Good Friday Chorales
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Bach's Passion Music: Good Friday Vespers, Chorales

William L. Hoffman wrote (March 31, 2018):
The core major works in Bach's Christological cycle of vocal music are the oratorio Passion settings of Matthew and Mark, BWV 244 and 247, emphasizing the satisfaction atonement sacrifice, and the John Passion, BWV 245, emphasizing the Christus Victor concept. In 1734, Bach presented Gottfried Heinrich Stölzel's poetic Passion Oratorio "Ein Lämmlein geht und trät die Schuld," on Good Friday, 23 April 1734. This broke the oratorio Passion mold for Bach. While still presenting annual oratorio gospel Passion settings, beginning in 1735 and continuing in the 1740s, Bach ventured into two parody and two pasticcio settings appropriate for the Leipzig Good Friday vespers with four works: 1. Motet parody "Der Gerechte kömmt um" (The righteous perishes), BWV deest, BC C-8 (see below, "Vesper Service Closing Liturgy"); 2. About 1746-47, motet parody, "Tilge, Höchester, meine Sünden" (Blot out, Highest, My Sins), a transcription of Giovanni Pergolesi's Stabat Mater of 1735 (http://www.bach-cantatas.com/Vocal/BWV1083-Gen2.htm; 3. About 1747 he created a pasticcio version of the "Keiser" St. Mark oratorio Passion, adding seven arias from Handel's "Brockes oratorio Passion (details, see Wikipedia https://en.wikipedia.org/wiki/St_Mark_Passion_(attributed_to_Keiser), https://www.youtube.com/watch?v=q6nccVxX8oE); and 4. sometime in the 1740s, Bach may have assembled a pasticco setting of C. H. Graun's 1730 poetic Passion cantata, "Ein lämmlein geht und trägt die Schuld," with music of Bach, Telemann, Johann Christoph Altnikol, and the motet "Der Gerechte kömmt um" (http://www.bach-cantatas.com/Vocal/BWV1088.htm, http://www.bach-cantatas.com/Vocal/BWV1088-Gen.htm).

Meanwhile, Bach added to a well-ordered church music with liturgical settings of Passion hymns as plain chorales appropriate for main and vesper services, including Good Friday and the other Friday penitential/confessional services throughout the church year as well as the Passion sacred songs in the Schmelli Gesangbuch (Leipzig 1736), appropriate for both home catechism devotions on Saturdays and as plain chorales in formal services.

The Leipzig Good Friday vespers, while the platform for Bach's Passion creations, was steeped in Lutheran tradition. On Good Friday afternoon in Leipzig the bells at the Thomaskirche (St. Thomas Church) began to ring at 1:15 p.m. The congregation of as many as 3,000 assembled and the Vespers service with its simple liturgical form began at 1:45 p.m. The service order, according to C. S. Terry's Bach, the Passions,¹ was probably: Ancient Passion hymn, "Da Jesus an dem Kreuze stund" (There Jesus on the cross hung); Part 1 of the Passion; Hymn "O Lamm Gottes unschuldig" (O Lamb of God, guiltless), the text being the metrical version of Agnus Dei (Lamb of God) written by Nikolaus Decius (1531);² Pulpit hymn "Herr Jesus Christ, dich zu uns wend" (Lord Jesus Christ, Thee to us turn around); Sermon; Part 2 of the Passion; Motet such as Jacob Gallus' Ecce quomodo moritur justus ("Behold how dies the righteous"); Verse and Passion Collect intoned; Rinhart's hymn "Nun danket alle Gott" (Now thank we all Our God"); Blessing (Benediction). [The hymn O Traurigkeit, o Herzeleid ("O darkest woe, o heart's pain") followed the motet, according to Johann Christoph Rosten, St. Thomas sexton.³

The music heard at the Leipzig Good Friday Vespers is performed on recording (http://www.linnrecords.com/recording-john-passion.aspx) and in the 2017 Proms concert of John Butt, Dunedin Consort (https://www.youtube.com/watch?v=vPZC5OJhKSU). It begins with "Da Jesus an dem Kreuze stund," organ chorale, BWV 665, and congregational chorale, Johann Hermann Schein (Neu Leipziger Gesangbuch 1682, No. 61, https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA122#v=onepage&q&f=false); "Da Jesus an dem Kreuze stund" (There Jesus on the Cross Hung) is Johann Böschenstein's nine-stanza setting of the Seven Last Words of Christ from the Cross (https://en.wikipedia.org/wiki/Sayings_of_Jesus_on_the_cross), dating to c1515 and published in M. Vehe's Gesang-Buch (1537) to the associated melody, Adam Reusner's 1533 "In dich hab ich gehoffet, Herr" (Zahn 1706). The chorale is found in the NLGB as No. 61, Passiontide (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA122#v=onepage&q&f=false, and in the Schmelli Gesangbuch as No. 255, Passion (Suffering & Death of Jesus Christ). The German text is https://hymnary.org/text/da_jesus_an_dem_kreuze_stund, and the English version, "When on the cross the Savior hung" is https://hymnary.org/hymn/ELHW1908/74

