764:
774:
216:; copies of these librettos survive to this day in the Hamburg Staatsarchiv. It is important to note that in addition to the chorale texts, the librettos also listed a corresponding number in the Hamburg Gesangbuch (Hymnal), strongly suggesting that the congregation participated in the chorale singing.
219:
Out of all 21 Passions written in
Hamburg, none is an entirely original work. Though Bach did borrow from himself, he more frequently borrowed from other composers. He often borrowed biblical material (usually turba choruses) from Telemann and J. S. Bach. For the arias and non-biblical
192:
and ended with the death of Jesus, rather than telling the contextualizing details as well. The biblical text was set in recitative and assigned to the appropriate characters (individual singers taking the roles of the
Evangelist,
163:
Each year while he was in
Hamburg, Bach compiled a new Passion to be performed during Lent. The Gospel text to be used was chosen on a rotating cycle, as was the Hamburg tradition established in the late 17th century, in the order
139:, among others). The Passion oratorio does away with the vocal characterization used in the oratorio Passion and is more a free, poetic retelling of the narrative, rather than a direct quote from the
398:
ist solche nach historischer und alter Art mit den
Evangelisten und anderen Personen vorgestellt oder wird sie nach Art eines Oratorii mit Betrachtungen, wie zum Beispiel die Ramlerische, eingericht?
208:, once in each church. They were performed starting in the oldest church and moving to the youngest church as follows: St. Peter, St. Nicholas, St. Catherine, St. James and St. Michael. The Passion
201:, and so on). Reflective chorales and arias were inserted at predefined points in the narrative, providing commentary on the Passion events. The length was generally carefully kept within one hour.
777:
803:
767:
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155:'s oratorio ?" As the clergy in Hamburg were rather conservative, they preserved this "old-fashioned" style until the church music reform in 1789, after Bach's death.
519:
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247:. One exception seems to be the last of the passions, a keyboard reduction of which was published in the year of its premiere (1789).
235:
The
Passions were never published in Bach's lifetime, and survive only in manuscript form. These materials, however, were lost after
721:
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655:
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244:
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425:
333:(1775) H. 788, "Herr starke mich dein Leiden", by C.P.E. Bach (arrangement of Homilius' Lukas-Passion, HoWV I.5)
798:
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243:, where they remain to this day. They are currently being transcribed into modern, engraved editions by the
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and other persons, or is it arranged in the manner of an oratorio with reflections, as is the case in
524:
189:
188:), Bach modeled his Passions on those of Telemann: they were roughly an hour long, and began in the
152:
562:
Carl
Philipp Emanuel Bach and Liturgical Music at the Hamburg Principal Churches from 1768 to 1788
147:
in 1767 to clarify his duties in
Hamburg: "are presented in the historic and old manner with the
95:
565:
548:
528:
497:
480:
470:
299:, Beat Raaflaub, Ad Fontes, Knabenkantorei Basel, ArsMusici (1994) (not a complete recording).
165:
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116:
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is currently preparing a complete edition of C. P. E. Bach's works, including the passions.
371:, conductor, Mendelssohn Symphonia, Europa Chor Akademie, Capriccio Records C60 132 (2007).
17:
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289:, conductor, Bach Collegium, Gächinger Kantorei, CBS 42511 (1987) (complete recording).
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and were only rediscovered in 1999. In 2001, they were returned to their home at the
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347:, conductor, Deutsche Kammer-Virtuosen, Windsbacher Knabenchor, Rondeau 2027 (2004).
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and continued unbroken until the death of Carl
Philipp Emanuel Bach in 1788. The
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99:, is the style that is most familiar to the modern listener. It makes use of
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378:, conductor, Mendelssohn Symphonia, Europa Chor Akademie, Glor 8071 (2008).
374:
Lukas-Passion (1787) H. 800 “O Lamm Gottes unschuldig“, by C. P. E. Bach,
209:
80:
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180:. As they were performed in a regular Sunday service (not at a separate
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Passion according to St. Matthew: 1769, 1773, 1777, 1781, 1785, 1789
255:
The
Passions themselves are as follows (year of performance given):
103:
to tell the
Passion narrative and initially intersperses reflective
220:
choruses, he turned to the music of his contemporaries, most often
367:
H.799 "Ach großer König, groß zu allen Zeiten", by C. P. E. Bach,
194:
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594:
319:
H. 785 "Erforsche mich, erfahr mein Herz", by C. P. E. Bach,
496:(Ph.D. diss ed.). Princeton, NJ: Princeton University.
509:
Leisinger, Ulrich (2001). "Bach, Carl Philipp Emanuel". In
268:
Passion according to St. John: 1772, 1776, 1780, 1784, 1788
265:
Passion according to St. Luke: 1771, 1775, 1779, 1783, 1787
262:
Passion according to St. Mark: 1770, 1774, 1778, 1782, 1786
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305:
H. 782 "Christus, der uns selig macht", by C. P. E. Bach,
127:
Der fĂĽr die SĂĽnden der Welt gemarterte und sterbende Jesus
204:
The Passion for the year was performed five times during
564:(Ph.D. diss ed.). New Haven, CT: Yale University.
