. Within this schedule the ion according to St. Matthew was assigned to be read during the Masses for Palm Sunday and Wednesday of Holy Week, and the ion according to St. John on Good Friday. These texts were to be chanted by a single singer, the diakon, and there is no definitive evidence that they were sung by more than one person until the thirteenth century. In the seventh century, the ion according to St. Luke replaced that of Matthew on Wednesday, as decreed two centuries earlier. In the tenth century, the Gospel of St. Mark was assigned to be read at Mass on the Tuesday of Holy Week, allowing for all four gospel s of Christ’s ion during Holy Week (Table 1).
‘Kurt von Fischer, “ion,” New Grove Dictionary o f Music and Musicians 14 (1980): 277.
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5 Table 1: Tenth century Holy Week Readings. Day in Holy Week
Gospel Reading
Sunday
Matthew 26: 1 -27:66
Tuesday
Mark 14: 1 -15:47
Wednesday
Luke 22:1 - 23:56
Friday
John 18:1 - 19:42
The Middle Ages Early ion plays, dramatic presentations of the ion story, were presented in churches during the Middle Ages with elaborate music, costumes and stage properties. These dramas served as religious instruction and grew out of the improvisatory nature of tropes within the Roman Catholic liturgy. Between the tenth and thirteenth centuries a large number of liturgical dramas were written. These dramas, including the ion plays, were of great importance as they marked the reintroduction of theatrical performances in western Europe after their demise in the Dark Ages. The music of these early ion plays consisted most probably of unaccompanied chant. These plays were acted out solemnly before the altar in the church’s Latin tongue. Marchand reports that there are few surviving examples of
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6 these early dramas but their modem descendants are still regularly given at Oberammergau, and at Thiersee in the Austrian Tyrol.2 Manuscripts of monophonic plainsong ions survive from as early as the ninth century. These manuscripts include tempo, pitch and dynamic markings as indicated by the literae significativae, or Romanian letters.3 The Romanian letters were placed beside the various sections of text4 within the ion to show how the separate characters were to be sung. These Romanian letters are attributed to the legendary singer Romanus, who supposedly introduced Gregorian chant at St. Gall at the end of the eighth century. When, around the beginning of the fifteenth century, it became customary for three persons to present the various roles of the ion, the three Romanian letters were retained but with new interpretation:3 Romanian Letter
Original Meaning
Fifteenth century Interpretation
c
Celeriter (quickly)
Cantor or chronista
s
Sursum (in a raised voice)
Synogoga or succentor
t
Trahere (drag) or tenere (to hold)
Interpreted as a cross not as a “t”, which became Christus
2Terry Marchand, “Musical Settings of the Evangelist in the ion” (D.M.A. diss.. University of Kansas, 1982), 5. 3Basil Smallman, The Background o f ion Music (New York: Dover, 1970), 121.
4Bertram Schofield, “A Newly Discovered Fifteenth Century Manuscript of the English Chapel Royal” Musical Quarterly 32 (July 1946), 509. sSmallman, 123.
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It should be noted that in addition to the three Romanian letters listed above, other letter-symbols are found in various printed missals of the Sarum rite, also indicating voice pitches of the various participants: these include A for alta vox (all turba and individual characters except Christ), M for media vox (the evangelist), and B for bassa vox (Christ).
*
The change in practice from the ion being intoned by one person to being intoned by three persons was recognized and permitted by the church. In the Rationale divinorum officiorum, the Church addressed the issue of intonation by multiple persons, stadng that the words of Christ were “to be spoken softly and sweetly," and the words of the “most impious Jews with loud cries and course voices.” In connection with the Romanian letters, specific tones or plainsong formulae for proclaiming the text were used in musical settings of the ion. In , Christus’s plainsong was centered around f and d, the Chronista’s around a and c, and the Synagoga or Turba’s around c and f.6
The Renaissance As the roles of the ion characters became more delineated, a tendency towards dramatic realism or comio grew, causing the presentation of the turba to expand in style and length. Previously a third person had been relegated to chanting the turba parts. Now this role was now given to a choir to sing in a homophonic
6An excerpt of a monophonic ion, Feria Sexta in ione Domini, illustrating ion tones can be found in Appendix A.
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falsobordone style. The first of such a setting can be found as early as the fourteenth century. In Walther’s St. Matthew ion, this new falsobordone style is exhibited and clearly illustrates how the choral response is set off from the traditional plainsong setting of the Evangelist and Christi. This ion setting had great influence on composers of later Lutheran ion settings in , as it was used as a prototype for future ion settings.
The Influence o f Martin Luther and the Reformation Many of the musical developments that took place in Europe during the Baroque may not have occurred if Martin Luther himself had not been a musician albeit an amateur- and had not himself created such an indispensable role for music within the Lutheran church. If Luther had been more closely aligned to Calvin in restricting most forms of music in the church sanctuary, the Lutheran church music of the Baroque might never have existed. Luther’s personal experiences with music undoubtedly informed his liturgical reforms. He favored retaining the Latin language in those churches where it would be understood (mainly urban centers), and even suggested that some music by Catholic composers be introduced into the service (in German translation), so that his congregation would not be deprived of hearing these fine compositions.7 Many of
7John Haberien, “A Critical Survey of the Oratorio ion in North to 1700” (D.M.A. diss., University of Illinois at Urbana, Champaign, 1973), 147.
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9 the tunes for Lutheran chorales are contrafacta of old Catholic melodies, such as “Nun komm, der Heiden Heiland,” which is taken almost literally from the Latin hymn “Veni redemptor gentium.” Chorale hymns borrowed text and melodies not only from Catholic sources but also from secular songs of the day and from stile andco motets. Additionally, new melodies were also written. The early chorales were sung in unison by all voices, many of which had a madrigal-like rhythmic freedom due to the borrowing from the secular realm. One example of such a piece is the tune Mein Gemtith ist mir Verwirret (1623), by Lassus, which ultimately became O Haupt voll Blut und Wunden (J.S. Bach's ion chorale). The evolution of the rhythm of this chorale, as well as many others, can be traced, as it was first published in the Hamburg Gesangbuch in 1604. The Hamburg Gesangbuch, as well as published songbooks by Shein and Scheidt, influenced choral rhythm, shaping chorale tunes from unbarred meter into music that set each syllable of text to one beat. Luther believed that the services of Holy Week should be consistent with other services of the church calendar in of order, ceremonial action, and ritual.8 He warned against excesses, such as prolonged preaching and covering the statues. He considered word and sacrament to be the focal points of the Holy Week observance. Within this framework, he was against “die vier ion singen,”9 and
8Stanley Anthony Malinowski, Jr., “The Baroque Oratorio ion” (Ph.D. diss., Cornell University, 1978), 67. ^ id ., 69.
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10 cautioned against any ion setting that would detract from the reverent nature of the ion. He therefore opposed elaborate through-composed or motet ion settings, in which the text became obscured in polyphony, favoring responsorial ions, which were monophonic. His desire to possess a suitable German ion allowed for the commission of Johann Walther to compose polyphonic settings of the turbae that would be sung by the choir. Hence the German responsorial ion came into existence.
The Responsorial ion The numerous sources for the German responsorial ion attest to the popularity that it had attained in the sixteenth and early seventeenth centuries. The responsorial ion (also called choral ion and dramatic ion) had actually begun during the fifteenth century and was a result of theological trends that reached beyond comio to an imitatio Christi, or tangible first-hand experience of the ion. ion plays became longer, and for the first time polyphony was introduced in the settings of the turba.10 Composers spanning both the Renaissance and the Baroque who wrote in this style include G.M. Asola (c. 1532-1609), Samuel Besler (1574-1625), William Byrd (1543-1623), Leonhard Lechner (1553-1606), Jakob Meiland (1542-1577), Heinrich Schiitz (1585-1672) and Tomds Vittoria (1548-1611). The polyphonic settings of the turba that were established by these composers continued through the Reformation and Counter-Reformation periods.
10Alec Harman and Anthony Milner, Man and His Music: The Story o f Musical Experience in the West, vol. 2 (New York: Schocken Books, 1962), 285.
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11 In these settings, the monophonic narrative sections chanted by the Evangelist are distinguished from the turba and other characters in one of four ways: 1.
The turbae that are speeches of groups of people are set polyphonically.
2.
All turbae are set polyphonically.
3.
All direct speech of individual characters apart from that of Christ is set polyphonically.
4.
The words of Christ are also set polyphonically.
Within each of these settings, Stanley Malinowski writes, “the old Latin ion tone, which continued to be used in only some localities, staged a comeback midway through the sixteenth century in and the sources reflect this resurgence of the medieval formulas (within the responsorial ion).”11 In addition to the four types listed above, the sections entitled exordium and conclusio within each responsorial ion were set polyphonically. These sections of the ion respectively introduced and concluded the ion narrative and were based on non-biblical texts. The exordium served as an invitation to the congregation to listen to the ion according to the particular Evangelist. The conclusio served as a statement of belief and thanksgiving for the salvation gained through the ion and death of Christ.
"Malinowski, 7.
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12 Most important perhaps within the settings of responsorial ions was the influence of the seconda prattica that had begun in Italy.12The monodic style of singing began to find its way into the long narrative portions of the ion, as it was believed that music complemented the poetry and that art illuminated the emotional power of the verse. Stile rappresentivo was based in these theories, out of which came recitative. The replacement of plainsong by recitadve in these settings was viewed only as a new means of dramatic expression, not as an improved means. To understand the merits of both means, a comparison might prove helpful. Within plainsong settings, special cadential formulae were employed for the Evangelist so as to distinguish his utterances from those of the crowd. Four notes ascending to the final consistently signify a question mark within the text. Early recitative paralleled plainsong closely. The end of a sentence was marked by a perfect fourth down, with a perfect cadence answering to resolve the phrase. Further comparison of the two types of settings shows these differences (Table 2). Parallel to this line of ion writing was another that began with the three ions of Jakob Meiland (1567-70). For the first time, the turbae was altogether removed from any trace of the original Latin cantus flrmus, and dramatic elements gradually came to the forefront.
12Edward Dickinson, Music in the History o f the Western Church. (New York: Charles Scribner’s Son’s, 1927), 274.
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13 Table 2: Comparison of Plainsong and Recitative settings. Plainsong
Recitative
Originated in liturgy and was ritualistic in style
Originated from secular, theatrical compositions
Phrases set to rigidly constructed music formulae
Phrases set to music that attempts word and phrase paindng
Narrow range
Wide and flexible range
Breaks at end of musical phrases
Breaks and rhetorical pauses throughout
Free rhythm of recitatation tone
Imitated spoken word and thus rhythm and notation more precise.
Unaccompanied melody
Use of dissonance in continuo to stress emotional impact of particular words (i.e., Bach's use of dim. 7th for pain, fear, sorrow and death)
Duets for the two false witnesses, the close succession of repeated phrases for the apostles’ “Herr bin ich’s,” and the increase in the number of choral voices beyond the traditional four represent changes that began to be made in the responsorial ion as represented by Vulpius (1613), and Schultze (1653). These developments would have a long-term impact that would affect ion development culminating, in the Matthaus-ion by J.S. Bach.
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14 The Motet ion In the motet ion, the complete text of the ion is sung in motet style by an unaccompanied choir.13 Instead of solo voices for individual characters a reduced number of voices was used to contrast with a four- or five-part choir singing the words of narration and turba. From the beginning of the seventeenth century, three kinds of settings may be identified in the motet ion: 1.
Settings of the complete text according to one of the Gospels;
2.
The Summas ionis, consisting of sections from all four Gospel s, including the seven last words of Christ and an exordium and conclusio;
3.
Settings of the shortened text of one Gospel.
The motet ion provided a sensitive medium for musical expression, but lost the vividness and realism created in the plainsong and responsorial ion settings. This loss was due to the change in contrast within the performing forces. While the responsorial ions could be used liturgically, the extensive choral writing found in the motet ions caused them to become too lengthy to be used in the context of Mass. While the forces differed and their performance venue changed, the motet ion still incorporated the older plainsong ion tones in the choral texture.
l3Malcolm Boyd, Oxford Composer Companions: J.S. Bach (Oxford: Oxford University Press, 1999), 360.
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15 The tones were placed in each appropriate voice part: in the bass for Jesus, in the tenor for the Evangelist, and in the alto for the synogoga.14 Many motet ions were set either Latin or German texts during the sixteenth century. One of the first German motet ions was composed by Joachim a Burck (1545-1610). Burck’s ion according to St. John became the standard for many later German settings. The motet ion style died due to its incompatibility with the new monodic style. The conservative harmonic language of the homophonic settings of the turba was found to be less effective when composed polyphonically.
The Baroque Oratorio ions Before the turn of the sixteenth century in Florence, the Florentine Camarata developed new ideas that would greatly influence music history. This group preferred a texture in which a solo voice was ed by simple chords from an accompanying instrument, rather than the thick polyphonic style previously used. The application of this monodic style ultimately resulted in the creation of a new genre, opera. In the wake of opera, there followed the development of oratorio. Opera and oratorio developed along similar lines, using similar musical techniques but differing in both subject matter and method of dramatic presentation. In opera, the drama was presented on stage as a play with sung dialog. In oratorio, the action was propelled
l4This practice can be found in Christoph Demantius’ ion Nach dem Evangelisten Joannem of 1643.
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16 forward by the historicus, a narrator who linked scenes together through narrative.15 The function of the historicus paralleled that of the Evangelist in the older ion settings. These new musical concepts from Italy led to three important changes in the composition of ion settings for liturgical use: 1.
Instruments were used to accompany the voices of soloists and chorus alike, and the whole was ed by the basso continuo;
2.
Music based on a non-bibiical ion text was introduced;
3.
Freely-composed recitative was substituted for the traditional ion tones.
Instrumental Accompaniment From what we have learned about performance practice in the late Renaissance, it is logical to hypothesize that instruments may have doubled the vocal parts in ions long before there was any written indication of this practice. The exact manner of performance is open to speculation, but the possibility does exist. The earliest surviving ion manuscript to include a written continuo part is by Thomas Selle of Hamburg (1643).16 In his setting of ion nach dem Evangelisten Johannes, Selle writes idiomatically for positiv organ, three or more “pandoras o violones" to the Evangelist, a bassoon and two violins for the part of Jesus.
I3Marchand, 14. l6Malinowski, 104.
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17 Selle’s incorporation of instrumental forces in his ion of 1643 extends past basic continuo . Through the concerted use of instruments, Selle is able to clearly identify characters. The role of Jesus can be distinguished by its accompaniment of two violins, and Pilate is always accompanied by two cometti and trombone. The practice of incorporating instruments in this style of ion writing can be seen in many other settings, beginning in northern c. 1650. This practice ultimately served as the basis for a new tradition; a tradition that would be observed by Bach in his two ion settings. The importance of allowing opportunity for meditation by the worshipers during the ion proclamation had always been stressed by the Catholic Church. Early in the history of the plainsong ion, one finds the rubric “Hie genuflecritur et pausatim aliquantulum” (“here genuflect for a while”), after the death of Jesus. In the ion settings of the Catholic composer Johann Walther there is an indication in the same spot in the narrative for a pause to permit silent recitation of the prayer Voter unser)1 Within the Lutheran settings, this point of meditation is not observed to the same extent as in the Catholic settings. The appearance of the Intermedium occurs for the first time with Selle; its function was to provide time for reflection in each of the three scenes of the ion. In oratorical ion settings, these Intermedia are found as motets,18 arias, sinfonias, but rarely duets or trios.
17Smallman, 25. 18In the 1643 ion of Selle, the three Intermedia are written in Venetian polychoral style.
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18 The Addition o f Non-Biblical Texts By 1600, composers of polyphonic settings of the ion incorporated a pair of non-biblical texts. These texts, labeled exordium and conclusio, were found respectively at the beginning and end of the settings. The exordium functioned as a pseudo-fanfare, heralding the proclamation of the ion that was to be read. The conclusio served as a vehicle for affirming communal belief in the ion of the Lord. The exordium and conclusio developed in length and complexity in the motet ion, and their purpose was reaffirmed as Lutheran theology developed and was incorporated into the new liturgy. The same impetus to enhance the ion text with die exordium and conclusio allowed for additional texts to be set. At the same time, the Baroque gave rise to new forms of sacred music that featured the use of accompanying instruments, solos, duets, trios and choruses. These forms certainly influenced the composers of the ions, who sought opportunities to create such movements. Since biblical s of the ion did not lend themselves to musical embellishment, composers turned to non-biblical texts to supplement the narrative. At first chorales were added, either for the whole congregation to sing or for soloists.19 It was natural within the Lutheran church for German composers to turn to chorales to allow for congregational participation in the unfolding of the ion narrative.
19Selle’s ion of 1643 is the first documented setting in which a chorale is included. It is placed after the conclusio, however.
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19 Once operatic style found its way into the minds of ion composers at the beginning of the eighteenth century, it was not long before poetic s of the ion story began to replace those in the Bible, resulting in the genre often termed Oratorio ion. This practice had many advantages, among them the idea that improved poetic texts could improve the Gospel story, and that non-liturgical texts would allow the production of ions to occur in theaters during Lent, when the theaters were normally closed.20 Basil Smallman points out, however, that it was “an age of Great German musicians - not poets.”21 Though the music of these ion settings was of high quality, the Pietist-inspired texts on which these settings were based fell out of fashion after the eighteenth century.
The Incorporation o f Recitative The cold and impersonal nature of the ion tones was found lacking by the generation of Schiitz, who looked for new means of dramatic expression. Schiitz and his colleagues moved away from the formulaic conventions. Chromaticism, rhetorical figures and complex harmonies created a narration that was extensively filled with drama, when compared to the tonic-dominant-tonic feeling of the ion tone. In addition to presenting all the events in a more dramatic manner, the recitative began to function as the foundation that held the additional music in the ion setting together.
■“Smallman, 96. 21Ibid., 97.
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20 Since the early Baroque was a time devoted to seconda prattica style, composers found that when trying to fit words to previously written music, problems arose. The solution to one of these problems was to replace the traditional ion tone with newly composed recitative. As Smallman states, “while plainsong was designed for the musical presentation of a ritual language, recitative was fashioned for the infinitely more difficult task of presenting the inflections of a living tongue.”22
"Ibid., 47.
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21 CHAPTER IK THOMAS SELLE: ion nach dem Evangelisten Johannes (1643 Edition)
Biographical Information on Thomas Selle Thomas Selle is an influential figure in the history of the ion in that his ion nach dem Evangelisten Johannes mit Intermedien of 1643 is probably the first composition to belong to the genre of oratorio ion. Selle’s ion is remarkable as it is the only documented instance of this type of writing before that of Sebastiani in 1663. Although clearly based on the former motet ions, this work employs concerted forces and provides reflective interpolations. These interpolations served as the basis for future insertions of non-biblical texts, and therefore greatly affected the development of the Baroque ion. Selle was bom on March 2 3 ,1S99, in Zorbig, a town near Bitterfeld, Saxony. Due to the lack of extant records, little is known about Selle’s family or his youth; one of the first pieces of information available on the composer is taken from the title page of Selle’s first work, printed in Rostock in 1623. The publication of this work, as well as the remainder of his oeuvre during his own lifetime, attests to the high esteem in which he was held by his colleagues. Selle began four years of study in composition with Johann Schein in 1622 at the University of Leipzig. Leipzig, with its long tradition of education, afforded Selle the opportunity to encounter many composers who would ultimately influence his own writing. It was there that Selle was exposed to Schein’s use of the concertato
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22 style and its application to the chorale, the use o f basso continuo and the new monodic song. It was also in Leipzig that Selle learned of Calvisius and his polyphonic-linear phrases of the Renaissance a cappella style. Finally, it was in Leipzig that Selle witnessed the rising religious sentiment that was prompted by the Thirty-Years’ War. In addition to its effect on subject matter of texts (and the prevailing Pietism), the war had a significant and devastating effect on performing forces.1 After a short-lived teaching position at the Heide School in 1624, Selle assumed the post of heaster at a large parish church in Wesselburen in 1625. It is in Wesselburen that many of his important accomplishments, both personal and professional, were achieved. In 1627 and 1628 Selle published his Hadiodecamelydrion and Monomachia II, respectively. In the prefaces to these volumes, Selle recorded his views and sadness over the famine and devastation incurred by the war. In the midst of this hardship, Selle met and married his wife, Anna Weihe. Selle’s works of this period, intended for use in both church and school, show a turning to the small Konzert form and a fostering of cantus firmus principles. Within this form Selle sets in long values the cantus firm i in the tenor, frames them in the upper voices with animated discant and in the lower voice with basso continuo.
’The reduction in forces caused Schiitz for instance to compose and publish Kleine geistliche Konzerte, small sacred concerti for one or a few voices with basso continuo. The publication of these concerti reflects the affect of the war on the musical personnel of Dresden.
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23 The publication of Concertuum binis vocibus (1632) fully illustrates this technique. In 1634, after nine years in residence at Wesselburen, Selle was invited by the City Council of Itzhoe to take the examination for cantorship. Itzehoe proved to be a fertile ground for Selle; as the choral director for both the school and church, Selle obtained a vast istrative experience that would later serve him in his position at Hamburg. In Itzehoe, Selle wrote solely sacred works, including Concertuum latino sacrorum, Concertuum tirvocalium, and the motet Ecco quomodo, composed for the funeral of Albert Fabricius, organist in Itzehoe in 1641. In 1641, Selle accepted the position of Music Directorship of Hamburg. This position as music , which he would hold for twenty-two years, included the responsibilities of Cantorship at St. John’s Church, and the position of of the Church music programs for the four principal churches of Ss. Peter, Nicolas, Catherine and Jacob within the city. As a music educator and trained vocalist, Selle brought a high standard of professionalism to both the music education system and the music program in Hamburg.2 During his tenure, Selle created a music program that allowed performances of sacred music to blossom; figural music occurred thrice weekly. His 1643 performance of ion nach dem Evangelisten Johannes brought favorable reviews from all the city’s chronicles, and subsequently, the music program in Hamburg flourished tremendously under Selle.
2As part of Selle’s reform and education plan, he published in 1642 Anleitung zur Singekunst, a treatise on vocal pedagogy. Outlined in this treatise are the foundadons for proper singing and Selle’s beliefs in the necessity of teaching intervals, uniformity of dicdon and solmizadon within the schools.
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24 By 1648 Selle’s goals for music in Hamburg were realized and he had become overwhelmed by the amount of work involved in istering such a large program. In a letter to the city council of Hamburg, Selle requested additional assistance in providing services to the population.3 The council was somewhat responsive to Selle’s request, although records clearly indicate that his job duties continued to be taxing. In 1660, when the city of Hamburg established its collegium musicum, they assigned Matthias Weckmann to the post. It is unclear whether this assignment was made with Selle’s prior knowledge or approval. By this time, however, Selle was in his last years of his life. He died in 1663, the same year that he prepared his Opera Omnia, which he willed along with his entire library to the City of Hamburg.
Analysis of the Selle ion The Gospel Narrative As mentioned above, Selle’s ion nach dem Evangelisten Johannes of 1643 is a work that foreshadowed many of the later ion settings through its introduction of many new elements that had not been used previously by other composers. In fact, the 1643 edition of the ion is a revision of an earlier published version of the same name. In this revision, Selle adds three interpolations that he names intermedia, two that are injected within the story and one that follows
3Selle also stated in this letter a desire to present both music written in stile antico and stile modemo styles.
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25 the conclusio* The first two intermedia are, for all intents and purposes, polychoral motets in the Venetian style, based on parallel biblical ages that reflect the drama that has unfolded. The third intermedia is different from the first two in that it is based on the chorale “O Lamm Gottes unschiildig,” taken directly from the Lutheran liturgy. The work is scored for SAATTB choir (with alto, tenor and bass soloists), ornamental instruments (2 flutes, 2 cometti, 1 trombone, 1 solo violin, 3 ensemble violins, 2 bassoons) and fundamental instruments (two continuo groups consisting of organ, harpsichord, violoncello, and contrabass). Selle’s orchestration clearly reflects the Venetian influence to which he was exposed by Schein at Leipzig. The writing in stile concertato and the designation of fundamental versus ornamental instruments is typical of mid-seventeenth century composition.3 This type of writing must have startled the congregation in Hamburg. The long-held tradition that the music of Holy Week be austere and without accompaniments was observed even by Schiitz in Dresden.6 Selle must have been aware of this, as he indicated in the forward for the piece options for performance that included reduced instrumentation and omission of the intermedia.
4Smallman argues the choral intermedia in this work are really interludes between the three main parts of the ion and not direct interpolations into the middle of the narrative. Smailman, 71. 5Marchand, 18. 6Only in Schiitz’ Christmas Oratorio, Seven Last Words, and Psalms o f David is this type of instrumentally accompanied music found.
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26 The text of the work is taken from the Gospel of St. John (John 18:1 - 19:42). Selle is quite faithful to the text, although he chose to set the text in a tripartite form rather than the traditional bipartite form. This decision, perhaps influenced by the stage works in Hamburg, creates the following division of the story:
Part I: The Arrest and Arraignment
John 18: 1-23
Part 0: The Trial of Christ
John 18: 28 -19: 15
Part HI: The Crucifixion
John 19:16-37
To balance the sections in this tripartite form, Selle omitted two scenes from the first part, namely the striking of the high priest’s servant’s ear and the denial of discipleship by Simon Peter. This decision to omit this text seems very odd, given the progressive nature of the work and its apparent dramatic intent. If Selle truly wished to exploit all dramatic potential, surely he would have chosen to set these scenes of doubt and misguided acts. One plausible reason for their omission could be Selle's sensitivity to the balance of traditional and progressive elements, a balance with which he struggled all his life. This balance can be seen in the wedding of monodic elements and varying types of recitative, including arioso, to a traditional system of recitation tones derived from the Romanian letters (Table 3). The recitation tones, in particular for the Evangelist, remain to a great extent on the single pitch of c ’ and follow traditional formulae for the incipit and cadences. In addition, the dramatic personae of the story,
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27 namely Jesus, Pilate, the Maid, the Soldier, and the Evangelist, all follow the ancient rules o f range.
Table 3. Selle’s Interpretation of Romanian Letters. Romanian Letter
Original Meaning
Fifteenth Century Interpretation
Selle’s Characters
c
Celeriter (quickly)
Cantor or chronista
Evangelist (tenor)
s
Sursum (in a raised voice)
Synogoga or succentor
Pilate, the Maid and the Soldier (all sung by an alto)
t
Trahere (drag) or tenere (to hold)
Interpreted as a cross not as a “t”, which became Christus
Jesus (bass)
Furthermore, to enhance the characterization of each dramatic persona, Selle uses certain instrumental combinations: two bassoons always accompany the Evangelist, two flutes and bassoon accompany Peter and the servant, two cometd and trombone accompany Pilate, and two violins accompany Jesus. Particularly effective in Selle’s ion is the accompaniment for Pilate, which suggests a sense of pomp and regalness whenever Pilate speaks. This practice of instrumental characterization can be seen in other compositions of the period,7 and ultimately leads to the St. Matthew ion of Bach, where Jesus is accompanied by a “halo” of strings.
7Schiitz’s Christmas History (1664) allots to Herod two clarini, the chief priests two trombones, and the angels two violette.
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28 This characterization is also incorporated into the style of writing for a particular character. The pan of the Evangelist, for example, is set primarily in a style that is half-way between plainsong and monodic recitative. This writing is fairly conservative and inexpressive due to the encumbered complexity of the accompanying continuo pan. However, there are instances where the Evangelist speaks of Christ, and during these instances the quality of the recitative is transformed to that of Christ’s (Figure 1).
IM Fl>U>lMickfMd«a OtamMftiai
4tr
■w Figure 1. In this example, the first three measures illustrate the predominate recitation tone on c ’ and show clearly the forward movement of the evangelist’s setting. The texts translates as “And Pilate wrote an inscription for his Cross.” When the story describes the inscription as “Jesus of Nazareth, King of the Jews,” the style in which the recitative is written changes in both the vocal and instrumental parts to arioso. Its longer note values immediately are highlighted, compared to the preceding content. Additionally, the long note values have been reserved for the role of Jesus, again calling on the trahere tradition employed since the ninth century.
