Holy Week Passion Chorales
Discussions

Holy Week Passion Chorales, Readings; Bach Settings

William L. Hoffman wrote (March 25, 2018):
Following Palm Sunday, Holy Week in Bach's time in Leipzig focused on the Christological Passion and death of Jesus Christ, central to Christian belief, with music dating to the Middle Ages that accompanied the accounts in the canonical Gospels. Gospel readings in Holy Week in Leipzig appointed the Passion accounts as follows: Palm Sunday, St. Matthew, Chapters 26 and 27; Tuesday, St. Mark, Chapters 14 and 15; Wednesday, St. Luke, Chapters 22 and 23; and Good Friday, St. John, Chapters 18 and 19. Johann Walther's setting of Matthew (NLGB 83) was presented on Palm Sunday (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA179#v=onepage&q&f=false) and John (NLGB 84) on Good Friday (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA227#v=onepage&q&f=false), source, Gottfried Vopelius' Das Neu Leipziger Gesangbuch (NLGB) of 1682, Passion chorales, https://en.wikipedia.org/wiki/Gottfried_Vopelius#p._125.

Lutheran tradition built on this with congregational chorales that emphasized both the theology and the biblical accounts, most notably in the multi-stanza settings Passion Gospel harmony of Siebald Heyden's 23-stanza 1530 "O Mensch, bewein dein Sünde groß" (O man, weep for your great sins, https://en.wikipedia.org/wiki/O_Mensch,_bewein_dein_Sünde_groß), emphasizing the satisfaction atonement sacrificial model, Paul Stockmann's 34-stanza 1633 "Jesu Leiden, Pein und Tod" (Jesus suffering, pain, and death), the Johannine Christus Victor concept. By Bach's time, Passion musical settings ranged from the Brockes poetic oratorio Passion gospel harmony versions, beginning in Hamburg in 1712 and popular throughout Germany, to various municipal liturgical Passion settings of chorales, similar to Johann Kuhnau's 1722 Leipzig St. Mark Passion and the Bach apocryphal St. Luke Passion. They are the Rudolstadt St. Matthew Passion, 1729 (28 chorales); Gera Passion, nd (25 chorales); Gotha St. Matthew Passion, 1707 (19); Schleiz Passion, 1729 (27 chorales); and Weißenfels Passion, 1733 (33) (source, Spitta JSBII:510f). In these settings, no composer is listed and the lyrics involve hymns as well as Litany and German Te Deum passages, also found in the apocryphal St. Luke Passion.

Beginning with Palm Sunday, now known as the Passion Sunday, the seven days leading to Easter Sunday resurrection are known as Holy Week, sometimes known as Passiontide, when the events leading to the Passion, crucifixion and death of Christ on Good Friday. Liturgically in Bach's time, the Gospel readings for Monday to Thursday were: Monday, John 12:1-23 (Jesus anointed at Bethany, Triumphal entry into Jerusalem, Some Greeks seek Jesus); Tuesday, John 12:24-43, Jesus speaks of his death, Unbelief of the people); Wednesday, Luke 22:1-23 (Plot against Jesus, Judas' betrayal, Passover meal preparation, Lord's supper); Maundy Thursday, John 13:1-15 (Jesus washes disciples feet); Good Friday, John 18:1-19 (Jesus arrest, Before Annas, Peter denies Jesus). The single gospel readings in today's lectionary are virtually the same, except for Wednesday in Holy Week, where Luke's gospel is replaced today by John 13:21-32 (Jesus predicts his betrayal). Manudy Thursday in Bach's Leipzig was a unique day when a full communion service with music was presented (see below, "Maundy Thursday, Gründonnerstag"), with the Hymn of the Day being Martin Luther's "Jesus Christus, unser Heiland, der von uns." There is no account of the Holy Week Saturday Easter Vigil in Leipzig but most appropriate today is Luther's chorale "Christ lag in Todesbanden" (Christ lay in death's bonds) and various Bach vocal works (see below, "Easter Vigil: Luther Chorale, Bach Music").