German Agnus Dei, Pulpit Hymn

After Part 1 of the Bach Passion music, the vespers continues with the German Agnus Dei, "O Lamm Gottes unschuldig," chorale prelude, BWV 618, and hymn, NLGB 79 (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA173#v=onepage&q&f=false). The sermon in the vespers was preceded by the traditional pulpit hymn, "Herr Jesus Christ, dich zu uns wend," NLGB 314, Word of God & Christian Church (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA817#v=onepage&q&f=false) in four 4-line (AABB) stanzas of Wilhelm II Duke Sachsen–Weimar (Görlitz 1648).⁴ It is based on the anonymous Pensum sacrum to the associated melody (Zahn 624, Gochsheim/Redwitz 1628) set as a plain chorale, BWV 332 http://www.bach-chorales.com/BWV0332.htm, https://www.youtube.com/watch?v=Vn3LSgEUZeg). Bach also set the melody as chorale preludes in the Orgelbüchlein (Ob. 49, Pentecost), BWV 632 (https://www.youtube.com/watch?v=PYWIp9YzMsc), as a "Great 18" trio setting, BWV 655a in Weimar and BWV 655 in Leipzig, as well as Kirnberger chorale, BWV 709 (https://www.youtube.com/watch?v=lReQrnXydtM); and Miscellaneous chorales, BWV 726 (https://www.youtube.com/watch?v=3LVm8Fl33jY), and 749 (https://www.youtube.com/watch?v=XLy_LArsjJ4), Bach settings, https://www.youtube.com/watch?v=PYWIp9YzMsc).

"Herr Jesus Christ, dich zu uns wend" was the pulpit hymn sung at all main and vesper services in Leipzig says Stiller (Ibid.: 124, 258). It also is found in the Schmelli Gesangbuch (Leipzig 1736) as No. 375, Trinity Sunday. The stanzas of "Herr Jesus Christ, dich zu uns wend" are summarized as follows: 1. invocation asking Jesus to send the Holy Spirit; 2. requesting increased faith; 3. seeing the end of time with Jesus in everlasting happiness (references, Isaiah 6:3 and Revelation 4:8 (Sanctus), and Revelation 22:3-4(God's countenance), and 4. Trinitarian doxology, says Anne Leahy.⁵ This is a chorale of joy celebrating the salvation of mankind, culminating in the eschatological Stanza 3. Other composers settings include Georg Böhm's chorale partita variations (https://www.youtube.com/watch?v=GNkb1--S-ZM), Johann Gottfried Walther (https://www.youtube.com/watch?v=E6eGCuLiovM), and Johann Ludwig Krebs It is known in English as "Lord Jesus Christ, be present now!" (Catherine Winkworth, https://hymnary.org/text/lord_jesus_christ_be_present_now) in the current Lutheran Worship, No. 527, Gathering.

The Good Friday sermon is either based on one of two liturgical readings: the First Reading, The Suffering Servant (Isaiah 52:13-53:12, https://www.biblegateway.com/passage/?search=Isaiah+52%3A13-53%3A12&version=KJV) or the Introit Psalm 22:1-21, Deus, Deus meus (My God, my God; A Cry of Anguish, https://www.biblegateway.com/passage/?search=Psalm+22&version=KJV), "My God, my God, why hast thou forsaken me?," which also is one of the Seven Last Words of Christ from the Cross found in Mark 15:38 and Matthew 27:48).

Vesper Service Closing Liturgy

Following the second part of the Passion music, given in lieu of the Passion Gospel reading, the vesper service continues with the closing liturgy: Motet: Ecce quomodo moritur; Responsory, Collect, Blessing, Response to Blessing: "Gott sei uns gnädig und barmherzig"; Organ Chorale Prelude: "Nun danket alle Gott," BWV 657, Congregational Chorale: "Nun danket alle Gott." The Jacob Gallus/Handl⁶ Ecce quomodo moritur justus (See how the just dies, http://www.bach-cantatas.com/Other/Handl-Ecce-quomodo.htm) is found in Bodenschatz's Florilegium Portense (Leipzig 1618) collection of polyphonic introit Psalm motets that Bach used (Otto Riemer, "Erhard Bodenschatz und sein Florilegium Portense" (Schünigen: Kaminsky, 1927), originally published in Gallus' motet collection Opus musicum, 1577. It is the 6th Tenebrae responsories for Holy Saturday, based on Isaiah 57:1–2 and Psalm 64:8. It is found in the NLGB as No. 85a, Latin, 85b, German "Sihe, wie dahin stirbt der Gerechte" (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA263#v=onepage&q&f=false).

About 1735, Bach made a new text underlay of the original German, "Sihe, wie dahin stirbt der Gerechte" on the funeral motet SSATB setting of Tristis est anima mea, attributed to Johann Kuhnau but now thought to be from an Italian model of Durante or Lotti at Dresden (1717-20), says Andreas Bomba,⁷ called "Der Gerechte kömmt um" (The righteous perishes, https://en.wikipedia.org/wiki/The_righteous_perishes#In_Lutheranism), BWV deest, Bach Compendium D 10/3 (Graun Pastaccio) or C 8 (motet). About 10 years later, Bach made a similar motet contrafaction from Pergolesi's Stabat mater as "Tilge, Höchester, meine Sünden" (Blot out my transgressions), paraphrasing penitential Psalm 51, Miserere mei, Deus (Have mercy on me, O God; https://www.biblegateway.com/passage/?search=Psalm+51&version=KJV), which also is appropriate for Good Friday vespers (http://www.bach-cantatas.com/Vocal/BWV1083-Gen2.htm).

"O Traurigkeit, o Herzeleid"

Following the motet was a setting of Johann Rist's eight-stanza Good Friday chorale, "O Traurigkeit, o Herzeleid" (O darkest woe, o heart's pain). It is found in the NLGB as Passion hymn No. 73 (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA156#v=onepage&q&f=false, and in the Schmelli Gesangbuch as No. 314, Good Friday. The first stanza author is Friedrich von Spee to the associated melody (Mainz/Würzburg Gesangbuch 1628, Zahn 1915), Stanzas 2-6 by Johann Rist.⁸ The last, eighth verse, "O Jesu du, mein Hilf und Ruh (O Jesus thou, my heart and rest) is the closing chorale in the St. Mark Passion (No. 44), probably in the plain chorale setting, BWV 404 (http://www.bach-chorales.com/BWV0404.htm). A fragment of the Orgelbüchlein setting (Ob. 29, Passion), BWV Anh. 200, is extant (completed, https://www.youtube.com/watch?v=YcePnlcVZrg).