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29 The turba settings in Selle’s ion are, without exception, homophonic chordal responses that are mostly tonally static. The level of expression is minimal, and is only set apart by the full instrumental ensemble accompanying colla parte. The natural textual accents are achieved through quasi-speech rhythms. Selle reserves the use of chromaticism for highly dramatic points, and uses it sparingly to build excitement. One spot where this occurs is on the text “Kreuzige ihn” (Figure 2).
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Figure 2. Selle did not reserve his tools of characterization only for his vocal forces. His manuscript is very precise and detailed, more so than many comparable manuscripts of his time. One example of the instrumental characterization of the
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30 fanaticism displayed in Figure 2 is found in a later reprise of this material with the markings for the performing forces forte, presto. This is the first use of tempo and dynamic marks in the Gospel narrative, and clearly informs the performers of his intent that the second time should be stronger, affecting a greater emotion. A more direct attempt at characterization through pictorialism can be found only occasionally in the ion . Two instances that illustrate most succinctly Selle’s approach are described below. The first is found in Part I. The Evangelist, who is accompanied by two bassoons and continuo, speaks of the Lord going across the Kidron brook. As soon as the brook is mentioned, the second bassoon line deviates (Figure 3). The rhythm of this deviation mimics the murmuring of a brook and is unlike any writing thus far in the work. F ag o tti
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Figure 3. The second example is more subtle, but is one that is found in numerous compositions of the Baroque that refer to Christ’s death. Upon the final words
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31 uttered by Jesus, “Es ist vollbracht,’’ the two violins move in contrary motion, one ascending upward, the other following to meet at the octave (Figure 4). This movement is echoed by the two bassoons accompanying the Evangelist’s text “Und neiget das Haupt und verschied” (And bowed His head and was gone). The symbolism here is that of the spirit ascending and the body falling. The symbolism of the two instruments, if seen in light of the writings on J.S. Bach’s symbolism, would represent the unity of the Father and the Son.8
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‘Karl Geiringer, Symbolism in the Music o f Bach: A Lecture Delivered in the Whittall Paviolin o f the Library o f Congress (Washington, DC: Library of Congress, 1956), 5.
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32 The Intermedia The three intermedia are the most interesting sections of this ion setting, since they illustrate the direct influence of Gabrieli, Praetorius and Schein, and how their compositional styles were incorporated into the genre of the North German ion. The first two intermedia should be viewed as a set, given that they share the same polychoral motet style and are based on biblical texts, while the third is based on a chorale tune by Decius. There has been much discussion of the validity of considering these intermedia as direct interpolations. Friedrich Blume states that Selle’s three Intermedium are “prophetical or contemplative paraphrases of the ion story.”9 Smallman, however, argues that since the interpolations are not direct parallel ages that reflect on the immediately preceding events, they should be viewed more as intermezzi.10 Smallman’s argument is strengthened by the fact that Selle, knowing the radical nature of this composition, gave an option in his forward for removal of the intermedia in accordance with customs. While Smallman’s argument is sound, the very inclusion of this type of composition for the first time in the context of ion setting merits consideration. The first two intermedia are based on Isaiah S3: 1-5 and Psalm 22: 1-22, respectively. They are both composed in motet style, musically treating each textual phrase as discrete units. The performing forces are divided into two groups throughout:
Friedrich Blume, Protestant Church Music: A History (New York: W.W. Norton & Company, Inc., 1974). 10Smallman, 37.
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33 (1) SAATB choir accompanied by three violins, two bassoons and the first continuo group; and (2) STB soloists accompanied by solo violin and the second continuo group. These two forces are employed antiphonally throughout the first two intermedia with little exception. The sole exception to this antiphonal treatment is reserved for textual ages referring to the communal assembly, where the two groups merge into homophony. For instance, in the first intermedium the forces sing antiphonally until m. SO, where they come together on the text “Aber er ist um unser Missetat willen verwundet und um unser Siind willen zerschlagen” (Wounded on of our misdeed and smitten down on of our sin). A second clear example of this treatment is in the second intermedium beginning in m. 34 on the text “Aber du bist heilig, der du wohnest unter dem Lob Israel” (But You are holy and live under the praise of Israel), which continues with the text “Unsre Vater hoffeten auf dich, und da sie hoffeten, halfest du ihnen aus” (Our fathers placed their hope in You, and in their hope, You helped them). The tonality of the first two intermedia is more expressive than in Selle’s setting of the ion narrative. Selle holds fast to a conservative tonal style (both in F major and neither modulating for any lengthy period) but employs chromaticism for text-painting. An example of this type of chromaticism is found in the second intermedium in measures 38-43, where the chord progression modulates from A major to D major (though incorporating E major and F major triads) that ultimately resolves to G major. The pace at which Selle advances through this progression
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34 gives the implied characteristic of chromaticism, although he’s basically written a progression built on the circle of fifths. The second intermedium contains one other interesting compositional technique that bears mentioning. Beginning in m. 92, and until the end of the intermedium, there is a step-wise progression in the bass line. This ascending bass progression for the twelfth and thirteenth verses of Psalm 22 has been mentioned in writings as being a common practice of Baroque composers,11 although the author could not the statement of this practice.
"Harold Alexander Daugherty, Jr., “The Two ions According to S t John by Thomas Selle” (M.M. diss., Los Angeles, CA: University of Southern California, 1967), 41
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35 CHAPTER IV JOHANN SEBASTIANI: Das Leyden und Sterben unsers Herm und Heilandes Jesu Christi nach dem heiligen Mattaeo
Biographical Information on Johann Sebastiani The ion according to St. Matthew by Johann Sebastiani is considered to be the next important composition in the genre of ion oratorio after Thomas Selle’s setting.1 It deserves this consideration as it is the earliest surviving ion that includes chorales printed in the score. This ion serves as the culmination of Sebastiani’s career in Konigsberg, where he served as Kantor.2 Bom on September 30,1622, Sebastiani was raised in the vicinity of Weimar.3 Little is known of his youth until around 1650, when he traveled to Konigsberg and established himself as a composer within the city. A composition entitled Geisdiches Madrigal oder zusammen getragener aussen hohen leid
‘Smallman, 32. bounded in 1255, Konigsberg received civic privileges in 1286 and entered the Hanseatic League in 1340. A political and military center, it was the residence of the grand master of the Teutonic Knights from 1457, and from 1525 until 1618 the residence of the dukes of Prussia. Konigsberg’s economy during the seventeenth century was focused on trade. Due to the constant shifting of the water levels leading to its harbor, its economy during this period was badly stymied. In addition, the First Northern War and the Second Northern War caused severe damage to the city. By the end of the 17th century, however, it had experienced a great recovery. From this period arose a strong Lutheran musical tradition. This tradition was developed by many musicians including Johann Eccard (1553-1611) and Johann Stobaeus (1580-1646). 3John D. Amn. “Johann Sebastiani,” New Grove Dictionary o f Music and Musicians 16 (1980): 96-97.
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36 Salomonis, published in Konigsberg in 1653, exemplifies his popularity and the established life he held there by that time.4 On August 11, 1661, Sebastiani was appointed to the positions of Kapellmeister to the Prince of Brandenburg and Kantor at the cathedral. His musical responsibilities to both court and church produced a treasury of sacred music as well as occasional music commissioned for public festivities. His duties at court were allinclusive; he was solely responsible for the musical establishment of the court chapel. During his first three years, Sebastiani had at his disposal a court organist, a Precantor, and several choirboys. In 1664, he was granted six court instrumentalists to supplement the extant performing forces. It was during this period of expansion that Das Leyden und Sterben unsers Herm und Heilandes Jesu Christi nach dem heiligen Mattaeo was composed, as evidenced by the instrumentation of this setting. From 1658 to 1672 Sebastiani was involved in several academic festivities in the municipal church. During this time, he composed numerous occasional pieces for weddings, funerals, and other commemorative events. The majority of his works are influenced by five-voiced models of Stobaeus and Albert, founders of the Konigsberg lied school. In 1672 Sebastiani was married and from that point until the end of his life he was concerned primarily with the publication of his works. In 1672, he published a collection entitled Erster Theil der Pamass-Blumen, oder Geist- und Weltlich
Mosepb Muller-Blattau, Die musikalischen Schdtze der Koniglichen- und Universitats-Bibliothek zu Konigsberg in Preussen (Bonn: Adolph Marcus, 1890. Reprint: Hildesheim: Georg Olms, 1971), 33.
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37 Lieder..., which was comprised of sixty ensemble songs in three to five parts. In 1675, another publication was produced, Ander Theil Der Pamass-Blumen, a collection of seventy-seven compositions for solo voice and basso continuo. This publication shows the direct influence of the early Baroque in its emphasis on textual clarity through solo singing, and thus was a breaking point from the Konigsberg tradition and earlier studies in . Much of the historical importance attributed to Sebastiani is due to his ion setting Das Leyden und Sterben unsers H eim und Heilandes Jesu Christi nach dem heiligen Mattaeo.5 Two extant manuscripts of the ion dating from 1663 and 1664 have led authorities to place its composition in 1663 or earlier.6 The work remained in manuscript form until it was first published in 1672 by Friedrich Reusnem in Konigsberg. The title page of the work (Figure 5) clearly states the new features of the work. These features include the interpolation of eight chorales and scriptural texts, the free use of concerted instruments and their respective roles in delineating each dramatic persona, and the replacement of traditional recitation tones with newlycomposed recitative. The title o f the work reads as follows in translation: The Suffering and Death of our LORD and Savior JESUS CHRIST according to St. Matthew. Set in a reciting harmony of five voices and six instrumental parts together with a Basso Continuo; in which various verses from the usual church songs have been introduced and
sJohann Sebastiani and Johann Theile, “ions-musiken,” Denkmdler deutscher Tonkunst, vol. 17 ed. Hans J. Moser (Wiesbaden: Breitkopf & Hartel, 1958), 7-103. This edition, which contains two ions, will hereafter be abbreviated as DDT. 6Ibid., 1.
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38 added to the text in order to arouse greater devotion. By the Prussian Kapellmeister, in the service of the Prince of Brandenburg, Johannes Sebastiani from Thuringia.7
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7Haberlen, 72.
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39 The dedication message attached to the work (Figure 6) conveys the typical subservient rhetoric employed by the Baroque composer of the seventeenth century. Sebastiani’s dedication, however, goes beyond the typical rhetoric, and one can sense his desire for promotion of the work in other countries under the influence of the Prince. My most honorable and mighty Prince / Gracious Lord At your princely feet do I lay now my musical ion which has been dedicated to God and to the glory of his church in the Dukedom of Prussia. I beg your majesty to accept this work with gracious eyes and hands into your mighty protection as a sign of my humble devotion to you. Although my humble work has had success with many high and lower class people in this place I should have started printing this work a long time ago were it not for my lack of financial means. This poor work would, however, be much more successful in other countries if your Majesty would begin to make this print a favorite of his. I remain your humble servant and wish the best blessings and protection of the God of the heavens for you and your princely house. May God give you and your lofty electoral family (dynasty) health and many more years to live so that our country will have a mighty protector and I, myself a fatherly benefactor. May the lands and houses of the Dukedom bestow great presents unto You, and may I wish you many years of great growth and constant health. Your unworthy servant Johann Sebastiani.8 In addition to these two specific inscriptions, Sebasdani writes one more message (Figure 7) to the musicians who would be performing his ion. The letter contains important guidelines for its performance and oudines several alternatives to make the work more accessible to the local community in which it would be performed. It translates as follows:
8Ibid.,4.
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40
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©On uni fcina Xirtitn |u ©frm in Sure Jprtogtfnift $ra#ca Mifafti Muficalifty ions-Zririt is ricfffiir D«natf i b tn / iM R ttiilgjl U ttnbtl fdltt o!< tin ftultigtf 3 ri4 « atciacr aamtfdnlgflai Devotion a ft ©sAbtota Zugcn uab (inbtB {a ©etc ©rc£md$rigfh Protection oaf aab aajaaffaMa. ©taa 06 jtcet tlcfe m int gcringt Zr6
9m. CfacfL SatifL UatMflalgjhr ibaft
Johan Sebaftiani. Figure 6. Dedication.
To the music loving friend and the director! Dear Sir and friend: I have not published or printed this minor music ion of mine in order to show off great art and skillfulness but because this ion has already been in use here and in other places for the reason that it has been so popular here in the Royal Prussian province that demands were made to have the ion printed. This is the reason I have at many places corrected my work and then published it to the honor of God and the church. I hope that my good intention will not be interpreted the wrong way. In performing the ion one should be careful that it is performed with a choir and a covered organ, positiv; or a Qave-Cimbal [harpsichord] together with
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41 other subtle instruments such as lutes, theorba, viola da gamba or braccio and also with two “bound” violins. If there are no deep viols one can leave out the third and fourth parts as long as the bass line is well set. The choral parts, especially the ones of Jesus and the evangelist, should be sung by good singers. It is to be noted that at two places (according to the preference of each town) a ion text is to be read from the altar, namely after the verse; “Erbarm dich mein Herrlich Gott’ and after the third verse of “O Lamm Gottes unschuldig.” From the interpolated chorales one may sing one verse of one’s choice except in “Herr Jesu Christ, wahr Mensch und Gott,” where one can choose two verses to be sung. From the chorale “O Traurigkeit” one may sing either one verse or the entire song and if a director from a different town does not like the melody of the song “In dich hab ich gehoffet Herr” from which I have taken the verse “Herr meinen Geist befehlich dir,” then he may use the melody which is customarily sung in his town. Besides this it is to be noted that the puncta which are found on the lines should stand in space just beside the following note. In the same way the b flats which are found in the General and Bass viol spaces above the first line and the ones underneath in the bass clef belong actually to the other lower lines, second line bass clef and the following notes. Furthermore one must know that the Discant part has l'/i bifolios (4 pp.) the Alto 1; the Evangelist: as the first tenor, 4; the other tenor, 1; the Bass: JESUS: 2; the first violin I ; the second 1. The first Viol di Gambe 2, the second 2, the third 1, the fourth 1 1/4. The General Bass 2lA. In the same style as this composition which is in the reciting style and also decorated with church songs according to the newest fashion I have set the Evangelist scriptures in German for Sundays as well as holidays throughout the whole year. If a music lover could be found to publish it, I would be glad to do this for the honor of God and the church. It is also possible that other works would follow eventually. I remain faithfully honoring you the music lover. Your undeserving servant, Johann Sebastiani.9
nbid., 5.
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42
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Figure 7.
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43 Analysis of the Sebastiani ion Sebastiani's setting is based on the ion according to St. Matthew, and is scored for two violins, three viola da gamba or da braccio, viola bassa, soloists, fivevoice SATTB choir, and continuo (organ). The ion follows the normative structural model for Renaissance and early Baroque ion settings. This division creates a two-part story, the first beginning with the conspiracy against Jesus (Matthew 26: 1) through the denials of Peter (Matthew 26:77), and the second beginning with Jesus taken before Pilate (Matthew 27: 1) through the guard at the tomb (Matthew 27:66). The two parts are separated by a reading o f the ion text by the priest at the altar.10 The subdivisions within this broad division exemplify the tendency towards symmetry in the Baroque period. Focus on symmetrical form can be seen in both instrumental and vocal music, including the later ion settings through the time of Bach. In Sebastiani’s setting, this focus is demonstrated by the five subdivisions within each part and their similar opening and closing segments (Table 4). Table 4. Sebastiani’s Structural Division of St. Mathew ion P art I
P art 11
Opening
Symphonia (and Exordium)
Symphonia h. 4
Scene I
The conspiracy against Jesus The anointing at Bethany
Jesus is taken before Pilate The death of Judas
Chorale
0 Welt, ich muB dich lassen
Vater unser in Himmelreich (v. 7)
l0DDT, 58. The text includes “Hie gehet der Priester vors Altar zum erstenmal und lieset einen ionstext ab."
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44
Table 4 (continued) P a rtn
P a r ti Scene II
Judas betrays Jesus Preparations for the over supper The treachery of Judas foretold The institution of the Eucharist
Jesus before Pilate
Chorale
Gott Sei Gelobet und Gebenedeit
0 Lamm Gottes Unschuldig (v. 2 & 3)
Scene m
Peter’s denial foretold Gethsemane
Jesus is crowned with thorns The Crucifixion The crucified Jesus is mocked
Chorale
Vater Unser in Himmebeich Symphonia Vater Unser in Himmelreich (v. 4)
Herr Jesu Christ, Wahr’ Mensch und Gott
Scene IV
The arrest Judas before the Sanhedrin
The death of Jesus
Chorale
0 Lamm Gottes Unschuldig
Herr, meinen Geist befehl ichdir Mit Fried Und Freud
Scene V
Peter’s denials
The burial The guard at the tomb
Chorale
Erbarm dich mein 0 Herre Gott
Conclusio
Sebastiani’s inclusion of simple chorales within the printed score is the earliest instance of this practice.11 Within the work, Sebastiani includes eight different chorale melodies and introduces thirteen chorale verses. Each chorale is
1‘Smallman, 81 .
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45 set for solo voice, accompanied by viols and basso continuo. This type of setting would imply that the chorales were intended as solo meditations. However, Smallman writes “the existence of a booklet on the performance of ion music, which was published at Konigsberg in 1682... was expressly designed for the guidance of congregations, [and] indicates clearly that at certain points a solo voice is to sing and at others the whole congregation.”12 Sebastiani’s strategic placement of the chorales is used as a form of punctuation to the dramatic unfolding of the ion story.13 The majority of the chorales are inserted between scenes and their texts either summarize or give reflection on the drama that has just occurred. Interestingly though, Sebastiani also inserts the same chorale tune in various places throughout the story, providing melodic unity. The most poignant example of this practice is found in the setting the chorale tune O Lamm Gottes unschuldig, a translation of the Agnus Dei by Nicholas Decius, which occurs twice throughout the story, first after the scene “Jesus before the Sanhedrin” in part one, and later in part two during the scene of “Jesus before Pilate.” This tune would have been most familiar to the congregations in Konigsberg, as it was an element of the Lutheran liturgy since its inception. Another method for unification was Sebastiani’s ing of specific dramatic personae to both range and fixed instrumentation. Sebastiani respected the
12Ibid., 81. 13Although the traditional chorale tune was used as structural punctuation, it should be noted that its use also allowed for the involvement of the Lutheran congregation in the performance of the ion.
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46 underlying principles of the Romanian letters in of pitch. Although he abandoned use of the traditional recitation tones that were so prominent in the responsorial ion settings of his time, he developed a pitch class for each dramatic persona to allow for clear discernment by the listeners. To this end, the Evangelist remained pitched as a tenor, Jesus as a bass (with a range descending to F), Judas as an alto, and the other minor characters with higher pitched inteijecdons. Ail the minor characters, as well as the Evangelist, are accompanied throughout by three viols and basso continuo, while Jesus is accompanied by two violins and continuo. The tonal contrast of the reedy viols and the sweet violins distinctly set Jesus off from all other characters in this ion setting. The use of three voices implies the presence of the Trinity. The manner in which the three voices are intertwined differs throughout, creating a sense of a living, discrete presence separated from the worldly action surrounding the divine Christ. This practice has also been referred to as the “halo” effect, the strings symbolizing the divinity of Christ while on earth. Sebastiani clearly understood this theology, as there is only one point where the strings fall silent. This point is the proclamation of Jesus “Eli, Eli Lama asabthani” (My God, why have you abandoned me?) (Figure 8).
ffr.tif t t i f f
TTk
Figure 8.
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47 The turba choruses in Sebastiani’s setting are fairly conservative and are reminiscent of those by Johann Walther and the composers of the previous century. The majority of the turba utterances are homophonic, except where Sebastiani wishes to convey a sense of the crowd (Figure 9). To create this sense, Sebastiani either sets portions of the turba response polyphonically or staggers the entrances of the performing forces. In each of the turba choruses though, one gets a sense in the turba choruses of a keen awareness by Sebastiani for natural textual stress and the turba’s realism via direct inteijections into the ongoing drama.
TattL M—
Wais
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J
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.
.
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Figure 9.
Harmonically, Sebastiani’s setting is very conservative, using diatonic progressions throughout. To differentiate between scenes, Sebastiani fluctuates between the tonalities of F major and d minor, and remains faithful to whichever he has chosen until the scene draws to its conclusion. To this end, when a scene closes in a key that is different from the key of the chorale to follow, Sebastiani inserts a transitional interlude that serves both as a vehicle for modulation and also as an
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48 interpolation (Figure 10). This happens though only three times within the work and each occurrence coincides with a dramatic point in the drama. The sole exception to the conservative tonal writing is the inclusion of a major triad built on the flat second scale degree contained in a segment of recitative. This non-diatonic chord is reserved for text-painting on the word “Silberlinge” (meaning “silverpieces”), occurs on the weak portion of the measure, and does not recur.14
n t . Ai a it iiak la
H l.W
V» .
viouni.
Oo« ■! | i . lo .M Mil aMaai PlalMk*
■ad go.ba.aa . dM.ai, B la.te,
te w n l . W hat p dM fik m a^Ian OoU, ■
jpi.to.
Figure 10.
l4DDT, 63.
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49 Other examples of text-painting occur throughout the work. Since the effects are reserved for special texts, they are clearly in contrast to the stepwise motion of the recitatives and responses and are easily discemable. These madrigalisms can be categorized into five groups, as follows: instrumental, rhythmic, pitch and range, melismas and use of imitation. Examples of each are as follows:
Figure 11. Sebastiani’s Text-Painting Techniques.
Instrumental (Fig. 1la): The first violin leaps on the word “krdhet" (to crow). V io l 1.
VloLlL
Rhythmic (Fig. 1lb):
The word “schlafend"(sleeping) is set o ff rhythmically. At
Pitch (Fig. 1lc):
The word “laut" (loud) is set using the extreme range o f the Evangelist.
U a k iii
■taa.feaMJI.ai
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50
Melismas (Fig. 1Id): The word “flohen " (to flee away) is represented by the fleeing o f the notes through melisma.
6»«KlkJ«nua il.U
Imitation (Fig. 1le)
A more subtle type of madrigalism found in Sebastiani’s ion is pacing and tempo. The precept of “music as the servant of text”as exemplified in the seconda prattica style- and this practice within the Baroque- places a strong influence on all vocally oriented compositions and affects even the recitatives of the Evangelist. From the earliest times, the role of the Evangelist was to deliver the narrative portion of the ion in an uninvolved, objective manner. This
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51 practice was continued through the responsorial ions into the seventeenth century. Sebastiani deviates from this practice twice in his setting by purposefully elongating the duration of pitch in the recitatives. This is done to emphasize the solemnity of the texts being set, and in one of the two instances the only tempo marking in the whole piece is given (Figure 12).
j
Adagio
Diaa 1st JI-M S,
darJudon KB.
A fa g io
Figure 12.
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52 CHAPTER V JOHANN THEILE: Das Leiden und Sterben unsers Herm Jesu Christes nach dem Evangelisten Matthao
Biographical Information on Johann Theile Johann Theile was bom on July 29,1646 in Naumburg, a small town in the region of Saxony.1 Little is known of his childhood, but it is believed that Theile received his basic education in Magdeburg, a town located approximately eighty kilometers north of his birthplace. It was in Magdeburg that Theile received his first music lessons from Johann Scheffler in voice, composition and viola da gamba.2 After completing his ad hoc education in Magdeburg, Theile attended the Gymnasium at Halle, where he continued his education. In 1666 he began his studies in law at the University of Leipzig.3 Well educated German musicians frequently studied subject matters other than music, such as theology, rhetoric or law, as they were often required to teach subjects other than music in the church Gymnasium. Theile was no exception. In addition to his studies at the University, Theile certainly was exposed to music at the Thomaskirche in Leipzig. During his time there, Sebastian Kniipfer (1633-1676) served as cantor. It is not known whether Theile took
■Jocelyn Mackey, “Johann Theile,” New Grove Dictionary o f Music and Musicians 17 (1980): 730-731. Nicolas Slonimsky, The Concise Edition o f Baker’s Dictionary o f Musicians, eighth edition (New York: Schirmer Books, 1994), 1027. 3Smallman, 8.
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53 pan in certain services, but it is presumed that Theile “enjoyed the benefit of Knupfer’s teaching, whose leaning toward strong contrapuntal work he shared.”4 Between the time that he began studies at Leipzig and 1672, it is theorized by many music historians that Theile studied with Heinrich Schiitz, although the pupilteacher relationship remains mere speculation, given the lack of evidence to this claim. Between 1670 and 1673 Theile may have been active in Liibeck, which would have afforded him the opportunity to attend the Abendmusiken, which Dietrich Buxtehude managed and with whom Theile enjoyed a cordial relationship.1 At these evening concerts Theile was probably most exposed to the expansive form of Buxtehude’s cantatas. While in Liibeck, Theile published two major compositions, the ion Domini Nostri Jesu Christi secundum Evangelistem: Matthaeum and Pars prima Missarum. The publication of these works in LUbeck would seem to imply that Theile had developed working relationships in the city of Liibeck and had become involved in its musical life by 1673. In 1673, Theile assumed the position of Kapellmeister in Gottorf, succeeding Augustine Pfleger (c. 1636-1685).6 Before his departure from Liibeck, Theile dedicated the io to his new patrons, Duke Christian Albrecht and his wife,
4Haberlen, 91. 5See introductory ages to ion. 6Ibid., 92.
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54 Friedrica Amalia. Theile’s stay in Gottorf abruptly ended due to ensuing political events that forced the entire court to flee. Theile escaped to Hamburg, where he performed and produced several operas that may have been composed while in Gottorf.7 It was here in Hamburg that Theile secured a place in music history with the production of his biblical singspiel, Adam und Eva, oder der erschaffene, gefallene, und wieder auffgerichtete Mensch. This singspiel was selected as the fust opera to premiere at the new Hamburg Opera House on January 2, 1678. Theile’s opera was met with great success, and he was requested to produce two other operas, Orontes, oder der verlohme und wieder gefundene Konigliche Prinz aus Candia, and Die Geburt Christi. Unfortunately, the music to each of these operas has been lost and only the libretti survive. From 1686 to 1691, Theile served as Kapellmeister in WolfenbUttel under Duke Anton Ulrich (1633-1714). During his time in WolfenbUttel, Theile published two collections of music, Noviter inventum opus musicalis compositions, and Opus secundum, movae Sonatae rarissimae artis et suavitatis musicae, both of which are now lost. In 1691, Theile left WolfenbUttel and entered into service at the court of Duke Christian II (1653-1694) in Merseburg. Theile’s length of service here is unknown. According to Haberlen, “none of Theile’s biographers have been able to with certainty his activities from this point until he ed his son, Benedikt
7Smailman, 25.
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55 Friedrich, in Naumburg in 1718.”6 The only documentation of this period is a catalogue printed in Merseburg (1708) of Theile’s most select sacred works. From 1718 until 1724, Theile lived in Naumburg with his son. He died at the age of 77 in June 1724. According to Mackey, Theile’s extant music is as follows: Three sets of his published works have survived: The Weltliche Arien und Consonetten, the Pars prima Missarum, and the io. Two Masses, 24 sacred compositions for voices and instruments, ten solo motets, duets and trios, all with instruments are preserved in manuscript. A humorous madrigal and two suites are also extant. In seven extant treatises, Theile provides a systematic demonstration of the contrapuntal principles and skill.7 Theile’s io was not written for any particular church but was rather designed as a gift to the general public. Though the ion was created “to the most high God in praise and thankfulness for gracious salvation from death,”8 Theile chose through-composed arias rather than the chorale interpolations that had become popular by this time. The five arias included in Theile’s io are based on freely composed poetic texts and reflect gready Theile’s involvement with the lied and opera forms of North . The texts are deeply reflective, and each conveys a sense of Pietism. The title page and opening dedications give evidence of the instrumentation and performing forces for which Theile conceived the work (Figure 13).
‘Haberlen, 94. 7Mackey, 57. 8Johannes Theile. “Forward to his Gracious friends of music” in the io. Reprinted in DDT.
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56
IO, Domini Noftri JEfu Chrifti fecundum Evane: Matthaeum con & Jim Strom m t:
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F ig u re 13.