While Bach composed music only for the Good Friday services in Leipzig, his vocal music is appropriate for the other days of the week, as found in John S. Sutterlund's study.¹ His suggestions are as follows: Monday in Holy Week (Passion omens): Motet BWV 227, "Jesu, meine Freude" (Jesus, my joy, https://www.youtube.com/watch?v=a4SKrGYMp7A), Johann Franck Jesus hymn (NLGB 301, Cross, Persecution, Tribulation), particularly Mary Magdalena's symbolic, loving anointing of Jesus, and Cantata 39, “Brich dem Hungrigen dein Brot” (Break your bread with the hungry; Isaiah 58:7-8), for the 1st Sunday after Trinity 1726. which is a response to Judas' complaint that the anointing oil could have been spent on the poor; Tuesday (Jerusalem prophecy), Cantata 22, "Jesus nahm zu sich die Zwölfe" (Jesus took the twelve to himself), for Quinquagesima Estomihi 1723, and Cantata 159, "Sehet! Wir gehn hinauf gen Jerusalem" (See! we go up to Jerusalem); Wednesday, John 13:21-32, Cantata 12, "Weinen, Klagen, Sorgen, Zagen" (Weeping, lamenting, worry, apprehension), Jubilate Sunday (3rd after Easter) 1714, showing the disciples distress at Jesus' prophecy, and Cantata 44, "Sie werden euch in den Bann tun" (They will banish you, John 16:2), Exaudi (Sunday after Ascension) 1724, challenges to disciples (in Bach's day the appropriate work for Wednesday in Holy Week of Luke's gospel, 22:1-23 (Passion omens) would have been the apocryphal Luke Passion, https://www.youtube.com/watch?v=QNaJ6lb0RjY, http://www.bach-cantatas.com/Vocal/BWV246-Gen.htm).

Maundy Thursday, Gründonnerstag

Maundy Thursday ("Gründonnerstag"), which commemorates the Last Supper and the institution of Communion, was a Lenten exception half-day feast with organ and figural music in Bach's Leipzig "with a traditional, full-main service," "the Communion liturgy was embellished in an unusual way, and the sermon was based on [Paul's account of] the Words of Institution at the Last Supper, that is the Epistle for Mundy Thursday" (1 Cor. 11:23-32, https://www.biblegateway.com/passage/?search=1+Corinthians+11%3A23-32&version=KJV), says Günther Stiller.² It must be assumed that Bach left a prefect in charge at the service in order prepare to rehearse the annual Passion performance in the afternoon, preceded by the Thomaner boys distributing the Passion libretto book throughout Leipzig. The Gospel was John 13:1-15 (Jesus' symbolically washing disciples' feet) and the Introit was Psalm 116:12-19 "What shall I return to the Lord / for all his goodness to me?" (https://www.biblegateway.com/passage/?search=Psalm+116%3A12-19&version=NIV).

The Hymn of the Day for Maundy Thursday in Bach's Neu Leipziger Gesangbuch (NLGB) of 1682 was Martin Luther's "Jesus Christus, unser Heiland, der von uns den Gotteszorn wandt," (Jesus Christ, our Savior, turned God's wrath from us; No. 184, Catechism Communion, https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA526#v=onepage&q&f=false). The NLGB pulpit/communion hymns for Maundy Thursday were: "Wir wollen singen Heut von grossen Dingen" (NLGB 189) Johann Heermann's "Als Jesus Christus in der Nacht" (NKGB 188) and "Ich danke dem Herrn von ganzem Herzen" (NLGB 186), Psalm 111 setting, none of which Bach set.

"Jesus Christus, unser Heiland, der von uns"

"Jesus Christus, unser Heiland, der von uns" is Luther's 10 four-line (AABB) stanza 1524 setting³ based on the Latin hymn, Jesus Christus, nostra salus (Jesus Christ, our blest redeemer; music & text, https://www.youtube.com/watch?v=jL6rvcA_9eU), dating to 1410 and a Bohemian Brethren hymn originally attributed to Jan Hus. Luther's version is steeped in his Theology of the Cross and Doctrine of Justification and is derived from the Latin Dorian melody (Zahn 1576, EG 77). The themes are found in "Luther's preaching on the First Sunday in Lent, Palm Sunday and, Maundy Thursday, 1524," says Robin A. Leaver.⁴ The 10 stanzas reflect the following: Nos. 1, 2, 4, 6, the Lord's "Supper is grounded in the Passion of Christ; Nos. 3-5, "it is to be received in faith': Nos. 7-8, Communion "expressed in scriptural paraphrase"; and Nos. 9-10, the "love of Christ, the fruit of faith, is extended to others. Luther incorporated his hymn into his German Mass 1526 for Communion distribution and it was the main Catechism Communion hymn and sung throughout the church year in Bach's time where because of its Passion references it was the Maundy Thursday hymn in Saxony, Thuringia, Weimar, and Leipzig, observes Anne Leahy.⁵ Communion in Lutheran Theology is a "foretaste of eternal salvation," she says (Ibid.: 220, 242).

