Brockes Passion

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Oratorio dates
Title: Brockes Passion
Original title: Jesus tortured and dying for the sin of the world
Title page of the libretto from 1712

Title page of the libretto from 1712

Shape: Passion - Oratorio
Original language: German
Music: First setting by Reinhard Keizer
Libretto : Barthold Heinrich Brockes
Premiere: Passion time 1712
Place of premiere: Home of the poet, Hamburg
people
  • Maria
  • Three maids
  • daughter Zion
  • Judas
  • John
  • Jacobus
  • Soldier
  • evangelist
  • Peter
  • Jesus
  • Caiphas
  • Pilate
  • Captain
  • Believing souls
  • Choir

The Brockes Passion (AKA The martyred for the sins of the world and dying Jesus ) is a libretto for a Passions - Oratory of the Hamburg Councilor Barthold Heinrich Brockes . It was set to music more than ten times. The first performance of Reinhard Keizer's first setting took place in the passion of 1712 in the librettist's large house in Hamburg in front of an illustrious invited audience. The best-known setting comes from Georg Friedrich Handel ( HWV 48 ).

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The text is based on the Passion event in the four gospels of the Bible , especially on chapters 26 to 27 of the Gospel of Matthew . After the opening chorus, which is to be understood as the congregation's confession of sins (“To free me from the rope of my sins, my God is bound”), the following events are dealt with: The Lord's Supper, the walk to the Mount of Olives, the prayer in Gethsemane, the imprisonment, the interrogation the Sanhedrin, the denial by Peter, the extradition to Pilate, the trial before Pilate, the mockery, the crucifixion and the death of Jesus. The final chorus is a consoling confession to Christ, who redeemed the world through his suffering.

History of origin

The type of the bourgeois passion oratorio with completely rewritten texts, in contrast to the older form of the oratorio passion, which processed the biblical passion story largely on the basis of the biblical text, originated in Hamburg at the beginning of the 18th century. Since the opera house there was closed during the Passion period, the musicians employed there had time for other tasks and were thus able to enrich the church performances. In 1704 Reinhard Keizer wrote his oratorio The bloody and dying Jesus there based on a text by Christian Friedrich Hunold (Menantes). This libretto was the forerunner of Brockes' poetry, which first appeared in 1712. Brockes explained the purpose of his text in the preliminary report for the textbook: On the one hand, it was intended to offer the citizens of Hamburg "permitted amusement" during Holy Week, and on the other hand to serve as "edification". The first setting was made in the same year by Reinhard Keizer. According to Brockes' own statements, it was performed in his own house in front of an audience of more than 500, including "not only the entire foreign nobility, all the ministros and residents together with their ladies, but also the largest part of the most distinguished Hamburgers". Brockes' already high reputation among hamburgers increased further. In 1720 he was elected senator. It is unusual that in this case the Ministry of Spirituality had no objection to the private performance of an actually spiritual work. In contrast to works by other authors, the rhetorical design of the libretto was also not objected to.

In 1713 a new version of the libretto appeared with a few more arias and recitatives as well as linguistic smoothing, dramatizations and clarifications. Keizer first revised his oratorio based on this version. It also became the basis for later settings by other composers. No other German Passion text was set to music as often as Brockes' text. However, the exact number is not known as research is ongoing. In the following years he published compositions by Georg Philipp Telemann (1716), Johann Mattheson (1718), Georg Friedrich Händel (1719), Johann Friedrich Fasch (1723), Gottfried Heinrich Stölzel (1725) and others. In the years 1719, 1720, 1721 and 1723 several of the four main versions of Keizer, Telemann, Handel and Mattheson were performed in Hamburg within a few days. In 1730, the director of the Gänsemarktoper Margaretha Susanna Kayser had both the four settings and a pasticcio , an “excerpt of the best arias and choirs from all fours”, performed within three weeks . The reason for such a concentration of settings of the same text is unknown, but possibly due to the influence of the poet himself, who was friends with all four composers.

