With the unfinished revision (1739) as an appendix.
The St. John Passion ranks among the great vocal works from Bach’s Leipzig years. In contrast to his other large-scale choral works, however, Bach never gave this work a definitive final form. Rather, for every performance he made numerous changes. All previous editions of the St. John Passion have combined readings from various layers of sources. The wish often expressed by conductors to perform an authentic version is made possible for the first time with the present edition in this fourth and final version which was performed under Bach’s direction in 1749. At the same time, with the aid of the appendix it is possible to perform the work in the traditional “mixed version”, please use for the “mixed version” the vocal part Carus 31.245/93.
The recording for carus music, the choir choach and the Carus Choir Coach is based on the piano reduction of the traditional version (Carus 31.245/93). The first 10 movements correspond to the appendix in the score (Carus 31.245/00) from p.162ff. (piano reduction Carus 31.245/03, p.150ff.).
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- Coro: Herr, unser Herrscher
- Recitativo & Coro: Jesus ging mit seinen Jüngern
- Corale: O große Lieb
- Recitativo: Auf dass das Wort erfüllet würde
- Corale: Dein Will gescheh, Herr Gott, zugleich
- Recitativo: Die Schar aber und der Oberhauptmann
- Aria (A): Von den Stricken meiner Sünden
- Recitativo: Simon Petrus aber folgete Jesu
- Aria (S): Ich folge dir gleichfalls
- Recitativo: Derselbige Jünger war dem Hohenpriester bekannt
- Corale: Wer hat dich so geschlagen
- Recitativo & Coro: Und Hannas sandte ihn gebunden fort
- Aria (T): Ach, mein Sinn
- Corale: Petrus, der nicht denkt zurück
- Corale: Christus, der uns selig macht
- Recitativo & Coro: Da führeten sie Jesum
- Corale: Ach großer König
- Recitativo & Coro: Da sprach Pilatus zu ihm
- Arioso (B): Betrachte, meine Seel
- Aria (T): Mein Jesu, ach! dein schmerzhaft bitter Leiden
- Recitativo & Coro: Und die Kriegsknechte flochten eine Krone
- Corale: Durch dein Gefägnis, Gottes Sohn
- Recitativo & Coro: Die Jüden aber schrieen und sprachen
- Aria (B): Eilt, ihr angefochtnen Seelen
- Recitativo & Coro: Allda kreuzigten sie ihn
- Corale: In meines Herzens Grunde
- Recitativo & Coro: Die Kriegsknechte aber
- Corale: Er nahm alles wohl in acht
- Recitativo: Und von Stund an nahm sie der Jünger zu sich
- Aria (A): Es ist vollbracht
- Recitativo: Und neiget sich das Haupt und verschied
- Aria (B) & Corale: Mein teurer Heiland / Jesus, der du warest tot
- Recitativo: Und siehe da, der Vorhang
- Arioso (T): Mein Herz, in dem die ganze Welt
- Aria (S): Zerfließe, mein Herze
- Recitativo: Die Jüden aber, dieweil es der Rüsttag war
- Corale: O hilf, Christe, Gottes Sohn
- Recitativo: Darnach bat Pilatum Joseph von Arimathia
- Coro: Ruht wohl, ihr heiligen Gebeine
- Corale: Ach Herr, lass dein lieb Engelein
Additional material
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Digital text (without sheet music) incl. printing licence, html file, singing text, english translationhtml file, singing text, english translation (Sample)Parte prima
1. Chorus Lord, thou our Master,
thou whose name
in ev’ry land is honored,
is ever honored ev’rywhere!
Show us in this,
thy Passion’s hour,
how thou, the very Son of God,
for endless time, art now become,
tho’ brought so low,
forever glorified.2a. Recitativo Evangelista
Jesus went with his disciples over the brook Cedron,
where was a garden, to which came Jesus and his disciples.
Judas also he who was false knew the place full well,
for Jesus resorted thither oft to be with his disciples.
Judas therefore, who had gathered a body of men,
...
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Digital text (without sheet music) incl. printing licence, html file, singing text, originalhtml file, singing text, original (Sample)
Parte prima · Vor der Predigt
1. Chorus Herr, unser Herrscher, dessen Ruhm
in allen Landen herrlich ist!
Zeig uns durch deine Passion,
dass du, der wahre Gottessohn,
zu aller Zeit,
auch in der größten Niedrigkeit,
verherrlicht worden bist!2a. Recitativo Evangelista
Jesus ging mit seinen Jüngern über den Bach Kidron,
da war ein Garte, darein ging Jesus und seine Jünger.
Judas aber, der ihn verriet, wusste den Ort auch,
denn Jesus versammlete sich oft daselbst mit seinen Jüngern.