Bach set Luther's hymn, "Jesus Christus, unser Heiland, der von uns," as a plain chorale BWV 363 (https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-chorales.com/BWV0363.htm&prev=search), as well as the chorale preludes of the "Great 18", BWV 665-666(a), and the Clavierbung III Catechsim, BWV 688-89 (https://www.youtube.com/watch?v=5I2RSEyo_Uw). These were all appropriate during the distribution of Communion. The "Great 18" settings are in the 12/8 rhythm of the allemande, also found in the St. Matthew Passion bass aria, "Mache dich, mein Herze, rein" (Make yourself pure, my heart, https://www.youtube.com/watch?v=9sZgnrYYOm4), No. 65, after Jesus' death. The Clavierbung III settings are BWV 688 in 3/4 and BWV 689 in 4/4. The dance rhythm has the theological double meaning of Jesus as the Good Shepherd and Savior which Bach possibly used "as a general means of portraying the salvation ensured by the Adendmahl [Communion] and the sacrifice of Christ," says Leahy (Ibid.: 237). The use of E minor in both "Great 18" settings is "striking," she says (Ibid.: 243), and this key includes the opening chorus of the St. Matthew Passion, "Kommt, ihr Töchter, helft mir klagen" (Come, you daughters, help me to lament), with the Passion chorale trope, "O Lamm Gottes, unschuldig" [O Lamb of God, innocent, https://www.youtube.com/watch?v=1mTCqqAzao4], the Crucifixus of the B Minor Mass [https://www.youtube.com/watch?v=tG0KhuonApA], and the Cantata "Christ lag in Todesbanden" (BWV 4 [https://www.youtube.com/watch?v=3ffg4mU7FNE]), which although it is an Easter cantata has strong Passion associations," she says (Ibid.: 244).

In BWV 665, Bach was "portraying the text of Stanza 1 in musical terms," she says while in BWV 666, "it now seems likely that was once more depicting the text of Stanza 1," she says (Ibid.: 235, 238): "Jesus Christ, our blessed Savior, / Turned away God's wrath forever; / By His bitter grief and woe / He saved us from the evil Foe (Lutheran Hymnal, http://www.lutheran-hymnal.com/lyrics/tlh311.htm). "Jesus Christus unser Heiland, der von uns" is found in the Orgelbüchlein as No. 78, Communion, but not set (source, Weimar 1715 Witt hymnal, http://www.orgelbuechlein.co.uk/wp-content/uploads/2011/12/Witt-320-Jesus-Christus-under-Heiland-der-von-uns.pdf). It also is found in the Schmelli Gesangbuch (Leipzig 1736; No. 144, Holy Communion). It is known in English as "Jesus Christ, our blessed Saviour" (Lutheran Hymnal). It is not the same as the Martin Luther Easter chorale, “Jesus Christus, unser Heiland, der den Tod überwand” (Zahn 1978), which Bach set as chorale preludes "Great 18," BWV 665-66, and Orgelbüchlein, BWV 626 (Ob. 35).

Bach's vocal works appropriate for Maundy Thursday, says Sutterlund (Ibid.:49) are chorale Cantata BWV 180, "Schmücke dich, o liebe Seele" (Adorn yourself, O dear soul), based on Johann Franck's communion hymn, for the 20th Sunday after Trinity 1724, and Cantata 184, "Erwünschtes Freudenlicht" (Longed-for light of joy)" for Pentecost Tuesday 1724 with God's " covenant of Love," says Sutterlund (Ibid.: 49). Vocal works of other composers specifically set for Maundy Thursday (http://imslp.org/wiki/Category:Pieces_for_Maundy_Thursday) include Christoph Graupner's "Ach Jesus' Stunde ist gekommen," GWV 1126/34, and others https://en.wikipedia.org/wiki/List_of_cantatas_by_Christoph_Graupner#GWV_1126; the anonymous Gradual e Ofertório de Quinta-feira Santa I; Anton Bruckner's "In jener letzten der Nächte, WAB 17, and "Messe für den Gründonnerstag," WAB 9; Tomás Luis de Victoria's Incipit lamentatio Jeremiæ and Vau. Et egressus est; Giovanni Rovetta's Missa Brevis; Carlo Gesulado's Sicut ovis ad occisionem; and Cristóbal de Morales' Vigilate et orate.

Good Friday: Oratorios, Chorales

Good Friday (https://en.wikipedia.org/wiki/Good_Friday) in Leipzig became the venue for annual performances of Passion musical settings of Bach while in Hamburg, Georg Philipp Telemann presented annual settings of the four gospels from 1722 to 1768, succeeded by Emanuel Bach (https://en.wikipedia.org/wiki/Passions_(Telemann). Sebastian Bach about 1728 presented in succession four settings: John, Matthew, Luke, and Mark and repeated all of them in the 1740s. The NLGB has Good Friday settings of Walther's St. John Passion (NLGB 84) and Jacob Handl's Ecce quomodo moritur justus motet (https://en.wikipedia.org/wiki/The_righteous_perishes, https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA263#v=onepage&q&f=false), as well as "Da Jesus an dem Kreuze stund" (Seven Last Words of Christ from the Cross, https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA122#v=onepage&q&f=false) and other hymns related to the Passion of Christ https://en.wikipedia.org/wiki/Gottfried_Vopelius#p._125. Composers Passion settings are listed at http://imslp.org/wiki/Category:Pieces_for_Good_Friday_(Parasceve).