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57 The title is translated as follows: The ion, of our Lord Jesus Christ according to the Gospel of St. Matthew with or without instruments Or: The Suffering and Death of our Lord Jesus Christ, set according to the holy evangelist Matthew; (with five instruments in the ritomelli, five voices in the choruses. Characters: Christ with 2 violas da gamba or braccio, Evangelist with two braccio, and the remaining characters solo, etc., or to be sung musically without instruments) by the Capellmeister to the illustrious ruling Prince of Schleswig-Holstein Johann Theile of Naumburg. Liibeck, in the publishing house of Michael Volck, printed by the heirs of the late Gottfried JSger. In the year 1673.9
Theile’s listing of the instrumentation and its specific designation to solo characters clearly defines the work as being set in a new style. Theile was shrewd in understanding his potential market for this composition, as within this title page he gives various options for performance. Following the dedication of the ion to his new patrons, Theile adds a special message to his new employers (Figure 14) that translates as follows: Most worthy and most illustrious Prince, Most gracious Lord. Most illustrious Princess, Most gracious Lady. Ever since the hour when your most illustrious Royal Highnesses honoured me by accepting me into your service, I immediately have taken it upon myself to serve you through some modest gifts which God and Nature granted me. Although I could have created a cheerful secular work for this purpose I have nevertheless decided to begin with the sacred composition of the tragic ion of the suffering and death of our Lord Jesus Christ I do not doubt that your most excellent and illustrious Royal Highnesses with your world-renowned, highly praiseworthy piety and fear of God will hear the ion with
’Johann Theile, ions-musiken, 105.
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58 gracious ears, will accept and receive it as a sign of my deepest gratitude and will further keep me in your royal grace. Your illustrious Royal Highnesses, I submissively offer to you my humble services and all my efforts for the future and wish you and your entire royal household long-lasting health and a peaceful, happy, and blessed reign, loyally and humbly recommending you thus to almighty God, under your command, remaining Your royal Illustrious Highnesses’ Most humble and obedient servant Johann Theile.10
2hir$tin$tiafte gfirfHn/ ©nSb^jte gran. Oftaa *
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30)01 Tfrtfw.
Figure 14.
10Ibid., 107.
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59 In addition to the dedication, Theile offers a general guide to musicians outlining the alternative performance methods of his ion (Figure 15).
©unfWgcr Mufic*gmmb. icr ubergtbe tor autf rocf)lmcinent)en Jpergcn/ toe von m ir gefefite
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3o$an Itoilen. Figure 15.
The translation is as follows: Gracious friend of Music. Here I give to you from a benevolent heart the ion set by me, which I impart again to the most high God in praise and thankfulness for gracious salvation from death. If God lends further health and life, various works shall follow. Since instrumental music is not customary during Lent in several places I have decided to add here how this small work can be performed without instruments: the
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60 Evangelist can sing his entire text alone, as a chant. Jesus may also sing his part likewise. The choruses, which are set contrapuntally, require a somewhat rapid tempo. As to other details, a knowledgeable director will best use his score or tablature for conducting. The arias found in the work are set by me in a simple manner and without instruments; German church songs can replace these sections. Because of my hasty departure for Gottorf according to God’s will, I have not had time to look through the composition, nor to wait for it to be printed. Should there be anything incorrect, the gracious friend of music is asked to take the liberty to correct it and remain well-disposed towards his faithful Johann Theile.11
It is interesting that although the arias are Theile’s chief contribution to the ion form, he gives the performer an alternative of not using them. This may be seen as a manifestation of his desire to see this work promulgated. Many churches of the time might find the inclusion of secular arias as being too radical to be accommodated by their liturgical traditions.
Analysis of the Theile ion Theile’s ion according to St. Matthew is scored for two viole da braccio, two viole da gamba, five-part chorus (SSATB), continuo and organ. The ion is divided into the traditional bipartite form. This would be expected by the mid seventeenth century, but what is extraordinary about the work is the secular influence, both in of the freely composed arias as mentioned above, and the use
"Ibid., 110.
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61 of the term “Actus” to denote the two parts. Theile’s terminology for structuring the work reflects his knowledge and love for the operatic forms of the day as well as the cantatas of Buxtehude. The setting is otherwise faithful to the gospel narrative and does not abbreviate or omit any of St. Matthew’s of the ion. Theile’s setting of the ion is punctuated by interpolations. These interpolations either reflect on the action that has just occurred or serve as points of meditation that help control the pacing of the story. A structural analysis can be derived through an critique of these interpolations. (Table 5). Table 5. Structural Analysis of Theile ion. (Part)
Actus I
Actus n
Sinfonia & Exordium One
The Conspiracy against Jesus The anointing at Bethany Judas betrays Jesus Preparations for over supper The treachery of Judas foretold The institution of the Eucharist Aria
Jesus is taken before Pilate The death of Judas Jesus before Pilate Jesus is crowned with thorns Aria
Two
Peter’s denial foretold Gethsemane The arrest Jesus before the Sanhedrin Aria
The crucifixion The crucified Jesus is mocked The death of Jesus The burial The guard at the tomb Aria
Three
Peter’s denials Aria
Within this established framework are many dramatic elements that move the work forward. The greatest of these elements is the recitative writing for the
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62 Evangelist, Jesus and the minor characters. The fairly simple, freely-composed recitatives throughout are comprised of repeated eighth notes or broken chords. Unlike the responsorial ion settings, Theile’s setting is characterized by elaborate accompaniment for the recitative. Throughout the work, the recitative of the Evangelist is accompanied by two viole da gamba and basso continuo and the recitative of Christ is accompanied by two viole da braccio and basso continuo. This creates a definite contrast in tonal quality, giving the words of Jesus a sweeter quality. There are however two flaws in Theile’s recitative writing. The first is that the accompaniments composed for the recitatives throughout are highly elaborate and imitative, which constricts any flexibility that the vocal line might need for proper declamation. This is due primarily to Theile’s skill as a contrapuntalist. These accompaniments, given their independent and constant motion, do not allow for clear declamation of the text, which is a main purpose for writing in the recitative style. The second flaw relates specifically to the recitatives of Jesus. Theile was unable to divorce the vocal line from the basso continuo part and therefore the lines of Jesus are often obscured by the instrumental parts and lack individuality. Madrigalisms are used only rarely to underscore important text Theile does this in two ways: first through an expanded harmonic vocabulary (seventh chords and Neapolitan chords, etc.), and second through the instrumental portraying of text, as illustrated by the violas on the word “krahet” meaning “to crow.” (Figure 16).
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Figure 16. The turba choruses included are much more fully developed and lengthier than those found in earlier responsorial ions, and reflect Theile’s love and skill for counterpoint. Of Theile’s nineteen turba choruses, all but three contain strict imitative writing. The majority of these utterances begin imitatively, the entrance of each voice overlapping the previous voice, giving the effect of the crowd through textual repetition. Once all the voices have entered, most of the choruses continue to develop the musical motif through repetition of the phrase until all the voices come together homophonically to conclude the phrase. An excellent example of this style of writing can be found in Actus II, when the guards of the High Priests mock Jesus, saying “GegriiBet seist du, Judenkonig!” (Figure 17). The use of solo voices in place of a full tutti turba occurs twice in the piece, the first time in Act I, where the false witnesses state “Er hat gesagt: ich kann den Tempel Gotten abbrechen, und in dreien Tagen den selben bauen.”12 This statement was set regularly for solo voices, as in the setting by Sebastiani. The second instance
I2Ibid., 155.
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64
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65 where solo voices are used instead of the full tutd turba occurs again n Actus I, after the crowning of thorns, where the guards state “WeiBage uns, Christe, wer ist’s, der dich schlug?”13This setting for solo voices is atypical but persuasive, due to the realistic parallelism created between the numbers involved in the turba and the numbers involved in the legion of guards (Figure 18).
Figure 18.
Theile diverges from the imitative style of writing for three turba choruses, all of which are consecutive in the unfolding of the drama in Actus II. Each of the three turbae are short inteijections by the crowd, first for the release of Barabbas, and then to condemn Christ to death.14All three begin in G minor and conclude in G major, sharing the same tonal scheme as the majority of the interpolated arias.
t3Ibid., 149. ,4See DDT,168-170.
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66 The arias, as seen above, are placed at established points in the narration: after the Institution of the Eucharist, after the turba “WeiBage uns, Christe, wer ists, der dich schlug?”, after Peter’s remorse and at the conclusion of the ion text. “Du duldig Lamm, O Gottes Sohn” (Figure 19), which was placed after the striking of Christ, exemplifies the style of writing Theile used for his arias in this ion. The harmonic structure is tightly constructed and well-balanced, and exhibits Theile’s sensitive use of an advanced harmonic style. The ritomello that follows “Du duldig Lamm, O Gottes Sohn” is a contrapuntal variation of the aria and hints both at the aria’s melody and its harmonic progression. These ritomelli are tied specifically to the arias through their harmonic relationship and are intended as interludes between the different stanzas.
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67
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68 Of the five arias, Theile scores three for solo soprano, one for solo tenor and one for tutti chorus. The performing forces for which he writes underscore Theile’s desire for greater realism in the drama. The only aria set for tenor is placed after the scene of Peter’s denial and remorse. It must have been composed for tenor voice in order to align it for the same soloist who portrays the role of Peter. This aria, “Ach, wo soil ich mich hinwenden,” meditates on Peter’s begging forgiveness for his deed and is very personal: 1.
Ach, wo soil ich mich hinwenden, meine Not zu Ubersehn? Wird Gott keine Gnade senden, ach, so ist’s mit mir geschehn, mein bds Gewissen plaget mich, daB ich geflucht so ffeventlich, und dreimal meinen Got verleugnet
2.
Weint, ihr Augen, Trine nquellen, zu bereuen meine Schuld, mich hat troffen Angst der Hollen, daB verloren Gottes Huld, o ach und Not! Das Herz pofft mir, o Jesu, ach, ich liege hier und bitte tr&nend um Gnade.13
15Ibid., ISS. 1. Ah, where should I turn to consider my misery? If God does not send any favor, I’ll be lost My wicked conscience tortures me because I have cursed so wickedly, and once more my God I deny. 2. Weep, o eyes, flow tears to regret my guilt I have suffered the fear of Hell thinking that I lost God’s mercy. O woe and sorrow! My heart beats hard, O Jesus, alas, I lie here, and weeping, beg for your grace.
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69 CHAPTER VI JOHANN VALENTIN MEDER. ionsoratorium nach dem Evangelischen Matthaus
Biographical Information on Johann Valentin Meder
Johann Valentin Meder was bom in 1649 in the little town of Wasungen, which is located near Meiningen in the province of Franconia. According to local church records, Meder was baptized on the third day of May in 1649.16 He was bom into a musical family, the youngest of five brothers. His father, Johann Erhard, was the town cantor and educated his sons in the skills of music. Like Selle and Sebastiani, little is known about Meder’s youth. It is thought that Meder moved to Leipzig in 1666 where he later began studies at the University in 1669.17 There is no evidence to indicate whether Meder was acdve in the collegium musicum, of which Theile was a member, at this dme. It is most probable that Meder, if he were not a member, certainly was exposed to the collegium, given his musical training and accomplishments. In 1670, Meder left Leipzig to pursue continued studies at the University of Jena. Unable to secure a position there at the University, Meder resorted to taking a post as a professional singer in the Hofkappele of Duke Ernst der Fromme (d. 167S), in Eisenach, near his hometown. It was here that Meder was possibly exposed to the
16Johann Bolte, “Johann Valentin Meder,” Vierteljahrsschriftfu r Musikwissenschafi 7 (1891), 43-44. "Ibid., 44.
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70 music of Carissimi and Cesti, as many Italian musicians were employed at the court of Duke Emst.1® Again unable to secure a position for any length of time, Meder continued working as a professional singer at Gotha (1671), Bremen (1672-3), and Copenhagen (1674). On the advice of a friend, Meder set out toward East Prussia to seek employment.19 On his journey east, Meder stopped in Liibeck (1674) where he met Buxtehude and developed a relationship.20 After wandering from position to position for the better part of five years, Meder secured employment in 1674 as cantor at the gymnasium at Reval (now Tallinn). He would hold this position until 1680, and it seems that during his tenure here Meder composed his first works. Meder remained in Reval until 1684, when he made his next move southwesterly to Riga (now capital of Latvia), a city located on both banks of the Western Dvnia River. Riga was one of the most important trade centers on the Baltic, having ed the Hanseatic League in 1282. It was granted autonomy of government by the Swedes in 1621, and remained independent until the Russians conquered Sweden in 1710.21
lgHaberlen, 103. 19Ibid., 105. ^Uolte mentions an entry in Meder’s autograph book suggesting that his acquaintance with Buxtehude was not of a superficial nature. 21“Riga,” Encyclopaedia Britannica, 15* ed. (Chicago: Encyclopedia Britannica, 1975).
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71 Records in Riga show that Meder, while living there, composed a ion secundum Lucam in a new style, incorporating interpolations.22 Meder’s ion secundum Lucam was deemed worthy by the town council for printing and distribution. The council, however, did not permit its performance, due in part to the length of the work, caused by the polyphonic setting.23 In 1687 Meder accepted the position of Kapellmeister at St. Marie in Danzig, succeeding Balthasar Erbem. The Church of St. Marie was at the time one of the largest Christian churches in the world and reflected the affluence and opulence of Danzig during the seventeenth century. The musical traditions at St. Marie were firmly established earlier in the century by Thomas Strutius and Balthasar Erben, but had fallen into disrepair due to Danzig’s fluctuating economy in the 1680s. Meder’s first act as Kapellmeister was to create a new cappella from the remnants that he inherited. In a report to the council on the state of music within the Church, Meder stated that he had under his charge “a cantor, an organist, one discant singer, one alto, one tenor, one tenor-bass, one bass, and two student singers,” and that he required an additional eight singers. As for instrumentalists, Meder had at his disposal on a regular basis “a first violinist, a second violinist, a comettist, and a viola da gambist.” In addition to these instrumentalists, Meder requested two more violinists, a bassoonist, and a player for the Bombara. Ideally, Meder would have liked eighteen singers and thirteen instrumentalists for the chapel. Meder’s request
^ o lte , 455-458. a Ibid., 455-456.
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72 seems to have been denied by the Church officials, for later records indicate a further decline in the state of musical affairs.24 During his stay in Danzig, Meder suffered from health and financial problems, both of which would plague him until his death. By 1692, Meder was experiencing failing eyesight and loss of hearing. In a letter to the town council, Meder attributes his health problems to his poor living conditions: I have drained my strength and my health not so much through my daily labors, which I have been accustomed to since my early youth, but rather through the very unhealthy, small, wet and dark apartment... Thus, the doctors have said repeatedly that medicine will not cure me unless I seek more comfortable housing.23
In addition to his pleas for appropriate housing, Meder petitioned the council in 1693 for the sum of the money left by Balthasar Erbem for destitute musicians. Records indicate that the council responded by raising his salary 200 florins a year.26 Meder, influenced by the early operatic activities in Hamburg and Leipzig, composed several works for the stage while in Danzig, including, Nero, Die bestdndige Argenia and Die wiederverehligte Coelia. In 1698 Meder unsuccessfully petitioned the town council for of a performance of his opera Die wiederverehligte Coelia. With the council flatly refusing his request, Meder decided to produce Coelia in the nearby town of Schottland with hope of financial success.
24Haberlen, 108. “ Hermann Rauschning, “Geschichte der Musik und Musikpflege in Danzig,” Quellen und Darstellungen zur Geschichte Westpreussens 15 (1931), 283. “ Ibid., 283-284.
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73 The Danzig council, upon learning of this “illegal” performance, forbade the performance of Meder’s opera and dismissed Meder from his post. Unable to overcome his financial problems, Meder fled secretly to Konigsberg in 1699, escaping both his creditors and debtor’s prison. Meder briefly held the position of Kan tor at the Cathedral at Konigsberg until his return to Riga in 1700. The town council appointed Meder to the position of Director of Choir Music at the cathedral, a position that he held for nine years until the return of the cathedral’s choir director, Johann Georg Andrei, in 1709. Upon Andrea’s return, Meder was appointed to the post of organist at the cathedral, a position he retained until his death in 1719. Meder’s career and compositional output flourished during his time in Riga, as he was able to produce occasional works for the Church and town. This is quite extraordinary, given that “the war had caused the arts and sciences to come to a standstill [in Riga] for eight years during which time the musical situation was deteriorating,” according to a letter by Meder. Mattheson points out that, had the Swedish king not been involved in wars for so long, Meder would probably has been appointed director of music at the Swedish court in Stockholm. Meder’s life, however, did not end with such glory. Meder, while living his last years in Riga with his sons, not only contended with the effects of war, but also contracted the plague, which ravaged Riga. Meder died at the age of seventy in 1719.
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74 Meder’s works, inventoried by his son Erhard Nikolaus upon his death, include thirty-seven choral scores and ninety-two sets of parts for choral compositions. The majority of these works were composed for sacred occasions. The music of the twenty extant compositions reflects Meder’s prowess to incorporate essential characteristics of the Italian style. According to Mattheson, Meder had held an outstanding reputation as a singer. His music incorporates a sensitivity to the needs of the singer, made possible only through his own experience. Meder’s melodies are quite lyrical, as he predominantly sets them diatonically with frequent sequential ages. Harmonically, his compositions are conservative and rather unimaginative. Meder’s varied instrumentation in his sacred works, however, shows to some extent the influence of Buxtehude.
Analysis of the Meder ion
ionsoratorium nach dem Evangelischen Matthaus by Johann Meder in its published version is scored for two recorders, two oboes, two violins, continuo (organ), five-part SSATB choir, and soloists.25 The work is structured traditionally in two parts, and Meder has divided the work into seventy-three movements that are comprised of scriptural narrative, sinfoniae, and interpolated chorales, set as solos, duets and choruses.
Although Meder did not subdivide the work further, a textual
^Basil Smailman suggests that since the oboes and recorders never play together, perhaps Meder expected the same musicians to perform on both instruments.
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75 analysis of the work based on the division of the biblical narrative produces a schematic plan (Table 6). T a b le 6.
Part 1
2
Structural Analysis of Meder ion. Scene
Movements
Chapter
Introduction
1,2
Sinfonia & Exordium
I
3,4
Matthew 26: 1-5 The conspiracy against Jesus
2
5,6
Matthew 26: 6-13 The anointing at Bethany
3
7,8
Matthew 26: 14-19 Judas betrays Jesus Preparations for the over supper
4
9,10
Matthew 26: 20-25 The treachery of Judas foretold
5
11-16
Matthew 26: 26-29 The institution of the Eucharist
6
17-22
Matthew 26: 30-46 Peter’s denial foretold Gethsemane
7
23-24
Matthew 26:47-56 The arrest
8
25-31
Matthew 26:57-68 Jesus before the Sanhedrin
9
32-35
Matthew 26:69-76 Peter’s denials
1
36-39
Matthew 27:1-10 Jesus is taken before Pilate The death o f Judas
2
40-49
Matthew 27:11-26 Jesus before Pilate
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76
Table 6 (continued) Part 2
Scene
Movements
Chapter
3
50-53
Matthew 27: 27-31 Jesus is crowned with thorns
4
54,55
Matthew 27:32-38 The crucifixion
5
56-61
Matthew 27: 39-44 The crucified Jesus is mocked
6
62-70
Matthew 27:45-56 The death of Jesus
7
71,72
Matthew 27:57-61 The burial
8
73,74
Matthew 27:62-66 The guard at the tomb
This schematic is based on Meder’s placement of the scenes of the narrative. The biblical scenes that are clearly placed at the beginning of a movement have been designated in this chart as a scene. Those biblical scenes that Meder subverts via elision are not given their own scene but rather inserted within (i.e., part one, scenes three and six, and part two, scene one). The published edition is based on the autograph manuscript, which consists of fifty-two folios, consecutively numbered; it is presently located in the Staatsbibliothek, PreuBischer Kulturbesitz, Musikabteilung, in Berlin. The manuscript, in score form, contains the complete ion story. The manuscript bears certain features that have led musicologists to ascertain that Meder constructed his ion and then later revised it, adding a set of new
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77 interpolations.26 To corroborate this theory, physical characteristics of the score have been identified, including (1) pencil marks eliminating certain arias; (2) inserted chorales to replace these arias, copied on separate half-sheets of manuscript paper, (3) identical script in the original and later manuscripts; and finally, (4) differing ink and watermarks on both versions.27 An outline of Meder’s structure for the interpolations and turbae movements illuminates the differences between the original and revised versions (Table 7). Movements that are listed in boldface print were added to replace the earlier interpolation marked with the same number. Table 7. Meder’s Interpolations in Original and Revised Versions of the ion. No.
Text
Type
1.
Sinfonia
2.
Introitus
Horet das Leiden...
3.
Chorus
Ja nicht auf das Fest
4.
Chorus
Wozu dienet dieser Unrat...
5.
Chorus
Wo willst du...
6.
Chorus
Herr, bin ich’s?
7.
Canto or Tenor solo
Herr Jesu Christe
8.
Canto or Tenor solo
Herr Jesu Christe
9. 9.
Two cantos Canto solo
Das Blut Jesu... Das Blut Jesu...
“ Smallman states that this revision was based directly on the Riga Gesangbuch of 169S. With only minor exception, the interpolations are exacdy the same in both ions. 27Haberlen, 116-119.
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Table 7 (continued) Text
Type
No. 10.
Sinfonia
11.
Sinfonia
12.
Sinfonia
13.
Sinfonia
14.
Alto and Tenor
Er hat gesagt...
15.
Chorus
Er ist des Todes schuldig
16.
Sinfonia
17. 17.
Canto solo Canto solo
0 Lamm Gottes unschuldig (verse 1) Herzliebster Jesu and Ritornello
18.
Chorus
WeiBage uns...
19.
Canto solo
Was ist doch...
20.
Chorus
Wahrlich, du bist auch einer...
21. 21.
Sinfonia Sinfonia and Tenor solo
Mein Siind
22.
Chorus
Was gehet uns das an...
23.
Chorus
Es taugt nicht
24.
Chorus
Barrabam
25.
Chorus
LaB ihn kreuzigen
26.
Chorus
LaB ihn kreuzigen
27.
Chorus
Sein Blut..
28. 28.
Canto solo Sinfonia and Canto solo
0 Lamm Gottes unschuldig (verse 2) Ach mein Jesu...
29.
Chorus
Gegriifiet
30.
Aria
Aria in Common meter (instruction only)
31.
Canto solo
Wie wunderbariich...
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79
Table 7 (continued) No.
Text
Type
32. 32.
Canto solo Canto solo
Christe du Lamm (verse 1) Dein Trost...
33.
Chorus
Der du den Tempel
34.
Canto solo
Christe du Lamm Gottes (verse 2)
35.
Chorus
Andem hat er...
36. 36.
Chorus Canto solo
0 Lamm Gottes unschuldig (verse 3) ... muB mein
37.
Chorus
Er rufet...
38.
Chorus
H alt lass sehen...
39.
Chorus
Christ du Lamm Gottes (verse 3)
40. 40.
Chorus Canto solo
In dieser nicht... H err Jesu C hrist
41.
Chorus
Wahrlich..
42. 42.
Aria Ritornello and Canto solo
Aria Number 2 (instruction only) Elemente selbst..
43. 43.
Chorus Canto solo
0 Trauigkeit... O selig ist..
44.
Chorus
Herr, wir haben gedacht...
45.
Conclusio
Dank sei unserm Herren
As one can see, Meder revised his ion setting substantially to make room for new innovations that he had discovered by his time at Riga. The influence of the Riga Gesangbuch was only partially responsible for the modifications. Meder’s knowledge and interest in the Germanic opera tradition, his experience as a professional singer and his exposure to the music of Buxtehude, Cesti and Carissimi, among others, influenced his setting of the S t Matthew ion.
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80 The ion begins with a separate movement marked “sinfonia” rather than the traditional exordium. This sinfonia has overture-like qualities and firmly establishes the tonality of F major, which by the late sixteenth century was the traditional key for oratorio ions. This sinfonia also serves to set the mood for the opening chorus, the exordium, set for five-part choir accompanied colla parte. The exordium is rather conservative, set in a homophonic style for the half of the text and then in imitation leading to homophony for the conclusion of the text. Meder included a total of eight sinfoniae in his ion. These sinfoniae serve one of three functions: (1) to emphasize a specific sentence or phrase within a speech; (2) to establish a mood for an scene; or (3) to introduce a sung interpolation (aria or chorale-paraphrase). Two of the most interesting sinfoniae found in the setting are in the first part of the scene in the Garden of Gethsemane. The first, no. 18 emphasizes the text of Jesus, “Setzet euch hie, bis daB ich dort hingehe und bete” (Stay here while I go over there and pray). In Sinfonia no. 18, Meder graphically depicts the scene of the garden, setting a pastoral sinfonia for two recorders and continuo. This movement in C minor is marked Adagio and, although simple in its harmonic language, is very beautiful in its suspensions and serves to punctuate the scene depicting the departure of Jesus from his disciples to a place of prayer. The second sinfonia of note is No. 20, which is titled “Sinfonia Sommus discipulorum” (Sleep of the disciples), a title written in by Meder at the top of the movement The title of this movement clearly indicates that the sinfonia is directly
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81 linked to the scene (Matthew 26:40), “Und er kam zu seinen Jiingem, und fand sie schlafend,” (And he came to his disciples and found them sleeping). This sinfonia is recapitulated in abbreviated form after verse 42 to symbolize the sleeping disciples yet again. In addition to its extraordinary title, the sinfonia employs solo obbligato recorder, two violins (tremolo) and continuo. This is interesting since the vocal line of Jesus throughout much of this ion is accompanied by two violins and continuo. When Meder wishes to exploit the dramatic potential of the vocal line of Jesus (most often underscoring important text), he adds the marking “tremolo” to the accompanying violins.28 This first occurs in no. 18 when Jesus states “Meine Seele ist betriibet bis in den Tod” (My Soul is troubled even unto death) (Figure 20). In “Sinfonia Somnus discipulorum” the obbligato recorder represents the sleeping of the disciples while the tremolo violins represent Jesus. The recitatives in the ion show a great advance in the technique of recitative composition. Because of his knowledge of opera, Meder wrote recitatives that contained much more dramatic potential and excitement He accomplished this by writing lines with a greater variety of note values, fewer repeated notes, wider leaps, dotted rhythms, and sequential motives. In addition, as a professional singer, he understood the vocal mechanism well and expanded the use of vocal melismas and ornamentation throughout the work. This excitement coupled with a freeing of
28Thomas Strut!us is the only other ion setting known to employ tremolo violins to accompany Jesus.
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Figure 20.
the recitative line from the continuo line, allowed for an unprecedented style in ion settings that foreshadows the recitatives of J.S. Bach. Many of Meder’s recitatives close with an instrumental cadendal extension, most often a cadential 6/4 extension, mimicking the two- or three-bar ritomelli found at the ends of the interpolated arias. The recitatives of Jesus in particular are quite lyrical and are written in arioso style. Meder pays close attention to the expressivity of the vocal line throughout, setting textual rhythms carefully according to natural word stress. The majority of the recitatives are set in common meter, with one notable exception. During the fifth scene, The Institution of the Eucharist, the vocal line of Jesus is transformed from duple to triple meter to underscore the sanctity of the text, “Nehmet, efiet, das ist
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83 mein Leib’’ (Take, eat, this is my Body). This was doubtless a deliberate reference to the holiness of the number three.29 Other rhetorical gestures occur throughout the work, predominantly in vocal ornamentation or extended melismas. Meder reserved such techniques for poignant moments in the dramatic narrative, such as the cutting off of the high priests’ servant’s ear30 and the events following the death of Jesus. In the latter example, the vocal line of the Evangelist falls an octave to convey the meaning of the word “zerriB” (ripped), referring to the veil of the Temple being ripped in two. Meder sets this text, as well as another occurrence of the same text, with great rhythmic syncopation (Figure 21). Also in Figure 21, the vocal ornament on the word “erbebete” (quake) clearly infers the meaning of the text
Figure 21. 29This happens once again in No. 73 when Meder is depicting the Resurrection. “ Meder, 28.
