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Mark's is the more personal account. In the sermon on the Passion, Luther says: Christ's death swallowed up death, and the centurion said[: Other kings are strong in life: When he was dead the centurion trembled and commenced to be a Christian The disciples fled, but this centurion began to confess Christ without fear of all the high priests or of what Pilate and the council might say. Who then was master here? Was it not the death of Christ that gave the heathen centurion a new spirit?
This is the power of the Passion that it makes men bold to confess Christ.
At his death in , Bach's estate carried 52 titles, some involving multiple volumes. Almost all areby orthodox Lutheran theologans. Eleven titles are Biblical commentary, some 23 others are sermons on Biblical texts, usually Epistles and Gospels. The others involve 15 volumes of Luther 's writings, practical devotional books, theological discussions, tracts, hymnbooks, and works of the Pietists Philipp Jakob Spener and August Hermann Francke.
Spirituality and Pietism Before any inquiry into the spirituality of Bach's music, it must be acknowledged that major controversy still invests the topic.
In general, to have the pure Bible text set to music is a particular characteristic of Bach's liturgical works The service order, according to C. In tears of grief Chorus. The elaborated Passion was heard "for the first time" in Leipzig at the Thomaskirche St. Who then was master here?
Today, few commentators embrace extravagant characterizations of Bach such as the "Fifth Evangelist. The intent here is not to engage actively in that debate, although much of the material herewith supports the spiritual, sermon side. Bach in his musical Passions, particularly in his last complete and original Passion, the St. Mark Passion, found great opportunity to let Lutheran orthodoxy express itself, apart from the intensity of his involvement or commitment.
What should be indisputable is that the St. Mark Passion is a faithful, biblically- and theologically-based work which edifies and instructs the congregation. Obviously, the major collaborators, Bach, Picander , and perhaps Pastor Christian Weiss, had each other and Lutheran orthodoxy as acceptable checks and balances. As Friedrich Smend observes: We can be fairly certain that the chief pastor of the Thomaskirche, Christian Weiss, had been involved in the drafts of the texts of Bach's cantatas, including the recitatives and arias, in the same way as we have proof that the composer's texts had received the express approval of the consistory.
The Pietists certainly didn't have a monopoly on pietistic sentiments. Pietistic sentiments and imagery are found throughout Bach's Passions. John Passion, BWV , of They are replete with colorful and graphic pietistic imagery in both the lyric movements and the narrative which was completely rewritten in rhyme. Picander in his first Passion libretto, a rhymed pasticcio published in and modeled on Brockes , seems to have influenced several numbers in Bach's St.
Mark Passions, Picander softened the more graphic imagery in favor of a language which involved an emotional, intimate, direct, and devout relationship with Christ. Bach as Preacher," expresses the thesis that Bach's Passions are "sermons in sound that in their two halves prepare for the actual preaching at Good Friday Vespers and then build on it. Matthew Passions, Leaver finds all five sermon elements in these two works: The significance of the opening and closing movements of Bach's Passions has received much favorable comment. Bach's technique in all his Passions is to expose the Biblical text alternating with the application of pertinent, interpolated music to bring out the underlying meaning of the text.
Leaver says that in the application "it is principally in the chorales that Bach evokes the response of the congregation. Bach used these chorales not simply to give variety in a long complicated setting of the Passion. They are there to draw the congregation into the drama so that they become participants rather than simply spectators.
Significance of Suffering The overall structures of Bach's three extant Passions vary greatly: John Passion has obvious chiastic cross-like or palindrome structures, the St. Matthew Passion "has a more complicated and less obvious overall structure"; [23] and the St. Mark Passion has a loose, topical, organic form. Scholars have suggested key movements or central points in Bach's two completely extant Passions, based on these structures.
Leaver and Steinitz find that the structures of the St. John Passion and the St. Matthew Passion reveal their focal points. Leaver finds the centerpiece in the former is the chorale, No. All four prophecies are recalled in the crucifixion scene, with one exception in Luke. Psalm 22 has three: Verse 1, "My God, my God, why hast thou orsaken me? Isaiah 53 has one prophecy: Verse 12, "He was numbered reckoned with the transgressors malefactors " Mk. Of the four Gospels, Mark's is the only one which has all four prophecies; Matthew has three; Bach's Passions are kerygmatic, says Leaver, proclaiming Jesus as Christ [28] through the portrayal of his suffering.
To help Bach's audience understand the purpose of Christ's death, Lutheran orthodoxy uses the didactic techniques of proclamation and portrayal. Gerard Knoche in The Gift of the Gospel says that " Luther saw the Christian in bondage to sin, the law, the wrath of God, the devil, and death. The texts of Bach's interpolations, especially the chorales, variously relate to the models of atonement. For "if we want to designate a single theme as the central one for Bach's art, it is the cross and the crucified," and "for him the world is the world of sinners, fallen and lost, but at the same time rescued through Christ.
Through grace alone can the godless be accepted as justified before God, since Christ died for the sins of mankind. These are Luther 's so-called "Theology of the Cross," which is inextricably bound to Luther 's doctrine of "Justification by Grace through Faith. Luther 's biblical basis was the first two chapters in Paul's Epistle to the Corinthians in which Paul proclaims above all else "Christ crucified.
