Passion (music)

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The musical passion represents the setting of the biblical Passion text as it has been handed down in one of the Gospels .

History and liturgical place

The lecture of the Passion story according to the four Gospels took place in the medieval and later Roman Catholic Church during Holy Week according to a liturgical order, which later could be loosened up in the Protestant tradition and begins to concentrate more and more on Good Friday:

Day Gospel of Passion in the Medieval and Catholic Church Passion Gospel in the Dresden Castle Church with Heinrich Schütz Passions with Johann Sebastian Bach in Leipzig
Judica (5th Sunday of Passion Time) Gospel according to Matthew - Matthew Passion (1666)
Palm Sunday (6th Sunday of Passion Time) Gospel according to Matthew Gospel according to Luke - Luke Passion (1653)
Tuesday in Holy Week Gospel according to Mark
Wednesday in Holy Week Gospel according to Luke
Good Friday Gospel according to John Gospel according to John - St. John Passion (1666) St. John Passion (1724)
St. Matthew Passion (1727)
St. Mark Passion (1731)
Depiction of three clergymen singing (around 1400). This is how one has to imagine the singing of passions from the 15th century onwards.

The custom of reciting a biblical story of the passion was an institution within the framework of the passion liturgy, which begins and is documented as early as the 5th century. Originally, the gospel was recited by only one clergyman on the designated passion note. By the 13th century at the latest, the liturgical recitation of the Passion was transferred to different people.

As a rule, three clerics shared the presentation: a deep voice carried the words of Christ ( vox Christi ) in front, a middle voice the part of the narrator or Evangelist (vox Evangelista) Finally, and a high-pitched voice, the other persons than Soliloquenten referred become. The choirs of disciples, Jews, high priests, maidservants, false witnesses and soldiers - called Turbae - are part of it. A manuscript from Modena from the late 15th century shows the differentiation between male and female roles in Passions:

location biblical role presented by
f Christ priest
c ' evangelist deacon
f ' Soliloquent / Turba Sub-deacon
c - c '- e' three-part turba choir (first time in Füssen, approx. 1450)
f Judas (male voice, first Modena, late 15th century)
f ' Ancilla (female voice, first Modena, late 15th century)

In the 15th century there is an introduction ( Introitus, Praefatio ) at the beginning of the lecture, but also a concluding prayer of thanks ( Conclusio, Gratiarum agimus ). This oldest type of liturgical passion survived into the 19th century.

Even in the pre-Reformation period, musical extensions and enrichments of the liturgical lecture can be observed that go beyond the normal Passion tone and its formulas of Gregorian chant . In particular, the turbae were supplemented by polyphonic performance in order to distinguish them from the chants of the individuals. From the middle of the 15th century, the voices of the three executive clergymen came together every fifth and fourth. The two figures of the “false witnesses” begin to sing in two voices.

Martin Luther also largely adopted this practice during the Reformation for Protestant services. Martin Luther wanted the performance of all four passions to be limited to two or one. Luther also warned that “one should not sing the Passions on the working days of Holy Week because they are working days”.

In order to achieve a further streamlining, Johann Bugenhagen created a so-called Passionsharmonie in 1526 , i.e. an extract from a compilation of texts that was also called the Gospel Harmony . Then Johann Walter adapted the traditional way of singing to the German language on behalf of Luther. The Reformation theologians and musicians intended to transform the old Latin Passion into the German language rather than an individual composition. Kurt von Fischer stated that “in the 16th and early 17th centuries, the Passion settings of Protestant and Catholic origin were hardly viewed and understood separately from one another. In the liturgical passions of both denominations, the common - one might say today: the ecumenical - has always been of decisive importance ”.

Distinctions and types

Choral Passion and Responsorial Passion

In the aftermath of the Reformation, the type of Protestant chorale passion emerged , for example in which the choirs of Walter's Passion are reworked ( e.g. by Jakob Meiland in 1567, 1568 and 1570). However, today the choral passion is more likely to be referred to as a responsorial passion . Further names are dramatic passion, but also scenic passion .