Another plain chorale setting, possibly by Bach, BWV deest, closes the "Keiser St. Mark Passion/Pasticcio (http://www.bach-chorales.com/BWV_deest_O_Traurigkeit.htm, https://www.bach-digital.de/receive/BachDigitalSource_source_00018426).

The hymn closes the Carl Heinrich Graun 1730 Passion Oratorio, "Ein Lämmlein geht und trägt die Schuld" (A Lambkin goes and bears the guilt), as well as the final stanza in the Gottfried Heinrich Stölzel first Gotha Passion Oratorio 1720, "Die leidende und am Kreuz sterbende Liebe," which Bach performed on 23 April 1734 in the Thomas Church. This Stölzel setting also has the aria "Bekennen will ich seinen Namen," BWV 200, originally attributed to Bach, but is a parody of the aria "Dein Kreuz, o Bräutgam meiner Seelen" (https://www.bach-digital.de/receive/BachDigitalSource_source_00000756). There also is a setting of the third stanza, "O Menschenkind, Nur deine Sünd'" (O sinful man! It was the ban," in Handel's Brockes Passion, HWV 48 (https://carusmedia.com/images-intern/medien/00/0322050/0322050x.pdf). Brahms set the hymn as a prelude and fugue (https://www.youtube.com/watch?v=txLoPf8pBW0). There is a hymn setting in Franz Liszt's 1879 oratorio, Via crucis (https://www.youtube.com/watch?v=SNxdvFamo-g). There is a Heinrich von Herzogenberg motet setting http://www.musicalion.com/en/scores/sheet-music/5783/heinrich-von-herzogenberg/12634/o-traurigkeit-o-herzeleid-chorale-motet.

Luther Blessing Chorale

The Response to Blessing is Martin Luther's paraphrase of Psalm 67, "Gott sei uns gnädig und barmherzig" (May God be merciful and compassionate for us). Bach set it as a plain chorale, BWV 323 (http://www.bach-chorales.com/BWV0323.htm), appropriate for a service closing benediction. The pre-reformation melody is “Meine seele erhebet den Herrn” (German Magnificat) and the poet is anonymous (1532), possibly Luther. The hymn closes with the Lesser Doxology, “Glory and praise to God the Father” (German text and Francis Browne English translation, http://www.bach-cantatas.com/Texts/Chorale110-Eng3.htm; melody, http://www.bach-cantatas.com/CM/Magnificat.htm. The Psalm 67 paraphrase hymn is found in the NLGB as 185, Catechism Liturgy Song of Praise (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA528#v=onepage&q&f=false), and No. 319, Word of God and Christian Church (https://www.youtube.com/watch?v=p7cx9Birv1M), as well as in the Schmelli Gesangbuch as No. 374, Trinityfest. Bach may have known the Kuhnau setting, "Gott sei uns gnädig nach deiner Güte (https://www.youtube.com/watch?v=DkVss_Yyma0). Other settinof Luther's blessing include Johann Pachelbel concerto (https://www.youtube.com/watch?v=BwwZmpYd7dw), Johann Nikolaus Hanff cantata (https://translate.google.com/translate?hl=en&sl=de&u=http://www.st-lamberti-hildesheim.de/media/Predigten%2520pdf/Predigt%2520Johann%2520nikolaus%2520Hanff.pdf&prev=search), Johann Ludwig Bach motet, JLB 27, https://carusmedia.com/images-intern/medien/30/3001000/3001000x.pdf) and Christoph Graupner 1741 New Year's cantata, GWV 1109/41 (http://imslp.org/wiki/Gott_sei_uns_gnädig%2C_GWV_1109%2F41_(Graupner%2C_Christoph)).

The Good Friday vespers closed with Martin Rinckart 1636 blessing hymn, "Nun danket alle Gott" (Now all thank God), found in the NLGB No. 238, Christian Life & Conduct (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA638#v=onepage&q&f=false, and the Schmelli Gesangbuch, No. 381, Trinityfest. Possible Bach setting at this service is "Great 18" prelude, BWV 657 (https://www.youtube.com/watch?v=dpAPD9w20-c), text (http://www.bach-cantatas.com/Texts/Chorale134-Eng3.htm), details (http://www.bach-cantatas.com/BWV192-D4.htm).

Bach Early Passion Music

Before coming to Leipzig, where Lenten figural music was severely limited, Bach had opportunities in Mühlhausen and Weimar to present special music associated with the Passion as well as related music of mourning and consolation. In Mühlhausen, Bach's early cantatas and other vocal music often involved sorrow-to joy texts and hymns. The Kyrie “Christe du Lamm Gottes” in F Major, BWV 233a, is dated to 6 April 1708, Good Friday Service of Confession and General Absolution at Mühlhausen, says Marcus Rathey in a 2006 article.⁹ The specific dates of other such works is still uncertain: Cantata 150, “Nach dir, Herr, verlanget mich” (For you, Lord, is my longing, Psalm 25:1b), 3rd Sunday after Trinity, 10 July 1707 or Jubilate Sunday, 29 April 1708; Easter chorale Cantata BWV 4, “Christ lag in Todesbanden” (Christ lay in death's bonds), 4 April 1707; Cantata 106, “Gottes Zeit ist die allerbeste Zeit” (God’s time is the very best time, Acts 17:08), possibly funeral of Burgomeister Adolph Steckers, 16 September 1708; and Cantata 131, “Aus der Tiefe rufe ich, Herr, zu dir” (Out of the depths I cry, Lord, to you), a setting of penitential Psalm 130, de profundis, is dated to “by 25 June” 1708,” when Bach requested his dismissal from his position as organist at St. Blasius Church in Mühlhausen, affirms Robin A. Leaver.¹⁰

Cantata 106 is considered a memorial work that has three chorales and includes two passages from Luke's Passion gospel (http://www.bach-cantatas.com/BWV106-D8.htm): "Into your hands I commit my spirit," Psalm 31:6 and Luke 23:42), and "Today you will be with me in paradise," Luke 23:43, Bach's only settings of these unique texts. While in Weimar, Bach had two opportunities to produce Passion music: an oratorio Passion setting of Mark's gospel and an original, poetic Passion oratorio setting referring to a gospel harmony, presented in 1717 in Gotha.