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84 Meder extended his practice of writing melismas in recitatives to his turba choruses, developing a much more vital energy for the choral interjections. Another element that underpins this vitality is the duetting of ascending vocal lines and the subsequent entrances of other vocal parts entering in imitation (Figure 22).
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85 The dense turba choruses are all accompanied colla parte and employ a fivepart texture. When greater weight is needed, Meder writes the turba chorus in triple meter, giving a broader space for the text to be pronounced. In the turba setting in part two, scene five (no. 57: Matthew 27: 39b, 40), the crowd proclaims “Der du den Tempel Gottes zerbrichst und bauest ihn in dreien Tagen, Hilf dir selber! Bist du Gottes Sohn, so steig herab vom Kreuz!" (You who would destroy the Temple in three days, help yourself! If you are God’s Son, come down from that cross!). This utterance is set in 3/2 and begins homophonically with great weight. Meder is not satisfied with this weight however, and sets the forces in opposition with each other (mm. 8-16). This treatment causes textual stress to occur more frequently through contrasting forces and thereby achieves greater tension (Figure 23). The sung interpolations throughout the ion are designated by the term “Aria.” Some movements have combined tides such as “Sinfonia coll’ aria” (no. 35) or “Ritomello e Aria” (no. 70), the only difference being there is an instrumental introduction included in the movement. These thirteen interpolations can be categorized in three families: (1) newly composed melodies with texts by anonymous authors; (2) established chorale tunes printed more or less verbatim from the hymnal; and (3) established chorale tunes paraphrased in a new musical structure with instrumental interludes inserted between phrases. Of the thirteen arias, only three fall into this third family (no. 16,53 and 72). A detailed examination o f the arias shows that the placement of chorale tunes is more concentrated at the end, to coincide with the persecution and death of Christ (Table 8).
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87 Table 8. Meder’s Placement of Chorales. Mvt.
Type
Performing Forces
Librettist
Tune
12
Aria
recorder, 2 vln, tenor, b.c.
14
Aria (=12)
recorder, 2 vln, tenor, b.c.
16
Chorale paraphrase (siciliana)
2 recorders, canto, b.c.
J. Heermann (1630)
Auf meinen lieben Gott
28
Chorale
2 vln, canto solo, b.c.
J. Heermann (1630)
Herzliebster Jesu, was hast du verbrochen? (v. 1)
31
Chorale (=28)
2 vln, canto solo, b.c.
J. Heermann (1630)
Herzliebster Jesu, was hast du verbrochen? (v. 3)
35
Sinfonia coll’ aria
recorder, 2 vln, canto, b.c.
J. Herrmann (1630)
Wenn mein Stiindlein vorhanden ist (v. 2)
49
Sinfonia e aria
recorder, 2 vln, canto, b.c.
53
Chorale paraphrase
recorder, 2 vln, canto, b.c.
J. Rist (1641)
0 Traurigkeit, o Herzeleid v. 5
55
Chorale
recorder, 2 vln, canto, b.c.
M. Behm(1602)
0 Jesu Christ, meins Lebens Licht (v. 6)
61
Aria
recorder, 2 vln, canto, b.c.
67
Chorale
ob, 2 vln, canto, b.c.
P. Eber(1563)
Herr Jesu Christ, wahr Mensch und Gott (v. 1-2)
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88
Table 8 (continued) Mvt.
Type
Performing Forces
70
Ritomello e Aria
2 ob., 2 vln, canto, b.c.
72
Sinfonia e aria.
Tutti
Librettist
Tune
J. Rist (1641)
0 Traurigkeit, o Herzeleid (w . 1-8)
The majority of Meder’s arias serve to represent the congregation and its pietistic response to the unfolding of the drama. The text o f these arias borders on realism, yet is objective in its viewing the actions from outside the perspective of the characters in the drama. A good example of this can be found in part two, scene nine, movement 67, immediately following the death of Jesus. The text of the aria is as follows:
Herr Jesu Christ, wahr’ Mensch und Gott, der du litt’st Matter, Angst und Spott, fur mich am Kreuz auch endlich starbst und mir deins Vaters Huid erbarst:
Lord Jesus Christ, true Man and God, who suffered torture, fea r and mocking, fo r me on the cross you ultimately died, and graced me with Your Father’s pity.
Ich bitt’ durch's bitter Leiden dein, du wollst mir SOnder gnddig sein, wenn ich nun komm in Sterbens Not und ringen werde mit dem Tod.
/ beg (of) you in your bitter ion, that you will be gracious to me, a sinner, when I come now in fear and struggle with death.
The objectivity of the text is emphasized by the simple setting of the familiar chorale tune by Paul Erber “Herr Jesu Christ, wahr Mench und Gott” (Figure 24). Set in a key very comfortable for congregational singing, this chorale as well as the
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89 other chorales set in a straightforward manner (movements 28, 31, 35 and 55), may have been intended for participation by the congregation.
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*
90 Two arias break away specifically from the role of representing the congregation and are directed towards character development. This was a relatively new phenomenon in ion music and took its lead from the development of aria in opera as a meditative piece sung by a character to reflect upon the drama. The two arias that serve this function are movement 35, representing Peter after his triple denial of Christ, and movement 55, representing the guard after he offered a sponge filled with wine and gall to Jesus. The arias also allowed an opportunity for Meder to experiment more freely, both incorporating new compositional techniques and challenging the traditions of ion writing, which he knew so well. These techniques were based on a keen awareness of structure and the possibilities of unifying a work through repetition. Meder repeated music both in sinfoniae (movements 20 and 22) and in the arias (movements 12 and 14,28 and 31, and 53 and 72). The structural placement of the chorale tune “O Traurigkeit, o Herzeleid” by Johann Rist in movement 53, served two purposes of which Meder must have been aware. Meder chose the text from the fifth verse of the chorale, which translates as follows: O siifier Mund! O Glaubensgrund, wie bist du doch zuschlagen? Alles, was auf Erden lebt, muB dich ja beklagen.
O sweet mouth! O Basis o f my faith, how are you shut? Everything that lives on the earth must wail for you.
The choice of this particular text provides an opportunity for poignant meditation on the beating, scouring and crucifixion of Christ It is a reflective text
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91 looking backward for a moment and stopping the narrative to give time to reflect. The second half of the text, however, “Alles, was auf Erden lebt, tnuB dich ja beklagen,” foreshadows the wailing at the death of the Crucifixion and is, in a sense, prophetic. This prophetic quality is secured by the reprise of “O Traurigkeit, o Herzeleid” after Christ had been buried. This reprise of “O Traurigkeit, o Herzeleid” is the pinnacle of the whole work in of its orchestration and structure. All eight verses of the chorale tune are set in this movement, and with varying combinations of performing forces for each verse (Table 9). The Sinfonia and Aria is easily the longest movement in the work. Through it, Meder brings the ion to its fulfilling completion.
Table 9. Meder’s Orchestration of O Traurigkeit, o Herzeleid Section
Measure Numbers
Performing Forces
Sinfonia
mm. 1-10
ob, 2 vln, be.
Verse 1
mm. 1-20
2 vln, canto, b.c.
Verse 2
mm. 21-30
2 ob, tenor, b.c.
Verse 3
mm. 31-40
2 ob, SATB choir, b.c.
Verse 4
mm. 1-20
2 vln, canto, b.c.
Verse 5
mm. 21-30
2 ob, tenor, b.c.
Verse 6
mm. 31-40
2 ob, SATB choir, b.c.
Verse 7
mm. 41-50
obbligato ob, STB soli, b.c.
Comments
siciliana style, ornate accompaniment
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Table 9 (continued) Verse 8
92 mm. 51-69
ob, 2 vln, SATB chorus, b.c.
Highly virtuosic violin parts
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93 CHAPTER VH COMPARATIVE ANALYSIS OF SETTINGS AND THEIR RELATIONSHIP TO J.S. BACH’S MATTHAUS-ION
Introduction The four settings of the ion included in this study were carefully chosen for inclusion based on the characteristics they each possess that illustrate the musical idioms of their day. The previous chapters of this study have examined each setting individually, drawing attention to the critical features of each setting. While the sample presented is small, it is possible through comparison of these settings to note important differences between them. These differences, however, do not necessarily imply that one setting directly influenced any another setting. Rather, the progression of compositional technique as demonstrated by the composers of these settings reflects the musical language and idioms, as well as the theology and culture, in which they were steeped. This chapter is devoted to the examination of the similarities and differences between the four settings. The differences in settings may simply be considered as individualistic interpretations of the composer, while similarities may be viewed as possible adherence to musical tradition. For instance, the revised version of the St. Matthew ion by Johann Valentin Meder, which was reviewed in the last chapter, bears a striking resemblance to the Oratorio ion found in the Riga Gesangbuch of 1695. Meder’s familiarity with this songbook probably had an effect on the rethinking of his own setting. In turn, if the setting of 1695 was based on settings by
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94 Flor and Funcke, as some musicologists have postulated, the tradition of setting the ion in a particular manner grows longer. To this end, the Matthaus-ion of J.S. Bach, unmistakably the most important eighteenth century ion, will be cited in the context of this comparative study. It is the hope of the author that this reference will highlight the commonalities it shares with the earlier settings through the examination of three areas: structure, dramatic personae, and orchestration.
Structure and Form The text setting of the ion is the first and foremost influence on the structure of each of the musical settings examined in this study. While Selle’s setting of the ion is the only setting in this study based on the Gospel of John, it is included due to its historic significance as the first extant oratorio ion. This inclusion allows for an examination of the origin of the ion oratorio and therefore the setting will be cited throughout this chapter. Selle’s setting will not, however, be included in the textual comparisons, as the scope of the narrative is different from Sebastiani, Theile and Meder’s setting of the St. Matthew text. The St. Matthew narrative is based on Matthew 26:1*11 through Matthew 2 7 :9.1The narrative can be separated into two balanced sections (Table 10).
'This numbering is based on the 1984 edition of the New Jerusalem Bible. This numbering corresponds to Matthew 26:1-75 through Matthew 27:1-66 in Luther’s bible.
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95 Table 10. St. Matthew ion Text Division P a rt One: Chapter 26 1.
The Conspiracy against Jesus
Matthew 26:1-5
2.
The anointing at Bethany
Matthew 26:6-13
3.
Judas betrays Jesus
Matthew 26:14-16
4.
Preparations for the over supper
Matthew 26:17-19
5.
The treachery of Judas foretold
Matthew 26:20-25
6.
The Institution of the Eucharist
Matthew 26:26-29
7.
Peter’s denial foretold
Matthew 26: 30-35
8.
Gethsemane
Matthew 26:36-46
9.
The arrest of Jesus
Matthew 26:47-56
10. Jesus before the Sanhedrin
Matthew 26:57-68
11. Peter’s denials
Matthew 26:69-76
P art Two: Chapter 27 1. Jesus is taken before Pilate
Matthew 27:1-2
2. The death of Judas
Matthew 27: 3-10
3. Jesus before Pilate
Matthew 27:11-26
4. Jesus is crowned with thorns
Matthew 27:27-31
5. The crucifixion
Matthew 27:32-38
6. The crucified Jesus is mocked
Matthew 27:39-44
7. The death of Jesus
Matthew 27:45-56
8. The burial
Matthew 27:57-61
9. The guard at the tomb
Matthew 27:62-66
The faithfulness of each composer to the S t Matthew narrative can be gauged through a study of the musical divisions in each setting. The works in this study all
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96 include interpolations that serve as markers for structural punctuation. Within each setting, the composer has divided the text in the manner that he feels most appropriate for the musical style of the culture in which he lived. This division of text can be very sharp, as is the case when a chorale, turba or new movement is placed at the end of an entire scene as listed above in Table 10.2 In other instances, the division may be more subtle, being marked by an internal cadence or harmonic shift. Finally, in other cases, the text may be through-composed, bearing no divisions. Each composer gave attention to textual division in one o f the six following ways: (1) by sectionalizing movements that provide clear breaks; (2) by inserting interpolations between the biblical narrative; (3) by inserting turba choruses that conclude the scene; (4) by creating harmonic shifts that signal a new tonal center; (5) by providing weak cadences for less important breaks; and (6) by ignoring the textual division through musical elision. Table 11 shows how each composer dealt with the issue of textual division on a scene-by-scene basis.
Table 11. Comparative Settings of St. Matthew Text Sebasdani
Theile
Meder
1. The Conspiracy against Jesus
Turba
Turba
Movement
2. The anointing at Bethany
Turba
Elision
Harmonic
Part I: Chapter 26
2In Meder’s setting of the ion, these interpolations are found in Part One after scenes two, nine and eleven, and in Part Two after scenes four, seven and eight
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Table 11 (continued)
97 Sebasdani
Theile
Meder
3. Judas betrays Jesus
Elision
Internal Cadence
Elision
4. Preparations for the over Supper
Harmonic shift
Elision
Elision
5. The treachery of Judas foretold
Elision
Elision
Elision
6. The Institution of the Eucharist
Chorale
Aria Ritomeilo
Aria
7. Peter’s denial foretold
Elision
Internal Cadence
Elision
8. Gethsemane
Elision
Elision
Harmonic
9. The arrest of Jesus
Elision
Elision
Elision
10. Jesus before the Sanhedrin
Turba
Aria
Turba
11. Peter’s denials
Chorale
Aria Ritomeilo
Sinfonia coll’ aria
1. Jesus is taken before Pilate
Elision
Elision
Elision
2. The death of Judas
Harmonic
Elision
Internal cadence
3. Jesus before Pilate
Harmonic
Elision
Sinfonia & Aria
4. Jesus is crowned with thorns
Chorale
Aria Ritomeilo
Aria
5. The crucifixion
Elision
Elision
Elision
6. The crucified Jesus is mocked
Elision
Elision
Movement
7. The death of Jesus
Chorale
Elision
Elision
8. The burial
Elision
Elision
Elision
9. The guard at the tomb
Conclusio
Aria
Aria
P art II: Chapter 27
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98
From examining Table 11, several facts become apparent. The first is that all three composers have included texts in their settings that are not directly from the ion scripture. In the case of Sebastiani these insertions took the form of chorales. Theile and Meder, on the other hand, inserted not only chorales in their settings but also arias and sinfonias. This facts may seem quite obvious, but when one looks at the textual division as a filter for these interpolations, one discovers four critical points of division. These four points are critical in that all three composers inserted these interpolations containing secondary texts: A.
Between the Institution of the Eucharist (Mt 26:26-29) and Peter’s denial foretold (Mt 26: 30-35)
B.
Between Peter’s Denial, the End of Part I (26: 69-76) and Part II (Mt 27)
C.
Between the Crowing of Thoms (Mt 27: 27-31) and the Crucifixion (Mt 27: 32-38)
D.
After the guard at the tomb (the end of the work) (Mt 27:66)
These divisions created sets of scenes that were treated as musical units. This fragmentation of the biblical narrative led the oratorio ion to become a vehicle for the Pietism and sentimentality that is foreshadowed by the Meder setting. The ion narrative according to St. John is based on the eighteenth and nineteenth chapters of the Gospel of John. This narrative is very different and its length is much shorter than the found in the Gospel of Matthew and, for the purposes of this study, will be discussed only in o f the scenes included
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99 in the narration. The text of Chapter 18 divides into three scenes, while the that of chapter 19 divides into nine scenes (Table 12). Table 12. Divisions of the St. John ion Text Part One: Chapter 18:1*24 Scene
Chapter
Correlating Verse in Matthew
The Arrest of Jesus
Jn 18:1-11
Mt 26: 30, 36,47-56
Jesus before the Sanhedrin
Jn 18:12-27
M t2 6 :57-68
(Jn 18:15-18)
Mt 26:69-76
(Peter’s denials)3
Part Two: Chapter 18:25 • C hapter 19:42 Jn 18: 28-19:11
M t2 7 :11-26
(Jn 19:1-3)
Mt 27:27-31
Jesus is condemned
Jn 19:12-16
Mt 26:17
The crucifixion
Jn 19:17-22
M t2 7 :32-38
Jesus’ garments divided
Jn 19:23-24
M t27: 35
Jesus and his mother
Jn 19:25-27
M t2 7 :55-56
The death of Jesus
Jn 19:28-30
Mt 27:48-50
The pierced Christ
Jn 19: 31-37
Non-existent
The burial
Jn 19: 38-42
M t2 7 :57-60, 62-66
Jesus before Pilate (Jesus is crowned with thorns)
The second column of Table 12 refers to the chapter and verse associated with the scene in column one. The third column, gives a corollary age in St. Matthew,
3Although “Peter’s denials” are not considered a separate scene in the narrative, it is included here as composers have discreetly set this text
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100 although the corollary age may include varying details of the ion. These details are minute in comparison to the scope of the dramatic sequence of both ions (Table 13). Table 13. Scope of Drama in Ss. Matthew and John s of ion Scene
St. Matthew
The Conspiracy against Jesus
X
The anointing at Bethany
X
Judas betrays Jesus
X
The Preparations for the over
X
St. John
supper The treachery of Judas foretold
X
The Institution of the Eucharist
X
Peter’s denail foretold
X
Gethsemane
X
The Arrest of Jesus
X
X
Jesus before the Sanhedrin
X
X
Peter’s denials
X
X (allusion)
Jesus is taken before Pilate
X
X
The death of Judas
X
Jesus before Pilate
X
X
Jesus is condemned to death
X (allusion)
X
Jesus is crowned with thorns
X
The crucifixion
X
The crucified Jesus is mocked
X
Jesus’s garments are divided
X
X
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101
Table 13 (continued) St. Matthew
Scene
S t John X
Jesus and His Mother The death of Jesus
X
X X
The pierced Christ The burial
X
The guard at the tomb
X
X
Obviously the scope of the by St. John is more limited than that of St. Matthew. To Lutheran composers looking to set dramatic settings of the ion, the St. John ion posed two obvious problems: (1) the textual imbalance between the length of part one and part two, and (2) the lack of dramatic possibility presented by the additional scenes in the St. Matthew (i.e., the death of Judas and the crowning of thorns). Selle solved the first problem of imbalance by inserting three interpolations into his ion. These three interpolations effectively divide the work into three parts, although the third interpolation technically comes after the conclusio, and therefore falls outside of its scope. Selle’s ion, therefore is divided as follows: A. Prima Pars
The Arrest of Jesus (Jn 18:1) and Jesus before the Sanhedrin (Jn 18:27)
B. Secunda Pars Jesus before Pilate (Jn 18:28) through Jesus is Condemned (19:16) C. Tertia Pars
The Crucifixion (Jn 19: 12) through the Burial (Jn 19:42)
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102
Interpolations Besides serving as the marker for major structural divisions, interpolations gave the composer control over the pacing of the ion narrative. This pacing allowed time for meditation on the events that had transpired in the story. This meditation took one of three forms: (1) chorales that were sung either by the congregation or soloist; (2) arias based on sacred or secular texts; and (3) instrumental interludes referred to by including sinfonia, symphonia, and ritomeilo. As the ion oratorio grew in popularity and spread, the inclusion of a greater number of interpolations became common practice. The interpolations, which continued to be non-scriptural in nature, also became more complex both in of structure and instrumentation, and began to lean on the form of the aria, borrowing from the operatic tradition. This development can be seen in the three settings of the St. Matthew ion discussed here (Table 14). This practice gave way to the Pietism leading to G.F. Handel’s Brockes ion, and ultimately was reconciled in both number and balance by J.S. Bach.
Table 14. Interpolations in Three Settings of St. Matthew ion Chapter
Composer
Title and Setting
Tonality
Length
Part 1: Chapter 26 N/A
Sebastiani Theile Meder
Symphonia. 4 violas, b.c. Sinfonia. 4 violas, b.c. Sinfonia. 2 oboes, 2 violins, b.c.
rim gm FM
18 10 11
26:12
Sebastiani
0 Welt, ich muss dich lafien. Vs. 1, Canto solo, 4 viols, b.c.
FM
25
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103
Table 14 (continued) Chapter
Composer
Title and Setting
Tonality
Length
26:26
Meder
Herr Jesu Christ, dein heiliger Leib Canto or Tenor solo, 1 recorder, 2 violins, b.c.
BbM-* gm
12
26:28
Meder
Herr Jesu Christ, dein heiliger Blut Canto or Tenor solo, 1 recorder, 2 violins, b.c.
BbM-* gm
12
26:29
Sebastiani
Goa sei gelobet und gebenedeiet vs. 1, canto solo, 4 viols, b.c.
D M -F M
13
Theile
0 Gottes Sohn, du Heil der Sunder Vss. 1-2, canto solo, b.c. Ritomeilo, 4 violas, b.c.
gm GM gm-* GM
14 14
Aufmeinen lieben Gott Vs. 9, Canto solo, 2 recorders, b.c.
gm-* GM
14
Voter unser im Himmelreich Vs. 1, Canto solo, 4 viols, b.c.
dm-* DM
30
cm
11
Meder
26:36
26:37 26: 39 26:42
26:54
Sebastiani
Meder
Sinfonia 2 recorders, b.c.
Sebastiani
Symphonia 3 viols, b.c.
AM-* DM
7
Sinfonia somnus discipulorum 1 recorder, 2 violins, b.c.
EbM
16
dm-* DM
30
EbM
7
gm
8
Meder Sebastiani
Voter Unser im Himmelreich Vs. 4, Canto solo, 4 viols, b.c.
Meder
Sinfonia 2 violins, b.c.
Meder
Sinfonia 2 oboes, 2 violins, b.c.
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Table 14 (continued)
104
Chapter
Composer
Title and Setting
Tonality
Length
26:66
Sebastiani
0 Lamm Gottes unschuldig Vs. 1, Canto solo, 4 viols, b.c.
FM
27
Sinfonia 2 oboes, 2 violins, b.c. Herzliebster Jesu, was hast du verbrochen? Vs. 1, Canto solo, 2 violins, b.c. Ritomeilo 2 oboes, 2 violins, b.c.
gm
9
gm
29
bm
4
Du duldig Lamm, o Gottes Sohn Vs. 1-2, Canto solo, b.c. Ritomeilo 4 violas, b.c.
gm -* GM
15
gm-* GM
7
Herzliebster Jesu, was hast du verbrochen? Vs. 3, Canto solo, 2 violins, b.c. Ritomeilo 2 oboes, 2 violins, b.c.
gm
11
gm
4
Sebastiani
Erbarm dich mein, 0 Herre Gott Vs. 1, Canto solo, 4 viols, b.c. Scripture Reading.
EM
32
Theile
Ach, VVo soil ich mich hinwenden Vss. 1-2, Tenor solo, b.c. Ritomeilo 4 violas, b.c.
gm-* GM
12
Sinfonia coll’Aria: Wenn mein Stiindlein vorhanden ist Vs. 2, Tenor solo, 2 oboes, 2 violins, b.c.
gm
Meder
26:68
Theile
Meder
26:75
Meder
gm-* GM 10 28
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105
Table 14 (continued) Chapter
Tonality
Length
E M -D M
16
Voter unser im Himmelreich Vs. 7, Canto solo, 4 viols, b.c.
dm — DM
30
0 Lamm Gottes unschuldig Vs. 2, Canto solo, 4 viols, b.c.
FM
27
cm
31
FM
27
Ach der Marter, ach der Pein Vss. 1-2, Canto solo, b.c. Ritomeilo 4 violas, b.c.
gm
12
gm —GM
7
Meder
0 Traurigkeit, o siifier Mund Vs. 5, Canto solo, recorder, 2 violins, b.c.
gm —GM
17
Meder
0 Jesu Christ, mein Lebens Ucht Vs. 6, Canto solo, 1 recorder, 2 violins, b.c.
BbM
19
FM
13
cm
20
AM
21
Composer
Title and Setting
Part 2: Chapter 27 N/A 27:5
27:23
27:26
27:31
Sebastiani Sebastiani
Sebastiani
Meder
Sebastiani
Theile
27: 34
27:44
27:46
Sebastiani
Symphonia a 4 4 viols, b.c.
Sinfonia: Ach! Mein Jesu der mufi sterben Canto solo, recorder, 2 violins, b.c. 0 Lamm Gottes unschuldig Vs. 3, Canto solo, 4 viols, b.c. A scripture reading
Herr Jesu Christ, wahr’ Mensch und Gott Vss. 1-2, Canto solo, 4 viols, b.c.
Meder
Nakket mufi mein Jesus hangen Canto solo, recorder, 2 violins, b.c.
Sebastiani
Herr meinen Geist befehl ich dir Vs. 1, Canto solo, 4 viols, b.c.
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Table 14 (continued)
106
Chapter
Composer
Title and Setting
Tonality
Length
27:49
Meder
Preludio 1 oboe, 2 violins, b.c. Christe, du Lamm Gottes Vs. 3, Canto solo, 1 oboe, 2 violas, b.c.
FM-*BbM
7
B bM~*FM
9
Sebastiani
Mit Fried und Freud Vs. 1, Canto solo, 4 viols, b.c. Ecce quomodo moritur (Gallus) SATB (Crone edition)
DM
26
Meder
Herr Jesu Christ, wahr’ Mensch und Gott Vss. 1-2, Canto solo, oboe, 2 violins, b.c.
FM
19
Meder
Ritomeilo and Aria: "Elemente selbst erschrecken iiber Christi Kreuz und Tod" Canto solo, 2 oboes, 2 violins, b.c.
FM
18
AM -* DM
19
gm
10
gm
69
27:50
27:54
27:60
Sebastiani
Meder
0 Traurigkeit, o Herzeleid Vss. 1-8, Canto solo, 4 viols, b.c. Sinfonia 1 oboe, 2 violins, b.c. 0 Traurigkeit, o Herzeleid Vss. 1-8
In addition to the mere proliferation of interpolations being set for dramatic purposes, some of them serve as secondary structural points. Like the four main dividing points outlined above, Table 14 shows some consensus regarding secondary points for inclusion of interpolations. There are three of these points in the first part (Mt 26:36,26:42, and 26:68) and this is balanced by three points in the second part (Mt 27:44,27:50 and 27:54). These secondary divisions have some level of
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107 importance as they each reflect upon important moments in the ion narrative. These same secondary divisions are also observed by J.S. Bach in his Matthdusion (movements 12,13,25,37, 59, 60,64 and 65). In comparison, the Selle ion of 1643 is very simple in structure (Table 15). The narrative is through-composed, with only two interpolations interrupting the recitative. Notable is the length of the intermedium, reminiscent of the concern of Schiitz and of the motet ions that came before. Table 15. Selle’s Interpolations. Chapter
Parallel age in Matthew
Title and Setting
Tonality
Length
18:23
c. 26:55
Intermedium I: Fuhrwahr er trug unsre Krankheit. STB soli, SAATB chorus, solo violin, 3 violins, 2 bassoons, 2 b.c. groups
CMFM
78
19:21
c. 27: 26
Intermedium II: Mein Gott, mein Gott warum hast du verlafien mich? (Ps. 22 1-22) STB soli, SAATB chorus, solo violin, 3 violins, 2 bassoons, 2 b.c. groups
FM
130
19: 35
After death; before burial c. 27:56
Intermedium III: 0 Lamm Gottes unschuldig Vss. 1-3, STB soli, SAATB chorus, 3 violins, 2 bassoons, 2 b.c. groups
FM
50
By the time Bach set the Matthdus-ion for the Good Friday service of 1729 in Leipzig, the inclusion of expanded musical forms, including the da capo aria, had
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108 become commonplace. Bach’s pairing of a recitative with an aria replaced in many cases the chorale interpolations. These arias provided contrasting textures and texts that allowed for a deeper personal meditation. Bach’s division of the Matthew narrative did not conform to the traditions that he inherited. Instead of the traditional split of the narradve into two parts (chapters 26 and 27 respectively), Bach’s Matthdus-ion is skewed by its first half of the narrative ending with the Arrest of Jesus (Mt 26:56). This creates a new balance, comprised of a reverse golden proportion that is informed by the Fibonacci principle of the golden section (0.618), and therefore creates new points of subdivision. Bach does recognize the traditional points of reflection as noted above. The interpolations included by Bach as they parallel the earlier settings in this study can be found in Table 16. Table 16. J.S. Bach: Matthdus-ion Interpolations. Mvt.