343:
H. 794, "Jesu, meiner Seelen Licht", by C. P. E. Bach,
143:. Bach himself made this distinction when he wrote to
53:
narrative and 1 Passion oratorio (the Passion Cantata
353:
H. 798 "O Lamm Gottes, im Staube", by C. P. E. Bach,
740:
713:
637:
469:. Los Altos, Calif.: Packard Humanities Institute.
749:Frederick the Great Playing the Flute at Sanssouci
403:C. P. E. Bach: Briefe und Dokumente
323:, conductor, Capriccio Basel, Zelter-Ensemble der
520:The New Grove Dictionary of Music and Musicians
30:For the settings by Johann Sebastian Bach, see
414:The librettos are transcribed in Clark (1984).
337:, Il Fondamento, Harmonia Mundi IF1401 (2015).
730:Carl Philipp Emanuel Bach: The Complete Works
695:
606:
8:
662:
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644:
494:The Occasional Choral Works of C. P. E. Bach
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804:Compositions by Carl Philipp Emanuel Bach
705:Sonata in A minor for Solo Flute, Wq. 132
295:H. 860 "Gehet heraus und schauet an", by
281:H. 860 "Gehet heraus und schauet an", by
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311:Amsterdam Baroque Orchestra & Choir
212:were printed each year for sale to the
665:Die Auferstehung und Himmelfahrt Jesu
27:Passions by Carl Philipp Emanuel Bach
7:
467:Passion according to St. Mark (1770)
313:, Edition Alte Musik ORF 316 (2003).
119:, a genre typified by the so-called
115:as well. This is in contrast to the
547:. Leipzig: Breitkopf & Härtel.
461:Bach, Carl Philipp Emanuel (2006).
361:, Capriccio Records C60 113 (2005).
327:, Capriccio Records C60 103 (2004).
25:
722:Carl Philipp Emanuel Bach Edition
357:, conductor, Zelter-Ensemble der
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685:Notebook for Anna Magdalena Bach
545:Philipp Emanuel Bach in Hamburg
56:Die letzten Leiden des Erlösers
71:began in Hamburg in 1643 with
1:
492:Clark, Stephen Lewis (1984).
585:Packard Humanities Institute
424:Bach, Carl Philipp Emanuel.
245:Packard Humanities Institute
67:The tradition of the German
49:composed 21 settings of the
656:Die Israeliten in der WĂĽste
18:The Passions of C.P.E. Bach
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560:Sanders, Reginald (2001).
543:Miesner, Heinrich (1929).
230:Gottfried Heinrich Stölzel
29:
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622:Carl Philipp Emanuel Bach
426:"Matthäus-Passion, H.802"
222:Gottfried August Homilius
47:Carl Philipp Emanuel Bach
523:(2nd ed.). London:
351:Matthäus-Passion (1785),
341:Matthäus-Passion (1781),
317:Johannes-Passion (1772),
303:Matthäus-Passion (1769),
158:
83:Passion, made famous by
359:Sing-Akademie zu Berlin
345:Karl-Friedrich Beringer
325:Sing-Akademie zu Berlin
241:Sing-Akademie zu Berlin
184:, as was the custom in
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673:Gellert Odes and Songs
663:
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365:Markus-Passion (1786),
145:Georg Michael Telemann
137:George Frideric Handel
133:Georg Philipp Telemann
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401:" See Ernst Suchala,
85:Johann Sebastian Bach
631:List of compositions
525:Macmillan Publishers
190:Garden of Gethsemane
297:Johann Georg Röllig
283:Johann Georg Röllig
45:from 1768 to 1788,
96:St Matthew Passion
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534:978-1-56159-239-5
476:978-1-933280-18-9
16:(Redirected from
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429:. Retrieved
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369:Joshard Daus
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214:congregation
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73:Thomas Selle
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733:(1998–2018)
725:(1982–1995)
647:La Caroline
405:, I:132–36.
307:Ton Koopman
226:Georg Benda
224:, but also
793:Categories
679:Magnificat
383:References
273:Recordings
149:Evangelist
107:but later
101:recitative
446:H.782-802
210:librettos
59:H. 776).
768:Category
714:Editions
691:Passions
570:51308493
517:(eds.).
502:17340187
485:77639949
463:Uwe Wolf
131:(set by
113:choruses
105:chorales
81:oratorio
741:Related
553:1088311
465:(ed.).
186:Leipzig
182:Vespers
166:Matthew
141:Gospels
121:Brockes
87:in his
63:History
51:Passion
43:Hamburg
568:
551:
531:
500:
483:
473:
176:, and
153:Ramler
778:Audio
638:Works
431:8 May
251:Works
199:Peter
195:Jesus
109:arias
583:The
566:OCLC
549:OCLC
529:ISBN
498:OCLC
481:OCLC
471:ISBN
433:2019
228:and
206:Lent
178:John
174:Luke
170:Mark
135:and
111:and
93:and
75:’s
41:at
37:As
795::
527:.
513:;
479:.
285:,
232:.
197:,
172:,
168:,
614:e
607:t
600:v
572:.
555:.
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537:.
504:.
487:.
435:.
395:"
34:.
20:)
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