The libretto was reprinted frequently in the early years. More than thirty editions had appeared by 1727. It has also been translated into Swedish and French.

layout

The libretto contains specific information about which parts are intended as a recitative, aria or choir. The title page of the first print from 1712 already indicates a musical performance. The text consists of a total of 117 sentences. As in an opera, there are recitatives, arias, ensemble movements and choirs. In contrast to the later works of Johann Sebastian Bach and others, the biblical text was not taken over here verbatim, but also re-poised in verse in the recitatives. The plot is partly narrated by the evangelist, partly in the form of recitative dialogues of the biblical figures Jesus , Maria , Petrus , Jacobus , Judas , Johannes , Caiphas , Pilatus , the soldier , the centurion and three maids and performed by them and by the allegorical figures the "Daughter of Zion" and several "Believer souls" commented. There are also storytelling turba choirs and five “chorales of the Christian church”. Compared to the original text of the Bible, the Gospel account is both abridged and poetically embellished. A total of nine sections are marked with the term “ Soliloquium ”, which roughly corresponds to a short solo cantata. These are sensitive and moralizing reflections from an individual. One of them each is assigned to Jesus, Judas, Mary (completed by a duet with Jesus) and a believing soul. Peter has two soliloquies and the daughter of Zion has three. These passages could also be published separately, as Keizer did in a special edition from 1714.

The text largely dispenses with external descriptions. The person of Jesus is depicted not triumphant but tolerant. On the other hand, some events that are only briefly mentioned in the Bible, such as the dialogue with the disciples, are embellished. The listener should empathize with the Passion, be made receptive to penance and thus be redeemed from his sins. Because of this pietistic goal and above all because of the lack of verbatim recitation of the Gospels, the oratorio could not be used liturgically like Bach's Passions. As a rule, therefore, performances did not take place as part of a church service, but in private circles or in a concert hall.

The libretto was praised for its artistic and sublime style, which, through rhetorical means, evoked the strongest emotions in its readers and listeners. Typical are pictorial ("like the sky is its brightly stripped back, decorating the rainbows without number as a pure sign of grace") and onomatopoeic representations ("break, roaring abyss") as well as contradicting or paradoxical ("to free myself from the rope of my sins becomes mine." Heil tied ") and drastic formulations (" the embers of the dark torture cave already ignites my hissing blood, my entrails screech on glowing coals! "). The greater the horror evoked by the story of suffering, the greater will ultimately be the feeling of relief from salvation. It is a basic idea of pietism that belief can also be based on emotional experience. Brockes was influenced by the Italian style of "marinismo" ( gay style ) of Giambattista Marino , whose Bethlehemite child murder and poems he translated into German.

Later generations found this style less popular. They found him overweight and were repulsed by the dramatic displays of violence. The musicologist and Handel biographer Friedrich Chrysander expressed himself as follows in 1860 :

"Brockes' work is tasteless and senseless, bristling with exaggerated or undignified images, but it is of great sensual violence that imposes itself like a theatrical effect and overwhelms the listener like one"

- Friedrich Chrysander : GF Handel. Leipzig 1860.

Settings

The following composers set this libretto to music:

year composer premiere Performance location Remarks
1712 Reinhard Keizer Passion time 1712, Brockes' home Hamburg various other performances in the following years in other cities;
1714 arranged in excerpts for voices and basso continuo
1716 Georg Philipp Telemann Passion time 1716, Barfüßerkirche Frankfurt am Main TWV 5: 1;
various other performances in the following years in other cities;
revised in 1722
1716-1718 George Frideric Handel
→ Brockes Passion (Handel) 		March 23 or April 3, 1719, cathedral or reventer of the cathedral London only 106 sentences set to music;
various other performances in the following years
probably already performed in Brockes' house in 1716
1718 Johann Mattheson April 10, 1718, cathedral church Hamburg various other performances in the following years
1722 Pasticcio March 22, 1722 Hamburg Omnibus Brocke's Passion with movements from the works of Handel (15), Keizer (36), Telemann (60) and Mattheson (5)
1722 Georg Philipp Telemann 1722 Hamburg Matthäus-Passion TWV 5.7 with eight movements from Brockes' libretto; lost
1723 Georg Philipp Telemann 1723 Hamburg Markus Passion TWV 5.8 with nine movements from Brockes' libretto; lost
1723 or 1717–1719 or around 1730 Johann Friedrich Fasch 1723 or 1717–1719 or around 1730 Greiz or Zerbst Passio Jesu Christi FWV F: 1;
only 30 sets with some changes and additions
1724 Johann Sebastian Bach
→ St. John Passion 		April 7, 1724, Nikolaikirche Leipzig BWV 245;
seven sentences are based on Brockes' text
1725 Gottfried Heinrich Stölzel Good Friday 1725, Schloss Friedenstein Castle Chapel Gotha further performances in 1735 (?) in Sondershausen
1729 Christoph Gottlieb Frober April 15, 1729, New Church Leipzig clearly shortened version with only about half of the arias; Fröber was the musical director; the composer is not known; the score is lost.
1729 Maximilian Zeidler on seven Sundays and two cartages in 1729 Nuremberg expanded with additional chorales and revised linguistically and theologically
1730s Johann Jacob Schwarz 1730s Nuremberg New setting of the text extended by Zeidler; however, some of the linguistic changes have been reversed
around 1750 Johann Balthasar Christian Freislich around 1750 Danzig Passio Christi;
possibly originated in the 1720s during his employment in Schwarzburg-Sondershausen
around 1750 Paul Steiniger (Steininger) around 1750 Nuremberg
around 1750/1755 Jacob Schuback around 1750/1755 Hamburg
unknown Johann Caspar Bachofen unknown Zurich Published posthumously in 1759