Type
Length
Tonality
PART ONE 3
Choral: Herzliebster Jesu, was hast du verbrochen?
11
em-* BM
5
Recitativo (Alto): Du lieber Heiland du
10
bm -* f#m
6
Aria (Alto): Bufi und Ruh
105
f#m
8
Aria (Soprano): Blute nur, du liebes Herz
45
bm
10
Choral: Ich bins, ich sollte biifien
12
At>M
Recitativo (Soprano): Wiewohl mein Herz in Trdnen schwimmt Aria (Soprano): Ich will dir mein Herze schenken
13
(em) -* CM
48
GM
12
A M -E M
12/13
15
Choral (Chor I/H): Erkenne mich, mein Hitter
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109
Table 16 (continued) Mvt.
Type
Length
Tonality
17
Choral: (Chor 1/D): Ich will hier bei dir stehen
12
AbM -EbM
19/20
Recitativo (Tenor, Chor I/II): 0 Schmerz! Hier zittert das gequdlte Herz Aria (Tenor, Chor I/II): Ich will bei meinem Jesu wachen
30
fm —GM
91
cm
Recitativo (Bass): Der Heilandfallt vor seinem Voter nieder Aria (Bass, Chor II): Geme will ich mich bequemen
10
dm—BbM
102
gm
Choral (Chor I/II): Was mein Gott will, das gescheh allzeit
16
bm —BM
Recitativo (Soprano, Chor I/n altos): So ist mein Jesus nun gefangen
63
em —bm
Choral (Soprano ripieno, Chor I/II): 0 Mensch, bewein dein Siinde grofi
99
EM
22/23
25
27 29
PART TWO 30
Aria (Alto, Chor I/II): Ach, nun ist mein Jesus hin
123
bm-* fWm
32
Choral (Chor I/II): Mir hat die Welt truglich gericht
11
BbM
34/35
Recitativo (Tenor): Mein Jesus schweigt zu falschen Liigen stille Aria (Tenor): Geduld
10
dm-* AM
47
am
37
Choral (Chor I/II): Wer hat dich so geschlagen
12
FM
39
Aria (Alto, Chor I): Erbarme dich
54
bm
40
Choral: Bin ich gleich von dir gewichen
16
f*m -* AM
44
Choral: Befiehl du deine wieder
16
D M -D M
46
Choral: Wie wunderbarlich ist doch diese Strafe!
11
em —BM
Recitativo (Soprano): Er hat un alien wohlgetan Aria (Soprano, Chor I): Aus Liebe will mein Heiland sterben
12
em —CM
74
am
48/49
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110
Table 16 (continued) Mvt.
Type
Length
Tonality
51/52
Recitativo (Alto): Erbarm es Gott Aria (Alto, Chor II): Konnen Trdnen meiner Wangen
12 91
CM gm
Choral: 0 Haupt voll Blut und Wunden
16
FM
Recitativo (Bass): Jafreilich will in un das Fleisch und Blut Aria (Bass, Chor I): Komm, stifles Kreuz
6
FM -* dm
54
dm
Recitativo (Alto): Ach Golgotha Aria (Alto, Chor I/D): Sehet, Jesus hat die Hand
15 52
AbM EbM
Choral: Wienn ich einmal soli scheiden
16
am-* EM
Recitativo (Bass): Am Abend, da es kiihle war Aria (Bass): Mache dich, mein Herze, rein
18
gm
81
BbM
54 56/57
59/60 62 64/65
gm
67
Recitativo (Bass, Chor II): Nun ist der Herr zur Ruh bebracht
17
EbM -* cm
68
Chorus (Chor I/II): Wirsetzen unsmit Trdnen nieder
128
cm-*Eb-*cm
Dramatic Personae The development of the characters of the ion clearly can be traced through these settings. From the earliest ion oratorio, the words of Jesus are uniquely paired with two instruments, representing the three persons of the trinity. In the case of Selle’s setting the instruments were two violins. Sebastiani followed this practice some twenty years later, also employing two violins, and Theile used two viole da braccio. Meder not only followed this practice by using two violins, but also set the text of Jesus in arioso style, foreshadowing Bach’s setting.
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Ill The practice of omitting the violin accompaniment for the text of Matthew 27:46a “Eli, Eli lama sabathani” (My God, why have you foresaken me) represents a breaking away from the divine nature of the trinity and the humanity of Christ on the cross. This practice was observed by Selle and Sebastiani in their settings. Sebastiani’s setting, in particular, is interesting in that the violins fall silent during this utterance but reenter for the Evangelist’s translation (Mt 27:46b) “Das ist: mein Gott, warum hast du mich verlaBen?” (That is: my God, why have you abandoned me?). What makes this setting fascinating is that the violin accompaniment is reserved solely for the divine Christ except for this particular spot. Bach did not follow Sebastiani’s lead, but did employ the practice of the accompanying strings (Figure 25). The only exception occurs in the accompaniment for the text “Eli, Eli lama sabachthani,” (My God, why have you abandoned me?) when Bach also omits the strings. An examination of the sections of recitative found in each setting shows the development from chant-based recitative to newly composed recitative with natural text inflection. In Selle’s setting, the recitative is rather inexpressive, relying on quarter notes as the primary note value and stepwise motion for all tex t Sebastiani varies the duration of the notes, moving more frequently between the quarter and eighth notes, to create a sense of long and short syllabic stresses. In addition, Sebastiani uses some melodic skips and a greater range for the recitative. Theile’s recitative settings, while incorporating the characteristics found in Sebastiani’s recitatives, are less successful for two reasons: (1) Theile sets the accompanying
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112
60
RECITATIVO. Coro I',
Violiiiu I.
r
); —
—
~^r -----— ■■■
Viol I no II. VIola.
ui' m
- 1r
=y
-I
»
=
Evangelist. Iraftw fct
Jesus.
«itt I Oc-kot kia la Motto* a 11- ooa^ai •yrtak* ■
Orf mo •
Continuo.
mm
Ikaii DnMclaUrUM Ur m -m i
Mot.aa %MjU kior, M U M l l r A i S -
Figure 25. instruments in a highly animated, imitative style that does not allow freedom in the vocal line; and (2) Theile is unable to divorce the basso continuo line from the recitatives of Jesus and other bass characters. Meder’s handling of recitative shows
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113 the greatest refinement in technique. There is a wide range of durational value, range and intervallic leaps that produce exciting lines that resemble spoken speech. The settings of the turba choruses are basically parallel in style to the settings of recitatives discussed above. The repetition of text becomes a more prominent characteristic with the former settings, due in part to the expanded use of contrapuntal technique. This technique, which is most strongly seen in the setting by Theile, allowed for a more realistic interpretation of the crowd due to its many imitative entrances. Meder increased the dramatic tension of these arias by varying concerted forces and extending melismatic writing from recitatives to turbae choruses. Table 17 provides a comparison of the three pre-Bach settings of the St. Matthew .
Table 17. Turbae Choruses in the St. Matthew Settings Tide
Composer
Length
Meter
Repeats
Style*
Tonality
Ja, nicht auf das Fest
Sebastiani Theile Meder
5 12 4
C C C
none a lot little
H I H
FM —AM gm —DM CM
Wozu dienet
Sebastiani Theile Meder
8 9 8
C C C
none little little
H I-H H-I-H
dm-* DM gm -* GM CM-* GM
Wo willst du
Sebastiani Theile Meder
5 7 4
C C C
little a lot none
H I-H H
dm - * am gm-* DM FM —CM
Herr, bin ichs?
Sebastiani Theile Meder
4 7 5
C C 3/2
litde a lot a lot
I I I-H
CM gm —GM gm
EristdesTodes
Sebastiani Theile Meder
4 7 5
C C c
none little little
H I H
dm —DM gm—BbM BbM
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114
Table 17 (continued) Title
Composer
Length
Meter
Repeats
Style*
Tonality
WeiBage uns
Sebastiani Theile Meder
6 6 3
C C
none little little
I-H I H
F M -A M FM—BbM BbM
Wahrlich, du bist
Sebastiani Theile Meder
6 9 8
none a lot a lot
H I H
dm —FM BbM - GM F M -C M
Was gehet uns
Sebastiani Theile Meder
4 8
none a lot a lot
H H H
dm —FM BbM FM
Es taug nicht
Sebastiani Theile Meder
7 11 6
c c c c c c
none a lot none
H I H
F M -D M BbM—FM FM
Barrabam
Sebastiani Theile Meder
4
3/1
none a lot none
H I H
FM gm —GM CM
LaB ihn kreuzigen
Sebastiani Theile Meder
4
little little little
H H H
AM gm —GM CM
Sein Blut
Sebastiani Theile Meder
7 8 8
3/2
none a lot none
I-H I H
dm —AM gm—BbM F M -C M
GegriiBet seist du
Sebastiani Theile Meder
6 15 5
3/1 3/2 C
none a lot a lot
H I-H I-H
F M -C M FM FM
Der du den Tempel
Sebastiani Theile Meder
16 10 18
3/1 C 3/2
none little little
H H-I-H H
C M -D M gm —GM FM
Andem hat er
Sebastiani Theile Meder
23 19 13
C C
little none little
H H-I-H H
F M -D M BbM—DM BbM
Der rufet
Sebastiani Theile Meder
2 7 3
none a lot none
H I H
F M -C M BbM-EbM BbM
Halt, lafi sehen
Sebastiani Theile Meder
5 5 7
none little none
H I H
AM BbM F M -C M
5
5
2
5 5
c c c c
c c c c c c c
c c c c c c 3/2
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Table 17 (continued)
115
Title
Composer Length
Meter
Repeats
Style* Tonality
Wahrlich dieser ist
Sebastiani Theile Meder
5 11 6
C C
H I H
dm-* DM dm—GM
3/2
none a lot none
Sebastiani Theile Meder
23 32 36
C** C** c**
none none a lot
H I-H-I H-I-H -I-H
F M -D M gm—BbM FM —DM
Herr, wir haben gedacht
F M -C M
H =Homophonic, I = Imitative Each composer sets the text of Matthew 27:63b, “Er sei auferstanden von den Toten” (He has risen from the dead) in triple meter and then reverts back to common meter.
Similarities can be found between the turba settings of each composer. Theile’s use of imitation sures both Sebastiani’s and Meder’s and associates their settings more closely to each other. The sole turba chorus that is set in similar fashion in all three settings is “LaB ihn kreuzigen” (Let him be crucified). All three composers set this turba succinctly and as a homophonic statement in common meter, utilizing textual repetition for emphasis (Figures 26-28).
■
1
, f
.
1r
r> r f - g i
»
if
f-l
ID
Lal ika Ikjaa.iLpa, 1*1 _ iknb«D.ai. p a, lal ika k m
B 1 1
Lai ika kna-lLpa, 1*1. _ frkknaoi. p a , lal ika k m . Tnttt
f
ika kiaa.iLpa, lal.
I
.
,
i
"h
-
h
-
Lal ika Ihaa.li p a,
1
i-
iU k m .il. p a, lal ika f e r n .
. ti . •»« A - ti . A . ri .
--
I-*
■A. ,
A A*— u ^ J ^ kM . . li . 1-1 ika _fi__
k l£ U k m -ii. P . U
1 J 1 1f
U lik a kna.tL pa,lal. __ i b k n u i . p * la l ika k m .
. ti .
igure 26. Sebastiani L
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116 Tottl Oa L*A Ottkmci .jpa» 1*1 ika
U l ika kiraai 1 gaal
Lal ihAkm ti. f ts , lal ika
ika
Lal ika k**osi .j(Q« lal ika
ika kn aaifn , lal ika
Figure 27. Theile.
m
v
Figure 28. Meder. Bach opted to set the turba “LaB ihn kreuzigen” in a very different manner. Set in fugato style, this turba’s layered entries are based on the motive of a diminished fourth that recurs many times. The restatement of this interval, interaction of the voices, and an accompanying harmonic modulation from b minor to C# major create a dramatic frenzy that mimics the fanatic crowd (Figure 29).
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117
Atm
T«
1 Lm
K T.
Figure 29. Bach.
Many of Bach’s turbae, however, do resemble those of Meder in style. The major difference between the two settings is that Meder sets each turba as a separate movement, often preceding the turba with a cadence to conclude the previous recitative. A table of Bach’s turbae is given to illustrate the similarities (Table 18). Table 18. Diagram of Bach’s Turbae in Matthaus-ion Title
Length
Meter
Repeats
Style*
Tonality
Ja, nicht auf das Fest
6
C
a lot
polychoral
C M -G M
Wozu dienet
11
C
a lot
H-I-H
EM
Wo willst du
11
3/4
a lot
H predominant
GM-DM
Herr, bin ichs?
5
C
a lot
I-H
ftn-CM
Er ist des Todes
5
C
a lot
I-H
GM
WeiBage uns
8
a lot
polychoral
dm-* FM
Wahrlich, du bist
4
c c
little
H (animated)
DM-* AM
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Table 18 (continued)
*
118
Title
Length
Meter
Repeats
Style*
Tonality
Was gehet uns
5
3/4
a lot
polychoral
BM
Es taug nicht
9
C
little
I-H
CM —BM
Barrabam
VS
C
none
H
BM
La£ ihn kreuzigen (first time)
8
c
a lot
I-H
am-* BM
LaB ihn kreuzigen (second time)
8
c
a lot
I-H
bm—C#M
Sein Blut
18
a lot
H-I-H
bm —DM
GegriiBet seist du
4
a lot
polychoral
dm-AM
Der du den Tempel
12
a lot
polychoral
film
Andem hat er
20
c c c c
a lot
polychoral I-H
em
Der rufet
2
none
H
cm
Halt IaB sehen
3
none
H
gm —dm
Wahrlich dieser ist
2
little
polyphony
AbM
Herr, wir haben gedacht
23
c c c c
little
H-I-H
EbM-DM
In addition to homophonic and imitative settings, Bach’s turbae are also set in concerted polychoral style (antiphonal) and in polyphonic textures that are not imitative in nature.
The length of Bach’s turba settings are comparable to those by Sebastiani, Theile and Meder. The metrical scheme for the turbae follow the norms set by the other ion setdngs with the excepdon of the chorus D erdu den Tempel, which Bach sets in common meter versus triple meter, and the last turba, Herr, wirhaben gedacht, with its secdon in triple meter referring to the resurrection.
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119 Striking similarities can be found in the compositional styles of Meder and Bach. Meder’s tonal schemes are more modulatory than those of Bach within each turba, but the use of homophonic and polyphonic devices is comparable. A good example of this similarity is the turba chorus “Andem hat er” ; Meder sets this chorus in an imitative style that closes with a homophonic statement, “Ich bin Gottes Sohn.” Bach, with two choirs at his disposal, sets “Andem hat er” in a polychoral fashion also employing imitadve entrances and concluding with a similar homophonic statement.
The Use of Instruments
The addition of instrumental accompaniment first occurred within the context of the oratorio ion. Traditionally, the ions had been sung unaccompanied, given their performance during Lent.4This may explain why early oratorio ions, with the exception of Selle’s unusual setting, were conservatively scored for strings only. Meder was the first to break decisively away from the tradition of an all-string accompaniment, by adding recorders and oboes to his ion score. The function of the instruments within the ion was to perform instrumental interpolations (sinfoniae, ritomelli, interludes) and to the vocal lines. Sebastiani clearly designates the instrumentation for his setting in the published foreward to musicians: two violins, four viole da gamba, organ and
4Many churches banned the use of musical instruments during Lent due to the penitential nature of the liturgical season.
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120 continuo.5 He does go on to state that the “third and fourth viola da gamba parts may be eliminated if the bass line is set well.”6 Sebastiani may have included this statement to make his work more accessible to a church with a smaller music establishment. The effect of leaving out the latter gambas results in little loss of sonority since they are only active during the interpolations and choruses. Theile’s setting is scored for two viole da braccio, two viole da gamba and basso continuo. The viole da braccio serve two purposes: to accompany the words of Jesus throughout, and to double the two canto parts in the turba choruses and interpolations. The two viole da gamba, with their more strident quality, accompany the recitatives of the Evangelist and also double the alto and tenor parts throughout The basso continuo accompanies throughout the entire setting and logically doubles the choral bass pan in the turba choruses and interpolations. Johann Meder’s St. Matthew ion is scored for the following instruments: two recorders, two oboes, two violins, two violas, one violetta and organ.7 The only composer to add instruments other than strings, Meder employed the oboes in five sinfoniae, one ritomello and one aria and recorder in four sinfoniae and four arias as follows:
5Sebastiani, 6. 6Ibid., 6. 7The “viola” and “violetta” were used in the seventeenth and eighteenth centuries to refer to violas of different sizes with the same tuning..
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121
Sinfonia
Ritomello
Aria
Oboe
#1, #24, #27, #35, #72
#70
#67
Recorder
#18, #20, #22, #49
#12, #16, #53, #61
Bach's familiarity with the compositional traditions related to ion settings is well established.8 His early visit and attendances at the Abendmusiken in 170S underscore Bach’s exposure to the vocal and instrumental writing that was shared by the ion and cantata forms.9 In addition, Bach performed Reinhard Keiser’s St. Mark ion in 1713 during his time at Weimar.10 In fact, he was so taken by Keiser’s setting that he composed several movements to supplement that setting. Although there is no direct evidence that Bach was acquainted with the settings by Selle, Sebastiani or Meder, the prominence they held in the ion repertory would suggest the possibility that Bach at least knew of their existence. More important, the ion oratorio settings from Hamburg were introduced in Leipzig by 1721.11 J.S. Bach’s scoring of the Matthdus-ion reflects and expands the concept presented by Sebastiani of a ion setting utilizing two continuo groups. Bach’s
8Albert Schweitzer, J.S. Bach (New York: Dover, 1966), 75. 9Ibid., 76. l0Boyd, 360. "Ibid., 360. Boyd reports that the St. Mark ion of Johann Kuhnau was first performed in 1721 in the main Leipzig churches.
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122 plan of expansion, of course, employs two full orchestras, each consisting of violin I, violin II, viola, viola da gamba, violoncello, violone bass, two transverse flutes, two oboes (also two oboes d’amore and two oboes da caccia), bassoon, and continuo.12 Bach’s addition of wind instruments clearly reflects the emergence of idiomatic writing, which Johann Meder had championed two decades earlier.
l2Helmuth Rilling, Johann Sebastian Bach, St. Matthew ion: Introduction and Instructions fo r Study (Frankfurt: Henry LitolfFs Verlag, 1975), 6.
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123 CHAPTER V m CONCLUSION
The oratorio ion of the seventeenth century grew out of a long tradition of ion writing that was rooted in the liturgical life of the Church. This tradition includes ions set in plainsong, responsorial, and motet style.1 ions set in these styles are easily discemable, given their limited models and set compositional devices. The oratorio ion, on the other hand, is less apt for comparison, as it was in a constant state of flux as it developed. The development of the oratorio ion can be traced from Selle’s ion nach dem Evangelisten Johannes (1643 edition) through Bach’s Matthdus-ion and beyond. This development, however, is not always a progression that can be described as causal. The traditions inherited by each composer, combined with their musical training, influenced the setting that was created. For example, the influence of Buxtehude and his cantatas on Johann Theile is clearly manifested in Das Leiden und Sterben. A further example is the influential role that the 1695 Riga Gesangbuch had on Johann Meder, causing a revision of his ion setting so that it would conform more closely to the interpolations set forth in the songbook. The new musical genres, idiomatic styles of writing, and basso continuo that emerged with the advent of the Baroque were incorporated into the oratorio ion settings. The most important of these genres included opera, oratorio and the cantata,
•See Appendix D for a listing of extant ion settings sorted by composer.
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124 which included the use of recitatives, arias and chorales based on strict biblical texts, paraphase or newly composed sacred texts. The new writings of sacred texts, as well as those in the secular realm, were strongly influenced by the prevailing Pietism found in the Lutheran church.2This allowed for the inclusion of recitatives and arias based on non- biblical texts. The primary interpolations found in oratorio ion settings were placed at common structural points in the narrative. These interpolations included intermedien (Selle), chorales (as first documented in Sebastiani’s setting), sung arias (Theile and Meder) and instrumental sinfoniae. Other interpolations, however, varied in their placement and grew in number as the century progressed. This ultimately led to the development of ion oratorio, such as the Brockes ion, which can be differentiated from the oratorio ion only in its greater inclusion of non-biblical texts and exclusion of portions of biblical narrative. J.S. Bach brought back the balance between sacred and secular texts, while expanding the use of interpolations for greater dramatic purpose. His instrumentation clearly drew upon the tradition established by Sebastiani in his setting of two continuo groups and by Meder in his incorporation of woodwind instruments. Bach’s reliance on tradition was forged with new innovation, which is the mark of all oratorio ions. In the opening chorus of Matthaus-ion, Bach acknowledges the strong role that the sinfonia, exordium and chorale (particularly
:The Pietism movement in the Lutheran church began in the later seventeenth century and was dedicated to spiritual and ecclesiastical renewal.
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125 0 Lamm Cones unschuldig) had played in ion settings. Ingeniously, these elements are merged into a new composite form, which allows the congregation to partake of the ion story once again with new and open ears.
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126 SELECTED BIBLIOGRAPHY
Blackenburg, Walter. “ion,” Das Crofie Lexikon der Musik in acht Bdnden, vol. 6. Freiburg: Herder, 1976. . “ion,” Die Musik in Geschichte und Gegenwart. 9 (Kassel: B&renreiter, 1949). Blume, Friedrich et al. Protestant Church Music: A History. New York: W.W. Norton and Company Inc., 1974. Bolte, Johann. “Johann Valentin Meder," Vierteljahrsschrift fu r Musikwissenschaft 7 (1891): 43-52. Boroff, Edith. The Music o f the Baroque. Dubuque: William. C. Brown Company Publishers, 1970. Boyd, Macolm, ed. Oxford Composer Companions: J.S. Bach. Oxford: Oxford University Press, 1999. Brainard, Paul. “Bach’s Parody Procedure and the St. Matthew ion,” Journal o f the American Musicological Society. 22/2 (summer 1969), 241-260. Braun, Weme. “Theile-Studien,” Festschrift A m o Forchert zum 60. Geburtstag. Kassel: Barenreiter, 1986. Bukofzer, Manfred. Music in the Baroque Era: from Monteverdi to Bach. New York: Norton Publishers, 1947. Buszin, Walter E. “Luther on Music,” The Musical Quarterly 32 (Jan. 1946), 80-97. Carver, Anthony F. Cori Spezzati. Volume 1: The Development o f Sacred Polychoral Music to the Time o f Schiitz. New York: Cambridge University Press, 1988. Daugherty, Harold Alexander. “The Two ions According to St. John by Thomas Selle.” M.M. diss., University of Southern California, 1967. David, Hans T. The Bach Reader: A Life o f Johann Sebastian Bach in Letters and Documents. New York: W.W. Norton & Company, Inc., 1966.
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127
Dickinson, Edward. Music in the History o f the Western Church. New York: Haskell House Publishers Ltd., 1969. Drummond, Andrew Landale. German Protestantism Since Luther. London: The Epworth Press, 1951. Eichom, Hogen. “Thomas Selle’s Opera omnia in Spiegel ihrer Druckvorlagen,” Jahrbuch alte Musik vol. 2 (1993), 131-91. Fischer, Kurt von. “ion," New Grove Dictionary o f Music and Musicians, ed. Stanley Satie. London: Macmillian Publishers, 1980, 14:277. Fischer, Kurt von. “ion,” Die Musik in Geschichte und Gegenwart. 7 (Kassel: Barenreiter, 1998). Geiringer, Karl. Symbolism in the Music o f Bach: A Lecture Delivered in the Whittall Pavilion o f the Library o f Congress. Washington, DC: Library of Congress, 1955. Haberlen, John Black. “A Critical Survey of the Oratorio ion in North to 1700." D.M.A diss., University of Illinois at Urbana-Champaign, 1973. Harman, Alec and Miller, Anthony. Late Renaissance and Baroque Music (c. 1525 - c.1750). Fair Lawn, NJ: Essential Books, 1959. Hannan, Alec and Milner, Anthony. Man and His Music: Late Renaissance and Baroque Music. New York: Schocken Books, 1972. Kalb, Friedrich. Theology o f Worship in 17d'-Century Lutheranism, trans. Henry P.A. Hamann. Saint Louis: Concordia Publishing House, 1965. Malinowski, Stanley Anthony Jr. “The Baroque Oratorio ion." PhD . diss., Cornell University, 1978. Marchand, Richard. “Evolution of the Evangelist in ion Music: Chant through Bach.” D.M.A. diss.. University of Kansas, 1982. Meder, Johann Valentin. “Oratoriche ion nach Matthaus ftlr Solotimmen, fiinfstimmigen Chor und Instrumente," Das Chorwerk, Heft 133. WolfenbUttel: MtSseler, c. 1985.
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128 Muller-Blattau, Joseph. Die musikalischen Schdtze der Koniglichen- und Universitats-Bibliothek zu Konigsberg in Preussen. Bonn: Adolph Marcus, 1890. Reprint: Hildesheim: Georg Olms, 1971. Palisca, Claude V. Baroque Music. Englewood Cliffs, NJ: Prentice Hall, 1991. Rauschning, Hermann. “Geschichte der Musik und Musikpflege in Danzig,” Quellen und Darstellungen zur Geschichte Westpreussens 15, (1931).
Rifkin, Joshua. “The Chronology of Bach’s Saint Matthew ion,” The Musical Quarterly. 61/3 (July 1975), 360-387. Rilling, Helmuth. Johann Sebastian Bach, St. Matthew ion: Introduction and Instructions fo r Study. Frankfurt: Henry Litolff s Verlag, 1975. Schofield, Bertram. “A Newly Discovered Fifteenth-Century Manuscript of the English Chapel Royal,” Musical Quarterly 32: (July 1946). Schweitzer, Albert. J.S. Bach. New York: Dover Publications, Inc., 1966. Sebastiani, Johann. “Das Leyden und Sterben unsers Herm und Heylandes Jesu Christi nach dem heiligen Matthaeo,” Denkmaler deutscher Tonkunst. 1. Folge, Bd. 17. Wiesbaden: Breitkopf & Hhrtel, 1961. Selle, Thomas. “ion nach dem Evangelisten Johannes, mit Intermedien flir Solostimmen, Chor und Instrumente,” Das Chorwerk. Wolfenbtittel: MOseler, 1934. Slominsky, Nicolas. The Concise Edition o f Baker’s Biographical Dictionary o f Musicians, eighth edition. New York: Schirmer Books, 1994. Smallman, Basil. The Background o f ion Music: J.S. Bach and his predecessors. New York, NY: Dover Publications, Inc, 1970. Smither, Howard E. A History o f the Oratorio: Volume 1. Chapel Hill, NC: The University of North Carolina Press, 1977. Smither, Howard E. A History o f the Oratorio: Volume 2. Chapel Hill, NC: The University of North Carolina Press, 1977. Somervell, D.C. “The Bach ions and Greek Tragedy,” Music cmd Letters 27 (1946): 221- 24.
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129 Stapert, Calvin R. My Only Comfort: Death, Deliverance and Discipleship in the Music o f Bach. Grand Rapids: William B. Eerdmans Publishing Company, 2000. Stoeffler, F. Ernest. The Rise o f Evangelical Pietism. Leiden: E.J. Brill, 1965. Theile, Johann. “io nach dem Heiligen Evangelisten Matthdo,” Denkmdler deutscher Tonkunst. 1. Folge, Bd. 17. Wiesbaden: Breitkopf & Hdrtel, 1961. Young, Percy M. The Choral Tradition, revised ed. New York: W.W. Norton & Company, Inc., i981.
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130 APPENDIX A EXCERPT FROM MONOPHONIC PLAINSONG ION SETTING FERIA SEXTA IN IONE DOMINI
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131
APPENDIXB ST. MATTHEWION TEXTANDTRANSLATION1 Chapter/ Verse (The conspiracy against Jesus)
26: 1
Undes begab sich, da Jesus alle diese Rede vollendei hatte, sprach er zuseinen JUngern:
Jesus hadnowfinished all he wanted to say, and he told his disciples,
26:2
“IhrwiBet, daft nach zweienTagen Ostemwird; unddes MenschenSohn wird Uberantwortet werden, daBer gekreuziget werde.”