About 1711-14, Bach presented the “Keiser” or Hamburg St. Mark Passion, composed in 1707. The source of the music could have been the Weißenfels Court, where Keiser had a long-established relationship through Johann Philipp Krieger (1680-1724), capellmeister, performed the work at the Weißenfels Court, where he established a strong, lasting relationship (https://en.wikipedia.org/wiki/St_Mark_Passion_(attributed_to_Keiser), https://www.bach-digital.de/receive/BachDigitalWork_work_00001534?lang=en). Bach’s so-called “Weimar-Gotha Passion,” Bach Compendium BC D 1, was presented on Good Friday, 26 March 1717, at the Gotha Court (https://en.wikipedia.org/wiki/Weimarer_Passion). ¹¹ The former Bach repeated in Leipzig in 1726 and presented as a "Passion-Pasticcio," 20 years later, while the latter is still shrouded in uncertainty with as many as nine movements later found in his mature Leipzig St. John and St. Matthew Passions. Andreas Glöckner (http://www.bach-cantatas.com/Vocal/BWV247.htm, Recording No. 24) indicates that Friedemann may have inherited the 1717 Weimar-Gotha Passion, noting that in 1749 he "used several arias from a Passion music written `at least 30 years ago' by his father" for a serenade, an event that cannot be verified.

Ich hab mein Sach Gott heimgestellt

"Ich hab mein Sach Gott heimgestellt" (My all I to my God commend,) is a Johann Leon 16-stanza eight-line (AABBB) irregular hymn published in a hymnal by Johann Rhau (Frankfurt am Main 1582/89) to the associated melody (Zahn 16778).¹² It is found in the Neu Leipzig Gesangbuch of 1682, No. 339, Death & Dying (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA866#v=onepage&q&f=false) and in the Schmelli Gesangbuch as No. 863, Death Song, author D. Selnecker.¹³ Bach set "Ich hab mein Sach Gott heimgestellt" as a Neumeister collection chorale prelude, BWV 1113, as a "Kirnberger chorale prelude, BWV 707 and 708, the melody in Cantata 106/2, and as a plain chorale, BWV 351 (http://www.bach-chorales.com/BWV0351.htm). It also is found in the apocryphal St. Luke Passion, BWV 246, the da-capo chorale with woodwind quartet introduction and repeat, Nos. 72-73, "Ich hab mein' Sach' Gott heimgestellt," at the death of Jesus (Lk. 23:46), and the repeated insertion of the woodwind chorale phrases in the moving, final tenor aria, No. 76, "Laßt mich ihn nur noch einmal küssen" (Let me kiss him only one more time), music https://www.youtube.com/watch?v=eENe9-WlFJ0.

Other composers settings include Heinrich Schütz (https://www.youtube.com/watch?v=c_0YHHgB6as) and Johann Pachelbel (https://www.youtube.com/watch?v=oqCMiPSPwq0), Andreas Hammerschmidt motet, Stanza 8 in Johann Bach motet, “Unser Leben ist ein Schatten” (https://www.youtube.com/watch?v=D1VxFskNTTc, 7:43), and a Johann Heinrich Bach setting. Three variant settings similar to the four-part St. Luke Passion settings (nos. 72-73) are found in Charles S. Terry.¹⁴ Other Death & Dying chorales attributed to Leon in the NLGB are: "Herr Jesu Christ / mein Herr und Gott" four stanzas; melody "Hier lieg ich armes Würmlein" or "Vater unser in Himmelreich" (also duplicated in NLGB as No. 359 (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA921#v=onepage&q&f=false), and "Ich armer Mensch gar nichtes bin," NLGB 336, Consolation (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA862#v=onepage&q&f=false), three stanzas, melody ""Herr Jesu Christ, wahr Mensch und Gott."

Weimar Funeral Cantata

An even greater mystery outside the accepted Bach BWV canon is the extended sacredfuneral cantata for Prince Johann Ernst presented on 4 April 4 1716 in Weimar, titled “Was ist, das wir Leben nennen,” BC B 19 (https://www.bach-digital.de/receive/BachDigitalWork_work_00001531, with a surviving text possible by Salomo Franck (https://www.bach-digital.de/receive/BachDigitalWork_work_00001531?XSL.Style=detail). No music is extant but the work contained 22 movements: three choruses, four chorales, six recitatives, two ariosi, and seven arias. The chorales are: "Ach, wie nichtig, ach wie flüchtig," "Herzlich thut mich verlangen," and two verses of "Christus der ist mein Leben." So far, none of the Bach detectives who go through texts has found a parody relationship to later music. Still, Bach later in Leipzig created two funeral music settings for royalty involving Passion music: Cantata 198, Funeral ode, for the Saxon Queen, 1727, core music in the later St. Mark Passion, BWV 247, and Prince Leopold in the Köthen Funeral Music, BWV 244a, 1729, mostly from the St. Matthew Passion, BWV 244.