The best known of the settings of the Brockes Passion are from Keiser, Telemann, Handel, and Mattheson (http://www.bach-cantatas.com/Other/Brockes-Passion.htm). It appears that Mattheson encouraged Telemann and Handel to provide versions. Mattheson then performed all four in Holy Week of 1719 in the refectory of Hamburg Cathedral. Telemann’s faithful version using all of the movements remained the most popular until his own lyrical setting, Seliges Erwägen, focusing on the sufferings and death of Jesus, became in the mid 1720s the most popular performed Passion oratorio until 1755. It was replaced by C.H. Graun’s Passion cantata, Der Tod Jesu, which was performed for more than 100 years, finally replaced in the 1880s by Bach’s St. Matthew Passion, as well as Handel’s Messiah.

Paul Gerhardt Passion Hymns

Meanwhile, Paul Ger's 1647 10-stanza Passion chorale, "Ein Lämmlein geht und trägt die Schuld" (A Lambkin goes and bears the guilt, https://en.wikipedia.org/wiki/Ein_Lämmlein_geht_und_trägt_die_Schuld) also had a profound influence on various composers, including Keiser, Gottfried Heinrich Stölzel, Christoph Graupner, Telemann, Carl Heinrich Graun, and Gottfried Homilius. Gerhardt used the Wolfgang Dachstein 1525 Bar Form melody, "An Wasserflüssen Babylon" (On Babylon's flowing waters, Zahn No. 7663, NLGB 271, Psalm 138 setting); German text http://www.zeno.org/Literatur/M/Gerhardt,+Paul/Gedichte/Gedichte/Ein+Lämmlein+geht+und+trägt+die+Schuld, English translation http://www.lutheranchoralebook.com/texts/a-lamb-goes-uncomplaining-forth/. It is not found in the NLGB but in the Schmelli Gesangbuch (Leipzig 1736) as No. 259 Passion (Suffering & Death of Jesus Christ). Bach set the melody as a "Great 18" chorale prelude in three versions, BWV 653(a,b,c) and as a plain chorale, BWV 267 (http://www.bach-chorales.com/BWV0267.htm), with the alternate title, "Ein Lämmlein geht" (music, https://www.youtube.com/watch?v=-ExQR3UQlno). It is listed in the Orgelbüchlein (Ob. 101, in Time of Trouble) but not set, and in the Schmelli Gesangbuch as No. 587 (Timely Cross & Suffering).

Gerhardt’s other 1647 Passion chorale is the 16-stanza “O Welt, sieh hier dein Leben” (O World, see here thy life), set to the 1555 Heinrich Isaac melody “O Welt, ich muss dich lassen” (O world, I must leave thee, http://www.bach-cantatas.com/CM/O-Welt-ich-muss.htm), is the only chorale appearing in all three Bach original Passions (BWV 244/10,36; BWV 245/11, and BWV 247/7), as well as the melody in Cantatas 13/6, 44/7, and 97/9. Bach also set the hymn as plain chorales, BWV 393-395. The German text is https://hymnary.org/text/o_welt_sieh_hier_dein_leben, and the English translation, ". . . See world, thy Lord suspended," is http://www.lutheranchoralebook.com/texts/upon-the-cross-extended/. It is not found in the NLGB but in the Schmelli Gesangbuch (Leipzig 1736) as No. 289 Passion (Suffering & Death of Jesus Christ), with the same melody also known as "Nun ruhen aller Wälder."

Early Reformation Passion Hmns

The Passion gospel harmony chorale, "O Mensch, bewein dein Sünde groß" (O man, weep for your great sins), is a 33-stanza hymn of Sebald Heyden (https://en.wikipedia.org/wiki/O_Mensch,_bewein_dein_Sünde_groß),⁶ referring to the Stations of the Cross (https://en.wikipedia.org/wiki/Stations_of_the_Cross), and based on the Matthäus Greiter melody of 1524 that appeared in Strasbourg hymnals of 1525 and 1526 titled "Beati immaculati, Psalm 119," also known as "Es sind doch selig alle, die im rechten Glauben wandeln" (Zahn 8303). It is found in the NLGB as Passion hymn (No. 67) in the Orgelbüchlein (Ob. 25) as BWV 622; as a chorale fantasia opening the 1725 St. John Passion (possibly originating in the 1717 Weimar-Gotha Passion, BC D 1/1) and in the 1736 St. Matthew Passion, closing Part 1; and as a plain chorale, BWV 402 http://www.bach-chorales.com/BWV0402.htm), music https://www.youtube.com/watch?v=_j3d7rG6zl4&t=17s. There is a Johann Pachelbel prelude setting, T.61 (https://www.classicalarchives.com/work/665104.html), attributed to Bach as BWV Anh. 61. There also is a Max Reger transcription of BWV 622 (https://www.youtube.com/watch?v=6_GtSSUF5BM)