With regard to Heinrich Schütz's passions, Otto Brodde also speaks of the type of recitative passion : The Schütz passions are “not only the climax of the recitative passion, but also the end point of their story. The recitative passions created after Schütz are so distinctly epigonal that they cannot be compared with his ”.

To differentiate: the responsorial passion and the recitative passion differ in that one type remains committed to Gregorian chant, the so-called passion tone , while the other type created by Heinrich Schütz has largely freed itself from the constraints of Gregorian chant and has free recitatives designed. "Seen as a whole, Schützen's unanimity is an organic synthesis of choral elements and freely invented recitative melodies, an absolutely diatonic monophony that contradicts everything model-like and formulaic, ultimately a musically transformed metamorphosis of the spoken melos."

In general, a distinction is made between responsorial or motet-like passions, which only set the text of the Bible to music, and “oratorial” passions, which Günther Massenkeil calls more clearly “concertante”, which can contain insertions of other texts ( chorales, etc.) or instrumental parts.

Johann Walter's responsorial passions were widespread in Central Germany throughout the 17th century and occasionally even far beyond. This is how his Passion is called in Leipzig in 1716, in Merseburg even in 1741.

Figural passion and motetic passion

This is how the type of through-composed passion developed from the chorale passion . The entire text of the Passion is composed through several voices, in a way like a motet. That means: the voice of Christ and the evangelist also resound in several voices. Apart from an introduction and a final chant, only the Bible text is heard. The first evidence of this form comes from Longeval .

Other authors speak of this type of figural passion , which is also close to the passion motet. Furthermore, the term motetic passion has also become established. The heyday of the through-composed Passion lasted only a short time and is actually only found in the age of the Counter Reformation .

German Protestant passions of this type come from Joachim a Burck, Leonhard Lechner and Christoph Demantius.

Oratorical passion

Excerpt from the St. John Passion by Johann Sebastian Bach; here the dialogue between Peter and the maid, linked by the evangelist's story

The oratorio passion developed from the concertante passion, i.e. an oratorio that shapes the biblical passion story along the lines of the biblical testimony, but also uses extra-biblical text elements or spiritual poetry. This can be observed e.g. B. Already in Thomas Selle 1642. Selle inserted intermedia into his St. John Passion , which have a contemplative function. He also adds instruments. Johann Sebastiani, on the other hand, adds “different verses from the usual hymns to awaken greater devotion” to the St. Matthew Passion, composed by him in 1672, namely polyphonic movements by Johann Eccard . Schützen's student Johann Theile added instrumental ritornelles and song arias to his St. Matthew Passion in 1673 .

The oratorical passion is then characterized by free insertions that interrupt the flow of the Bible text. Features are the secco recitative for the evangelist and the soloist, plus the continuo organ (mostly organ positive) and the string bass. In the Accompagnato recitative , on the other hand, the words of Christ receive e.g. B. in Bach's St. Matthew Passion, but also already in Johann Theile and in Johann Valentin Meder's St. Matthew Passion, to emphasize string choir accompaniment. Observing da capo arias , but also an arioso , as well as choirs and chorales based on free poetry, enrich the work.

The type is mainly assigned to the age of Orthodoxy .

Passion Oratorio

Barthold Heinrich Brockes . He created the textual basis for famous Passion Oratorios for Johann Caspar Bachofen, Georg Friedrich Händel, Reinhard Keizer, Johann Mattheson, Gottfried Heinrich Stölzel and Georg Philipp Telemann.

The Passion Oratorio, on the other hand, goes back to the time of Pietism . As a rule, there is no longer any biblical text in the Passion Oratorio, but only free poetry about the suffering of Jesus. Barthold Heinrich Brockes emerged as a lyricist , who inspired many composers to write Passion Oratorios. Carl Heinrich Graun first appeared at the Sing-Akademie zu Berlin in 1755 with his Passion Oratorio The Death of Jesus . The work has remained constant in the concert programs. The Singakademie performed the work as Good Friday music for decades, until it was replaced by these after the rediscovery of Bach's Passions.