Bach also explored various lesser-known Passion chorales, especially with pietist overtones often set to popular melodies, for example in the apocryphal 1730 St. Luke Passion, BWV 246. https://www.bach-digital.de/receive/BachDigitalWork_work_00000311?XSL.Style=detail, http://www.bach-cantatas.com/Vocal/BWV246-Gen.htm. Bach also set various lesser-known Passion chorales, found in the Schmelli Gesangbuch (SG), Suffering & Death of Jesus Christ, Nos. 250-300 (pp. 166-202) and Good Friday, Nos. 301-318 (pp. 202-214). Various Bach settings of mostly free-standing chorales and sacred songs are found in the Helmut Rilling "A Book of Chorale-Settings for Passion," Edition Bachakademie Vol. 79 (http://www.bach-cantatas.com/Vocal/BWV250-438-Rilling.htm, CH-6; https://www.youtube.com/watch?v=VY6LCG-REkw), see below, "St. Mark Passion Chorales" and "Lesser-Known Passion Hymns."

Matthew, John Passion Chorales
BWV 244, St. Matthew Passion chorales

1. O Lamm Gottes unschuldig [canto] (Agnus Dei)
3. Herzliebster Jesu, was hast du verbrochen (V. 1, Herzliebster Jesu)
16(10). Ich bins, ich solte büssen (V. 5, O welt, sieh hier dein Leben)
21(15). Erkenne mich, mein Hüter (V. 5, O Haupt voll Blut, mel. Herzlich tut)
23(17). Ich will hier bei dir stehen (V. 6, O Haupt voll Blut, Herzlich tut)
25(19). "Was ist die Ursach aller solcher Plagen? (V.3, Herzliebster Jesu)
31(25). Was mein Gott will, das g'scheh allzeit (Albrecht)
35 (29). O Mensch, bewein' dein' Sünde groß [chorus]=BWV 245 1(a)
35(a). Jesum, laß ich nicht von mir (S. 6, Meinen Jesum, laß ich nicht)
38(32). Mir hat die Welt trüglich gericht (S. 5, In dich hab ich gehoffet )
44(36). Wer hat dich so geschlagen (S. 3, O welt, sieh hier dein Leben)
48(40). Bin ich gleich von dir gewichen (S. 6, Werde munter, mein Gemüthe)
53(44). Befiehl du deine Wege (S. 6, Befiehl du deine Wege, Herzlich tut)
55(46). Wie wunderbarlich ist doch diese Strafe (V. 4, Herzliebster Jesu)
63(54). O Haupt voll Blut und Wunden (V.1, O Haupt voll Blut, Herzlich tut)
Du edles angesichte (V. 2, O Haupt voll Blut, Herzlich tut)
72(63). Wenn ich einmal soll scheiden (V. 9, O Haupt voll Blut, Herzlich tut)

BWV 245, St. John Passion chorales

1(a). O Mensch, bewein' dein' Sünde groß [chorus]=244/35
7 (3). O große Lieb (S. 7, Herzliebster Jesu)
9 (5). Dein will Gesche, (S. 4, Vater unser im Himmelreich)
15 (11). Wer hat dich so geschlagen (V. 3, O Welt, sieh' hier dein Leben)
Ich, ich und meine Sünden (V. 4, O Welt, sieh' hier dein Leben)
15(a). Jesu deine Passion (canto)=245a (V. 33, Jesu Leiden, Pein)
20 (14). Petrus, der nicht denk zurück (S. 10, Jesu Leiden, Pein)
21 (15). Christus, der uns selig macht (Patris sapientia, M. Weisse)
27 (17). Ach großer König (S. 8, Herzliebster Jesu)
Ich kann's mit meinen Sinnen (S. 9, Herzliebster Jesu)
40 (22). Durch dein Gefängnis, (?Postel; Mach's mit mir)
52 (26). In meines Herzens grunde (V. 3, Valet will ich dir geben)
56 (28). Er nahm alles wohl (V. 20, Jesu Leiden, Pein)
65 (37). O hilf, Christe, Gottes Sohn (V. 8, Christus der uns selig macht)
68 (40). Ach Herr, laß dein lieb Engelein (V. 3, Herzlich Lieb' hab' ich)
68 (40)(a). Christe, du Lamm Gottes (Agnus Dei)=23/4

St. Mark Passion Chorales

The St. Mark Passion text of Picander has 16 chorales which makes it Bach's chorale Passion. The Rilling recording has 15 chorales (Die Choräle der Markus-Passion/Chorales of the St. Mark Passion (BWV 247):

3 (7). Wo Gott der Herr nicht bei uns hält, S. 4. Sie stellen uns wie Ketzern nach (BWV 256);
5 (11). In dich hab ich gehoffet, Herr, S. 5. Mir hat die Welt trüglich gericht (BWV 1089), cf 244/38(32)
7 (20). O Welt, sieh hier dein Leben, S. 4. Ich, ich und meine Sünden (BWV 393);
11 (30). O Ewigkeit, du Donnerwort, S. 13. "Wach auf, o Mensch, vom Sündenschlaf" (BWV 397);
13 (41). Betrübtes Herz, sei wohlgemut (mel. Wenn mein Stündlein vorhanden ist) (BWV 430);
15 (44). Machs mit mir, Gott, nach deiner Güt, S. 1 (BWV 377);
21 (56). Jesu, Leiden, Pein und Tod, S. 8, Jesu, ohne Mißetat (no source listed);
23 (58). O Haupt voll Blut und Wunden, S. 6 Ich will hier bei dir stehen (BWV 271);
26 (63). Wo Gott der Herr nicht bei uns hält, S. 2. Was Menschenkraft und Witz anfäht (BWV 257);
28 (67). Befiehl du deine Wege, S. 1 (mel. O Haupt voll Blut und Wunden) (BWV 272);
30 (77), O Haupt voll Blut und Wunden, S. 2 Du edles Angesichte (BWV 270);
32 (89), Herr, ich habe mißgehandelt, S. 1 (BWV 330);
36 (110), Jesu, meines Lebens Leben, S. 4 Man hat dich sehr hart verhöhnet (BWV 354);
38 (112), Ein feste Burg ist unser Gott, S. 4 Das Wort sie sollen lassen stahn (BWV 302);
41 (120), Keinen hat Gott verlassen (BWV 369)
44 (130), O Traurigkeit, o Herzeleid, S. 8 O Jesu du, mein Hilf (BWV 404).