Another early Reformation Passion chorale setting is Johann Böschenstein's "Da Jesus an dem Kreuze stund" (There Jesus on the cross hung, Wackernagel ii: 1091),⁷ a 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 chorales 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 Orgelbüchlein (Ob. 24) as BWV 621 (https://www.youtube.com/watch?v=omMr8czqN_o), and as plain chorale BWV 1089 (http://www.bach-chorales.com/BWV1089.htm). The melody is set in memorial Cantata BWV 106/4 and in the plain chorale settings of the St. Matthew and St. Mark Passions, BWV 244/38, and BWV 1089=?247/5(11) [S.5], and in the Christmas Oratorio, BWV248/46, to a different text. Bach also set the melody in the Orgelbüchlein (Ob. 98), BWV 640 (In time of trouble), and as an organ chorale, BWV 712 (1700-1717) in the Kirnberger collection. It is found in the Schmelli Gesangbuch as No. 255, Passion (Suffering & Death of Jesus Christ). Other composers settings include Heinrich Bach, https://www.youtube.com/watch?v=3rYCCVZSDBE; Samuel Scheidt prelude, SSWV 113, https://www.youtube.com/watch?v=CWhakJWhUO8; J. K. F. Fischer, https://www.youtube.com/watch?v=YoMRuN23UP8; Johann Pachelbel, https://www.youtube.com/watch?v=TPJ0HqFjt-o;

From the Bohemian Brethren comes the early Reformation hymn, Michael Weiße's eight-stanza "Christus, der uns selig macht,"⁸ based on the 14th c. Latin hymn Patris Sapientia (Christus wahrer Gottes Sohn) for the Canonical Hours of Good Friday, with the melody (Zahn 6283b), published in Ein New Gesengbuchlen ((Jung Bunzlau 1531). It is found in the NLGB as No. 71, Passion. Bach set it as a plain chorale twice in the St. John Passion as No. 15 (http://www.bach-chorales.com/BWV0245_15.htm) and 37 (http://www.bach-chorales.com/BWV0245_37.htm); as plain chorale BWV 283 (http://www.bach-chorales.com/BWV0283.htm), possibly from thee 1717 Weimar/Gotha Passion, BC D-1/6; and plain chorale, BWV 1084 (http://www.bach-chorales.com/BWV1084.htm) from the St. Mark Passion Pasticcio https://www.bach-digital.de/receive/BachDigitalSource_source_00018426;jsessionid=6BAB342DF61DDE9C22575DA02FB54C3C?lang=en. It is set as a prelude in the Orgelbüchlein (Ob. 23), BWV 620(a), Passion, as well as chorale prelude BWV 747 (https://www.bach-digital.de/receive/BachDigitalSource_source_00003350), music, https://www.youtube.com/watch?v=8pcEtkUSSWg. There are six settings of the Weiße chorale, probably by Johann Christoph Altnikol(1720-59), Bach student/copyist and son-in-law, in the "Passion Pastiche After C. H. Graun," BWV 1088 (Stanzas 1, 2, 4, 5, 6, 7; http://www.bach-cantatas.com/Vocal/BWV1088-Gen.htm, Discussions in the Week of March 31, 2013), dating c.1750, which suggests this may be Bach's fifth Passion. Other composers settings of the chorale include Michael Praetorius, https://www.youtube.com/watch?v=lMlTTMLtPe8; Heinrich Schütz, (Christe Deus adjuva, SWV 293; and Johann Pachelbel, P 69bis.

"Herzliebster Jesu"

One hundred years after the Reformation came Johann Heermann 15-verse Passion poem in 1630, "Herzliebster Jesu, was hast du verbrochen" (Jesus, most dear to my heart, what have you done wrong),⁹

first published in Devoti Musica Cordis in Breslau. It was published with the associated melody (Zahn 983, after Guillaume Franc 1543) in 1640 in Johann Crüger's Neues vollkömmliches Gesangbuch Augsburgischer Confession. It is found in the NLGB as Passion hymn No. 72 (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA153#v=onepage&q&f=false). In English, it is known as "Ah, holy Jesus, how has thou offended?" (https://hymnary.org/text/ah_holy_jesus_how_hast_thou_offended), or in Lutheran hymnals as "O dearest Jesus, what law hast Thou broken" (Catherine Winkworth, https://hymnary.org/text/o_dearest_jesus_what_law_hast_tho_broken). It also is listed in the Orgelbüchlein (Ob. 32) but not set (source, http://www.orgelbuechlein.co.uk/the-missing-chorales/, https://no14plusminus.files.wordpress.com/2010/09/bach-organ-works.pdf. It is found in the Schmelli Gesangbuch as No. 266, Passion.

