Passion (music)

The passion for music is the setting of the biblical Passion text, as it has been handed down in one of the Gospels.

• 3.1 Examples of responsorial Passions
• 3.2 Examples of motet Passions
• 3.3 Passions Histories of Heinrich Schütz
• 3.4 Examples of oratorical Passions
• 3.5 Examples of Passion oratorios and mixed forms
• 3.6 Examples of Modern Passions of the 20th and 21st centuries
• 3.7 Examples of Passion in the style of a musical
• 3.8 Passion for Children

History and liturgical place

The presentation of the Passion according to the four Gospels took place in the medieval and later Roman Catholic Church during Holy Week according to a liturgical order, but later was also broken in the Protestant tradition and always begins to focus more on Good Friday:

The custom of the presentation of a biblical story of suffering was an institution in the context of the Passion liturgy, which begins as early as the 5th century and is occupied. Originally, the gospel was recited by a single clergyman in the space provided Passionston. Not later than the 13th century, the liturgical Passion recitation was transferred to different people.

In general, three clergymen shared the lecture: a deep voice carried before the words of Christ ( vox Christi ), a medium voice the part of the narrator or evangelists ( vox evangelista ) and a high voice, finally, the other persons designated as Soliloquenten be. The choirs of disciples, Jews, chief priests, maids, false witnesses and soldiers - called Turbae - are also included. A manuscript from the late 15th century Modena shows at Passions differentiation into male and female roles:

In the 15th century an introduction ( Introit, Praefatio ) at the beginning of the lecture, but also a final prayer of thanks ( Conclusion, Gratiarum AGIMUS ) occurs. This is the oldest type of liturgical Passion has survived until the 19th century.

Already in pre-Reformation period can be musical enhancements and enrichments of the liturgical presentation observe that go beyond the normal Passionston and his formulas of Gregorian chant. In particular, the Turbae were supplemented by more consistent execution in order to distinguish it from the songs of the individuals. From the mid- 15th century, the voices of the three exporting clergy came together in Quint- QT interval. The two figures of the " false witnesses " in two voices begin to sing.

This practice also took on Martin Luther during the Reformation period for the evangelical church services largely that way. Martin Luther wanted to know, however, the presentation of all four passions with time limited to two, or one. Luther also warned, " we should not sing on the weekdays of Holy Week, because it was a question of working days the passions ".

In order to achieve a further tightening, Johann Bugenhagen in 1526 created a so-called Passion harmony, ie an extract from a text compilation that was also called Diatessaron. Was then adapted by Johann Walter on behalf of Luther, the traditional way of singing the German language. Not an individual composition, but only the transformation of the old Latin Passion in the German language was intended by the Reformation theologians and musicians. Kurt von Fischer noted that " the Passion settings of Protestant and Catholic origin hardly be considered and understood separately even in the 16th and early 17th century. In the liturgical Passions of both denominations is always the Joint - one might say today: the Ecumenical - have been crucial. "

Distinctions and types

Choral Passion and responsorial Passion

In the aftermath of the Reformation it came to the type of the Protestant chorale Passion, for example by the choirs of Walter 's passion to be re- edited ( about Jakob Meiland 1567, 1568 and 1570 ). However, the Passion chorale is now known more as a responsorial Passion. Other names are dramatic passion, but also scenic passion.

In view of the Passions of Heinrich Schütz speaks Otto Brodde also the type of recitative - Passion: The contactor passions are " not only highlight of the recitative - passion, but at the same end point in its history. The resulting after contactor recitative Passions are very imitative, that they are not to be compared with his. "

For differentiation: The responsorial Passion and the recitative Passion differ in that the one type remains committed to the Gregorian chant, the so-called Passionston, while the other type created by Heinrich Schütz has been largely freed from the constraints of Gregorian chant and free recitatives designed. " On the whole, is protecting unanimity an organic synthesis of choral elements and fictitious recitative melody, an absolutely diatonic monophonic, which contradicts everything model-like and Formelgebahren ultimately transformed a musical metamorphosis of speech melody. "

Commonly is then between responsorial or motet Passions, the sound to only the pure Bible text, and " concert " distinguished " oratorical ", by Günther Massenkeil somewhat more selective mentioned passions, the inserts of other texts ( hymns, and others) may contain or instrumental parts.

The responsorial Passions of Johann Walter, however, were sometimes even more widespread in central Germany throughout the 17th century and beyond. So his passion is called in Leipzig about 1716 in Merseburg even in 1741.