Intermediate stages

But there are borderline and transitional phenomena between all groups. It is also not always easy to transfer the distinctions made in musicology, which primarily serve to explain and classify works from the 15th to 18th centuries, to works from the 20th and 21st centuries. In a “strange mixture” there are Neapolitan-operatic and choral elements in the Passion Oratorio by Johann Ernst Eberlin , which was intended for Salzburg in 1750 and is entitled The Blood Sweating Jesus . The boundaries between the denominations also blurred at the end of the 18th century; In the Passion Oratorio of both denominations, "a trait into the exaggerated pathetic or weeping unpleasantly noticeable".

20th century

In the transition to the twentieth century, the Passion was once again used as a worship service. Heinrich von Herzogenberg led the way and in 1896 was the first to write a work in this area with a pronounced divine service. Other works followed and ensured that the Passion returned as a musical genre to the services of the Passion time.

Works

Examples of responsorial passions

Examples of motet passions

Passion histories by Heinrich Schütz

Heinrich Schütz is distinguished by the fact that he created Passion Histories which, apart from an introduction and a resolution, do not tolerate any interruption of the Bible text.

Examples of oratorio passions

Examples of passion oratorios and mixed forms

With a reduction to the words of Jesus on the cross :

Examples of Passions in the 19th Century

  • Louis Spohr : The Savior's Last Hours , oratorio in two parts, WoO 62 (1834/1835)
  • César Franck , Les Sept Paroles du Christ sur la Croix (1859)
  • Heinrich von Herzogenberg : The Passion. Church oratorio for Maundy Thursday and Good Friday for solo voices, choir, string orchestra, harmonium, congregational singing and organ (1896)
  • Lorenzo Perosi : La Passione di Cristo secondo S. Marco (1897)

Examples of 20th century passions

  • Kurt Thomas : Markus Passion (1927)
  • Hugo Distler : Choral Passion based on the four Gospels of Holy Scripture, op.7, for 5-part mixed choir and 2 cantors representing the Evangelist and Jesus (1932/1933)
  • Georges Migot : La Passion , oratorio in twelve parts (1939–1946; premiered Paris, July 25, 1957)
  • Frank Martin : Golgotha , based on the words of the Bible and Augustine, for 5 solos, mixed choir, organ and orchestra (1945–1948)
  • Rudolf Mauersberger : Passion music based on the Gospel of Luke for two separate choirs (1947)
  • Wolfgang Schoor : The Passion according to Markus and the words of various poets for soprano, alto, tenor, baritone and bass solo, mixed choir, chamber orchestra, harpsichord and organ (1949), texts: Gospel, Hours of the Hour, Prophet Isaiah, HP Bergler-Schroer, Lilo Ebel, Paul Gerhardt, Gottfried Hasenkamp, ​​Johann Heermann, Hertha Jaegerschmid, Wolfgang Schoor, Friedrich Wilhelm Weber (1949)
  • Kurt Fiebig : Markus Passion for solos and mixed choir a cappella (1950)
  • Ernst Pepping : Matthew Passion Report (1951)
  • Max Baumann : Passion op.63 (1959)
  • Karl Marx : When Jesus Left His Mother , Passion Cantata about an old tune from Buchenland for soprano, baritone, mixed choir and instruments (1961)
  • Helmut Degen : St. John Passion (1961–1962)
  • Krzysztof Penderecki : St. Luke Passion (1962–1965)
  • Hermann Schroeder : St. John Passion for mixed choir and solo singer (1963)
  • Hermann Schroeder: St. Matthew Passion for mixed choir and solo singer (1964)
  • Karl Michael Komma : St. Matthew Passion for a cappella choir (1965)
  • Hermann Schroeder: St. Luke Passion for mixed choir and solo singer (1970)
  • Hermann Schroeder: Markus Passion for mixed choir and solo singer (1971)
  • Paul Ernst Ruppel : Crucifixion - contemplation of the passion based on spirituals for solo tenor, mixed choir, trombone and bass
  • Gerd Zacher : The Christmas Passion You Are Today (1973)
  • Kurt Grahl : St. Matthew Passion, St. Mark Passion, St. Luke Passion, St. John Passion (nd)
  • Klaus Miehling : Passio secundum Marcum for solos, choir and baroque orchestra (1980/2006) - Judas Passion (2005), text selection by Matthias Uhlich
  • Mikis Theodorakis : Kata Saddukaion Pathi (Sadducee Passion; Text: Michalis Katsaros) for tenor, baritone, bass, choir and orchestra (1981–1982)
  • Arvo Pärt : Passio Domini nostri Jesu Christi secundum Joannem for solos, mixed choir, instrumental quartet and organ (1982)
  • Oskar Gottlieb Blarr : Jesus Passion (1985)
  • Gerbert mother : German St. John Passion. Based on the ecumenical text from the Schott altar book for 8 solo voices and four-part mixed choir a cappella (1986)
  • Jörg Ewald Dähler : The Passion event according to the Evangelist Luke. For 1–8-part mixed choir, speaker, trombone quartet and organ (1987)
  • Ulrich Nehls : Passion music based on the Evangelist Matthew (1990)
  • Anton Reinthaler created four passions: the story of the suffering according to Johannes , the story of suffering according to Luke , a story of suffering according to Markus and the story of suffering according to Matthew
  • Johannes Weyrauch : Small Passion according to the Gospel of Johannes. WeyWV 64th Choir SAM, Chorsoli, (Str ad lib,) Org.