Bach set the Heermann hymn as a plain chorale twice in the St. Matthew Passion, BWV 244/3 (S.1, http://www.bach-chorales.com/BWV0244_3.htm), and No. 46(v.4, Wie wunderlich http://www.bach-chorales.com/BWV0244_46.htm\), and once in the St. John Passion, BWV 245/17 (S, 8, "Ach großer König, groß zu allen Zeiten" (Ah, great king, great in all ages), and S. 9 "Ich kann's mit meinen Sinnen nicht erreichen" (My mind cannot imagine). The hymn is set as a plain chorale twice in the apocryphal St Luke Passion, BWV 246, No. 19, "Ich werde dir zu Ehren alles wagen" (S.13), and No. 42, "Daß du nicht ewig Schande mögest tragen," (another text, S. 6, "O! daß ich könnte thränen g'nug vergießen," Gottfried Wilhelm Sacer (https://hymnary.org/text/o_dass_ich_koennte_trnen_gnug_versiessen); music https://www.youtube.com/watch?v=Hy6w8VNyaXc. Also, Bach set the melody as a Neumeister chorale, BWV 1093 (http://imslp.org/wiki/Neumeister_Chorales,_BWV_1090-1120_(Bach,_Johann_Sebastian)); music, https://www.youtube.com/watch?v=wNXJxhsbqtw. In the Protestant hymnal Evangelisches Gesangbuch it appears in modernised language as EG101, with settings of Bruhns, Böhm, Scheidt, Scheidemann, and Pachelbel. Johannes Brahms used it for one of his Eleven Chorale Preludes for organ, Op. 122: No. 2.[4]). Max Reger's Passion, No. 4 from his organ pieces Sieben Stücke, Op. 145 (1915–1916), uses this melody (https://wikivividly.com/wiki/Herzliebster_Jesu).

The Neumeister collection also has three other Bach settings of Passion chorales: "O Jesu, wie ist deine Gestalt," BWV 1094 (https://www.youtube.com/watch?v=3FsJZyLmnGc, http://www.onlinesheetmusic.com/o-jesu-wie-ist-dein-gestalt-bwv-1094-organ-p330732.aspx); O Lamm Gottes, unschuldig, BWV 1095; Christe, der du bist Tag und Licht, BWV1096, a.k.a. "Wir danken dir, Herr Jesu Christ." "O Jesu, wie ist deine Gestalt" (O Jesus, how is your physical form) is an anonymous Jesus Hymn that in 10 Bar Form verses (http://matthaeusglyptes.blogspot.com/2017/03/o-jesu-wie-ist-dein-gestalt.html) contemplates Jesus' wounds, published in 1627 with music of Melchior Franck (Zahn 8360),¹⁰ traditionally ascribed to St. Bernard of Clairvaux and similar to the Passion Chorale, "O sacred head now wounded." It is listed in the (Ob. 28, http://www.orgelbuechlein.co.uk/wp-content/uploads/2011/12/O-Jesu-wie-ist-dein-Gestalt-melody.pdf), but not set.

Good Friday: John's Gospel

In today's Good Friday lectionary, which also uses John's Gospel (Chapters 18 and 19), Bach's St. John Passion is most appropriate, says Sutterlund (Ibid.: 49). The four versions of Bach’s St. John Passion, BWV 245 (SJP), represent variants of the biblical and theological perspectives as found in Bach’s selection of biblical narrative texts, use of chorales, and lyrical chorus and aria commentaries: 1724, John Chapters 18 and 19, the usual version with the addition from the Matthew (Chapters 26-27) Passion account of Peter weeping at his betrayal of Jesus and the rending of the veil of the temple (Mathew); 1725 version with the substitution of chorale choruses and arias that emphasized more the theological theme of Satisfaction as Atonement; 1728 or 1732, return to 1724 version but removal of non-Johannine references to Peter weeping and temple veil rending, for a John-only Christus Victor emphasis; 1739/1749, return to 1724 version with changes to the poetic texts and richer chorale harmonization. Also appropriate is the Good Friday vesper liturgy with chorales found in John Butt's performance (https://www.youtube.com/watch?v=vPZC5OJhKSU).