Figuralpassion and motet Passion

Thus, the type of through-composed Passion has evolved from the Passion chorale out. The entire text of the Passion is more consistent, to a certain extent by Motettenart, through-composed. That is also the voice of Christ and the evangelists sound more coherent. Apart from an introduction and a conclusion vocals but is only the Bible text to be heard. The first evidence of this form comes from Longeval.

Other authors refer to this type of a Figuralpassion, who also owns close to Passionsmotette. Furthermore, the notion of motet Passion has naturalized. The heyday of the through-composed Passion has, however, only lasted a short time and is really only in the age of the Counter-Reformation.

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

Passion oratorio

From the concert Passion, the Passion oratorio has developed, so an oratorio, which designed the biblical passion story along the biblical witness, but it also handles non-biblical text elements or spiritual poetry. To observe this is, for example, even at Thomas Selle 1642. Selle has inserted in his St John Passion intermedia that have a contemplative function. He also takes added instruments. Johann Sebastiani, in turn, are " to awaken greater Devotion different verses from the usual hymns " composed by him in 1672 St. Matthew Passion comment, in polyphonic settings of Johann Eccard. Protecting student Johann Theile added in 1673 in his St. Matthew Passion instrumental ritornello and song - arias one.

The oratorical passion is then distinguished by free slots in total, which interrupt the flow of the biblical text. Features are the secco recitative for the Evangelist and the Soliloquenten, added delivers the continuo organ (usually positive organ ) and the string bass. In the accompanied recitative, however, the words of Christ obtained, for example in Bach's St. Matthew Passion, but even at Johann Theile and Johann Valentin Meder's St. Matthew Passion, for highlighting strings choir accompaniment. Onlooker da capo arias, but also a Arioso, as well as choirs and chorales that are based on free seal, enrich the work.

The type is assigned to the era of orthodoxy above all.

Passion oratorio

The Passion oratorio, however, all it takes is the time of pietism. Usually comes in the Passion oratorio no Bible text before, but only free seal around the suffering of Jesus. As a lyricist Barthold Heinrich Brockes emerged that inspired many composers to Passions. Carl Heinrich Graun occurred in 1755 for the first time with his Passion oratorio Der Tod Jesu at the Sing- Akademie zu Berlin forth. The work has been kept constant in the concert programs. The Singing Academy led the work for decades as Good Friday music, until it was replaced by the rediscovery of Bach's Passions by this.

Intermediates

However, there are between all groups border and transitional phenomena. Also, it is not always easy, to transfer the distinctions of musicology, which are mainly used for explanation and classification of works from the 15th to the 18th century to the works of the 20th and 21st centuries.

Works

Examples of responsorial Passions

• Latin: Claudin de Sermisy (1535 )
• Cypriano de Rore ( 1557)
• Jachet de Mantua ( 1567)
• Orlando di Lasso: St. Mark Passion (1582 ), St. Luke Passion (1582 ), St. Matthew Passion (1575 ), Johannes - Passion ( 1575)
• Tomás Luis de Victoria: St. Matthew Passion (1585 )
• Thomas Mancinus: Celler Passion (before 1602)
• Giovanni Matteo Asola ( 1595 )
• William Byrd: Johannes - Passion ( 1607)

• German: Johann Walter: St. Matthew Passion, St John Passion (both 1530 )
• Anthony Scandellus: St. John Passion ( 1570 or earlier)
• Jacobus Gallus
• Bartholomew Gesius: St. John Passion ( 1588)
• Samuel Besler: Passion ( 1612 )

Examples of motet Passions

• German: Joachim a Burck created a St. John Passion, in which the German Passion text was composed by several voices for the first time as well as a passion to a Gospel Harmony
• Leonhard Lechner: Johannes - Passion ( 1593)
• Christoph Demantius: Johannes - Passion ( 1631)

Passions Histories of Heinrich Schütz

Heinrich Schütz is distinguished by the fact that he created Passions histories, which, apart from an introduction and a decision not tolerate any interruption of the biblical text.

• Heinrich Schütz: Matthäus- Passion ( 1666), St. Luke Passion (around 1653), St. John's Passion (1665 /66) - but referred contactor all three plants as Historia, literally: Historia of suffering and death of Jesus Christ ... ...

• Markus Passion (1668) also attributed Marco Giuseppe Peranda.

