Weimarer Passion

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The work commonly referred to as the Weimarer Passion, BWV deest (BC D 1), is a musical composition among the Passions written by Johann Sebastian Bach, composed in 1717 for at least two solo voices, choir and orchestra with text by an unknown librettist. Unfortunately, both the text and music are lost, but many movements from this work have been reused in other forms and at other times. At one time, it was thought that the work set chapters 26 and 27 of the Gospel of Matthew to music, with interspersed chorales and arias, but current consensus is that it is possible that the text reflected a synopsis of two or more Gospel texts, as well as the interspersed chorales and arias.

Background

There has been much written about this work since Bach's death. Of the five Passion settings mentioned in his Obituary written by Carl Philipp Emanuel Bach and Sebastian's former pupil Johann Friedrich Agricola, two have come down to us with any degree of certainty (the St John Passion BWV 245 (BC D 2a-e) and the St Matthew Passion BWV 244 (BC D 3a-b)). A third has come down to us in the form of a libretto dating 1731 (published 1732) and a newly discovered libretto dating from 1744 (found in the National Library in St. Petersburg [Catalogue No. 17,139.1.423]).[1] A fourth has come down to us in the form of a manuscript copy by Bach and his son Carl Philipp Emanuel dating from c. 1730 (with an addition recently discovered in Bach's hand dating from c. 1745/1746) of an anonymous (the original has been lost) St Luke Passion that originally was attributed to Bach (BWV 246 [BC D 6]), but has now been attributed to a yet unknown master that was active in Thuringia in the early 18th century (possibly ending in ca. 1717) (the attribution to Johann Melchior Molter has been rejected based on the fact that some of the material in the manuscript was done in Carl Philipp Emanuel's hand, and that he (Emanuel) left Leipzig in 1734 for Frankfurt an der Oder). Much speculation has been made over the identity of the fifth Passion setting. Theories have ranged from a one-choir setting of the St Matthew Passion ("Eine Paßion nach dem Matthäus, incomplet" was listed in the "Verzeichniß des musikalischen Nachlasses des verstorbenen Capellmeisters Carl Philipp Emanuel Bach" (1714–1788) published by Gortlieb Friedrich Schniebes in Hamburg in 1790).[2] Others have speculated that the subject of this article (the "Weimarer Passion") would be the fifth Passion setting discussed in the Obituary. Others have speculated that this Passion setting is in reality not an Oratorio Passion at all, but rather a Passion Oratorio setting of a text by Christian Friedrich Henrici entitled "Erbauliche Gedanken auf den Gruenen Donnerstag und Charfreitag ueber den Leidenden Jesum" (a part of his 1725 text cycle Sammlung erbaulicher Gedancken über und auf die gewöhnlichen Sonn- und Festtage).

Bach in 1717

The year 1717 proved to be a pivotal one in the life and career of the then Court Organist and Concertmaster to the main Court of William Ernest, Duke of Saxe-Weimar, Johann Sebastian Bach. That year, he gained some notoriety outside of the immediate circles where he lived and worked (namely the areas that comprise the modern state of Thuringia) when the diplomat, musician, music theoretician, and Cantor of the old St. Mary's Cathedral, Hamburg, (which was dismantled in 1805), Johann Mattheson, published his Das Beschützte Orchestre, oder desselben Zweyte Eröffnung: Worinn Nicht nur einem würcklichen galant-homme ... sondern auch manchem Musico selbst die alleraufrichtigste und deutlichste Vorstellung musicalischer Wissenschaften .... In Part I, Chapter V, p. 222 of this treatise, Mattheson states "Ich habe von dem berühmten Organisten zu Weimar/hrn. Joh. Sebastian Bach/Sachen gesehen..." ("I have of the organist to Weimar/Mr. Joh. Sebastian Bach/seen things ...").[3] In the same work, he also catalogues all the famous organists of the current and former ages. Thus, for the first time, the name of Johann Sebastian Bach appeared in print. In autumn of that year, Bach was invited to a Keyboard instrument contest to take place in the capital city of the Electorate of Saxony, Dresden, between himself and the French Royal Court Organist and Keyboardist Louis Marchand,[4] who was then towards the end of a long concert tour of the Holy Roman Empire. When Bach arrived, however, he learned that his rival had left the night before, thus aborting the contest and by default acknowledging his inferiority to Bach's skills.