As in the St. Matthew Passion, there are multiple settings of the melody "O sacred head now wounded" (O Haupt voll Blut und Wunden, http://www.bach-cantatas.com/CM/Befiehl-du-deine-Wege.htm), also known as Hans Leo Hassler's 1601 melody, "Herlich tut, mich verlangen" (Heartily do I desire), NLGB 329, death and dying, and Paul Gerhardt c1650 popular texts, "O Haupt voll Blut und wunden" (http://www.bach-cantatas.com/Texts/Chorale071-Eng3.htm) and "Befiehl du deine Wege" (http://www.bach-cantatas.com/Texts/Chorale066-Eng3.htm), neither listed in the NLGB. Stanza 8 of the popular 34-stanza Paul Stockman 1633 Lenten hymn, "Jesu, Leiden, Pein und Tod" (Jesus, Suffering, Pain and Death) is found as No. 21 (56). It is in the NLGB as No. 77, under the Passion heading, "Jesus' Suffering & Death." Johann Rist's 1641 Good Friday Vesper hymn, "O Traurigkeit, O Herzeleid" (O Mourning, O Heart Song; NLGB Passion hymn No. 73) is the closing chorale, No. 130(44). The fifth stanza of Adam Reusner's Passiontide hymn (NLGB 61), "In dich hab ich gehoffet, Herr" (In you I have placed my hope, Lord) is "Mir hat die Welt trüglich gericht" (The world has judged me deceitfully), German text and Francis Browne English translation (http://www.bach-cantatas.com/Texts/Chorale010-Eng3.htm). The same verse also is set in the St. Matthew Passion as No. 32 (http://www.bach-chorales.com/BWV0244_32.htm.

Four more contemporary, popular Passion chorales used in the St. Mark Passion are not found in the NLGB: 1. Gerhardt's 1647 text, "O Welt, sieh' hier dein Leben (O World, Behold Here Thy Life), as No. 20(7), to the Heinrich Isaac 1490melody, "O Welt, ich muss dich lassen" (O World, I Must Thee Leave), which also is found in the St. John Passion; 2. Johann Hermann Schein's 1628 "Machs mit mir Gott, nach deiner Gut" (Do With me, God, According to Thy Goodness"), as No. 44(15); 3. Johann Franck's 1646/9 text, "Herr, ich habe Mißgehandelt" (Lord, I Have Misbehaved, https://www.youtube.com/watch?v=88WQqCbQgfY, http://www.bach-chorales.com/BWV0330.htm, https://hymnary.org/text/lord_to_thee_i_make_confession) to the Johann Crüger (http://www.bach-cantatas.com/Lib/Cruger-Johann.htm) melody of the same name, as No. 89(32), and not found elsewhere in Bach's music (Crüger also is associated with melodies in chorales 30(11) and 120 (41); and 4. Ernst Homberg's 1659 "Jesus meines Lebens Leben" (Jesus, my Life's Life), as No. 110(36).

Three of the five non-Passion omnes tempore chorales in the St. Mark Passion are: Martin Luther's Reformation call, "A Mighty Fortress Is Our God," NLGB No. 255, setting of Psalm 46 under "Christian Life," as No. 112(38); Johann Rist's "O Ewigkeit, du Donnerwort" (O Eternity, Thou Thunder-Word), in NLGB No. 394, "Resurrection & Eternal Life," as No. 30(11); and two settings of Justus Jonas' Psalm 124 melody, "Wo Gott der Herr nicht bei uns hält" (If the Lord God does not stay with us, http://www.bach-cantatas.com/Texts/Chorale086-Eng3.htm), NLGB No. 267, liturgical Psalm (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA698#v=onepage&q&f=false), is used twice, 3 (7), 26 (63).

Two other chorales are little known. One is No. 13 (41), Andreas Krtizelman's "Betrübtes Herz, sei wohlgemut" (Sorrowful heart, be cheerful), is set to the melody "Wenn mein Stündlein vorhanden ist," (If the hour of my death is at hand) as found in the NLGB 330 (Zahn 4428a) (http://www.dailymotion.com/video/x4sxtvn). "Betrübtes Herz, sei wohlgemut" is a 1627 seven 7-line (ABABCCB) hymn of trust in God through the cross of Andreas Krtizelmann (1606-1633, https://translate.google.com/translate?hl=en&sl=de&u=http://www.monarchieliga.de/index.php%3Ftitle%3DBetr%25C3%25BCbtes_Herz,_sei_wohlgemut&prev=search), set to the Nikolaus Herman melody (Zahn: 4482a,b EKG 313), published in Frankfurt/Main 1569 (http://www.bach-cantatas.com/CM/Wenn-mein-Stundlein.htm). The German text is found at https://www.flickr.com/photos/51243943@N00/15318501161, first published in the Lutherischen Handbüchlein of Johannes Niedling 1638. It also was used as the closing chorale in the Christoph Graupner 1724 Cantata, "Wir haben einen Gott der da Hilft," GWV 1165/24, for the 24th Sunday after Trinity.