God meets us most profoundly at the point of our deepest reality -- our honest confontation with weakness, pain, solitude and death. Luther called this reality the Theology of the Cross. Its opposite is the Theology of Glory Lull, [35] and Romans 3: Christian Weiss , who was head pastor of St.
Salomon Deyling, was superintendent of the Leipzig churches and head pastor at St. Deyling preached the sermon at his church where Bach alternately presented required annual Passion performances. No reading of the Gospel preeceded the sermon; Bach's Passions contained the entire Gospel Passion narrative.
In general, to have the pure Bible text set to music is a particular characteristic of Bach's liturgical works He continually tried to provide concerted, elaborate music in the face of burdensome restrictions. At his election as Cantor of St. Steger "voted for Bach, and [cautioned that] he should make compositions that were not theatrical. Thomas School, May 5, , Bach agreed, as one of fourteen points: In order to preserve the good order in the Churches, so arrange the music that it shall not last too long, and shall be of such a nature as not to make an operatic impression, but rather incite the listeners to devotion.
On 13 May the superintendent minister in Leipzig , Solomon Deyling, reported to the church consistory that Bach's theological views had been examined and that the cantor-elect had specifically subscribed to the Formula of Concord. The Bach Reader in its initial edition New York: Under the heading "'Theatrical' Passion Music," a footnote [44] observes: Matthew Passion, quite probably refer to that work. If indeed it is true that there will remain a place for moderate music in the church, especially since the late D.
Dannhauer regarded it as an ornament to the divine service, a view that does not meet with the approval of all theologians, it is at the same time a well-known fact that very often the performances are excessive. One might well agree with Moses when he says: The reason is that this music often sounds so very worldly and jolly that it is more befitting a dance floor or an opera than the divine service. The last thing, in the opinion of many pious folk, that such singing should suitably accompany is the Passion of Christ.
Fifty or more years ago, it was the custom on palm Sunday for the organ to remain silent in church, and there was no music making at all on that day because it signified the beginning of Holy Week. Now, however, with the story of the Passion, which hitherto was sung de simplici et plano, in a straightforward, reverent manner, they have begun to set the occasion to music in the most elaborate artistic fashion, using many different kinds of instruments.
From time to time they incorporate a verse from a Passion hymn and the whole congregation joins in in the singing, after which the instruments are again heard in company. When this Passion music was performed for the first time in a distinguished city, by 12 violins, numerous oboes, bassoons, and other instruments, many were amazed and did not know what to make of it. On another occasion in a court chapel, many high ministers and noble ladies were together assembled and were singing the first Passion hymn from their books in a spirit of great devotion.
When the theatrical music struck up, all these persons were greatly astonished, looked at each other and said, "What shall become of this? It is like being at a comic opera. There are, it must be conceded, certain spirits who find pleasure in such idle matters, especially when they are of a sanguine temperament and inclined towards sensuality. Such people stoutly defend these great musical performances in church and regard those who think otherwise as capricious or miserable souls, or as facetious, as if they alone possessed the wisdom of Solomon and that the rest lacked understanding.
Oh, how good it would be for the Christian church if we were to preserve that early devotional simplicity in the sermons, prayers, and hymns that make up our divine service. If some of those early Christians were to rise again and join our congregations, only to hear an organ thundering out its music, together with so many other instruments, I do not believe that they would recognize us as Christians and their own successors [45] Smend disproves the connection with the St.
He suggests [46] that the "distinguished city" with "many high ministers" was more likely to be Dresden. The elaborated Passion was heard "for the first time" in Leipzig at the Thomaskirche St. Leaver echoes Smend's highly literal arguments. O man, thy grievous sin Chorus. And they that had laid hold Evangelist. How falsely doth the world Chorus. Yea though many Witnesses, Evangelist.
He holds His peace Tenor. Then they did spit in His face Chorus, Evangelist. O Lord, who dares to smite Thee Chorus. Then began he to curse Peter, Evangelist. Have mercy, Lord, on me Contralto. Lamb of God Chorus. When the morning was come Chorus, Judas, Evangelist. And he cast down Judas, Evangelist. Give, O give me back my Lord Bass. And they took counsel Pilate, Jesus, Evangelist.
Commit thy way to Jesus Chorus. O wondrous love Chorus. And the Governor said Pilate, Evangelist. To all men Jesus Soprano.
Digital Sheet Music for St. Matthew Passion: Part II, No. 51, "O Gracious God" by Johann Sebastian Bach, scored for Voice/Piano, id 51, "O Gracious God" Sheet Music by Johann Sebastian Bach. St. Matthew Passion: Part II, No. 51, "O Gracious God" Sheet Music is Scored for Voice/Piano.
For love my Saviour Soprano. But they cried out Chorus, Pilate, Evangelist. O Gracious God Contralto. If my tears be unavailing Contralto. Then the soldiers Chorus, Evangelist. O Sacred Head Chorus. And after that Evangelist.
And when they were come Chorus, Evangelist. The thieves also which Evangelist. See ye, see Chorus, Contralto. Now from the sixth hour Chorus, Jesus, Evangelist. Be near me Lord Chorus. And behold the veil Chorus, Evangelist. At evening, hour of calm and peace Bass. Make thee clean, my heart Bass. And when Joseph Chorus, Pilate, Evangelist.
In tears of grief Chorus. The World of Kathleen Ferrier. Bach, Gluck, Mendelssohn And Britten.