Back at Weimar, his employment situation became more complicated. In 1716, his co-employer Ernest Augustus I, Duke of Saxe-Weimar-Eisenach had married Princess Eleonore Wilhelmine of Anhalt-Köthen (an event that Bach probably participated in and for which he provided music). The new duchess's brother (Leopold, Prince of Anhalt-Köthen) may also have attended the event. If that is the case, he would have met Bach then. At any rate, on 5 August 1717, Leopold officially ordered Bach to become his Court Kapellmeister. Around the same time (1717), the relations between the co-rulers in Weimar became even more strained than they had been previously, to the point that Wilhelm Ernst officially forbade his employees to have any relations or communications with the Rotes Schloss (Ernst August's residence). Wilhelm Ernst was also looking for a successor to the post of Kapellmeister at his court (the previous occupant of the post, Johann Samuel Drese, had died on 1 December 1716). Eventually Drese's son (a less talented candidate) was selected for the post. Possibly because of this perceived snub, and also because of the perceived better circumstances awaiting him in Köthen (both financially and prestige), after the aborted keyboard contest, Bach began more vehemently to request his release from Wilhelm Ernst. He had become so insistent that between 6 November and 2 December, Bach was imprisoned before final permission was granted. The court secretary's report of the incident relates as follows:

“ On November 6, [1717], the quondam concertmaster and organist Bach was confined to the County Judge's place of detention for too stubbornly forcing the issue of his dismissal and finally on December 2 was freed from arrest with notice of his unfavourable discharge.[5] ”

At any rate, during this flurry of activity, Bach had also received a commission from Frederick II, Duke of Saxe-Gotha-Altenburg to compose and perform a Passion setting for his court for Good Friday (his then Kapellmeister, Christian Friedrich Witt, was on his deathbed). Bach accepted the commission, and performed the work on 26 March 1717 at the Schloss Friedenstein Chapel. The work performed there was the so-called "Weimarer Passion".

The work

As mentioned above, unfortunately, the text and music of this so-called "Weimarer Passion" BWV deest (BC D 1) no longer survives. However, over the years much has been written and discussed about the work and its contents. In recent years, it has been demonstrated that nine movements from this work had been reused and have come down to us in different forms. These are as follows:

  1. Chorale fantasia "O Mensch, bewein' dein' Sünde groß" D major (Coro: S A T B, Flauto traverso I/II, Oboe I/II, Violino I/II, Viola, Liuto, Organo, Continuo)
  2. Aria with Chorale "Himmel reiße, Welt erbebe" F♯ minor (Solo: B, Coro: S, Flauto traverso I/II, Liuto, Organo, Continuo)
  3. Aria "Zerschmettert mich, ihr Felsen und ihr Hügel" A major (Solo: T, Coro: Violino I/II, Viola, Organo, Continuo)
  4. Aria "Ach windet euch nicht so, geplagte Seelen" C minor (Solo: T, Coro: Oboe I/II, Bassono, Liuto, Organo, Continuo)
  5. Chorale fantasia "Christe, du Lamm Gottes" G minor (Coro: S A T B, Flauto traverso I/II, Oboe I/II, Violino I/II, Viola, Liuto, Organo, Continuo)
  6. Chorale "Christus, der uns selig macht" BWV 283 (BC F 31.1) A minor (Coro: S A T B, Flauto traverso I/II, Oboe I/II, Violino I/II, Viola, Liuto, Organo, Continuo)
  7. Aria "Erbarme dich!" D minor (Solo: T, Coro: Flauto traverso, Liuto, Organo, Continuo)
  8. Recitativo "Erbarme dich!" B♭ major (Solo: T, Coro: Violino I/II, Viola, Liuto, Organo, Continuo)
  9. Chorale "Bin ich gleich von dir gewichen" B♭ major (Coro: S A T B, Flauto traverso, Oboe, Violino I/II, Viola, Liuto, Organo, Continuo)

On 7 February 1723, the fifth movement mentioned above was used again after the sermon as the fourth and final movement of the second trial piece Bach wrote for his application for the post of Cantor of St. Thomas Church, Leipzig and Directoris Chori musici of Leipzig, the Cantata Du wahrer Gott und Davids Sohn, BWV 23. For this work (BC A 47b, in B minor and scored for Soli: S A T, Coro: S A T B, Oboe d'amore I/II, Violino I/II, Viola, Basso continuo), Bach set the movement in F♯ minor for Soprano, Alto, Tenore, Basso, Oboe d'Amore I&II, Violino I&II, Viola, Basso continuo, the instruments not being colla voce (with the choral voices). The work was revived again (with the same setting and key) on 20 February 1724 (Quinquagesima or Estomihi Sunday), this time with brass instruments (Cornetto, Trombone I-III, all colla voce Cornet with Soprano, Trombone I with Alto, Trombone II with Tenor, and Trombone III with Bass (voice type)).