The anonymous (formerly attributed to Andreas Kessler), eight 8-line stanza "Keinen hat Gott verlassen" (No One Has God Forsaken," No. 120 (4) is found in the NLGB as No. 292, "Persecution, Tribulation, & Challenges" (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA762#v=onepage&q&f=false), with the acrostic Katharina, first published in 1611 using the corresponding, anonymous 1609 melody (Zahn 5395), called "O Gott, ich thu dirs klagen," formerly attributed to Johann Crüger, and published in the Newes vollkömliches Gesangbuch (Berlin 1640), and not found elsewhere in Bach's music. It is found in the Orgelbuchlein as No. 109, Christian Life & Conduct, found in the Weissenfels hymnbook (1714, http://www.orgelbuechlein.co.uk/wp-content/uploads/2011/12/Weissenfels-Keinen-hat-Gott-verlassen.jpeg) but not set, and also in the Schmelli Gesangbuch as No. 615, "Timely Cross & Suffering. The German text is https://hymnary.org/text/keinen_hat_gott_verlassen and the English (on-line translation) is https://translate.google.com/translate?hl=en&sl=de&u=https://hymnary.org/text/keinen_hat_gott_verlassen&prev=search. Bach set it as a plain chorale, BWV 369 (http://www.bach-chorales.com/BWV0369.htm, https://www.youtube.com/watch?v=ctJVrmvvtHU. Another melody with which it has been identified is the Passiontide hymn, "Ach Herr, mich armen Sünder" (Zahn 8187h) of Cyriakus Schneegaß (1597), based on penitential Psalm 6, which also is set to Hans Leo Hassler 's 1601 “Herzlich tut mich verlangen” (Zahn 5385a), also set to other texts (http://www.bach-cantatas.com/CM/Befiehl-du-deine-Wege.htm) as the Passion Chorale, "O sacred head now wounded."

Lesser-Known Passion Hymns

Three Passion hymns set by Bach but not found in the NLGB or the Orgelbuchlein but well-known are:

1. Herr Jesu Christ, meins Lebens Licht (Martin Behn, http://www.bach-cantatas.com/Texts/Chorale067-Eng3.htm, http://www.bach-cantatas.com/CM/Herr-Jesu-Christ-meins-Lebens-Licht.htm), BWV 58/5 (PC), 118 [motet, http://www.bach-cantatas.com/BWV118-D3.htm], 335(PC), BWV 750(MC-D); 2. Warum sollt ich ich denn grämen, BWV 228 (motet, S. 11, 12, http://www.bach-cantatas.com/VD/BWV228.htm), BWV 422(PC); and 3. Werde munter, mein Gemüte, BWV 146/8(PC), BWV 55/5=?D-1(PC), BWV 244/40 PC) (http://www.bach-cantatas.com/Texts/Chorale017-Eng3.htm, http://www.bach-cantatas.com/CM/Werde-munter.htm).

Another 16 lesser known Passiontide hymns are set as plain chorales (PC), Schmelli Gesangbuch (SG) sacred songs, or Neumeister Chorales (NC): Other Plain, Sacred, and Organ Chorales (https://www.youtube.com/watch?v=VY6LCG-REkw).

-- Als Jesus Christus in der Nacht (Johann Heermann/Cruger, BWV 265(PC, http://www.bach-chorales.com/BWV0265.htm), BWV1108(NC);
-- Brich entzwei, mein armes Herze (David Trommer), BWV 444(SG);
-- Da der Herr Christ zu Tische saß (Nikolaus Herman), BWV 285(PC, http://www.bach-chorales.com/BWV0285.htm);
-- Die bittre Leidenzeit beginnet abermal (Heinrich Elmenhorst), BWV 450(SG);
-- Der am Kreuz ist meine Liebe” (Z 6551a), SBCB58; = Werde Munter, mein Gemüte;
-- Du grosser Schmerzenmann (Adam Thebesius), BWV 300(PC, http://www.bach-chorales.com/BWV0300.htm)
-- Es ist vollbracht! Vergiß ja nicxht dies Wort (Johann Eusebius Schmidt), BWV 458(SG);
-- Herr Jesu Christ, du meist bereit (Samuel Kinner), BWV 333(PC, http://www.bach-chorales.com/BWV0333.htm);
-- Heut ist, O Mensch, ein großer Trauertag (Matthäus Apelles von Löwenstein), BWV 341(PC, http://www.bach-chorales.com/BWV0341.htm);
-- Jesu, dein Liebeswunden (?Christoph Wegleiter): BWV 471(SG), BWV deest (Weimar 8, PC);
-- Lasset uns mit Jesu ziehen (Sigismund von Birken), BWV 413(PC, http://www.bach-chorales.com/BWV0413.htm) , BWV 481(SG);
-- Mein Jesu! Was vor Seelenweh (?Friedrich Schultze), BWV 487(SG), BWV deest (Weimar 11, PC);
-- O du Liebe, mein Leibe (Elisabeth von Senitz), BWV 491(SG)
-- Selig, wer an Jesum denkt (A.G.B.), BWV 498(SG)
-- So gehest du nun, mein Jesu, hin (Kaspar Friedrich Nachtenhöfer), BWV 500(PC, http://www.bach-chorales.com/BWV0500a.htm); BWV 500a=BC D-5/9(PC); and
-- So gibst du nun, mein Jesu, gute Nacht (August Pfeiffer), BWV 412(PC, http://www.bach-chorales.com/BWV0412.htm), BWV 501(SG).