Examples of modern passions of the 21st century

  • Sofia Gubaidulina : St. John Passion , in Russian (2000)
  • Wolfgang Rihm : Deus passus based on selected texts from the Gospel of Luke (2000)
  • Matthias Drude : I fought and suffered for your honor - Stations of the Passion of Jesus (2000)
  • Johannes Matthias Michel : Crucifixion , passion scene for baritone, speaker, choir and orchestra (2001)
  • Tan Dun : Water Passion After St. Matthew (2002)
  • Michael Radulescu : Suffering and Death of Our Lord And Savior Jesus Christ. EINE PASSION, for alto solo, bass solo, 2 mixed choirs, 4 flutes, 4 double basses, 4 trombones, 4 viols, 2 percussion groups (2002–2003)
  • Fredrik Sixten : En svensk Markus Passion. For solos, två Körer och Kammarensemble (2003)
  • Mark Andre : ... 22.13 ... musical theater passion in three parts (1999-2004)
  • Peter Michael Braun : Passus est et resurrexit for mixed choir, large organ and orchestra (2005)
  • James MacMillan : St John Passion (2008)
  • Hans Peter Türk: Transylvanian Passion Music for Good Friday (2009)
  • Bob Chilcott set the St. John Passion to music in 2013.
  • Werner Schulze, Passio , op.25 (2015)
  • Ludger Stühlmeyer : St. John Passion for SATB choir and SATB singing soloists, texts based on: Joh. 18.1–19.42 (2014)
  • Fredrik Sixten: St. John Passions (2015)
  • Gunther Martin Göttsche : Jerusalem , Passions Oratorio, written in Jerusalem in 2016 (as op. 90), for six vocal soloists, choir, youth choir, trombone choir, large symphony orchestra, piano and organ.

Examples of a passion in the style of a musical

The passion can also be represented with the stylistic devices of the musical :

Passion for children

Mostly out of religious pedagogical interest, the musical processing of the Passion theme also takes place in a child-friendly form:

  • Margret Birkenfeld created a children's passion in 1980: Come and see: the grave is empty - a little passion for children .

See also

Related genera

literature

  • Werner Braun: The Central German Choral Passion in the eighteenth century. Evang. Verl.-Anst., Berlin 1960.
  • Günther Massenkeil: Oratorio and Passion. 2 volumes. Laaber, Laaber 1998/99, ISBN 3-89007-133-3 , ISBN 3-89007-481-2
  • Kurt von Fischer: The Passion. Music between art and church. Bärenreiter / Metzler, Kassel u. a. 1997, ISBN 3-476-01530-0