The setting by Reinhard Keizer

Reinhard Keizer had already written the first Passion Oratorio in 1704: The bloody and dying Jesus based on a text by Christian Friedrich Hunold . In 1712 he was the first to set Brockes' poetry to music. It was probably first performed in the librettist's private house during Holy Week and only had a small orchestra and choir. This was expanded for later performances. The work was performed frequently until the 1720s. Johann Sebastian Bach also performed it - mixed with the Handel version. Then it was forgotten. The original version from 1712 cannot be fully reconstructed from the sources that have survived. However, in the library of the University of Copenhagen there is a manuscript of a performance from 1721.

In Keiser's setting, the arias have an essential meaning. They were tailored to the singers of the Gänsemarktoper. In the da capo arias , Keizer uses strong contrasts between the A and B sections.

In 2000 a CD of Keiser's Passion was released with the Netherlands Radio Chamber Orchestra & Choir under the direction of Kenneth Montgomery. The soloists were Nancy Argenta and Dorothee Mields (soprano), Adrian Thompson, Mark Padmore and Carlo Allemano (tenor), Klaus Mertens (bass) and Jasper Schweppe (baritone). Due to copyright problems, however, the CD had to be withdrawn.

In April 2007 there were concerts in the Théâtre des Champs-Élysées Paris and in the Cologne Philharmonic with the Ensemble Les Talens Lyriques under the direction of Christophe Rousset . The singers were Kristina Hansson, Monique Zanetti and Judith van Wanroij (soprano), Clare Wilkinson (alto), Damien Guillon (altus), Anders Dahlin, Emiliano Gonzales Toro and David Lefort (tenor) as well as Matthew Brook and André Morsch (baritone).

In 2014 a CD was released with the ensembles Les Muffatti and Vox Luminis under the direction of Peter Van Heyghen. The singers were Caroline Weynants, Sara Jäggi and Zsuzsi Tóth (soprano), Barnabás Hegyi and Jan Kullmann (alto), Jan van Elsacker, Robert Buckland and Fernando Guimarães (tenor) and Lionel Meunier, Peter Kooij and Hugo Oliveira (bass).

The setting by Georg Friedrich Handel

The setting by Georg Philipp Telemann

Georg Philipp Telemann wrote Passion oratorios in two different forms: oratorio passions, in which the biblical text was adopted unchanged, as with Bach, and is interspersed with chorales and composed contemplative arias, and passion oratorios with completely composed texts, which were mainly performed in concert halls. He composed passions of the first type almost annually between 1722 and 1767, but only five passion oratorios. His Brockes Passion was first performed in Frankfurt am Main in 1716, but could also be heard in Hamburg in 1718 at the latest. It was widespread and was performed in several cities in central and southern Germany and in Riga. In 1722 he revised the work. In the 1730s it appeared as a pasticcio with Handel's setting in a concert in Stockholm.

Telemann got to know the text in 1716. In 1718 he wrote in his autobiography that “his poetry is considered incorrigible by all connoisseurs”. He immediately began his composition, which had already been performed on April 2nd and 3rd in the context of charity concerts. The proceeds from the sale of the text books were intended for the poor house in which Telemann originally wanted to perform the work. For reasons of space and the presence of the Landgrave of Hesse, whose court musicians played the performance together with Telemann's collegium musicum, however, the decision was made to go to the Barefoot Church. In 1740 Telemann still remembered that “the church doors were manned by guards who did not let anyone in who did not appear with a printed copy of the Passion”. These performances are therefore among the earliest examples of public concerts for which an entrance fee was required. The premiere had a decidedly festive character. In addition to the landgrave, other urban and clerical dignitaries appeared. The singers included the Hamburg prima donna Margaretha Susanna Kayser , the soprano Anna Maria Schober , the bass Gottfried Grünewald (Jesus) and the old castrato Antonio Gualandi "Campioli" (Judas). The Frankfurt banker Heinrich Remigius Bartels was in charge, while Telemann himself probably took part in the orchestra or as a singer.

