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The Passio secundum Joannem or St John Passion [a] (German: Johannes-Passion), BWV 245, is a Passion or oratorio by Johann Sebastian Bach, the earliest of the surviving Passions by Bach. [1] It was written during his first year as director of church music in Leipzig and was first performed on 7 April 1724, at Good Friday Vespers at the St ...
[14] In 1749, Bach performed the St John Passion once more, in an expanded and altered form from the 1724 version, in what would be his last performance of a Passion. [ 14 ] Wolff writes: "Bach experimented with the St John Passion as he did with no other large-scale composition", [ 11 ] possible by the work's structure with the Gospel text as ...
The Bach-Gesellschaft Ausgabe (BGA, Bach Gesellschaft edition) kept the chorale settings that were part of a larger vocal work (cantata, motet, Passion or oratorio) together with these larger vocal works and added the Three Wedding Chorales to its 13th volume containing wedding cantatas. The remaining separate four-part chorales, purged from ...
The St Matthew Passion and the St John Passion were intended to be performed on Good Friday, before and after the sermon. The six parts of the Christmas Oratorio were intended to be performed on six feast days of the Christmas season, each part composed as a cantata with an opening chorus (except in Part 2) and a closing chorale.
Bach's St John Passion contains an alto aria beginning with this line, as a summary immediately after the death of Jesus. The closing chorale of the cantata is the last of 33 stanzas of Paul Stockmann's "Jesu Leiden, Pein und Tod" (1633). [2] [6] Bach probably first performed the cantata on 27 February 1729, or possibly earlier. [2] [9]
From the 1880s Ferruccio Busoni was adopting chorales in his instrumental compositions, often adapted from or inspired by models by Johann Sebastian Bach: for example BV 186 (c. 1881), an introduction and fugue on "Herzliebster Jesu was hast verbrochen", No. 3 of Bach's St Matthew Passion. In 1897 he transcribed Liszt's Fantasy and Fugue on the ...
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The oldest chorale chosen for the Passion dates from 1525. Bach used the hymns in different ways, most are four-part setting, two are the cantus firmus of the two chorale fantasias framing Part I, one as a commenting element in a tenor recitative. Three of the texts Bach used for chorale settings are written by Paul Gerhardt.