Individual evidence

  1. ↑ a b Friedrich Blume , History of Protestant Church Music, Kassel 1965, p. 114
  2. ↑ a b Siegfried Hermelink , Art. Passion. In: RGG , 3rd edition, vol. 5, Tübingen 1961, col. 137
  3. ↑ Kurt Gudewill in the foreword of the complete edition Heinrich Schütz, New Complete Edition of all Works, Vol. 2, ed. by Bruno Grusnick , Kassel 1957 and Otto Brodde : Heinrich Schütz. Way and work. Kassel 1979, 2nd edition, p. 258, ISBN 3-7618-0159-9 ; Brodde refers to the existing Dresden court diaries from the Schütz period
  4. ^ Kurt von Fischer: The Passion Histories by Heinrich Schütz. In: Walter Blankenburg (Ed.): Heinrich Schütz in his time. Ways of Research, Vol. 614. Darmstadt 1985, ISBN 3-534-08669-4 , p. 143.
  5. ↑ a b c d Ulrich Michels: dtv-Atlas Music . Munich 1977 and other, ISBN 3-423-08599-1 , p. 139
  6. ↑ St. Matthew and St. John Passion, manuscript from Modena. In: Hans Joachim Moser : The polyphonic setting of the gospel. Leipzig undated (1931), improved and supplemented reprint Hildesheim 1968.
  7. ↑ Martin Luther: Formula missae. A way of holding Christian mass and going to God's table (1524), quoted from Otto Brodde: Heinrich Schütz. Way and work . Kassel 1979, 2nd edition, p. 259
  8. ↑ Friedrich Blume: History of Protestant Church Music . Kassel 1965, p. 115
  9. ^ Kurt von Fischer: The Passion Histories by Heinrich Schütz. In: Walter Blankenburg (Ed.): Heinrich Schütz in his time . Ways of Research, Vol. 614. Darmstadt 1985, ISBN 3-534-08669-4 , p. 140.
  10. ^ A b Otto Brodde: Heinrich Schütz. Way and work . Kassel 1979, 2nd edition, p. 268
  11. ^ Otto Brodde: Heinrich Schütz. Way and work. Kassel 1979, 2nd edition, p. 312
  12. ^ Otto Brodde: Heinrich Schütz. Weg und Werk, Kassel 1979, 2nd edition, p. 260
  13. ^ Otto Brodde: Heinrich Schütz. Way and work. Kassel 1979, 2nd edition, p. 258
  14. ↑ Friedrich Blume: History of Protestant Church Music. Kassel 1965, p. 116
  15. ^ Dieter Haberl: Main genres of polyphonic vocal and instrumental church music. In: Christfried Brödel (Ed.): Basiswissen Kirchenmusik, Vol. 2, Stuttgart 2009, ISBN 978-3-89948-123-5 , p. 27.
  16. ↑ z. B. Ulrich Michels: dtv-Atlas Music. Munich 1977 and others, p. 139
  17. ↑ Johann Sebastiani, quoted from Otto Brodde: Heinrich Schütz. Way and work. Kassel 1979, 2nd edition, p. 268
  18. ↑ Kurt von Fischer, The polyphonic and Catholic Passion, in: MGG, Vol. X, Kassel 1962, Col. 909
  19. ↑ published in DTÖ XXVIII / 1, 1921
  20. ↑ Kurt von Fischer, The polyphonic and Catholic Passion, in: MGG, Vol. X, Kassel 1962, Col. 909
  21. ^ So Walter Blankenburg: The Protestant Passion. In: MGG, X, Kassel 1962, Sp. 929.
  22. ^ Edition: Carus Verlag, edition number 40.088; see also: Thomas Röder:  Mancinus, Thomas. In: New German Biography (NDB). Volume 16, Duncker & Humblot, Berlin 1990, ISBN 3-428-00197-4 , p. 8 ( digitized version ).
  23. ↑ see e.g. B. Facsimile in: Heinrich Schütz, New Edition of all Works, Vol. 2, ed. by Bruno Grusnick, Kassel 1957
  24. ^ Hans Peter Türk: Transylvanian Passion Music for Good Friday. Retrieved June 6, 2019 .
  25. ↑ compositions | werner schulze. Retrieved June 6, 2019 (German).