In addition to the usual string line-up, the instrumentation contains numerous solo instruments, each assigned to certain symbols: two transverse flutes, three recorders, two oboes (redemption through Jesus' death), two trumpets (Easter resurrection), two horns (sin, death, devil), one Solo violin, a viola d'amore , three violets and a bassoon. The work begins with a longer, high-contrast symphonia. This is followed by several scenes with a total of 31 arias, only eight of which correspond to the da capo aria . There is also an aria with choir, some duets and ariosi, a trio, a quartet, twelve turba choirs and four chorales. In the solo arias Telemann makes full use of the theatrical possibilities. Virtuoso coloratura, harmonic sharpness, chromatic turns and other effects determine the different character of the various movements.

The version performed in Hamburg is very similar to the Frankfurt original. The main differences are in the Turba choirs, which were originally designed in a recitative syllabic. There have also been minor revisions to some arias.

In addition to the complete Brockes Passion , Telemann used eight movements in 1722 for his St. Matthew Passion TWV 5.7 and in 1723 nine movements for the St. Mark Passion TWV 5.8, the music of which, however, has not survived.

In 1990/91 a CD was released with the Stadtsingechor Halle and the Capella Savaria under the direction of Nicholas McGegan. The soloists were Mária Zádori, Aimée Blatmann and Katalin Farkas (soprano), Annette Markert (mezzo-soprano), Ralf Popken (countertenor), Martin Klietmann and Guy de Mey (tenor) and István Gáti (bass).

In 2008/09 another CD was released with the RIAS Chamber Choir and the Akademie für Alte Musik Berlin under the direction of René Jacobs . Birgitte Christensen and Lydia Teuscher (soprano), Marie-Claude Chappuis (mezzo-soprano), Daniel Behle and Donát Havár (tenor) and Johannes Weisser (baritone) sang in it. This recording won the 2010 Midem Classical Awards.

The setting by Johann Mattheson

Even Johann Mattheson , a school friend Brockes, created early in 1718 a separate setting of the libretto, premiered on 1 April. On Palm Sunday of the same year it was performed in front of a large audience in Hamburg Cathedral with a strong cast. Mattheson himself reported several thousand listeners in his autobiography. This work was also performed several times in the following years, for example on March 20, 1719 in the Maria Magdalena Church.

After a long period of oblivion, it was finally reconstructed from the archive material by the musicologist Rainer Bayreuther and the choir director Marie-Theres Brand and recorded on CD in 1996/99 under their direction with the Motettenchor Speyer and the Accademia Filarmonica Cologne. The soloists were Mechthild Bach and Dorothee Wolgemuth (soprano), Kai Wessel (countertenor), Wilfried Jochens and Gerd Türk (tenor) and Ekkehard Abele (bass).

The setting by Johann Friedrich Fasch

Based on a note in his autobiography, it was long assumed that Johann Friedrich Fasch wrote his Passio Jesu Christi in 1723 during his time as Kapellmeister in Zerbst. However, recent research indicates the time between 1717 and 1719, when Fasch was responsible for the music of a church in Greiz. Fasch set a greatly abbreviated version of Brockes' libretto to music, to which his own additions were made in return - presumably by Fasch himself. Some recitatives were changed, and five chorales and two arias are not from Brockes. The work consists of two parts, each framed by chorales. The result is a form that corresponds more to the liturgical tradition in 18th century Germany.

In 2006/08 the work was recorded on CD with the Schola Cantorum Budapestiensis and the Capella Savaria under the direction of Mary Terey-Smith. The soloists were Mária Zádori (soprano), Zoltán Megyesi (tenor) and Péter Cser (bass).

The setting by Gottfried Heinrich Stölzel

Another important setting of the text comes from Gottfried Heinrich Stölzel . He wrote his Brockes Passion as part of his work as court music director in Gotha. Most of his works were lost after his death. The score of the Brockes Passion only survived by chance. Presumably in 1735 he sent a copy to Sondershausen, where several performances took place in the court theater. Then the sheet music along with some of his other works were stowed in a chest behind the organ and forgotten. It was not until 1870 that this chest was rediscovered by the court organist Heinrich Frankenberger and the later Bach biographer Philipp Spitta .