“It will be over, as you know, in two days' time, andthe Son of manwill be handedoverto be crucified.”
26:3
Da versammleten sich die Hohenpriester undSchriftgelehrten unddie Altesten im Volk, indemPalast des Hohenpriesters, derdahieS Kaiphas; undhielten Rat, wie sie Jesummit Listen griffen und tdteten. Sie sprachen aben
Thenthe chief priests andthe elders of the people assembled in the palace of the highpriest, whose name was Caiaphas, andmade plans to arrest Jesus by some trickandhave himput to death. They said, however,
“Ja nicht aufdas Fest, aufdaBnicht ein Aufruhr werde in Volk!”
“It must not be during the festivities; there must be no disturbance among the people.”
26:4 26:5
(The anointing at Bethany)
Da nunJesus warzu Betanien imHause Simonis, des Aussatzigen, trat zu ihmein Weib, das hatte ein Glas mit kdstlichem Wasser; undgoBes auf sein Haupt, daer zuTische saB. Dadas seine JUnger sahen, wurdensie unwillig, und sprachen:
Jesus was at Bethany in the house of Simon, a man who had suffered froma virulent skin-disease, when a woman came to himwithanalabasterjarof very expensive ointment, andpoured it on his head as he was at table. Whenthey saw this, thedisciples said indignantly,
26:9
“Wozudienet dieser Unrat? Dieses wasserhatte mftcht teuer verkauft und den Armengegeben werden."
“Whythis waste? This could have been sold fora high price andthe money given the poor.”
26: 10
Dadas Jesus merkete, sprachErzu ihnen:
But Jesus noticed this andsaid.
26:6 26:7 26:8
IThis translation is based on the 1984 edition of the New Jerusalem B ible. This numbering corresponds to Matthew 26:1-75 through Matthew 27:1-66 in Luther’s bible.
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132
26: 11-
26: 13
“Was bekiimmert ihrdas Weib? Sie hat ein gut Werkanmirgetan. Ihrhabt aliezeit Armenbei Euch; mich aber habt ihn nicht alleziet. DaBdie das Wasser hat auf meinen Leib gegoBen, hat sie getan, daBmanmichbegraben wird.
“Why are you upsetting the woman? What she has done for me is indeeda good work! You have the poor withyou always, but you will not always have me. Whenshe pouredthis ointmenton my body, she did it to prepare me forburial.
“Wahrlich, ich sage euch: wo das Evangeliumgeprediget wird inder ganzen Welt, da wird manauch sagenzu ihremGedachtnis, was sie getan hat.”
IntruthI tell you, wherever in all the world this gospel is proclaimed, what she has done will be told as well, in remembrance of her.” (Judas betrays Jesus)
26: 14
Daging hin derZwOlfeneiner, mit Namen Judas Ischarioth, zuden Hohenpriestemundsprach:
Thenone of the Twelve, the mancalled Judas Iscariot, went to thechief priests andsaid,
26: 15
“Was wollt ihrmirgeben? Ich will ihn euch verraten.”
"What are you preparedto give me if I handhimover to you?’
26: 16
Undsie boten ihmdreiBig Silberling. Undvon demansuchte erGelegenheit, daBer Ihren verrSte.
They paid himthirtysilver pieces, and fromthenonwards he began to lookfor anopportunityto betrayhim. (Preparations for the over supper)
Aber amerstenTage des sttBenBrot tratendie Jiinger zuJesu, undsprachen zulhm:
Nowon the first dayof Unleavened Bread the disciples came to Jesus to say,
“Wo willst du, dafi wirdir bereiten, das OsterlammzueBen?"
“Wheredo you want us to make the preparations foryou toeat the over?”
26: 18
Ersprach: “Gehet hin in die Stadt zu einem, undsprecht zu ihm: DerMeister laBt dirsagen: 'Meine Zeit ist hier, ich will bei dirdie Ostemhalten mit meinen JUngern.’”
He said, “Go to acertain maninthe city andsay to him, TheMastersays: My time is near. It is at your house that I am keepingover withmydisciples.”
26:19
Unddie JUngertaten, wie Jesus Ihnen befohlen hatte, undbereitetendas Osterlamm.
The disciples did what Jesus toldthem andprepared theover.
26: 17
(The treachery of Judas foretold)
26:20 26:21
UndamAbendsetzte Ersich zu Tische mitdenZwdlfen, undda sie afien, sprach Er
When evening came he was at table with the Twelve. And while they were eating he said.
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133
26: 22
26: 23 26: 24
26:25
“Wahrlich, ich sage euch, einer unter euch wirdmich verraten.”
“Intruth I tell you, one of you is about to betrayme.”
Und sie wurdensehrbetriibt, undhuben an, einjeglicher unter ihnen, undsagten zu ihm:
They were greatly distressed andstarted asking himin turn,
“Herr, binichs?"
“Not me. Lord, surely?"
Erantwortet undsprach:
He answered,
“*Dermit der Handmit mirindie Schiissel tauchet, der wird mich venraten. Des Menschen Sohn gehet zwardahin, wie von ihmgeschrieben stehet; doch wehe demMenschen, durch welchendes MenschenSohn verratenwird! Es ware besser, daBderselbe Mensch nochnie geboren ware.”
“Someone who has dipped his handinto the dish with me will betrayme. The Sonof man is going to his fate, as the scriptures say he will, but alas forthat manby whomthe Son of manis betrayed! Better for that manif he had never been bom!”
Da antwortet Judas, derIhnverriet, und sprach:
Judas, who was to betrayhim, askedin his turn,
“Bin ichs. Rabbi?”
“Not me. Rabbi, surely?”
Ersprachzu ihm:
Jesus answered,
“Du sagst’s.”
“It is you who say it" (The institution of the Eucharist)
Da sie aberaflen, nahmJesus das Brot, danket, undbrach’s undgab’s seinen JUngem, undsprach:
Nowas they wereeating, Jesus took bread, andwhen he hadsaid theblessing he broke it andgave it to thedisciples.
“Nehmet efiet; das ist meinLeib.”
‘Take it andeat'”he said, “this is my body.”
26:27
UndErname den Kelch, unddanket, und gab ihnenden, undsprach:
Then he took acup, andwhenhe had given thanks he handed it to themsaying,
26:28
“Trinket alle daraus; das is mein Blut des NeuenTestaments, welches fttrviele vergoBen wird; zurVergebungder Siinden. Ichsage euch: ich werde von nunan nicht mehrvondiesemGew&hs des Weinstocks trinken, bis andenTag, da ich’s neutrinken werdemit euchin meines Vaters Reich."
“Drinkfromthis, all of you, for this is myblood, theblood of die covenant pouredout for manyforthe forgiveness of sins. Fromnowon, I tell you, I shall never againdrinkwine until thedayI drinkthe newwine withyou inthe kingdomof myFather.'
26:26
26:29
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134 (Peter's denial foretold)
26: 30 26:31
26: 32
26: 33
26: 34
26: 35
Und dasie denLobgesang gesprochen hatten, gingen sie hinaus anden Oleberg. Da sprachJesus zu ihnen:
After the psalms hadbeensung they left forthe Mount of Olives. ThenJesus said to them,
"Indieser Nacht werdet ihreuch alle argemanmir. Dennes steht geschrieben: Ich werde den Hirtenschlagen, unddie Schafe der Herde werdensich zerstreuen. Wenn ich aber auferstehe, will ich voreuch hingehenin Galilaam."
“You will fall away fromme tonight, for the scripture says: I shall strike the shepherd and the sheep of theflock will be scattered, but after myresurrection I
shall go aheadof you to Galilee.”
Petrus aberantwortet, undsprachzu ihm:
At this, Peter said to him.
“Wennsie auch alle sich andirSrgerten, so will ichdoch mich nimmermehr argem.”
“Even if all fall awayfromyou, I will never fall away.”
Jesus sprachzu ihm:
Jesus answeredhim,
“Wahrlich, ich sage dir indieser Nacht, ehe derHankrahet, wirst du mich dreimal verleugnen.”
“IntruthI tell you, this very night, before the cockcrows, you will have disowned me three times.”
Petrus sprach zu ihm:
Peter said to him,
“Und wenn ich mit dirsterben mtiQte, so will ichdichdoch nicht verleugnen.”
“Even if I have to die withyou, I will neverdisown you.'
Desgleichen sagten auchalle JUnger.
Andall the disciples said the same. (Gethsemane)
Da kamJesus mit ihnenzueinemHofe, der hieBGethsemane, undsprachzu seinen JUngera:
ThenJesus came withthemto a plot of landcalled Gethsemane; andhe said to his disciples,
“Setzet euchhie, bis daBich dorthin gehe, undbete:”
“Stay here while I go over there to pray.'
26: 37
Und nahmzusich Petrum, unddie zweene Sdhne Zebedei, under fing anzu traurenundzu zagen.
He tookPeter andthe two sons of Zebedee withhim. Andhe beganto feel sadness andanguish.
26:38
Da sprachJesus zu ihnen:
Thenhe said to them,
“Meine Seele ist betrilbet bis indenTod; bleibet hier, undwachet mit mir.”
“My soul is sorrowful to thepoint of death. Wait here andstay awake with __e.» m
26: 36
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135
Undging hinein wenig, fiel niederauf sein Angesicht, betet undsprach:
And going on a little furtherhe fell on his face andprayed. “My Father,” he said,
“Mein Vater, ist’s mijglich, so gehe dieser Kelch von mir; doch nicht wie ich will, sondemwie du wilst.”
“if it is possible, let this cup me by. Nevertheless, let it be as you, not I, would have it”
26: 40
Und er kamzu seinen Jiingem, und fand sie schlafend, und sprachzu Petro:
He came backto the disciples andfound themsleeping, andhe said to Peter,
26:41
“Kdnnet ihrdenn nicht eine Stunde mit mir wachen? Wachet undbetet, daBihr nicht in Anfechtung fallet. Der Geist ist willig; aberdas Fleisch ist schwach.”
'So you had not the strengthto stay awake with me for one hour? Stay awake, andpraynot to be put to the test The spirit is willing enough, but human nature is weak.”
26: 42
Zumanderamal gingeraberhin, betet und sprach:
Again, a second time, he went away and prayed:
“Mein Vater, ist’s nicht mtiglich, daB dieser Kelch vonmirgehe, ich trinke ihn denn; so geschehe dein Wille."
“My Father,” he said, “if this cupcannot me by, but I must drinkit your will be done!”
Under kam, undfandsie aberalle schlafend, undihreAugen waren voll Schlafs. Under lieSsie, undging abermal hin, undbetet zumdrittenmal, undredet dieselbigen Wort Da kamer zuseinen JUngem, undsprach zu ihnen:
And he came backagain andfound them sleeping, theireyes were so heavy. Leaving themthere, he went away again andprayed for the thirdtime, repeating the same words. Then he came backto the disciples andsaid:
“Ach, wollt ihr nunschlafen und ruhen? Siehe, die Stunde ist hie, daBdes Menschen Sohn inderSiinderHhnde iiberantwortet wird. Stehet auf, lafit uns gehen; siehe, er ist da, dermich verrht”
“Youcansleep on nowandhave your rest Look, the hourhas come whenthe Sonof man is to be betrayed into the hands of sinners. Get up! Let us go! Look, mybetrayeris not far away.
26: 39
26:43 26:44 26:45
26:46
(The arrest)
26:47
26:48
Undals er nochredet siehe, dakam Judas, derZwfilfeneiner, undmit ihm eine groBe Schar, mit SpieBenundmit Stangen, von denHohenpriestemund Altesten des Volks. Undder VerrSter hatte ihneneinZeichengegeben, und gesagt:
And suddenly while he was still speaking, Judas, one of theTwelve, appeared, andwithhima large number of men armed withswords andclubs, sent by the chief priests andelders of the people. Nowthe traitorhadarrangeda sign withthemsaying,
“Welchen ich kufienwerde, derist's, greifet”
“The one I kiss, he is the man. Arrest him.”
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136
26: 49
26: 50
26:51
26:52 26:53
26: 54
26: 55
26: 56
Und alsbald trat er zu Jesu, undsprach:
So he went uptoJesus at once and said,
“GegriiBet seist du. Rabbi!”
“Greetings, Rabbi,"
undkiifiet ihn. Jesus aber sprach zu ihm:
andkissed him. Jesus said to him,
“Mein Freund, warumbist du kommen?”
“Myfriend, do what you are here for.”
Da tratensie hinzu, und legten die Hdnde aufJesum, undgriffen Ihn. Und siehe, einer aus denen, die mit Jesu waren, recket die Handaus, undzog sein Schwert aus, undschlug des Hohenpriesters Knecht, undhieb ihmein Ohrab.
Thentheycame forward, seized Jesus andarrestedhim. And suddenly, one of the followers of Jesus grasped his sword anddrewit; he struckthe high priest's servant andcut off his ear.
Da sprachJesus zu ihm:
Jesus thensaid,
“Stecke dein Schwert anseinemOrt; denn werdas Schwert nimmt, der soli durchs Schwert umkommen. Oder meinest du, daBich nicht ktinnte meinen Vaterbitten, daBer mirzuschickte mehr denn zwdlf Legion Engel? Wie wiirde aberdie Schrift erfiillt? Es muBalso geschehn.”
“Put yourswordback, forall whodraw the sword will die by the sword. Ordo you thinkthat I cannot appeal to my Father, who would promptlysend more thantwelve legions of angels to my defense? But then, howwould the scriptures be fulfilled that say this is the way it must be?”
ZuderStundesprachJesus zu den Scharen:
It was at this time that Jesus said to the crowds,
“Ihrseid ausgegangen, als zueinem Mdrder, mit Schwerterundmit Stangen, mich zu faBen. Bin ichdoch thglich geseBen bei euch, undhabe gelehret im Tempel, undihrhabt michnicht gegriffen. Aberdies ist alles geschehen, daBerfUllet wtirdedie Schrift der Propheten.” Da verlieBenihnalle Jilnger, undflohen.
“AmI a bandit, that you hadto set out to capture me withswords andclubs? I sat teaching in theTemple day afterdayand you never laid ahandon me. Nowall this happened to fulfil the prophecies in scripture.” Then all the disciples deserted himandranaway.
(Jesus before the Sanhedrin)
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Die aberJesumgegriffen hatten, fUhrten ihnzumHohenpriesterCaiphas, dahin die Schriftgelehnen undAltestensich versammelt hatten. Petrus aberfolgete ihmnach vonfeme, bis indenPalast des Hohenpriesters; undging hinein, und setzte sich bei die Knechte, auf daBer sche, wo es hinaus wollte. Die HohenpriesteraberundAltesten, undder
The men who hadarrestedJesus led him off to the house of Caiaphas the high priest, where the scribes andthe elders wereassembled. Peterfollowed himat adistanceright to the highpriest’s palace, andhe went in andsat down with the attendants tosee what theend would be. The chief priests andthe whole Sanhedrinwere looking forevidence
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ganze Rat suchten falsche Zeugnis wider Jesum, aufdaBsie ihntdteten; und fundenkeines. Und wiewohl viel falscherZeugen hinzu traten, funden sie doch keines. Zuletzt tratenhinzu zweene falsche Zeugen, undsprachen:
against Jesus, however false, on which they might have himexecuted. But they could not find any, though several lying witnesses came forward. Eventually two came forward and madea statement. This mansaid,
“Erhat gesagt: ‘Ich kanndenTempel Gottes abbrechen, undindreienTagen denselben bauen.”’
“I have power to destroy the Temple of Godandin three days build it up.”
UndderHohepriester stand auf, und sprachzu ihm:
The high priest thenrose andsaid to him.
“Antwortest du nichts zu dem, das diese widerdich zeugen?”
“Have you no answer to that? What is this evidence these men are bringing against you?”
Jesus aberschwieg stille. Undder Hohepriesterantwortet und sprachzu ihm:
But Jesus was silent. And the high priest said to him,
“Ichbeschwdre dich bei demlebendigen Gott, daBdu uns sagest, obdu seist Christus, derSohnGottes.” 26:64
“I put youon oathby the living God to tell us if you are theChrist, the Son of God."
Jesus sprachzu ihm:
Jesus answered him,
“Du sagst's. Doch sag icheuch: vonnun anwird’s geschehen, daBihrsehen werdet des Menschen Sohn sitzen zur RechtenderKraft, undkommen inden Wolken des Himmels.”
“It is you who say it But I tell you that fromthis time onward you will see the Son of manseated at the right handof thePowerandcoming on the clouds of heaven.”
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DazerriBderHohe Priesterseine Kleider, undsprach:
Then the high priest tore his clothes and said,
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“Erhat Gott gelastert; was dilrfen wir weiterZeugnis. Siehe, jetzt habt ihr seine Gottes Listening gehdret. Was dUnket euch?"
“He has blasphemed. What needof witnesses have we now? There! You havejust heardthe blasphemy. What is youropinion?”
Sie antworteten, undspachen:
Theyanswered,
“Erist des Todes schuldig.”
“He deserves to die.”
Da speieten sie aus in sein Angesicht, undschlugen ihnmit Fausten. Etlichen aberschlugen ihn ins Angesicht, und sprachen:
Then they spat in his face and hit him withtheirfists; others said as they struck him.
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“WeiBage uns, Christe, wer ist’s, der dich schlug?"
“Prophesy to us, Christ! Who hit you then?” (Peter's denials)
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Petrus abersaBdrauBenimPalast; und es trat zu ihmeine Magd, undsprach:
Meanwhile Peter was sitting outside in the courtyard, and aservant-girl came up to himsaying,
“Und du warest auch mit demJesu aus Galilaea.”
“You, too, were withJesus the Galilean.”
ErIeugnet aber vorihnen alien, und sprach:
But he denied it in front of themall, saying:
“Ich weiBnicht, was du sagest”
“I do not knowwhat you are talking about” he said.
Als eraberzurTiirhinaus ging, ersahe ihneine andere Magd, undsprach zu denen, die dawaren:
Whenhe went out tothe gateway anotherservant-girl sawhimandsaid to thepeople there,
“Dieser warauchmit demJesu von Nazareth.”
“This man was withJesus the Nazarene.”
Under leugnete abermal, und schwur dazu:
And again, withanoath, he denied it
“Ichkenne des Menschen nicht”
“I do not knowthe man."
Und Ubereine kleine Weile tratenhinzu, die da stunden, undsprachenzu Petro:
Alittle laterthe bystanders came upand said to Peter,
“Wahrlich, dubist aucheiner von denen; denn deine Sprachverrat dich.”
“You arecertainly one of themtoo!”
Da huber ansich zu verfluchen undzu schwdren:
Why, youraccent gives you away.” Then he startedcursing andswearing,
“Ichkenne des Menschen nicht”
“I do not knowthe man.”
Undalsbald krahetder Hahn. Dadachte Petrus andie WortJesu, daer zu ihm sagte:
And at once the cockcrowed, andPeter edwhat Jesus hadsaid.
“Ehe derHahnkrahenwird, wirst du michdreimal verleugnen.”
“Before the cockcrows you will have disowned me threetimes.”
Undging heraus, und weinet bitterlich.
Andhe went outside andwept bitterly.
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139 (Jesus is taken before Pilate)
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Des Morgens aber hielten alle Hohepriester und Altesten des Volks einen Rat widerJesum, daBsie Ihn toteten. Und bunden ihn, fiihreten ihn hin, und iiberantworteten ihndem LandpflegerPontio Pilato.
Whenmorningcame, all the chiefpriests andthe elders of the people met in council tobringabout the deathof Jesus. They had himbound and led himaway to hand himover to Pilate, the governor. (The death of Judas)
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Da das sahe Judas, der ihn verratenhatte, daBer verdammet war zumTode, gereuet es ihm, undbrachte herwieder die dreiBig Silberlinge den Hchen Priesternund Altesten des Volks, und sprach:
Whenhe found that Jesus hadbeen condemned, thenJudas, his betrayer, was filled withremorse and took the thirty silver pieces backto the chief priests and elders saying,
“Ich habe Ubel getan, daBich unschuldig Blut verratenhabe.
“I have sinned. I have betrayed innocent blood."
Sie abersprachen:
Theyreplied,
“Was gehet uns das an? Da siehe du zu.”
“What is that to us? That is your concern.”
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Under warfdie Silberlinge inden Tempel, hubsich davon, ging hin und erhenket sich selbst
And flinging down the silver pieces in the sanctuary he made off, andwent and hanged himself.
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Aberdie Hohenpriester nahmendie Silberling, undsprachen:
The chief priests picked up the silver pieces andsaid,
“Es taugt nicht, daBwirsie inden Gotteskasten legen; denn es ist Blutgeld.”
“It is against the Lawto put this into the treasury; it is blood money.”
Sie hielten abereinen Rat, undkauften einenTOpfers Ackerdarura, zum BegrSbnis derPilger. Daherist derselbige Ackergennent derBlut Acker, bis auf denheutigenTag. Da ist erfiillet, was gesagt ist dutchden ProphetenJeremias, derda spricht: “sie habengenommendreiBig Silberlinge, damitbezahlet wardderverkaufte, welchen sie kauftenvonden Kindern Israel; und habensie gegeben umeinen TOpfers Acker, als mirderHerrbefohlen hat”
So theydiscussed the matterandwithit bought the potter’s field as agraveyard for foreigners, and this is whythe field is still called the Field of Blood. The word spoken through the prophet Jeremiah was then fulfilled: “And they
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took the thirty silver pieces, the sum at which the precious One was priced by the children of Israel, and they gave themfor the potter’s field, just as the Lord directed me."
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140 (Jesus before Pilate)
Jesus aber stundt vor den Landpfleger; undderLandpfleger fraget ihn, und sprach:
Jesus, then, was brought before the governor, and the governor put to him this question,
“Bist duderJuden Konig?"
“Are you the kingof the Jews?”
Jesus aber sprach zu ihm:
Jesus replied,
“Du sagst."
“It is you who say it.”
Und daer verklaget ward von den HohenpriestemundAltesten, antwortet er nichts. Da sprachPilatus zu ihm:
But when he was accused by the chief priests and the elders he refused to answerat all. Pilate then said to him,
“HOrest du nicht, wie hart sie dich verklagen?”
“Do you not hearhowmanycharges they have madeagainst you?’
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Under antwortet ihnnicht aufein Wort, also, daBsich auchderLandpflegersehr verwunderte.
But to the governor’s amazement, he offered not a wordinanswer to anyof the charges.
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Auf das Fest aber hattederLandpfleger Genohnheit, demVolkeinen Gefangenen los zu geben, welchen sie wollten. Er hatte zuderZeit einen Gefangenen, der hieBBarrabas, derwar fast rilchtig. Unddasie versammlet waren, sprach Pilatus zu ihnen:
At festival time it was the governor's practice to release a prisoner forthe people, anyone theychose. Nowthere was thena notorious prisonerwhose name was Barabbas. So whenthe crowd gathered, Pilate said to them.
“Welchen willt ihr, daBicheuch losgebe, BarrabamoderJesum, denmanChristum nennet?”
“Whichdo you want me to release for you: Barabbas, orJesus who is called Christ?"
DennerwuBte wohl, daBsie ihnaus Neid Uberantwortet hatten. Unddaer aufdemRichtstuhl saB, schickte sein Weibzu ihm, und lieBihmsagen:
ForPilate knewit was out ofjealousy that theyhad handedhimover. Nowas he was seated in the chairofjudgement, his wife sent himamessage,
“Habedu nichts zuschaffen mit diesem Gerechten; ich habe heut viel erlittenim Traumvon seinetwegen.”
“Have nothing to do with that upright man; I have been extremely upset today by adreamthat I hadabout him.”
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Aberdie HohenpriesterundAltesten Qberredetendas Volk, daBsie um Barrabambittensollten, undJesum umbrdchten.
The chief priests andthe elders, however, hadpersuadedthe crowdto demandthe releaseof Barabbas andthe executionof Jesus.
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Da antwortet nunderLandpfleger, und sprachzu ihnen:
So whenthe governorspoke andasked them.
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“Welchen wollt ihr unterdiesen zweien, den ich euch soil losgeben?”
“Whichof the two do you want me to release foryou?’
Sie sprachen:
Theysaid,
“Barrabam, Barrabam, Barrabam.”
“Barabbas.”
Pilatus sprachzu ihnen:
Pilate saidto them,
“Was soil ich denn machen mit Jesu, von demgesaget wird, er sei ChrismsT
“But in that case, what amI to do with Jesus who is called Christ?”
Sie sprachen alle:
Theyall said,
“LaBihn kreuzigen, laBihnkreuzigen!”
“Let himbe crucified!”
DerLandpflegersagete:
He asked,
“Was hat erdenn Obels getan?”
“But what harmhas he done?"
Sie schrieenabernoch mehr, und sprachen:
But they shoutedall the louder.
“LaBihnkreuzigen, laBihnkreuzigen, laBihn kreuzigen!”
“Let himbe crucified!”
Da aberPilatus sahe, daBernichts schaffe, sondemdaBviel ein grOBer GetUmmel war, nahmer Wasser, und wusch die Hdnde vordemVolk, und sprach:
ThenPilate sawthat he was making no impression, that in fact ariot was imminent So he took some water, washed his hands in front of the crowd andsaid,
“Ich bin unschuldig andemBlut dieses Gerechten; sehet ihrzu!"
“I aminnocent of this man's blood. It is yourconcern.”
Da antwortet das ganze Volk, und sprach:
Andthe people, every one of them, shoutedback,
“Sein Blut komme Uberuns undilber unsere Kinder!"
“Let his bloodbe on us andonour children!”
Da gaber ihnen BarrabamIos; Jesum aberlieBergeiBeln, undUberantwortet ihn, daBErgekreuziget wtirde.
Then he released Barabbas forthem. After havingJesus scourged he handed himover to be cmcified. (Jesus is crowned with thorns)
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Da nahmendie Kriegsknechte des Landpflegers Jesumzu sich indas Richthaus, undsammletenUberihndie ganze Schar, undzogen ihnaus, und
Thenthe governor’s soldiers tookJesus with theminto the Praetoriumand collected the whole cohort roundhim. Andthey strippedhimand put a scarlet
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legten ihmeinen Purpurmantel an; und flochten eine DomenKrone, und setzten sie auf sein Haupt, undein Rohr inseine rechte Hand, undbeugeten die Kniee vor ihm, und spotteten ihn, undsprachen:
cloak roundhim, and having twisted some thoms into acrown they put this on his headandplaced a reed in his right hand. To make fun of himthey knelt to himsaying,
‘•GegriiBet seist du, derJuden Konig!”
“Hail, kingof theJews!”
Und speieten ihn an, und nahmendas Rohr, und schlugen damit sein Haupt. Und da sie ihn verspottet hatten, zogen sie ihmdemMantel aus, undzogen ihm seine Kleideran, undfiihreten ihn hin, daBsie ihn kreuzigten.
And they spat on himand tookthe reed andstruck himon the head with it And when they hadfinished making funof him, they tookoff the cloak anddressed himin his ownclothes andled himaway to crucifixion. (The crucifixion)
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Und indemsie hinaus gingen, fundensie einen Menschen von Kyrene, mit Namen Simon; den zwungen sie, daBer ihmsein Kreuze trug. Unddasie andie Stdtte kamen, mit NamenGolgatha, das ist verdeutschet Schadelstatt, gaben sie ihm Essig zu trinken mit Gallen vermischt; unddaer’s schmecket, wollte er’s nicht trinken. Da sie ihnabergekreuziget hanen, teileten sie seinemKleider, und worfendas Los darum; auf daBerfiillet wiirde, was gesagt ist durchden Propheten: sie haben meine Kleider unter sich geteilet, und UbermeinGewand habensie das Los geworfen. Undsie saBenallda, und hUtetensein. Undoben zu seinen HUuptenhefteten sie die Ursach seines Todes beschrieben, n&nlich:
Ontheir way out, theycame across a man fromCyrene, called Simon, and enlisted himto carry his cross. When they hadreacheda place called Golgotha, that is the place of the skull. They gave himwine to drinkmixed with gall, which he tasted but refused to drink. When they hadfinished crucifying him they sharedout his clothing bycasting lots, andthensat down andstayed there keeping guardover him. Above his head was placed the charge against him; it read:
“Dies ist Jesus, derJudenKtinig.”