In 1725, Bach revived (possibly a last-minute decision) his St John Passion BWV 245 (BC D 2b). It is possible that he had in mind a revival of this work (the Weimarer Passion), but realized that it was impossible (especially since the Leipzig liturgy required a Passion setting in two parts (each part framing the sermon). However, this did not stop Bach from reusing material from the Weimar work in this new Passion setting. Of the nine movements mentioned in the above list, Bach would use five of them in this Passion setting:

  1. Chorale fantasia "O Mensch, bewein' dein' Sünde groß" E♭ major (Coro: S A T B, Flauto traverso I/II, Oboe I/II, Violino I/II, Viola, Organo, Continuo), replacing the 1724 original Movement I ("Herr, unser Herrscher", G minor, Coro: S A T B, Oboe I/II, Violino I/II, Viola, Organo, Continuo). Movements 2-11 of 1724 work = Movements 2-11 of 1725 work.
  2. Aria with Chorale "Himmel reiße, Welt erbebe" F♯ minor (Solo: B, Coro: S, Flauto traverso I/II, Organo, Continuo)--New Movement 12. Movement 12 of 1724 work = Movement 13 of 1725 work. Movement 13 of 1724 work = Movement 14 of 1725 work (new aria—see below)
  3. Aria "Zerschmettert mich, ihr Felsen und ihr Hügel" A major (Solo: T, Coro: Violino I/II, Viola, Organo, Continuo)--New Movement 14 (replacing Movement 13 of 1724 work). Movements 14-19 of 1724 work = Movements 15-20 of 1725 work (Movement 20 of 1724 work left out, Movement 19 of 1724 work replaced by new aria [see below])
  4. Aria "Ach windet euch nicht so, geplagte Seelen" C minor (Solo: T, Coro: Oboe I/II, Organo, Continuo)--New Movement 20 (replacing Movement 19 of 1724 work). Movements 21-40 of 1724 work = Movements 21- 40 of 1725 work, Movement 40 replaced by new Chorale (see below)
  5. Chorale fantasia "Christe, du Lamm Gottes" G minor (Coro: S A T B, Flauto traverso I/II, Oboe I/II, Violino I/II, Viola, Organo, Continuo)

On 17 November 1726, Bach composed his Cantata for the 22nd Sunday after Trinity Sunday, Ich armer Mensch, ich Sündenknecht, BWV 55. This work is scored for Solo: T, Coro: S A T B, Flauto traverso, Oboe d'amore, Violino I/II, Viola, Organo, Continuo and is in the key of G minor. For the final three movements of the work (an Aria-Recitative-Choral series), Bach employed movements 7-9 of the above-mentioned list of movements of the Weimarer Passion. The chorale setting BWV 283 would later find itself included in the collection of chorales that Carl Philipp Emanuel Bach and Johann Philipp Kirnberger compiled and Johann Gottlob Immanuel Breitkopf published between 1784 and 1787 (BWV 253-438).

In 1728/1731, Bach again revived his Quinquagesimae/Esto mihi Cantata Du wahrer Gott und Davids Sohn, BWV 23 (BC D 47c). This time he set it in C minor and scored it for Soli: S A T, Coro: S A T B, Oboe I/II, Violino I/II, Viola, Organo, Continuo. In movement 4, therefore, Bach removed all the brass parts. He also revised the vocal parts of the same movement.

Finally, on 29 March 1736, 23 March 1742, and between 1743–1746, Bach revived his St Matthew Passion BWV 244 (BC D 3b) in a new form. In this version, he replaced the original four-part chorale setting that ends Part I with the chorale fantasia that he used in both the Weimarer Passion and as Movement 1 of the 1725 version of the St John Passion. This time, he scored it in E major for Coro I/II: S A T B, Flauto traverso I/II, Oboe d'amore I/II, Violino I/II, Viola, Organo, Continuo. Due to repair issues in the 2nd organ, the 1742 version was revised in scoring for Coro: Soprano in ripieno, Organo (Treble clef), Cembalo (Harpsichord, Trebble clef)--1742 only, 1743-1746 Organo II (Trebble clef), Coro I/II: S A T B, Flauto traverso I/II, Oboe d'amore I/II, Violino I/II, Viola, Viola da gamba, Organo, Cembalo, Continuo. Bach kept this scoring for his 1743-1746 revision (with the exception that he reverted to the 2nd organ in Coro II).

Vocal and Instrumental forces used

The conjectured scoring for the work (based on the scoring of the aforementioned movements that had been reused in other forms) is: Solo: T solo, B solo; Coro: S A T B, Flauto traverso I/II, Oboe I/II, Violino I/II, Viola, Basso continuo.[6] Much has been written about Bach's ensembles (both in size and constituents—both vocal and instrumental) that he used. Here are his own thoughts on the matter. In regards to vocal forces, he wrote:

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

which translates to:

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

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

In the Nicolai-Kirche the 1st choir requires: At the Thomas-Kirche the 2nd choir: At the New Church the 3rd choir: The 4th choir* (And this last choir must also take care of the Peters-Kirche).
3 Sopranos 3 Sopranos 3 Sopranos 2 Sopranos
3 Altos 3 Altos 3 Altos 2 Altos
3 Tenors 3 Tenors 3 Tenors 2 Tenors
3 Basses 3 Basses 3 Basses 2 Basses[9]
  • The same would also constitute the concerted parts in his large-scale religious works.