Some 29 SG songs also are realized as plain chorales, observes Luke Dehn, see "Four–part Realizations of Two–Part Schemelli Chorales," http://www.bach-chorales.com/SchemelliRealizations.htm. As Bach pursued in depth a well ordered church music as part of his Christological cycle, the question of Bach's involvement in the selection of hymn verses and poetic texts in his music becomes paramount, as Günther Stiller raises: "We will always have to ask anew to what extent Johann Sebastian Bach created his own librettos or at least compiled them from available copy, in fact, even provided the direction for other librettists as they prepared such copy."15

FOOTNOTES

¹ Cited in Charles Sanford Terry, Bach, the Passions, 2 vols. (London: Oxford University Press, 1926: 8-9.
² Robin A. Leaver, "J. S. Bach as Preacher: His Passions and Music in Worship," Church Music Pamphlet Series (St. Louis: Concordia Publishing, 1984: 28); liturgy also cited in Leaver, Chapter 7, "The mature vocal works and their theological and liturgical context," The Cambridge Companion to Bach (Cambridge University Press, 1997: 99), and in Leaver, "Passion," Oxford Composer Companions: J. S. Bach (Oxford Univetrsity Press, 1999: 361).
³ Contemporary account cited in Günther Stiller, Johann Sebastian Bach and Liturgical Life in Leipzig (Berlin, 1970), ed. Robin A. Leaver, English translation (St. Louis: Concordia Publishing 1984: 70).
⁴ Wilhelm II Duke Sachsen–Weimar (1598-1662), https://hymnary.org/person/Wilhelm_DukeofSaxeWeimar; "Herr Jesus Christ, dich zu uns wend," German text and Francis Browne English translation, BCW http://www.bach-cantatas.com/Texts/Chorale144-Eng3.htm); see also Terry http://oll.libertyfund.org/titles/bach-bachs-chorals-vol-3-the-hymns-and-hymn-melodies-of-the-organ-works, and Wikipedia, https://en.wikipedia.org/wiki/Herr_Jesu_Christ,_dich_zu_uns_wend; and EKG 155 (https://books.google.com/books?id=cib1CQAAQBAJ&pg=PA3&lpg=PA3&dq=%22Herr+Jesus+Christ,+dich+zu+uns+wend%22+EKG+155&source=bl&ots=3d_SfM5p3x&sig=I5ykm2avCmx95Uqkf6PiWFgpbuk&hl=en&sa=X&ved=0ahUKEwjh_JiA84raAhUS2mMKHeBbDDgQ6AEILDAA#v=onepage&q=%22Herr%20Jesus%20Christ%2C%20dich%20zu%20uns%20wend%22%20EKG%20155&f=false).
⁵ Anne Leahy, Chapter 4, "Herr Jesus Christ, dich zu uns wend," J. S. Bach's "Leipzig" Chorale Preludes: Music, Text, Theology, ed. Robin A. Leaver, Contextual Bach Studies No. 3 (Lanham MD: Scarecrow Press, 2011: 79ff).
⁶ Jacob Gallus/Handl (1550-1591), BCW http://www.bach-cantatas.com/Lib/Handl-Jakob.htm; https://en.wikipedia.org/wiki/The_righteous_perishes; Kuhnau attr. https://en.wikipedia.org/wiki/Tristis_est_anima_mea_(attributed_to_Kuhnau)#Der_Gerechte_kömmt_um, https://www.bach-digital.de/receive/BachDigitalWork_work_00001532?lang=en.
⁷ See Andreas Bomba liner notes, "Johann Sebastian Bach's Motets," http://www.bach-cantatas.com/Performers/Rilling-Rec7.htm#V2, Edition Bachakademie Vol. 69: 45f).
⁸ Johann Rist (1607-1667), http://www.bach-cantatas.com/Lib/Rist.htm; German text (http://www.musicanet.org/robokopp/Lieder/otraurig.html), English translation (http://www.musicanet.org/robokopp/hymn/odarkest.htm).
⁹ Marcus Rathey, “Zur Datierung einger Vokalwerke Bachs in den Jahren 1707 and 1708,” in Bach Jahrbuch 2006: “III. BWV 150 in Kontext des Kirchenjahres,” 71-73.
¹⁰ Robin A. Leaver, Chapter 20, “Life and Works,” Routledge Research Companion to Johann Sebastian Bach (London, New York: Routledge, 2017: 491).
¹¹ "Weimar-Gotha Passion," https://www.bach-digital.de/servlets/solr/select?sort=worksort01+asc&fl=*%2Cscore&q=%2BobjectType%3A%22work%22+%2Bcategory%3A%22BachDigital_class_00000006%5C%3A0001%22+%2Bcategory%3A%22BachDigital_class_00000005%5C%3A0012%22+%2Bwork01%3A%22D+1%22+%2Bcategory%3A%22BachDigital_class_00000001%5C%3A0004%22&mask=search_form_work.xed&version=4.5&start=0&fl=id&rows=1&XSL.Style=browse&origrows=25.
¹² Johann Leon (c1530-1597), https://translate.google.com/translate?hl=en&sl=de&u=https://de.wikipedia.org/wiki/Johann_Leon&prev=search).
¹³ Chorale Background of Thomas Braatz with melody information, three texts (original, Modern German, English Translation), and "Chorale Melody and Comparison of Settings" (http://www.bach-chorales.com/ChoraleBackground_Ich_hab_mein_Sach.htm.; see also "Peter Smaill wrote (May 9, 2011), http://www.bach-cantatas.com/Vocal/BWV246-Gen.htm, and Hymnary https://hymnary.org/person/Leon_J1.
¹⁴ Charles S. Terry, The Four-Part Chorals of J. S. Bach (London: Oxford University Press, 1929), Nos. 188a, b, c (p. 195), not available on line.
15 Günther Stiller, Johann Sebastian Bach and Liturgical Life in Leipzig, ed. Robin A Leaver, trans. Herbert J. A. Bouman etc (St. Louis MO: Concordia Publishing, 1985: 216).

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To Come: Easter Season: Johannine Uplifting and Pentecost Triumph.