“This is Jesus, the Kingof theJews."
Und da wtirden zwene Mdrdermit ihm gekreuziget, einer zurrechten, undeiner zurlinken.
Then two bandits were crucified with him, one on the right andone on the left. (The crucified Jesus is mocked)
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Die abervorUbergingen, lUstertenihn, undschUtteltenihre Kopfe, und sprachen:
The ers-byjeered at him; theyshook theirheads and said.
“DerdudenTempei Gottes zerbricht, undbauest ihnin dreienTagen, hilf dir
“So you would destroythe Temple and in three days rebuild it! Thensave
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143
selber! Bist duGottes Sohn. so steig herab vomKreuz!”
yourself if youareGod's son andcome down fromthecross!”
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Des gleichen auchdie Hohenpriester spotteten sein, sambt den Schriftgelehrten undAltesten, und sprachen:
The chief priests with the scribes and elders mockedhimin the same way, withtheirwords,
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“Andemhat ergeholfen, und kann ihm selber nicht helfen. Ist erder KOnig von Israel, so steig er nun vomKreuz, so wollen wirihmglduben; er hat Gott vertrauet, dererlose ihn, liistet’s ihm; denner hat gesagt: ‘ich binGottes Sohn.”’
“He savedothers; he cannot save himself. He is the king of Israel; let him come down fromthecross now, and we will believe inhim. He has put his trust inGod; nowlet God rescue himif he wants him. For hedidsay, "IamGod's ___ son.H*t
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Des gleichen schmdhetenihn auchdie Mtirder, die mit ihmgekreuziget waren.
Eventhe bandits who were crucified with himtauntedhimin the same way.
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(The death of Jesus) Und von dersechsten Stunde an ward eine Finstemis tlberdas ganze Land, bis andie neunte Stunde. Und umdie neunte Stunde schrieJesus laut undsprach:
Fromthe sixth hourthere was darkness overall the landuntil the ninthhour. And about the ninth hour, Jesus criedout ina loud voice,
“Eli, Eli, Eli, Lamaasabthani.”
“Eli, eli, lama sabachthani?'
Das ist: “meinGott, warumhast du mich verlaBen?”
that is, “My God, my God, why have you forsaken me?'
Aber, die dastunden, da sie das hOreten, sprachensie:
Whensome of those who stood there heard this, they said,
“Derrufet denElias.”
“The manis calling onElijah,"
Undbald lief einer unterihnen, nahm einen Schwamm, undfUllet ihn mit Essig, undsteckt ihnaufein Rohr, und trfnket ihn. Die andemabersprachen:
andone of themquicklyranto get a sponge which he filled with vinegarand, putting it on areed, gave it himto drink. But the rest of themsaid,
“Halt, laBsehen, ob Elias komme, und ihmhelfe!”
“Wait! And see if Elijah will come to save him.”
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AberJesus schrei abermal laut, und verschied.
But Jesus, againcrying out in aloud voice, yielded uphis spirit
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Undsiehe da, derVorhang imTempel zerrifi in zwei Stack, vonoben anbis
Andsuddenly, theveil of the Sanctuary was tomintwo fromtoptobottom, the
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unten aus. Und die Erde erbebete, und die Felsen zerrifien, unddie Grabertaten sich auf, undstunden auf viel Leibe der Heiligen, die schliefen, undgingen aus den Grabemnachseiner Auferstehung, und kamen indie heilige Stadt, und erschienen vielen. Aberder Hauptmann unddie bei ihmwaren, bewahreten Jesum, unddasie sahen das Erdbeben, und was dageschach, erschraken sie sehr, undsprachen:
earthquaked, the rocks were split, the tombs opened andthe bodies of many holy people rose fromthe dead, and these, afterhis resurrection, came out of the tombs, entered the holy city and appearedto a numberof people. The centurion, together with the others guardingJesus, hadseen the earthquake andall that was taking place, andthey were terrifiedandsaid.
“Wahrlich, dieser ist Gottes Sohn gewesen!”
“Intruththis man was son of God.”
Denn es waren viel Weiberda, die von feme zusahen, die daJesu waren nach gefolget aus Galilaa, und hattenihm gedienet. Unterwelchen warMaria Magdalena, undMaria, die Mutter Jacobi undJoses, unddie Mutterder KinderZebedei.
And manywomen were there, watching fromadistance, the same women who had followed Jesus fromGalilee and looked after him. Among themwere Maryof Magdala, Marythe motherof James andJoseph, and the motherof Zebedee's sons. (The burial)
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AmAbendaber kamein reicher Mann von Arimathia, derhieBJoseph, welcher auchein JUngerJesu war, derging zu Pilato, undbat ihn umden LeibJesu. Da befahl Pilatus, man soilt ihmihngeben. UndJoseph nahmden Leib, und wickelt ihn inein reinLeinwand; undlegte ihn in sein eigen neuGrab, welches er hatte laBen in einen Felsen hauen; undwiilzet einen groBenStein vordie Tiirdes Grabes, undging davon.
When it was evening, there came arich manof Arimathaea, called Joseph, who had himself become a disciple of Jesus. This manwent to Pilate andasked for the bodyof Jesus. Then Pilate ordered it to be handedover. So Joseph tookthe body, wrappedit ina clean shroud and put it in his own newtomb which he had hewnout of the rock. He thenrolled a large stone across the entrance of the tomb andwent away.
Es was aberallda MariaMagdalena, und die andere Maria, die setzten sich gegen das Grab.
NowMaryof Magdala andthe other Marywere there, sitting opposite the sepulchre. (The guard at the tomb)
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Des andemTages, derda folget nach demRiist Tage, kamendie Hohenpriester undSchriftgelehrten sdmtlichzu Pilato, undsprachen:
Next day, that is, whenPreparationDay was over, the chief priests andthe Pharisees went ina body to Pilate and said to him,
“Herr, wirhabengedacht, daBdieser VerfUhnr sprach, daer noch lebet: ‘ich
“Your Excellency, we recall that this imposter said, while he was still alive.
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will nachdreienTagen auferstehen.’ Darumbefiehle, daBmandas Grab verwahre bis anden drittenTag, auf daB nicht seine Jiinger kommen undstehlen ihn, undsagen zu demVolk, *Ersei auferstanden;’ und werde der letze Betrug iirger, dennder erste.”
"Afterthreedays I shall rise again." Therefore give the orderto have the sepulchre kept secure until the thirdday, forfear his disciples come and steal him away andtell the people, "He has risen fromthedead." This last piece of fraud would be worse thanwhat went before.”
Pilatus sprach zu ihnen:
Pilate said to them,
“Da hat ihrdir Hiiter, geht hin, und verwahret’s, wie ihrwifieL”
“You mayhave your guard; go andmake all as secure as you knowhow.”
Sie gingen hin, und verwahretendas Grabmit Hiitem, und versiegelten den Stein.
So they went andmade the sepulchre secure, puttingseals on the stone and mountingaguard.
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146 APPENDIX C ST. JOHN ION TEXT AND TRANSLATION*
Chapter/ Verse
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(The arrest of Jesus)
Jesus ging liber den Bach Kidron, da war ein Garten, dareinging Jesus undsein Jiinger. Judas aber, der ihn verriet, wuBte den Ort auch, dennJesus versammelte sich oft daselbst mit seinen Jiingem; da nunJudas zu sich hatte genommendie Schar, undderHohenpriesterund PharisaerDiener, kOmmt erdahin mit Fackeln, Lampen, undmit Waffen. AlsnunJesus wuBte Alles, was ihm begegnensollte, ging er hinaus und sprach zu ihnen:
After he had said all this, Jesus left with his disciples andcrossed the Kidron valley where there was a garden into which he went withhis disciples. Judas the traitorknewthe place also, since Jesus hadoften met his disciples there, so Judas brought the cohort to this place together withguards sent by thechief priests and the Pharisees, all with lanterns andtorches and weapons. Knowing everything that was to happen to him, Jesus came forward andsaid.
“Wen suchest ihr?”
“Who are you looking for?”
Sie antworteten:
They answered,
"JesumvonNazareth.”
“Jesus the Nazarene.”
Jesus sprachzu ihnen:
He said,
“Ich, ichbins.”
“I amhe.”
Judas aber, derihn verriet, stund auch bei ihnen. Also nunJesus zu ihnen sprach: “Ich bin’s!” wichen sie zuriicke und fielen zu Boden. Dafragete ersie abermals:
NowJudas the traitor was standing among them. WhenJesus saidto them, 1 amhe,' theymovedbackandfell onthe ground. He asked thema second time,
“Wensuchet ihr?”
"Who areyou looking for?”
Sie abersprachen:
They said,
“Jesumvon Nazareth.”
“Jesus the Nazarene.”
Jesus antwortete:
Jesus replied.
'This translation is based on the 1984 edition of the New Jerusalem Bible.
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147
“Ich hab’s euch gesagt, daBich’s sei, suchet ihrdenn mich, so laBet diese gehen! Auf daBdas Wort erfiillet wiirde, welches sagte: Ichhabe der Keine verloren, die du mirgegeben hast.”
“I have told you that I amhe. If I amthe one you are looking for, let these others go.”This was to fulfil the words he had spoken, “Not one of those you gave me have I lost.”
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Da hatte Simon Petrus ein Schwert, und zog es aus, und schlug nachdes Hohenpriesters Knecht, undhieb ihm sein recht’ Ohrab, undder Knecht hieB Malchus.
Simon Peter, who hada sword, drewit andstruckthe high priest's servant cuttingoff his right ear. The servant's name was Malchus.
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Da sprachJesus zu Petro:
Jesus said to Peter,
“Stecke dein Schwert indie Scheide; soli ich den Kelch nicht trinken, den mir mein Vatergegeben hat?”
“Put yoursword backin its scabbard; am I not todrink the cup that the Fatherhas given me?”
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(Jesus before Annas and Caiaphas Peter disowns him)
Die Scharaber undderOberhauptmann, unddie Diener derJudennahmenJesum und banden ihn und fiihretenihn aufs erste zu Hannas, derwarCaiphas’ Schwdger, welcher des Jahres Hoherpriester war; es waraberCaiphas, derdenJudenriet, es ware gut, daBein Mensch wiirde umbracht fUrdas Volk.
The cohort and its tribune andthe Jewish guards seized Jesus andbound him. Theytookhimfust to Annas, because Annas was the father-in-lawof Caiaphas, who was high priest that year. It was Caiaphas who hadcounseled the Jews, “It is better forone manto die for the people.”
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Simon Petrus aberfolgete Jesu nach, und ein andererJilnger. Derselbige Jttnger wardemHohenpriesterbekannt, und ging mit Jesu hinein indes Hohenpriesters Palast, Petrus aberstund drauBenvorderTllr. Daging der andere Jilnger, derdemHohenpriesterbekannt war, hinaus, undredete mit der Tiirhilterinund filhretePetrumhinein.
Simon Peter, withanotherdisciple, followed Jesus. This disciple, who was known to the highpriest, went withJesus into the high priest's palace, but Peter stayed outside the door. So theother disciple, the one knownto the high priest, went out, spoke to the door keeper andbrought Peterin.
18:17
Da sprachdie Magd, dieTiirhilterin, zu Petro:
The girl on dutyat the doorsaid toPeter,
“Bist dunicht auchdieses Menschen JUngereiner?"
“Aren't you anotherof that man’s disciples?”
Ersprach:
He answered,
“Ichbins nicht”
“I amnot”
18:12 18: 13 18: 14
18: IS
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Es stunden aber die Knechte und Diener, und hatten ein Kohlfeuer gemacht, denn es war kalt und wiirmeten sich; Petrus aber stund bei ihnen und warmete sich.
Nowit was cold, and the servants and guards hadlit acharcoal fire and were standing there wanning themselves; so Peter stood there too, warming himself with the others.
18: 19
AberderHohepriesteraber fragteJesum umseine Jilnger und umseine Lehre. Jesus antwortet ihm:
The high priest questioned Jesus about his disciples and his teaching. Jesus answered,
18:21
“Ich habe frei offentlich geredet vorder Welt, ich habe allezeit gelehret inder Schule und indemTempel, da alle Juden zusammenkommen, und habe nichts im Verborgengeredet. Was fragst du mich darum? Frage darum, die gehtiret haben, was ich zu ihnen geredet habe; siehe, dieselbigen wiBen, was ich gesaget habe!”
“I have spokenopenly for all the world to hear; I have always taught in the synagogue andin the Temple where all theJews meet together, I have said nothing insecret Whyaskme? Askmy hearers what I taught; they knowwhat I said.”
18:22
Als er solches redet, gab der Dienereiner Jesus einemBakkenstreich undsprach:
At these words, one of the guards standing by gave Jesus aslap in the face, saying,
“Sollst dudemHohenpriesteralso antworten?”
“Is that the way you answer the high priest?”
Jesus aberantwortete:
Jesus replied,
“Habe ich Ubel geredet, so beweise es; daBes bdse sei; hab’ ich aberrecht geredet, warumschlagst dumich?”
“If there is some offense in what Isaid, point it out; but if not whydo you strike me?”
Und Hannas sandte ihngebunden zu demHohenpriesterCaiphas. Simon Peter stund, und warmete sich, dasprachensie zu:
Then Annas sent him, bound, to Caiaphas the high priest As Simon Peter stood there warming himself, someone said to him,
“Bist du nicht seine JUngereiner?”
“Aren't you anotherof his disciples?”
Er leugnete aberundsprach:
He denied it saying,
“Ich bin’s nicht!”
“I amnot”
Spricht des Hohenpriesters Knecht einer, einGefreund’terdes. demPetrus Ohr abgehauenhatte:
Oneof the high priest’s servants, a relationof the man whose ear Peterhad cut off, said,
“Sahe ichdich nicht imGartenbei ihm?"
“Didn't I see you in the gardenwith him?”
18:20
18:23
18:24 18:25
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Da verleugnete Petrus abermal, undalso bald krahete derHahn.
Again Peter denied it; andat once acock crew. (Jesus before Pilate)
Da fiihreten sie JesumvonCaiphas vor das Richthaus, undes war friihe. Undsie gingen nicht indas Richthaus. aufdaB sie nicht unrein wiirden, sondemOstem eBen mOchten. Da ging Pilatus zu ihnen hinaus undsprach:
They then led Jesus fromthe house of Caiaphas to the Praetorium. It was now morning. They did not go into the Praetoriumthemselves to avoid becoming defried and unable to eat the over. So Pilate came outside to themandsaid,
“Was bringet ihrfiir (Cage widerdiesen Menschen?”
“What charge do you bring against this man?"
Sie sprachen:
They replied,
18: 30
“Waredieser nicht ein Ubeltater, wir hattendir ihn nicht iiberantwortet.”
“If he were not acriminal, we should not have handedhimoverto you.”
18:31
Dasprach Pilatus zu ihnen:
Pilate said to them:
“So nehmet ihr ihn himundrichtet ihn nacheuremGefallen.”
‘Take himyourselves, andtryhimby yourown Law.”
Die Judensprachen:
The Jews answered,
“Wirdlirfen niemand tdten.”
“We are not allowed to put amanto death.”
18:32
Auf daBerfUllet wiirdedas Wort Jesu, welches er sagte, daerdeutete, welches Todes ersterben wiirde.
This was to fulfil the words Jesus had spoken indicating the way he was going to die.
18:33
Daging Pilatus wiederhinein indas Richthaus undriefJesumundsprach zu ihm:
So Pilate went back into the Praetorium andcalled Jesus to himandasked him.
“Bist duderJuden KOnig?”
“Are you the kingof the Jews?”
Jesus antwortet:
Jesus replied,
“Redest dudas von dirselbst oder haben’s dir andere vonmirgesagt?"
“Do you askthis of yourown accord, or have others said it to you about me?”
Pilatus antwortete:
Pilate answered.
18: 28
18:29
18:34
18:35
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“Bich ich ein Jude? Dein Volk unddie Hohenpriesterhabendich mir Qberantwortet; was hast dugetan?”
“AmI aJew? It is yourown people and the chief priests who have handedyou overto me; what have you done?”
Jesus antwortete:
Jesus replied,
“Mein Reich ist nicht von dieser Welt, ware mein Reich vondieser Welt, meine Diener wiirden darobkampfen, daBich den Juden nicht Oberantwortet wiirde! Aber, nun ist mein Reich nicht von dannen."
“Mine is not akingdomof this world; if my kingdomwere of this world, my men would have fought to prevent mybeing surrendered to theJews. As it is, my kingdomdoes not belong here.”
Pilatus sprachzu ihm:
Pilate said,
“So bist dudennochein KOnigT’
“So, then you area king?”
Jesus antwortet:
Jesus answered,
“Du sagests, ich binein Kdnig, ich bin dazugeboren undindie Welt kommen, daBichdie Wahrheit sagen soil. Wer aus der Wahrheit ist, derhOret meine Stinune.”
“It is you who say that I ama king. I was bomfor this, Icame into the world for this, to bear witness to the truth; and all who are on the side of truthlisten to my voice."
Spricht Pilatus zu ihm:
Pilate asked of him:
“Was ist Wahrheit?”
“What is Truth?”
Unddaerdas gesaget, ginger wieder hinaus zuden Judenundspricht zu ihnen:
And so saying he went out againto the Jews andsaid.
18: 39
“Ich finde keine Schuldamihm. Ihrhabt abereine Gewohnheit, daBicheuch einen losgebe: wollt ihrnun, daBich euchderJuden Ktiniglosgebe?”
“I find nocase against him. But according to a customof yours I should release one prisonerat the over, would you like me, then, to release for youthe kingof the Jews?”
18:40
Da schrieen sie allesamt undsprachen:
At this they shouted,
“Nicht diesen, sondemBarTabam!”
“Not this man’"theysaid, “but Barabbas.”
Barrabas aber warein Mdrder.
Barabbas was a bandit
Da nahmPilatus JesumundgeiBelt’ ihn unddie Kriegesknechte flochten eine Krone von Domen undsetzten sie auf
Pilate then hadJesus takenawayand scourged; andafterthis, thesoldiers twisted some thorns into acrown andput
18: 36
18:37
18: 38
19:1 19:2
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sein Haupt und Iegetenihmein Purpurkleid anundsprachen:
it on his headanddressed himin a purple robe. They kept coming upto himandsaying,
“Sei gegriiBet, lieberJudenkonig.”
“Hail, kingof the Jews!”
Und gaben ihmBakkenstreiche.
andslapping himinthe face.
Da ging Pilatus wiederheraus und sprachzu ihnen:
Pilate came outside again andsaid to them,
“Sehet, ich fiihre ihnheraus zu euch, daB ihrerkennet, daBich keine Schuld an ihmfinde.”
“Look, I amgoing to bring himout to you to let you see that I find no case against him.”
Also ging Jesus heraus, undtrugeine Domenkone undPurpurkleid. Under sprachzu ihnen:
Jesus thencame out wearingthe crown of thorns andthe purple robe. Pilate said,
“Sehet, welch ein Mensch!"
“Here is the man.”
19:6
Da ihndie Hohenpriester unddie Diener sahen, schrieen sie undsprachen:
When theysawhim, the chief priests and the guards shouted,
19:7
“Kreuzige ihn. Wir habeneinGesetz und nachdemsoli ersterben, denner hat sich selbst zu Gottes Sohn gemacht!”
“Crucify him! We have aLaw, and according to that Lawhe ought tobe put to death, because he has claimedto be Son of God.”
19:8 19:9
Da Pilatus das Wort hdrete, fiirchtet’ er sich nochmehr, undging wiederhinein indas Richthaus, undsprachzuJesus:
WhenPilate heard themsay this his fears increased. Re-entering the Praetorium, he said to Jesus,
“Von wannen bist du?’
Where do you come from?”
AberJesus gab ihmkeine Antwort; dasprachPilatus zu ihm:
But Jesus made no answer. Pilate then said to him,
“Redest du nicht mit mir? WeiBest du nicht, daBich Macht habe, dich zu kreuzigen, undMacht habe, dich los zugeben?’
“Are you refusing to speakto me? Surelyyou knowI have powerto release you andI have powerto crucify you?”
Jesus antwortete:
Jesus replied,
“Duhattest keine Macht iibermich, wennsie dirnicht ware vonoben herab gegeben; darum, dermichdir iiberantwortet hat, derhat’s grbB’re SUnde.”
“You would have no poweroverme at all if it hadnot beengiven you from above; that is why theone who handed meover to you has the greaterguilt”
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19:4
19:5
19: 10
19: 11
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(Jesus is condemned to death) 19: 12
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Vondemtrachtete Pilatus, wie er ihm losIieBe. Die Judenaber schrieen und sprachen:
Fromthat moment Pilate was anxious to set himfree, but the Jews shouted.
“Ldfiet dudiesen los, so bist dudes Kaisers Freundnicht, denn wersich zum Konige machet, der ist widerden Kaiser.”
“If you set himfree you are no friendof Caesar’s; anyone who makes himself king is defying Caesar."
Da Pilatus das horet, fiihrete er Jesum heraus undsetzte sich auf den Richtstuhl, ander StStte, die da heifiet: Hochpflaster, auf Hebriiisch aber: Gabbatha. Es waraberder RUsttag in Ostem. umdie sechste Stunde, under spricht zudenJuden:
Hearing these words, Pilate hadJesus brought out, andseated himon the chair ofjudgment at aplace called the Pavement, inHebrewGabbatha. It was the Dayof Preparation, about the sixth hour whenPilate saidto the Jews:
“Sehet, das ist euerKtinig!”
“Behold, here is yourking,”
Sie schrieen:
But they shouted,
“Weg, weg mit dem. Kreuzige ihn!”
“Away withhim, away with him, crucify him.”
Spricht Pilatus zu ihnen:
Pilate said,
“Soli icheuren Kdnig kreuzigen?”
"Shall I crucify your king?”
Die Hohenpriesterantworteten:
The chief priests answered,
“Wir habenkeinen KOnigdennden Kaiser.”
“We have no king except Caesar.”
Da iiberantworteteer ihn, daBer kreuziget wiirde.
So at that Pilate handed himover to them to be crucified. (The crucifixion)
19: 17
19:18 19:19
Sie nahmenaberJesumund fUhreten ihn hin, undertrugsein Kreuz undging hinaus zurStatte, die da heiBet: Schlideistatt’, welches heiBet auf EbrSisch: Golgatha, allda kreuzigten sie ihn, undmit ihmzween andere zu beiden Seiten, Jesumabermitten inne. Pilatus aberschriebeine Oberschrift, undsetzte sie aufdas Kreuz, und wargeschriben:
They thentookcharge of Jesus, and carrying his owncross he went out to the Place of the Skull or, as it is called in Hebrew, Golgotha, where theycrucified himwithtwoothers, one on either side, Jesus being inthe middle. Pilate wrote out a notice andhadit fixed to the cross; it read
“Jesus vonNazareth, derJudenKdnig!”
“Jesus theNazarene, King of theJews.”
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19:20
19: 21
19: 22
Diese Oberschrift lasen viel Juden, denn die Statte war nahe bei derStadt, da Jesus gekreuziget ist. Und es war geschrieben auf ebraische, greichische undlateinische Sprache. Da sprachendie HohenpriesterderJuden zu Pilato:
This notice was readby manyof the Jews, because the place where Jesus was crucified was nearthecity, andthe writing was inHebrew, Latin andGreek. So the Jewish chief priests said to Pilate,
“Scheibe nicht: ‘derJuden Konig, sondemdaBer gesaget habe: Ichbin der JudenKbnig!”'
“You should not write ‘King of the Jews,’ but that the mansaid, 'I amKing of theJews.’”
Pilatus antwortet:
Pilate answered,
“Was ich geschrieben habe, das habe ich geschrieben.'’
“What I have written, I have written.” (Jesus' garments divided)
19:23
19:24
Die Kriegsknechte aber, dasie Jesum gekreuziget hatten, nahmenseine Kleider undmachten vier Teile, einemjeglichen Kriegesknechte sein Teil, dazu auchden Rock. Der Rockaberwar ungenShet, vonoben angewtirket durch unddurch. Dasprachen sie untereinanden
Whenthe soldiers hadfinished crucifyingJesus they took his clothing anddivided it into fourshares, one for eachsoldier. His undergarment was seamless, woven inone piece fromneck to hem; so they said to one another.
“LaBet uns den nicht zerteilen, sondem darumlosen, weBersein soil."
“Insteadof tearing it, let's throwdice to decide who is to have it.”
Auf daBerfUllet wtirde die Schrift, die da saget:
Inthis way the words of scripture were fulfilled:
Sie haben meine Kleider unter sich geteilet, und haben uber meinen Rock das Los geworfen.
They divide my garments among them and cast lots for my clothes.
Solches tatendie Kriegesknechte.
That is what the soldiers did. (Jesus and his mother)
19: 25
Es stundaberbei demKreuzeJesuseine Mutterundseiner Schwester, Maria, Geophas’ Weib, undMariaMagdalena.
Nearthecross of Jesus stood his mother andhis mother’s sister, Marythe wife of Gopas, andMaryof Magdala.
19:26
DanunJesus seine Muttersahe undden Jilngerdabei stehen, dener lieb hatte, spricht er zu seinerMutter:
Seeing his motherandthe disciple whom he loved standing nearher, Jesus saidto his mother,
“Weib! Siehe, das ist dein Sohn.”
“Woman, this is yourson.”
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Damach spricht erzu demJiingen
Then to the disciple he said,
“Siehe, das ist deine Mutter!”
“This is yourmother.”
Und von Stund’ an nahmsie de Jiinger zusich.
And fromthat hour the disciple tookher into his home. (The death of Jesus)
19: 28
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Damach, als Jesu wuBte, daBschon alles vollbracht war. daBdie Schrift erfiillet wiirde, spricht er:
After this, Jesus knewthat everything had nowbeen completed and, so that the scripture should be completely fulfilled, he said:
“Michdiirstet!”
“I am thirsty."
Da stund ein GefMBevoll Essigs. Sie fulleten abereinen Schwammmit Essig und legten ihn umeinen Isoppen und hielten es ihmdarzumMunde. Da nun Jesus den Essig genommenhatte, sprach er.
Ajar full of sour wine stood there; so, putting asponge soaked in the wine on a hyssop stick, they held it upto his mouth. AfterJesus hadtaken the wine he said.
"Es ist vollbracht"
“It is fulfilled.”
und neigte das Haupt undverschied.
andbowing his head he gave uphis spirit (The pierced Christ)
19:31
19: 32
19: 33 19:34
19: 35
Die Judenaber, dieweil es derRtisttag war, daBnicht die Leichname amKreuze blieben denSabbat Uber(denn deselbigen Sabattags warsehrgroB), batensie Pilatum, daBihre Beine gebrochen, undsie abgenommen wiirden; da kamendie Kriegsknechte undbrachendemerstendie Beine, und demandem, dermit ihmgekreuziget war.
It was the Day of Preparation, and to avoid the bodies' remainingon thecross duringthe Sabbath - since that Sabbath was adayof special solemnity - theJews askedPilate to have the legs brokenand the bodies taken away. Consequentlythe soldiers came andbroke the legs of the first man who hadbeencrucified with himandthenof the other.
Als sie aberzuJesukamen, dasie sahen, daBerschon gestorben war, brachensie ihmdie Beine nicht; sondemder Kriegsknechteeinererdffhete seine Seite mit einemSpeer, und alsobaldging Blut undWasserheraus.
Whentheycame to Jesus, theysawhe was alreadydead, andso insteadof breaking his legs one of the soldiers pierced his side with a lance; and immediatelythere cameout blood and water.