Da nun Judas zu sich hatte genommen die Schar
und der Hohenpriester und Pharisäer Diener,
kommt er dahin mit Fackeln, Lampen und mit Waffen.
Als nun Jesus wusste alles,
was ihm begegnen sollte,
...
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, englishhtml file, Introductory text, english (Sample)Abridged text from the CD Carus 83.313
Michael Maul
Complete even though Uncompleted – Bach’s St. John Passion and its Dramatic History of Origin
Translation: Gudrun and David KosvinerWhen the court Kapellmeister Johann Sebastian Bach from Köthen took up his post as music director and Kantor of St. Thomas’s School in the early summer of 1723, the weekly performance and composition of cantatas for church services on Sundays and feast days became the focus of his artistic work. In addition, he was obliged every year to deliver a musical rendition of one of the four biblical passion narratives for the vespers service on Good Friday. The latter was undoubtedly the greatest challenge for the Kantor, as the length of a passion composition exceeds that of a cantata many times over. But because there was a strict ban on music-making during the six weeks of Lent in Leipzig, Bach had comparatively much preparation time at his disposal. And so he was able to put his own personal stamp on the event already for his first Good Friday vespers on 7 April 1724. However, he had to demonstrate sensitivity. The practice of figural passion music, which had also become customary in Leipzig since 1721, was (still) controversial.
...
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, germanhtml file, Introductory text, german (Sample)Gekürzter Booklet-Text der CD Carus 83.313
Michael Maul
Unvollendet vollendet – Bachs Johannes-Passion und ihre dramatische EntstehungsgeschichteAls der Köthener Hofkapellmeister Johann Sebastian Bach im Frühsommer 1723 sein Amt als Leipziger Musikdirektor und Kantor der Thomasschule antrat, rückte das wöchentliche Aufführen, respektive Komponieren von Kantaten für die Gottesdienste an den Sonn- und Festtagen in den Mittelpunkt seiner künstlerischen Arbeit. Zudem ergab sich für ihn die Verpflichtung, jährlich im Vespergottesdienst am Karfreitag eine musikalische Schilderung von einem der vier biblischen Passionsberichte abzuliefern. Letzteres war für den Kantor gewiss die größte Herausforderung, übersteigt doch die Länge einer Passionsmusik diejenige einer Kantate um das Vielfache. Aber weil während der sechswöchigen Fastenzeit in Leipzig ein strenges Musizierverbot herrschte, stand Bach vergleichsweise viel Vorbereitungszeit zur Verfügung. Und so konnte er bereits in seiner ersten Karfreitagsvesper, am 7. April 1724, dem Ereignis seinen ganz persönlichen Stempel aufdrücken. Dabei musste er allerdings Fingerspitzengefühl walten
...
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Contents
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Composer
Johann Sebastian Bach
| 1685-1750Johann Sebastian Bach is one of the most important composers of Western music history. He came from a widely ramified musical dynasty, which produced numerous musicians and organists in the Thuringian-Saxon area.
Bach vocal
Ever since Carus-Verlag was founded in 1972, publishing the music of Johann Sebastian Bach has been a special focus for us. In the 2017 Reformation anniversary year we completed the Bach vocal project. Bach's complete sacred vocal works are now available in modern Urtext editions, together with performance material. A complete edition of all the full scores is also available in a high quality box set. Personal details
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Editor
Peter Wollny
| 1961
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Songwriter / Librettist
Christian Weise
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Songwriter / Librettist
Christian Heinrich Postel
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Songwriter / Librettist
Barthold Heinrich Brockes
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Vocal score arranger
Paul Horn
| 1922-2016Paul Horn war ein deutscher Kirchenmusiker, Organist, Komponist und Musikwissenschaftler. Er studierte Kirchenmusik und Orgel an der Evangelischen Kirchenmusikschule Esslingen am Neckar bei Hans-Arnold Metzger und Musikwissenschaft, Theologie und Geschichte an der Universität Tübingen. Seine berufliche Laufbahn begann als Kantor an der Evangelischen Michaelskirche in Stuttgart-Degerloch. 1954 wurde er Kantor an der Evangelischen Stadtkirche Ravensburg, eine Position, die er bis zu seiner Pensionierung innehatte. Als Musikwissenschaftler arbeitete Horn bis ins hohe Alter eng mit Carus zusammen. So stammen zahlreiche Carus-Klavierauszüge aus seiner Feder. Personal details
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Translator
Henry Drinker
Reviews
... Es ist überaus verdienstvoll, diese Fassung der Praxis erschlossen zu haben.