Likewise, he wrote of the instrumental forces required:

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

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

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

 ”
[10]

which translates to:

“ The Instrumentalists are also divided into various Kinds, namely, Violinists (Violisten), Oboists, Flutists, Trumpeters, and Drummers. Note: The Violinists include also [i.e., in addition to the players of the Violin] those who play the Violas, the Violoncellos, and the Bass Viols (Violons) .... The instrumental music consists of the following parts, namely:
  • 2 or even 3 for the Violino 1
  • 2 or 3 for the Violino 2
  • 2 for the Viola 1
  • 2 for the Viola 2
  • 2 for the Violoncello
  • 1 for the Violon[e]
  • 2, or, if the piece requires, 3, for the Hautbois (Oboe)
  • 1, or even 2, for the Basson (Bassoon)
  • 3 for the Trumpets
  • 1 for the Kettledrums (Timpani)

-- Summa 18 persons at least, for the instrumental music

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

 ”
[11]

For a work such as this, however, the Timpani and the Trumpets would be excluded. Therefore, the ensemble required [if going by Leipzig standards—we have no information about ensemble requirements for Arnstadt-Köthen], the Vocal forces would require 12-16 singers (3-4 per part), with two per part for the solo roles, and the following:

  1. 2 each for the Flute parts (that is Flauto traverso I/II)
  2. 2 each for the Oboe parts (that is Oboe I/II)
  3. 3 each for the Violino I part
  4. 3 each for the Violino II part
  5. 2 each for the Viola I part
  6. 2 each for the Viola II part
  7. 2 each for the Bassoon part
  8. 2 each for the Violoncello parts (that is Violoncello I/II)
  9. 1 each for the Violon part
  10. 1 each for the Liuto part

Total of 20 players, to which would be added an Organist and Harpsichordist [Bach would probably be the harpsichordist, as according to the surviving information we have about his conducting position, he often conducted from the harpsichord].

References

  1. ↑ Schabalina, Tatjana. "Texte zur Music" in St. Petersburg - Weitere Funde". Bach-Jahrbuch, vol. 95 (2009). pp. 11-48.
  2. ↑ Schniebes, Gortlieb Friedrich. Verzeichniß des musikalischen Nachlasses des verstorbenen Capellmeisters Carl Philipp Emanuel Bach (1714-1788). Hamburg: Gortlieb Friedrich Schniebes, 1790. p. 81. Retrieved 13 May 2011 from http://www.cpebach.org/cpeb/resources.html
  3. ↑ Mattheson, Johann. Das Beschützte Orchestre, oder desselben Zweyte Eröffnung Worinn Nicht nur einem würcklichen galant-homme ... sondern auch manchem Musico selbst die alleraufrichtigste und deutlichste Vorstellung musicalischer Wissenschaften ... ertheilet .... Hamburg, Schiller-Verlag, 1717. p. 222. Retrieved 12 May 2011 from http://www.bsb-muenchen-digital.de/~web/web1059/bsb10599042/images/index.html?digID=bsb10599042&pimage=00011&v=pdf&md=1&l=de
  4. ↑ actually Louis-Claude Marchand
  5. ↑ Mendel 1999, p. 80
  6. ↑ Retrieved 17 May 2011 from http://www.bach-digital.de/receive/BachDigitalWork_work_00001533.
  7. ↑ Bach, Johann Sebastian. Kurtzer; iedoch höchstnöthiger Entwurff einer wohlbestallten Kirchen Music; nebst einigem unvorgreiflichen Bedencken von dem Verfall derselben. Leipzig: Johann Sebastian Bach, 23 August 1730. Retrieved on 17 May 2011 from http://www.bach.de/leben/kirchenmusik.html.
  8. ↑ David, Hans T. and Arthur Mendel. The Bach Reader: A life of Johann Sebastian Bach in Letters and Documents. Rev. ed. New York: W. W. Norton & Company, 1980. pp. 120-121.
  9. ↑ David, Hans T. and Arthur Mendel. The Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents. Rev. ed. New York: W. W. Norton & Company, 1980. p. 124.
  10. ↑ Bach, Johann Sebastian. Kurtzer; iedoch höchstnöthiger Entwurff einer wohlbestallten Kirchen Music; nebst einigem unvorgreiflichen Bedencken von dem Verfall derselben. Leipzig: Johann Sebastian Bach, 23 August 1730. Retrieved on 17 May 2011 from http://www.bach.de/leben/kirchenmusik.html.
  11. ↑ David, Hans T. and Arthur Mendel. The Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents. Rev. ed. New York: W. W. Norton & Company, 1980, p. 121.

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