Easter Vigil: Luther Chorale, Bach Music

There is no account of the Easter Vigil during Bach's time although quite appropriate is the Martin Luther 1524 chorale, "Christ lag in Todesbanden" (Christ lay in death's bonds), an Easter hymn in seven stanzas with strong Passion overtones (http://www.bach-cantatas.com/Texts/Chorale012-Eng3.htm), that Bach set as a chorale Cantata, BWV 4 (https://www.youtube.com/watch?v=3ffg4mU7FNE) with Linda Gingrich's summary of the stanzas: "Verse 1—Christ died on the cross for humanity, Verse 2—Death came because of our sin, Verse 3—Christ came and abolished sin, Verse 4—Death and Life fought, but Life won (resurrection), Verse 5—Christ, the sacrificial Easter Lamb, Verse 6—We celebrate, Verse 7—We eat the Easter Bread, which is Christ" (2015 BCML notes, http://www.bach-cantatas.com/BWV4-D6.htm). The readings in Bach's Time were: Epistle, Col. 3:1-4 (Life with Christ, https://www.biblegateway.com/passage/?search=Colossians+3%3A1-4&version=KJV; Gospel, Matt.28:1-7 (Resurrection, https://www.biblegateway.com/passage/?search=Matthew+28%3A1-7&version=KJV), says Paul Zeller Strodach.¹¹

Today's three-year lectionary has the single reading of John 20:1-18, Mary Magdalene and tdisciples at the tomb (https://www.biblegateway.com/passage/?search=John+20%3A1-18&version=KJV), best portrayed in Bach's Easter Oratorio (http://www.bach-cantatas.com/Vocal/BWV249-Gen5.htm, http://www.bach-cantatas.com/Vocal/BWV249.htm). Other Bach vocal works that Sutterlund recommends (Ibid.: 50f) are the Easter Cantatas BWV 66, "Erfreut euch, ihr Herzen" (Rejoice, you hearts); BWV 31, "Der Himmel lacht! die Erde jubilieret" (The heavens laugh! The earth shouts with joy); BWV 145, "Ich lebe, mein Herze, zu deinem Ergötzen" (I live, my heart, for your delight), as well as festive Cantata BWV 137, "Lobe den Herren, den mächtigen König der Ehren" (Praise the Lord, the mighty king of honour).

During Easter Saturday, it is assumed that Bach spent the day rehearsing the Tomanner choir for the Easter Sunday music at the main services in the Nikolaus and Thomas churches. Bach also was responsible as Leipzig music director for the festival presentation in the University Paulinerkirche, as well as at Christmas and Pentecost. While no documentation exists, it is assumed on the basis of collateral evidence that Bach presented a separate performance later in the day which may have used as the choir Leipzig University students and alumni, possibly with instrumentalists from the Collegium musicum and the municipal Stadtpfeiffer. These would have been similar to performances they gave in the 1730s featuring secular drammi per musica (BWV 201-216), outdoors or at Zimmermann's coffee house.

FOOTNOTES

¹ John S. Sutterlund, Bach Through the Year: The Church Music of Johann Sebastian Bach and the Revised Common Lectionary (Minneapolis MN: Lutheran University Press, 2013: 46f).
² 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: 62).
³ The early history and content, including Charles S. Terry's translation, melody and reception history are found at Wikipedia (https://en.wikipedia.org/wiki/Jesus_Christus,_unser_Heiland,_der_von_uns_den_Gotteszorn_wandt).
⁴ Robin A. Leaver, Chapter 10, "Jesus Christus unser Heiland," Luther's Liturgical Music" Principles and Implications (Grand Rapids MI: Eerdmanns Publishing, 2007: 156), https://books.google.com/books?id=8ybnlP1a0ssC&pg=PA219&lpg=PA219&dq=Leaver+Jesus+Christus+unser+Heiland&source=bl&ots=fr-UAwUo_1&sig=sjhDu0H8luFKSQwrIVq6DLibRV0&hl=en&sa=X&ved=0ahUKEwjApPqXpv7ZAhUQ9mMKHetJAt4Q6AEIbjAL#v=onepage&q=Leaver%20Jesus%20Christus%20unser%20Heiland&f=false
⁵ Anne Leahy, Chapter, 10, "Jesus Christus, unser Heiland," J. S. Bach's "Leipzig" Chorale Preludes: Music, Text, Theology, ed. Robin A. Leaver, Contextual Bach Studies No. 3 (Lanham MD: Scarecrow Press, 2011: 220)
⁶ Sebald Heyden (1499-1561), https://en.wikipedia.org/wiki/Sebald_Heyden; German text and Francis Browne English translation (http://www.bach-cantatas.com/Vocal/BWV245-Gen8.htm).
⁷ Johann Böschenstein (1472-1540), https://hymnary.org/person/Boschenstain_Johannes; German text, https://hymnary.org/text/da_jesus_an_dem_kreuze_stund; English translation (Charles S. Terry), http://oll.libertyfund.org/titles/bach-bachs-chorals-vol-3-the-hymns-and-hymn-melodies-of-the-organ-works.
⁸ Michael Weiße (c.1488-1534), https://en.wikipedia.org/wiki/Michael_Weiße, https://hymnary.org/person/Weisse_M; German text and Matthew Garver English translations, http://matthaeusglyptes.blogspot.com/2010/03/christus-der-uns-selig-macht.html; details, Terry, https://books.google.com/books?id=s6c9AQAAMAAJ&pg=PA30&lpg=PA30&dq=christus+der+uns+selig+macht+Terry&source=bl&ots=1UXOSh5end&sig=ArLtPdyc32Bcz8xWv0MFn2ksqqk&hl=en&sa=X&ved=0ahUKEwjD3py2kITaAhVK-2MKHWusBpgQ6AEINjAC#v=onepage&q=christus%20der%20uns%20selig%20macht%20Terry&f=false.
⁹ Johann Heermann (1585-1647), https://en.wikipedia.org/wiki/Johann_Heermann, https://hymnary.org/person/Heermann_J, http://www.bach-cantatas.com/Lib/Heermann.htm; "Herzliebster," https://en.wikipedia.org/wiki/Herzliebster_Jesu; German text & source, https://hymnary.org/text/herzliebster_jesu_was_hast_du_verbrochen).
¹⁰ Melchior Franck (1579-1639), https://en.wikipedia.org/wiki/Melchior_Franck, http://www.bach-cantatas.com/Lib/Franck-Melchior.htm; German text and Matthew Garver English translation, http://matthaeusglyptes.blogspot.com/2017/03/o-jesu-wie-ist-dein-gestalt.html; Peter Williams commentary, https://books.google.com/books?id=gTXxUk1LAowC&pg=PA548&lpg=PA548&dq=O+Jesu,+wie+ist+deine+Gestalt+Peter+Williams&source=bl&ots=yaZXTzfe7r&sig=6deZdMleSzJ9vG6tL3PKyqJGg_4&hl=en&sa=X&ved=0ahUKEwj66YP414XaAhUG4GMKHfm3CA0Q6AEIKzAB#v=onepage&q&f=false.
¹¹ Paul Zeller Strodach, The Church Year: Studies in the Introits, Collects, Epistles, and Gospels (Philadelphia PA: United Lutheran Publication House, 1924: 147f).