Stölzel's Passion was performed on Good Friday 1725 in the castle chapel of Schloss Friedenstein on a relatively small scale. There were probably no more than thirty musicians involved, and the audience was also limited. The performance was divided into four parts, between which sermons - most likely by the court preacher Albrecht Christian Ludwig - were given. In order to maintain the balance between the different parts, Stölzel added some chorales that were not originally included in Brockes' text.

The opening chorus, initially only performed by the female voices in the piano and gradually increasing, has the character of a personal lamentation about the dead Jesus. Similar passages occur more often in the course of the plot. The meditative movements are accompanied by special instruments such as the viola d'amore . But there are also operatic passages. The orchestral part of the bass aria “Erwäg, ergrimmte Natternbrut” is reminiscent of Beethoven. The last aria ("Wisch ab der Tärffe sharp lye") is an expression of calm and thus stands in contrast to Telemann's setting of the same passage, in which exuberant joy dominates.

Stölzel's setting was recorded in 1997 by the Telemannisches Collegium Michaelstein under the direction of Ludger Rémy . The soloists were Constanze Backes and Dorothee Mields (soprano), Henning Voss (alto), Knut Schoch and Andreas Post (tenor) as well as Florian Mehltretter and Klaus Mertens (bass).

The setting by Johann Balthasar Christian Freislich

Different information can be found for the date of origin of Johann Balthasar Christian Freislich's Passio Christi . In MGG one time is called to the 1750th Other authors assume that it was written as early as the mid-1720s while he was employed in Schwarzburg-Sondershausen . Hermann Rauschning described this passion as “the best of Freißlich's work”.

It was performed in 2013 under the name Passio Christi with the Goldberg Baroque Ensemble under the direction of Andrzej Szadejko and was also released on CD. Soloists were Julia Kirchner, Ingrida Gapova, Franz Vitzthum, Georg Poplutz, Virgil Hartinger, Daniel Oleksy, Marek Rzepka and Ekkehard Abele. Excerpts from the concert were published on YouTube .

Pasticcio setting

This version of the passions by Keizer, Telemann, Handel and Mattheson, which was anonymously compiled around 1725, was performed in 2012 in the atrium of the Hamburg State and University Library under the direction of Ira Hochman. The singers were Tanya Aspelmeier (soprano), Agata Bienkowska (alto), Alon Harari (alto), Jürgen Sacher and Mark Tucker (tenor) and Jörn Dopfer (bass).