Württembergische Blätter für Kirchenmusik 2/2005
Die Begegnung mit den verschiedenen Fassungen der Johannespassion eröffnet uns die Möglichkeit, Vertrautes neu zu erleben und dabei die Veränderungen und Konstanten eines Vierteljahrhunderts von Bachs Schaffenszeit zu reflektieren.
Jürgen Hinz, Das Orchester 9/2005
I’ve only seen the score, which is excellently produced, easy on the eyes and to handle. There are (or will be) vocal score, parts, organ realisation and libretto. A companion edition of the 1725 version is also in preparation. This is a commendable enterprise. I would suggest that the whole introduction and the prose of the critical commentary be given in English if there is a reprint, and that the 1725 score issued thus; there could also be a little more on performance matters.
Early Music Review April 2003
Bachs „Johannes-Passion” hat eine komplexe Entstehungs- und Aufführungsgeschichte, die in Form einer Konkordanz der vier Fassungen und durch das ausgezeichnete Vorwort bestens dargestellt wird. Als separate Ausgaben werden die Fassungen II (1725) und IV (1749) im gesamten Aufführungsmaterial ediert. Der Klavierauszug von Paul Horn von Fassung IV weist den Vokalstimmen je ein eigenes Liniensystem zu und bringt die Instrumentalstimmen in gut spielbarem Klaviersatz (samt Hinweisen auf die Instrumentation), wobei dem deutschen Originaltext eine englische Übersetzung von Henry S. Drinker in Kursivdruck beigegeben ist.
Singende Kirche 2/2002
... Eine Konkordanz gibt ausführlich Einblick in die Unterschiede der vier Fassungen und der revidierten Partitur. Hier erhält man nicht nur gutes Aufführungsmaterial, sondern auch gleich einen guten Einblick in die aufführungspraktischen Fragen. Sehr schön und auch nützlich sind die Nachdrucke einzelner Blätter aus den Originalhandschriften. Unbedingt empfehlenswert.
Reinhold Ix, Musik im Bistum Essen 2/2002
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Frequent questions about this work
Performing the Traditional Version of the “St. John Passion” using the Carus score and orchestral materials for Version IV. How does this work in practice?
First of all, it must be said: it is simply not possible to produce a single edition covering both versions without certain compromises and page-turns. The Carus edition is primarily designed for performance of the self-contained Version IV from 1749. However, it can also be used to perform the so-called “Traditional Version”. To realize Version IV, simply play from the beginning to the end of the final chorus. For the Traditional Version, start on page 162 of the score; then, after No. 10 “Derselbigen Jünger war dem Hohepriester bekannt” (That other disciple to the High Priest long had been known), turn back to page 38 for Chorale No. 11 “Wer hat dich so geschlagen” (Who was it Lord, did smite thee). The orchestra must also turn to the appropriate page in their parts. This could certainly be consciously integrated into the dramaturgy, as there is a distinct break in the composition at this point where Bach’s revision from c. 1739 ends – a transition that is clearly audible, for instance, in the chorales. The act of page-turning can form a deliberate caesura to highlight the different historical layers. For the choir, we have the following options regarding vocal scores, choral scores, and our practice app: Version IV & Traditional Version: vocal score Carus 31.245/03 and choral score Carus 31.245/05. Traditional Version only: vocal score Carus 31.245/93 and choral score Carus 31.245/95. The “carus music” practice app is a 100% match for the Traditional Version, but not for Version IV or Version II.
I would like to perform the “St. John Passion” in its first version from 1724. Is this version also available from Carus or can it be found in another edition?
While only a few of the instrumental and vocal parts from the 1724 version have survived, the semi-autographical copy of the 1739 score enables us to draw some limited conclusions on the 1724 score. The 1724 version was relatively similar to the 1749 version, but two of the texts were changed for the 1749 performance. Some evidence suggests that the wind instrumentation and other details also differed, but we are largely left to conjecture. Carus has separate performance material for an confirmed variation in the instrumentation in the 1724 version (movement 19/20 with 2 violas d’amore and lute instead of two violas con sord. and obl. organ; Carus 31.245/81 +82). An overview of all the versions and their differences can be found in the preliminary material in the Carus full scores for the “St. John Passion”. If you want to perform the “St. John Passion” in a version close to that of 1724, the 1749 version with the original texts to movement 9 and movement 19/20 is recommended. For movement 9, the text can be found in full score’s appendix and in the vocal score. For movement 19/20 both text versions can be found one after another in the full score and vocal score. You can add the characteristic variation in the instrumentation to movement 19/20. Further reconstruction attempts lead unnecessarily away from the traditional musical text, without resulting in clearly audible differences and the certainty of actually creating a performance that is closer to the 1724 version.
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