—————

To Come: Good Friday Vesper hymns; Bach Penitential and Passion sacred songs.

Kim Patrick Clow wrote (March 25, 2018):
[To William L. Hoffman] Interesting that on the Wikipedia entry on the Brockes Passion,
"Further, on 26 March 1717 at the Neukirche Leipzig [Telemann's setting of the Brockes Passion], which was the first documented performance of a Passion Oratorio in Leipzig."

William L. Hoffman wrote (March 25, 2018):
Bach, "Kesier" Markus Passions

Today's three-year lectionary B focuses on the first Gospel, Mark's account (https://en.wikipedia.org/wiki/Gospel_of_Mark, which also is known as the Passion Gospel since from the third chapter on it moves inexorably to Christ's sacrifice and death (Chapters 14 and 15, https://www.biblegateway.com/passage/?search=Mark+14-15&version=KJV), now read on Palm Sunday. The setting known as the "Keiser Markus Passion" first presented in Hamburg in 1707 was pby Bach about 1712 when he was organist in Weimar but may have been presented elsewhere. Bach reperformed the work in 1726 (https://www.youtube.com/watch?v=deCPyklcU2s) in Leipzig when he had begun his St. Matthew Passion but was unable to complete it until 1727. About 1747 he created a pasticcio version 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). Bach also made arrangements of the chorales "O hilf, Christe, Gottes Sohn," BWV 1084 (http://www.bach-chorales.com/BWV1084.htm), and "O Traurigkeit, o Herzeleid" and in 1726 he added the chorale "So gehst du nun, mein Jesu," BWV 500a (http://www.bach-chorales.com/BWV0500a.htm), to divide the work into two parts for the Good Friday vesper service.

Meanwhile Bach in 1731 composed his own St. Mark Passion, BWV 247 (https://en.wikipedia.org/wiki/St_Mark_Passion,_BWV_247, http://www.bach-cantatas.com/Vocal/BWV247-Gen2.htm), as part of a cycle of the four Gospels (BWV 244-247), presented between 1728 and 1732. Bach revived the Markus Passion in 1744 with two new arias and changes in the Picander text (https://www.youtube.com/watch?v=p89NgNz92AQ&t=5210s). At the same time, Georg Philipp Telemann presented annual cycles of Gospel Passions in Hamburg from 1722 to 1768 (https://en.wikipedia.org/wiki/Passions_(Telemann), followed by Emanuel Bach until 1788 (https://en.wikipedia.org/wiki/Passions_(C._P._E._Bach)). Other composers included Marco Giuseppe Peranda (1625-1675) Markus-Passion for the Dresden Court, previously attributed to Heinrich Schütz (https://www.youtube.com/watch?v=QOrhnndKYpI), and a Markus Passion of Bach student Gottfried Homilius (https://www.youtube.com/watch?v=8-KABj0wc-M). In 2000, Osvaldo Golijov composed a Mark Passion (https://www.youtube.com/watch?v=5S-MedsX7DY).