Web links

Individual evidence

  1. ^ A b Hans Joachim Marx: Handel's oratorios, odes and serenatas: a compendium. Vandenhoeck & Ruprecht, Göttingen 1998, ISBN 3-525-27815-2 .
  2. ↑ a b Heinz Becker : The Brockes Passion , supplement to the record of the Brockes Passion by Georg Friedrich Handel (Deutsche Grammophon, 1968).
  3. ^ Barthold Heinrich Brockes: Self-biography, p. 203. ( Online at Zeno.org ).
  4. ↑ a b c d e f g h i Irmgard Scheitler: German-language oratorio libretti: from the beginnings to 1730. Ferdinand Schöningh, 2005, ISBN 3-506-72955-1 , p. 210 ff ( limited preview on Google Books ).
  5. ↑ a b c d e f g h i j k Carsten Lange: Supplement to the CD of the Brockes Passion by Georg Philipp Telemann with René Jacobs (Harmonia Mundi, 2008).
  6. ↑ a b c d Matthias Corvin: Supplement to the CD of the Brockes Passion by Reinhard Keizer with Les Muffatti (Ramée, 2014).
  7. ^ A b Howard E. Smither: A History of the Oratorio: Vol. 2: the Oratorio in the Baroque Era: Protestant Germany and England. The University of North Carolina Press, 1977, ISBN 978-0807812945 .
  8. ↑ a b c d e f Alex Weidenfeld: Supplement to the CD of the Brockes Passion by Gottfried Heinrich Stölzel (CPO, 1998).
  9. ^ Friedrich Chrysander : GF Handel. First volume. Breitkopf & Härtel, Leipzig 1858, p. 433 ( online at Zeno.org ).
  10. ↑ a b c d e f g h i j k l m List of the Brockes Passion settings on the Bach Cantatas website . Retrieved July 27, 2015.
  11. ↑ Reinhard Keizer - Brockes Passion on the Bach Cantatas website (English). Retrieved July 27, 2015.
  12. ↑ Georg Philipp Telemann - Brockes Passion, TWV 5: 1 on the Bach Cantatas website (English). Retrieved July 27, 2015.
  13. ^ Anthony Hicks:  Handel [Handel, Hendel], George Frideric [Georg Friederich]. In: Grove Music Online (English; subscription required).
  14. ↑ Hans Joachim Marx : Handel's oratorios, odes and serenatas: a compendium , Vandenhoeck & Ruprecht, Göttingen 1998, ISBN 3-525-27815-2 , p. 85.
  15. ↑ Johann Mattheson - Brockes Passion on the Bach Cantatas website (English). Retrieved July 27, 2015.
  16. ^ A b Egino Klepper: Supplement to the CD of the Brockes Passion by Johann Mattheson (Cavalli Records, 1996).
  17. ↑ Johann Friedrich Fasch - Brockes Passion, FWV F: 1 on the Bach Cantatas website (English). Retrieved July 27, 2015.
  18. ↑ a b c Nigel Springthorpe: Supplement to the CD of the Brockes Passion by Johann Friedrich Fasch (Naxos, 2007, online )
  19. ↑ Gottfried Heinrich Stölzel - Brockes Passion on the Bach Cantatas website (English). Retrieved July 27, 2015.
  20. ↑ a b c Franz Keßler: Freißlich (family). In: Music in the past and present. Bärenreiter-Verlag 1986 ( digital library volume 60), p. 24538 (cf. MGG vol. 16, p. 356).
  21. ↑ Reinhard Keizer (1674–1739), Brockes Passion on lesmuffatti.be (PDF, French) ( Memento from March 4, 2016 in the Internet Archive ).
  22. ↑ Reinhard Keizer. Discography on NewOlde.com. Retrieved July 27, 2015.
  23. ^ Program booklet for the performance of Keiser's setting under Christophe Rousset in the Cologne Philharmonic (PDF). Retrieved August 1, 2015.
  24. ^ Record of the CD of the setting by Reinhard Keizer with Les Muffatti on Discogs. Retrieved August 1, 2015.
  25. ↑ Georg Philipp Telemann, autobiography 1718 on telemann.org. P. 178.
  26. ↑ Georg Philipp Telemann, autobiography 1740 on telemann.org. P. 365.
  27. ↑ Passion. In: Music in the past and present. Bärenreiter-Verlag 1986 ( digital library volume 60), p. 58536 f (see MGG volume 10, p. 929).
  28. ^ Telemann (family). In: Music in the past and present. Bärenreiter-Verlag 1986 ( digital library volume 60), p. 73666 f (cf. MGG vol. 13, p. 185).
  29. ^ Georg Philipp Telemann: Brockes Passion - Capella Savaria, Nicholas McGegan, Stadtsingechor Halle. CD information at Allmusic . Retrieved August 1, 2015.
  30. ^ Georg Philipp Teleman: Brockes Passion - Academy for Early Music, Berlin, Berlin RIAS Chamber Choir, René Jacobs. CD information at Allmusic . Retrieved July 23, 2015.
  31. ↑ MIDEM Classical Award 2010. List of the winners on klassik.com. Retrieved August 2, 2015.
  32. ^ Johann Mattheson: Brockes Passion - Marie-Theres Brand. CD information at Allmusic . Retrieved July 23, 2015.
  33. ^ Johann Friedrich Fasch: Passio Jesu Christi - Mary Terey-Smith. CD information at Allmusic . Retrieved July 23, 2015.
  34. ↑ Gottfried Heintich Stölzel: Brockes Passion - Michaelstein Chamber Choir, Ludger Remy, Telemann Chamber Orchestra. CD information at Allmusic . Retrieved July 23, 2015.
  35. ^ Affect-laden Passion by Johann Freislich. CD review on pizzicato. accessed on August 1, 2015.
  36. ↑ Excerpts from the concert of the setting by Johann Balthasar Christian Freislich on YouTube .
  37. ^ Baroque around the clock. Announcement of the pasticcio concert on concerti.de. Retrieved August 1, 2015.
  38. ↑ Brockes Passion as pasticcio. Die Welt vom March 30, 2012. Retrieved July 31, 2015.