Undderdas gesehen hat derhat es bezeuget undsein Zeugnis ist wahr, und derselbige weiB, daBerWahrheit saget
This is the evidence of one who sawit • trueevidence, andhe knows that what he says is true - andhe gives it so that you
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19:37
auf daBihrglaubet. Denn solches ist geschehen, daBdie Schrift erfiillet wiirder Ihr sollet ihm kein Bern zerbrechen, und abermal spricht eine andere Schrift: Sie werden sehen, in welchen sie gestochen haben.
maybelieve as well. Because all this happened to fulfil the words of scripture: Not one bone of his will be broken; and again, in antherplace scripture says: They will look to the one whom they have pierced. (The burial)
19: 38
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19:40 19:41 19:42
Damach bat PilatumJoseph von Arimathia, derein JilngerJesu war(doch heimlich, aus Furcht vorden Juden), daB ermochte abnehmenden LeichnamJesu. Und Pilatus erlaubete diese. Derowegen kamer und nahmden LeichnamJesu herab. Es kamaberauch Nicodemus, der vormals inderNacht zuJesukommen war, undbrachte Myrrhenund Aloen untereinander, bei hundert Pfunden. Da nahmen sie den LeichnamJesu, und bundenihn in leinen Tilcher mit Spezereien, wie die Juden pflegen zu begraben. Es war aberanderStMtte, da ergekreuziget ward, ein Garten, und im Gartenein neuGrab, imwelches niemandje gelegen war, daselbst him legten sie Jesum, umdes Riisttags willen derJuden, die weil das Grabnahe war.
After this, Josephof Arimathaea, who was adisciple of Jesus - thougha secret one because he was afraid of theJews asked Pilate to let himremove the body of Jesus. Pilate gave permission, so they came andtook it away. Nicodemus came as well - the same one who hadErst come toJesus at nighttime - andhe brought a mixtureof myrrhandaloes, weighing about a hundred pounds. They tookthe body of Jesus andbound it in linen cloths with the spices, following the Jewish burial custom. At the place where he hadbeen crucified there was a garden, and in this garden anewtomb in which no one hadyet beenburied. Since it was the Jewish Day of Preparationand the tomb was nearby, they laidJesus there.
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APPENDIX D CHRONOLOGICAL LISTING OF IMPORTANT ION SETTINGS1 Year
Composer
Work
1490 1526
Richard Davy Johann Bugenhagen
1527 1532 c. 1540 1541 1541 1543 1543 1550 1553 c. 1555 c. 1560 1560 1561 c. 1563
sco Corteccia sco Corteccia Johann Walther Gaspar de Albertis Gaspar de Albertis Balthasar Resinarius Claudin de Sermisy Cipriano de Rore Wac aw z Szamotu Jan Nasco Paolo Aretino Jakob Haupt Giovanni Contino Manfred Barbarini Lupus
1565 1565 1565 1565 1567 1568 1568 1568 1569 1570 1570 c. 1570 1575 1575 1576
P. Ferrarensis P. Ferrarensis P. Ferrarensis P. Ferrarensis Jakob Meiland Joachima Burck Jakob Meiland Antonio Scandello Paalo Isnardi Jakob Meiland Clemens Stephani Vincenzo Ruffo Orlando Lassus Vincenzo Ruffo Johann Steurerlein
1576 1578
Johann Steurerlein P. Bucenus
St. Matthew ion Historia des Leidens und der Auferstehung St. John ion St. Matthew ion St. Matthew ion St. Matthew ion St. John ion Summa ionis Christi St. Matthew ion St. John ion Exclamadones ionum St. Matthew ion St. John ion St. Matthew ion ion (unknown) Miserere mei Deus Quoniam Tribulor St. Matthew ion St. John ion St Mark ion St. Luke ion St. Matthew ion St. John ion St. Mark ion St. John ion St. Matthew ion St John ion St. Matthew ion St. John ion St. Matthew ion St Matthew ion Die Deutche ion nach St Johanne St. John ion St Matthew ion
1Appendix E contains more detailed information on each work cited in this Appendix.
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157 Year
Composer
Work
1578 1579
Ludwig Daser Floriano Canali
1579 1580 1580 1580 1580 c. 1580 c. 1580 1580 1582 1583 1585
Vincenzo Ruffo Grammateo Asola Grammateo Asola Grammateo Asola Jacob Handl Orlando Lassus sco Rovigo Giaches de Wert Jacob Reiner Grammateo Asola Francisco Guerrero
1585 1585 1587 1588 1589 1590 1593 1593 1594
Tomis Victoria Tomds Victoria Jacob Handl Bartholomaus Gesius Matthaus Ludecus Jacob Regnart Leonard Lechner Johann Machold Johannes Herald
1600 1601 1602 1604 1604 1607 1610 1612 1613 1621 1629 1630 1631 1642 1643
G. Sulcius Pietro Amico Giacobetti Thomas Mancinus Serafino Cantone Serafino Cantone William Byrd Ambrosius Beber Samuel Besler Melchior Vulpius Otto Siegfried Hamisch Heinrich Grimm Juan Gutierrez de Padilla Christoph Demantius Thomas Selle Luigi Rossi
Per signum Crucis (John) Harmonie officia in tridno dominicae ionis St. Luke ion St. Luke ion St. Mark ion St. Matthew ion io Domini secundumMatthaeo St. Mark, Luke, John ions St. Luke ion ion (unknown) St. Mark &Luke St John ion io Domini Nostri Jesu Christ secundum Mattaeumet Joannem St John ion St Matthew ion io Domini secundum Ioannem St. John ion St. Matthew ion St. Matthew ion ion According to St. John St. Matthew ion Historia des Leidens und Sterbens unsers Herm und Heilands Jesu Christ aus dem Heiliger Evangelisten Mattheo mit 6 Stimmen Componiert St. John ion St. John ion St. Matthew & St. John ions St. John ion St. Matthew ion St. John ion St. Mark ion St. Matthew ion St. Matthew ion St Matthew ion St Matthew ion St Matthew ion St John ion Sl Matthew ion Oratorio per la Settimana santa
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1S8 Year
Composer
Work
1643
Thomas Selle
1645 1653 1660 1663
Heinrich Schutz Christoph Schultze JobstHeider Johann Sebastiani
1664
Thomas Strutius
1665 1665 1665 c. 1665 1667 1668 1670 1670
Heinrich Schiitz Heinrich Schiitz Heinrich Schiitz Tobis Zeutschner Christian Flor Marco Giuseppe Peranda Friedrich Funcke Augustin Pfleger
1672 1673
Johann Sebastiani Johann Theile
1680 1685 1692 1700
F. Funccius Johann Philipp Krieger Georg Christoph Strattner Johann Kuhnhausen
c. 1700 1700 1700 1704 1704 1704 1711 1712
Johann Meder Alessandro Scarlatti Johann Schelle George Friedrich Handel Christoph Hunold Reinhard Keiser Georg Bdhm Reinhard Keiser
1712
Johann Heinrich Kyburz
1714 1715
J.G. Seebach Reinhard Keiser
1717
Reinhard Keiser
ion secundumJohannema 6 cumCapella, a 5 sine Intermediis Seven Last Words of Christ St. Luke and St Mark ions Mt. ion Das Leyden und Sterben unsers Herm und Heylands Jesu Christi nach demheiligen Matthaeo Das Leiden und Sterben... Jesu Christi nach... Matthaeo St John ion St. Matthew ion St. Luke ion St. Matthew ion Sl Matthew ion St. Markion St Matthew ion 1 16 Die Sieben Worte des Heilands am Kreuz St. Matthew ion io Domini Nostri Jesu Christi secundumEvangelium Matthaeum St. Matthew ion Historia inis in 6 Akten Sehet doch, ihr Menschenkinder io Christi secundum Matthaeum St Matthew ion St John ion ion a 19 St John ion (Brakes’ text) Der blutende und sterbende Jesus Der blutende und sterbende Jesus St Luke ion Der fttr die Silnde der Welt gemarterte und sterbende Jesus ionsandachten in Geistliche Seelen-Music Der leidende und sterbende Jesu Der zumTode verurtheilte und gecreutzigte Jesus St Markion
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Year
Comnoser
1717
Johann Mattheson
1718 1718 1721 1721 1723-1765 1723 1723 1723 1729 1730 1730 1731 1741
1742 1743 1744 1750 1750 1755 1768 1770 1783 c. 1783 1785 1787 1792 1835
Work
ions-Andacht iiber den verlaBenen Jesum Jesu Christo nell’orto Johann Fux St. Matthew ion Anton Koch ion nach dem Evangelisten Johann Kuhnau Marcus ion nach dem Evangelium Georg Riedel Sancto Matthaei 46 ions Georg Telemann St. John ion Johann Sebastian Bach La morte e sepoltura di Cristo Antonio Caldara Sechs Andachten als der... Historie G.H. Stolzel des bittern Leidens St. Matthew ion Johann Sebastian Bach Meines Jesu ion muBmir alien Johann Balthasar Konig Segen bringen Trostvolle Gedanken Uberdas Carl Graun Leiden... Christi St. Mark’s ion Johann Sebastian Bach Betrachtungen Uber die Christoph Graupner Hauptumstande des GroBen Versdhnungsleidens unseres Erldsers I pellegrini al sepolcro Johann Adolph Hasse Die Sieben Worte des Heilands am Christoph Graupner Kreuz La deposizione della croce Johann Adolf Hasse Der blutschwitzende Jesus Johann Ernst Erberlin St. Matthew ion J.D. Pucklitz Der Tod Jesu Carl Heinrich Grauns “So gehst du nun, mein Jesu hin” Gottfried Homilius (Mark ion) Die letzen Leiden des Erldsers Carl Philip Emmanuel Bach Die Feyer des Todes Jesu Johann Rolle Die letzen Stunden des leidenden Ernst Wolf Erldsers amKreuze Der sterbende Jesu Antonio Rosetti Die sieben Worte des Erldsers am Joseph Haydn Kreuz Johann AbrahamPeter Schulz Der Christi Tod Des Heilands letzte Stunden Louis Ludwig Spohr
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
APPENDIX E: E xtant P assion S ettings Composer
Life
Work
Year
j '1 Genre 1
Country
Church
Features
Caspar de Albertis
c. 1480 -c. 1560
Si. John ion
1541
Responsorial
Italy
Catholic
Part o f Christ set polyphonically
Caspar de Albertis
c. 1480 -c. 1560
Si. Matthew ion
1541
Responsoria!
Italy
Catholic
One o f first setting in which part of Christ set polyphonically
Paolo Aretino
1508-1584
Si. John ion
c. 15501570
Responsorial
Italy
Catholic
Grammateo Asola
c. 1532-1609
Si. Luke ion
1580
Responsorial
Italy
Catholic
Grammateo Asola
c. 1532-1609
Si. Mark ion
1580
Responsorial
Italy
Catholic
Grammateo Asola
c. 1532-1609
Si. Matthew ion
1580
Responsorial
Italy
Catholic
Grammateo Asola
c. 1532-1609
Si. John ion
1583
Responsorial
Italy
Catholic
§
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
C o n n e r: ’
Life
Work
Year
Genre
Country
Church
Features
Johann Sebastian Bach
1685-1750
Si. John's ion
1723
Compromise between dramatic/opera ion
Lutheran
Brookes' test and Gospel narrative
Johann Sebastian Bach
1685-1750
St. Matthew's ion
1729
Compromise between dramatic/opera ion
Lutheran
Ijhrctlist: Christian llcnrici (1700-1764) aka I’icandcr, with Gospel narrative.
Johann Sebastian Bach
1685-1750
St. Mark's ion
1731
Lutheran
Carl Philip Emmanuel Bach
1714-1788
Die letzen Leiden des Erldsers
1770
ion oratorio
Lutheran
IJhrcttist: Luisc Karscn.
Ambrosius Beber
ft. 1610-1620
St. Mark ion
1610
Oratorical
Lutheran
Com promise between rcsporuorial/molet. Solo part o f Evangelist and high dramatization places it in the oratorical category
Samuel Besler
1574-1625
St. Matthew ion
1612
Responsorial
Lutheran
Based on W althcr's ion
I I
C7\
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Composer
lif e
Work
Year
Si. Luke ion
1711
P. Buccnus
Si. Matthew ion
1578
Johann Bugenhagen
Historia des Leidens und der Au/ersiehung
Georg Bohm
1661-1733
Genre
Country
Church
Features
Lutheran
Responsorial
Lutheran
1526
ion harmonie
Lutheran
Narrative o f combined gospels of Matthew, Luke, John and Math, combined with the seven words on the cross.
Uililizes ion tones throughout. W ritten in German vernacular.
Joachim a Burck
IS46-I6I0
Si. John ion
1568
Motet
Lutheran
William Byrd
1343-1623
Si. John ion
1607
Responsorial
England
Catholic
Antonio Caldara
1670-1736
La morte e sepoltura di Cristo
1723
Oratorio
Italy
Catholic
Floriano Canali
c. 1550 ft. 1579-1603
Harmonic officia in tridno dominicae ionis
1579
Responsorial
Italy
Catholic
Serafino Cantone
Jl. 1580-1627
St. John ion
1604
Responsorial
Italy
Catholic
Part o f Christ set polyphonically
ON ts>
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Composer
Life
Work
Year
Seraftno Cantonc
fl. 1580-1627
Si. Matthew ion
1604
Johann Balthasar Christian Freislich
c. 1687 - 1764
St. Matthew ions (2)
1720 1755
Giovanni Contino
c. 1513-c. 1574
ion (unknown)
1561
sco Corteccia
1502-1571
St. John ion
sco Corteccia
1502-1571
Ludwig Daser
Genre Rcsponsorial
Country
Church
Features
Italy
Catholic
Pan o f Clirisi sci polyphonically
Lutheran
1 leal by llm ckcs
Responsoria!
Italy
Catholic
1527
Rcsponsorial
Italy
Catholic
St. Matthew ion
1532
Responsorial
Italy
Catholic
1525-1589
Per signum Crucis (John)
1578
Through-composed
Protestant
Richard Davy
c. 1465-c . 1507
St. Matthew ion
1490
Responsorial
England
Catholic
Christoph Demantius
1567-1643
St. John ion
1631
Motet
Lutheran
Johann Ernst Erbcrlin
1702-1762
Der blutschwitzende Jesus
1750
Catholic
Based on gospel narrative o f John plus the seven Iasi words o f Chrisl
O ne o f the Iasi m o ld ions. S d for 6 voices.
ON
u>
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Composer
Life
Work
Year
Genre
Country
Church
Features Pan of Chnst set polyphonically
P. Ferrarensis
St. John ion
1565
Responsorial
Italy
Catholic
P. Ferrarensis
Si. Luke ion
1565
Responsorial
Italy
Catholic
P. Ferrarensis
Si. Mark ion
1565
Responsorial
Italy
Catholic
P. Ferrarensis
Si. Matthew ion
1565
Responsorial
Italy
Catholic
Pan o f OmM scl polyphonically
Si. Matthew ion
1667
Dramatic
Lutheran
Frequent arias and orchestral symphonies
Christian Flor
c. 1620-1680
Georg Forster
c. 1510-1568
F. Funccius
c. 1568
Si. Matthew ion
1680
Lutheran
Friedrich Funcke
1642-1699
Ml-P d 16
1670
Johann Fux
1660-1741
Jesu Christo nell' orto
1718
Oratorio
Italy
Catholic
Bartholomlius Gesius
c. 1555-1613
Si. John ion
1588
Oratorical
Lutheran
Influenced by Scandello ion
I
I
5
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Composer Pietro Amico Giacobctti
Life fl. 1579-1616
Work
Year
Genre
Country
St. John ion
1601
Rcsponsorial
Italy
Church
Features
Catholic
Carl Graun
1704-1659
Trostvolle Gedanken liber das Leiden... Christi
1730
opcra-ion
Lutheran
Carl Graun
1704-1759
Der Tod Jesu
1755
opera-ion
Lutheran
Revives features of earlier oratorio including choral fugue, but even more Italian than his contcmpories in its sentimentality.
Carl Heinrich Grauns
1704-1759
Der Tod Jesu
1755
Cantata
Lutheran
Librettist: C.W. Ramlcr
Christoph Graupner
1683-1760
Betrachtungen iiber die Hauplumsldnde des groflen Versohnungsliedens unseres Erldsers
1741
Damstadt
Lutheran
Christoph Graupner
1683-1760
Die Sieben Worte des Heilands am Kreuz
1743
Darmstadt
Lutheran
On in
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Composer
Life
Work
Year
Genre
Country
Church
Heinrich Grimm
c. 1593-1637
St. Matthew ion
1629
Oratorical
lolheran
Francisco Guerrero
1528-1599
io Domini Nostri Jesu Christ secundum Mattaeum el Joannem
1585
Responsorial
Spain
Catholic
George Friedrich Handel
1685-1759
St. John ion (Brockes text)
1704
opera-ion
Lutheran
Jacob Handl
1550-1591
io Domini secundum Matthaeo
1580
Responsorial
Catholic
Jacob Handl
1530-1391
io Domini secundum loannem
1587
ion harmonic
Catholic
Otto Siegfried Hamisch
c. 1568-1623
St. Matthew ion
1621
Responsorial
Lutheran
Johann Adolph Hasse
1699-1783
1pellegrini al sepolcro
1742
Oratorio
Italy
Catholic
Johann Adolf Hasse
1699-1783
La deposizione della croce
1744
ion Oratorio
Italy
Catholic
Features
Retained some Gospel narrative. 1548-1611 Ubrcstisc t’oslcl.
Narrative of combined gospels of Matthew, Loire and John with appended prayer and Amen.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Composer Jakob Haupt
U fe fl. 1548-1566
Work
Year
St. Matthew ion
1560
■ Genre Responsorial
Country
Church
Lutheran
Franz Joseph Haydn
1721-1809
Die sieben Worte des ErlOsers am Kreuz
1787
Austria
Catholic
Jobs! Heider
fl. 1654
Matthew ion
1660
Hannover
Lutheran
Johannes Herold
c. 1550-1603
Historia des Leidens und Sterbens unsers Herm und Heilands Jesu Christ aus dem Heiliger Evangelislen Mattheo mit 6 Stimmen Componiert
1594
Lutheran
Gottfried Homilius
1714-1785
"So gehsl du nun, mein Jesu hin" (Mark ion)
1768
Lutheran
Christoph Hunold
1681-1721
Der blutende und sterbende Jesus
1704
Lutheran
Paolo Isnardi
1536-1596
St. Matthew ion
1569
Italy
Catholic
Motet
Responsorial
Features
6-voice motet ion.
Falsobordone style
1
Os
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
--------- 1-------------------i Genre 1
Country
Composer
Lire
Reinhard Keiser
1674-1739
Der blutende und surbende Jesus
1704
ion oratorio
Lutheran
Abandons all Gospel narrative. Exaggerated expressions of emotion.
Reinhard Keiser
1674-1739
Der flir die Siinde der Well gemarierte und slerbende Jesus
1712
opera-ion
Lutheran
Librettist: Brocke (1680-1747). Popular poem which was also set by Telemann, M attheson and Handel (1716)
Reinhard Keiser
1674-1739
Der zum Tode verurtheilte und gecreulzigte Jesus
1715
opera-ion
Lutheran
1ibrettist: Kdnig.
Reinhard Keiser
1674-1739
St. Mark ion
1717
opera-ion
Lutheran
Work
Year
Church
Anton Koch
fl. 1710-1745
Ml. ion
1718
Lutheran
Johann Balthasar Kttnig
c. 1691-1758
Meines Jesu ion mufl mir alien Segen bringen
1730
Lutheran
Johann Philipp Krieger
c. 1649-1725
Hisioria ionis in 6 Akten
1685
Lutheran
Features
0\ 00
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Life
Work
Genre
Year
Johann Kuhnau
1660-1722
ion nach dem Evangelisten Marcus
1721
Johann KUhnhausen
d. 1714
io Chrisli secundum Matthaeum
1700
Johann Heinrich Kyburz
fl. 1711
ionsandachten in Geistlicher Seeten-Music
1712
ion oratorio
Country
Church
Lutheran
Lutheran
Lutheran
Features
8 interpolations
Orlando Lassus
1532-1594
Si. Matthew ion
1575
Responsorial
Catholic
Orlando Lassus
1532-1594
St. Mark, Luke, John ions
c. 1580
Responsorial
Catholic
Influenced many other Catholic works due to a stricter liturgical attitude and clearly recognizable ion tone. Also influenced 16thcentury Protestant ion music, patticulary that of Lechncr.
Leonard Lechncr
c. 1550-1606
ion According to St. John
1593
Motet
Lutheran
Gospel narrative plus seven words on the cross.
Os VO
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Composer
Life
Work
Year
Genre
Country
Church
Features
Matthltus Ludecus
1527-1606
St. Matthew ion
1589
Responsorial
Lutheran
Manfred Barbarini Lupus
fl. 1518-1530
Miserere mei Deus Quoniam Tribulor
c. 1563
Responsorial
Italy
Catholic
Johann Machold
d. 1595
St. Matthew ion
1593
Motel
Lutheran
Thomas Mancinus
1550-c. 1611
St. Matthew A St. John ions
1602
Rcsponsorial
Lutheran
Johann Matlheson
1681-1764
ions-Andacht Uber den verlassenen Jesum
1717
opera-ion
Hamburg
Lutheran
Johann Medcr
1649-1719
St. Matthew ion
c. 1700
ion oratorio
Lutheran
20 interpolations
Jakob Meiland
1542-1577
St. Matthew ion
1567
Rcsponsorial
Lutheran
Based on Walther's ion
Jakob Meiland
1542-1577
St. Mark ion
1568
Responsorial
Lutheran
Jakob Meiland
1542-1577
St. John ion
1570
Responsorial
Lutheran
Jan Nasco
c. 1510-1561
St. Matthew ion
c. 15471561
Rcsponsorial
Italy
Catholic
In Latin
Utilizes ion tones throughout. W ritten in German.
o
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Com poser
Lire
Work
Year
Genre
Country
Church
Juan GutidrTez de Padilla
1590-1664
St. Matthew ion
1630
Responsorial
Mexico
Catholic
Marco Gioseppe Peranda
c. 1625-1675
St. Mark ion
1668
Responsorial
Lutheran
Augustin Pfleger
c. 1635-686
Die Sieben Worte des Heilands am Kreut
1670
St. Matthew ion
1750
Lutheran
J.D. Pucklilz Jacob Rcgnart
c. 1540-1599
St. Matthew ion
1590
Rcsponsorial
Lutheran
Jacob Reiner
c. 1560-1606
St. Mark & Luke
1582
Responsorial
Lutheran
Balthasar Resinarius
c. 1485-1544
Summa ionis Christi
1543
ionharmonie
Lutheran
Georg Riedel
1676-1738
ion nach dem Evangelium Sand Matthaei
1721
Lutheran
Johann Rolle
1716-1786
Die Feyer des Todes Jesu
1783
Lutheran
ion oratorio
Features
Based on Longueval ion (in Latin)
Librettist: Niemeyer.
1
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Composer
Life
Cipriano de Rore
I5I5-IS65
St. John ion
1550
Responsorial
Italy
Antonio Rosetti
c. 1750-1792
Der sterbende Jesu
1785
ion oratorio
Luigi Rossi
c. 1597-1653
Oratorio per la Sellimana sanla
1643
Oratorio
Italy
Catholic
sco Rovigo
c. 1541-1597
Si. Luke ion
c. 1580
Responsorial
Italy
Catholic
Vincenzo Ruflo
c. 1508-1587
Si. John ion
c. 1570
Responsorial
Italy
Catholic
Vincenzo Ruffo
c. 1508-1587
St. Matthew ion
1575
Responsorial
Italy
Catholic
Vincenzo Ruffo
c. 1508-1587
St. Luke ion
1579
Responsorial
Italy
Catholic
Antonio Scandcllo
1517-1580
St. John ion
1568
Compromise responsorial/lhrough composed
Lutheran
Alessandro Scarlatti
1660-1725
St. John ion
1700
Italy?
Catholic
Johann Schelle
1648-1701
ion it 19
1700
Lutheran
Work
Year
Genre
Country
Church
Features
Catholic Librettist: Zinkcmagel
Hrcl German to imililale North Italian style
Cousin = I. Kuhnau
|
ts>
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Composer
Life
Work
Year
Christoph Schultzc
c. 1660-1699
St. Ijike and Si. Mark ions
1653
Johann Abraham Peter Schulz
1747-1800
Der Chrisli Tod
1792
Heinrich SchUtz
1585-1672
Seven Last Words o f Christ
1645
Heinrich SchUtz
1585-1672
Si. John ion
Heinrich SchUtz
1585-1672
Heinrich SchUtz
Genre Through-composed
Country
Church
Features
Lutheran
Lutheran
Responsorial
Dresden,
Lutheran
1665
Rcsponsorial
Lutheran
Phrygian mode
Si. Luke ion
1665
Responsorial
Lutheran
Lydian mode
1585-1672
Si. Matthew ion
1665
Responsorial
Lutheran
Dorian mode
Johann Sebastiani
1622-1683
Das Leyden und Sterben unsers Herm und Heylands Jesu Chrisli nach dem heiligen Mallhaeo
1663
ion oratorio
Lutheran
12 interpolations
Johann Sebastiani
1622-1683
Si. Matthew ion
1672
ion oratorio
Lutheran
Increased harmonic and melodic variations to differentiate personages.
|
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Compeer
Life
J.O. Seebach
Work
Year
Der leidende und slerbende Jesu
1714
Genre
Country
Church
Lutheran
Features
Thomas Selle
1599-1663
St. Matthew ion
1642
Oratorical
Lutheran
Turba taken from Grimm's I'assion
Thomas Selle
1599-1663
ion secundum Johannem &6 cum Capeila, d 5 sine Inlermediis
1643
Dramatic/Oratorical
Lutheran
1640 original edition. 1643, revised. Farliesl exam ple o f ion oratorio. Different orcliestrestralion for each character. Itascd on Isiah and Psalm 22. Turba taken from Grimm's ion
Claudin de Sermisy
c. 1490-1562
St. Matthew ion
1543
Responsorial
Catholic
One o f two ealant French polyphonic ion o f the 16* century.
Louis Spohr
1784-1859
Des Heilands letite Stunden
1835
Catholic
Librettist: F. Rochlitz
Clemens Stephani
c. 1530-1592
St. Matthew ion
1570
Plainsong
Lutheran
Turba and early solo parts. Based on W alther’s ion.
Johann Steuerlein
1546-1613
St. John ion
1576
Responsorial
Lutheran
I 1 1
| -
j
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
'ftComposer
Life
.. «. .
Work -w
Year
Johann Slcurerlein
1546-1613
Die Deutsche ion nach St. Johanne
1576
O.H. Stdlzel
1690-1749
Sechs Andachten as der... Historie des bittern Leidens
Georg Christoph Straltner
1645-1704
Thomas Strutius
d. 1678
G. Sulcius
’
} ■"? . \ . V ' : ^ G e a r s '''
Motel
.Country
C huitti
Lutheran
1723
Lutheran
Sehet doch, ihr Menschenkinder
1692
Lutheran
Das Leiden und Sterben... Jesu Chrisli nach.. Matlhaeo
1664
Lutheran
St. John ion
1600
Responsorial
Lutheran Catholic
Wadaw z Szamotul
c. 1524- c. 1560
Exclamationes ionum
1553
Responsorial
Poland
Georg Telemann
1681-1767
46 ions
between 17231765
opera-ion
Features Utilizes ion tones throughout. W ritten in G om an.
W ritten annually in Hamburg a t a aeries.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Composer
'’
Life
;
Work
Year 7
. 1 Gfnre i
C o u n try
Church
Johann Theil(e)
1646-1724
io Domini Nostri Jesu Chrisli secundum Evangetium Matthaeum
1673
ion oratorio
Lutheran
Tomfts Victoria
1S48-1611
St. John ion
1585
Responsorial
Spain
Catholic
Tom b Victoria
1548-1611
Si. Matthew ion
1585
Responsorial
Spain
Catholic
Melchior Vulpius
c. 1570-1615
St. Matthew ion
1613
Through-composed
Lutheran
Johann Walther
1496-1570
St. Matthew ion
c. 1540
ion harmonie
Lutheran
Giaches de Wert
1535-1596
ion (unknown)
1580
Responsorial
Italy
Catholic
Ernst Wolf
1735-1792
Die lelzen Stunden des leidenden EriOsers am Kreuze
c. 1783
ion oratorio
Lutheran
Tobis Zeutschner
1615-1675
St. Matthew ion
c. 1665
Lutheran
Features 4 interpolations
Increased harmonic and melodic variations to difletentiate personages Based on W allhert ion
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