Examples of oratorical Passions

• Thomas Selle: St. Matthew Passion (1642 )
• Christian Flor: Passion Oratorio ( 1667)
• Johann Sebastiani: The Leyden and death of our Lord, Jesus Christ by the Holy Heylandes Matthæo. Konigsberg ( 1672)
• Johann Theile: St. Matthew Passion, Lübeck ( 1673 )
• Johann Sebastian Bach: Johannes - Passion ( 1724), St. Matthew Passion ( 1727/29 ), St. Mark Passion (1731, music lost), St. Luke Passion (1730, music lost)
• Georg Philipp Telemann: Numerous Mark, Luke, John and Matthew Passions
• Gottfried August Homilius: he created ten Passions ( a 1775 printed by Breitkopf & Härtel in Leipzig, entitled " A Laemlein and is bearing the blame " )

Examples of Passions and mixed forms

• The tortured and dying for the sins of the world Jesus ( " Brockes Passion ", set to music by Keiser 1712 Telemann 1716 1718 Mattheson, Handel 1719 Fasch 1723 Stolzel 1725, Bachofen 1759).
• The death of Jesus (1755 ) ( PeterRamler, set to music by Georg Philipp Telemann, Carl Heinrich Graun and Carl Philipp Emanuel Bach (1755 ), Johann Christoph Friedrich Bach (?) )
• Carl Philipp Emanuel Bach, The last sufferings of the Redeemer
• Ludwig van Beethoven, Christ on the Mount of Olives (1803 )
• Carl Loewe: The Atonement of the New Covenant ( Passion Oratorio, 1847)
• Friedrich Schneider: Gethsemane and Golgotha ​​( Passion Oratorio, 1838) Op 96

With reduction in the words of Jesus on the cross:

• Richard Bartmuß, The Saviour words on the cross, op.51

Examples of modern passions of the 20th and 21st centuries

• Kurt Thomas: St. Mark Passion (1927 )
• Hugo Distler: Choral Passion according to the four Gospels of the Holy Scriptures, Op 7, for 5- part mixed choir and two cantors, representing the Evangelist and Jesus ( 1932/1933 )
• Frank Martin: Golgotha ​​, according to words of the Bible and Augustine, for 5 soloists, mixed choir, organ and orchestra ( 1945-1948 )
• Rudolf Mauersberger: separated Passion according to the Gospel of Luke for two established choirs (1947 )
• Wolfgang Schoor: The Passion according to St. Mark's and words of various poets for soprano, alto, tenor, baritone and bass solo, mixed choir, chamber orchestra, harpsichord and organ ( 1949), texts: Gospel, Liturgy of the Hours, Prophet Isaiah, HP Bergler - Schroer, Lilo Ebel, Paul Gerhardt, Gottfried hares Kamp, Johann Heermann, Hertha Jaeger Schmid, Wolfgang Schoor, Friedrich Wilhelm Weber ( 1949)
• Ernst Pepping: Passion narrative of Matthew (1951 )
• Krzysztof Penderecki: St. Luke Passion ( 1962-65 )
• Paul Ernst Ruppel: Crucifixion - Passion viewing after Spirituals for Solo Tenor mixed choir, trombone and bass
• Hans- Peter Braun: Two Biblical scenes Gethsemane - Pentecost for Organ ( 1977)
• Klaus Miehling: Passio secundum Marcum for Soloists, Choir and Baroque Orchestra (1980/2006) - Judas Passion (2005), text selection by Matthias Uhlich
• Mikis Theodorakis: Kata Saddukaion Pathi ( Sadducees Passion, text: Michalis Katsaros ) for tenor, baritone, bass, choir and orchestra ( 1981-82 )
• Arvo Pärt: Passio Domini nostri Jesus Christ secundum Joannem for soloists, mixed choir, instrumental quartet and organ ( 1982)
• Anton Reinthaler created four passions: Passion according to St. John, Passion according to Luke, a Passion according to St. Mark and the Passion according to St. Matthew
• Sofia Gubaidulina: Johannes Passion, in Russian, (2000)
• Wolfgang Rihm: Deus passus according to selected texts of Luke's Gospel (2000)
• Matthias Drude: For your honor I have fought, suffered - the Passion of Jesus (2000)
• Johannes Matthias Michel, Crucifixion, Passion scene for baritone, narrator, choir and orchestra (2001)
• Peter Michael Braun: passage est et resurrexit for mixed choir, large organ and orchestra (2005)
• Ludger Stühlmeyer: St. John Passion for SATB choir and vocal soloists SATB, texts by: John from 18.1 to 19.42, Psalm 130 and the empty cross of F. Hofmann ( 2014)

Examples of a passion in the style of a musical

The Passion may also be represented with the stylistic devices of the musical:

• Andrew Lloyd Webber: Jesus Christ Superstar (1971 )

Passion for children

Most of religion educational interest occurs, the processing of the musical Passion theme in child-friendly manner:

• Margret Birkenfeld created in 1980 a children's Passion: Come and See: The grave is empty - Small Passion for children.