Misplaced Pages

#943056

70-494: The Passio secundum Joannem or St John Passion (German: Johannes-Passion ), BWV 245, is a Passion or oratorio by Johann Sebastian Bach , the earliest of the surviving Passions by Bach . 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. Nicholas Church . The structure of

140-403: A 1725 replacement for the opening chorus, found a new home in the 1736 St Matthew Passion but several arias from the revisions are found only in the appendices to modern editions. The St John Passion was intended for the vesper service on Good Friday of 1724, shortly after Bach's 39th birthday. It was originally planned to be held at St. Thomas in Leipzig, but due to a last-minute change by

210-684: A Passion, known as the Weimarer Passion , but it is now lost. Sometimes while listening to the St John Passion today one can sense an older feel to some of the music, and some scholars believe that those portions are the surviving parts of the Weimar Passion. Unlike the St Matthew Passion , to which Bach made very few and insignificant changes, the St John Passion was subject to several major revisions. The version most familiar to us today

280-477: A basilica, that is to say, a church of wondrous beauty", Cyril of Jerusalem , a distinguished theologian of the early Church, and eyewitness to the early days of Constantine's edifice, speaks of Golgotha in eight separate passages, sometimes as near to the church where he and his listeners assembled: "Golgotha, the holy hill standing above us here, bears witness to our sight: the Holy Sepulchre bears witness, and

350-684: A city according to a Hippodamian grid plan  – a north–south arterial road , the Cardo (which is now the Suq Khan-ez-Zeit), and an east–west arterial road, the Decumanus Maximus (which is now the Via Dolorosa ). The forum would traditionally be located on the intersection of the two roads, with the main temples adjacent. However, due to the obstruction posed by the Temple Mount, as well as

420-517: A final version in the 1740s. Alternate numbers that Bach introduced in 1725 but later removed can be found in the appendix to scores of the work, such as that of the Neue Bach-Ausgabe (and heard in the recording by Emmanuel Music directed by Craig Smith , cited below). The St John Passion was not Bach's first passion. While he was working as Konzertmeister (1714–1717) in Weimar, Bach possibly wrote

490-457: A new instrumental sinfonia in lieu of the second. He also inserted an aria to replace the still-missing Ach, mein Sinn . Neither the aria nor the sinfonia has been preserved. Overall, Bach chose to keep the biblical text, and inserted Lutheran hymn verses so that he could return the work to its liturgical substance. In 1749, he reverted more or less to the original of 1724, making only slight changes to

560-434: A proposal that the rocky knoll north of Damascus Gate was the biblical Golgotha . He relied heavily on the research of Edward Robinson . In 1882–83, Major-General Charles George Gordon endorsed this view; subsequently the site has sometimes been known as Gordon's Calvary . The location, usually referred to today as Skull Hill , is beneath a cliff that contains two large sunken holes, which Gordon regarded as resembling

630-549: A small edition of the catalogue, based on the 1990 second edition. This edition, known as BWV , contained a few further updates and collation rearrangements. New additions ( Nachträge ) to BWV /BWV included: Numbers above BWV 1126 were added in the 21st century. A revised version (3rd edition in total) of the Bach-Werke-Verzeichnis was originally announced by the Bach Archive for publication in 2020, however it

700-438: Is certainly evidence that c.  160 , at least as early as 30 years after Hadrian's temple had been built, Christians associated it with the site of Golgotha ; Melito of Sardis , an influential mid-2nd century bishop in the region, described the location as "in the middle of the street, in the middle of the city", which matches the position of Hadrian's temple within the mid-2nd century city. The Romans typically built

770-547: Is closely connected to a wider controversy regarding the tone of the New Testament 's Gospel of John with regards to Judaism . Lukas Foss , who came to the United States in 1937 as a Jewish refugee from Nazi Germany, changed the text from "Juden" to "Leute" (people) when he conducted performances of the work. This has been the trend of numerous mainline Christian denominations since the late 20th century as well, for instance,

SECTION 10

#1732859583944

840-498: Is not the original version from 1724, but rather the version of 1739–1749. In the 1724 version, the Recitative Movement No. 33 reads "Und die Vorhang im Tempel zerriß in zwei Stück; von oben an bis unten aus." (Mark 15, 33) and was in 3 measures. From 1725 on, this was replaced by the more familiar 7-measure quote from Matthew 27: 51–52 (except in the 3rd version, in which this was taken out altogether). In 1725, Bach replaced

910-522: The St Matthew Passion , the St John Passion has been described as more extravagant, with an expressive immediacy, at times more unbridled and less "finished". The work is most often heard today in the 1739–1749 version (never performed during Bach's lifetime). Bach first performed the oratorio in 1724 and revised it in 1725, 1730, and 1749, adding several numbers. " O Mensch, bewein dein Sünde groß ",

980-501: The BWV Anh. : Calvary Since at least the early medieval period, it has been a destination for pilgrimage . The exact location of Calvary has been traditionally associated with a place now enclosed within one of the southern chapels of the multidenominational Church of the Holy Sepulchre , a site said to have been recognized by the Roman empress Helena , mother of Constantine

1050-460: The Bach-Werke-Verzeichnis was published in 1950. It allocated a unique number to every known composition by Bach. Wolfgang Schmieder , the editor of that catalogue, grouped the compositions by genre, largely following the 19th-century Bach Gesellschaft (BG) edition for the collation (e.g., BG cantata number = BWV number of the cantata): The Anhang of the BWV listed works that were not suitable for

1120-456: The Calvary Chapel by the art historian George Lavas and architect Theo Mitropoulos, a round slot of 11.5 cm (4.5 in) diameter was discovered in the rock, partly open on one side (Lavas attributes the open side to accidental damage during his repairs); although the dating of the slot is uncertain, and could date to Hadrian's temple of Aphrodite, Lavas suggested that it could have been

1190-523: The Episcopal Church , when they read the gospel during Good Friday services. Michael Marissen 's Lutheranism, Anti-Judaism, and Bach's 'St John's Passion' examines the controversy in detail. He concludes that Bach's St John Passion and St Matthew Passion contain fewer statements derogatory toward Jews than many other contemporary musical settings of the Passion. He also noted that Bach used words for

1260-469: The Passion taken as a lesser sacred concert. The text for the opening prayer, "Herr, unser Herrscher, dessen Ruhm", as well as the arias, chorales and the penultimate chorus "Ruht wohl, ihr heiligen Gebeine", come from various other sources. Two recitative passages, the first dealing with Peter's weeping after his betrayal and the second portraying the temple veil's ripping during the crucifixion, do not appear in

1330-726: The Tenth Legion encampment on the Western Hill, Hadrian's city had two Cardo , two Decumanus Maximus , two forums, and several temples. The Western Forum (now the Muristan ) is located on the crossroads of the West Cardo and what is now El-Bazar/David Street, with the Temple of Aphrodite adjacent, on the intersection of the Western Cardo and the Via Dolorosa . The Northern Forum is located north of

1400-776: The Vulgate Latin Calvariae , Calvariae locus and locum (all meaning "place of the Skull" or "a Skull"), and Golgotha used by Jerome in his translations of Matthew 27 :33, Mark 15 :22, Luke 23 :33, and John 19 :17. Versions of these names have been used in English since at least the 10th century , a tradition shared with most European languages including French ( Calvaire ), Spanish and Italian ( Calvario ), pre- Lutheran German ( Calvarie ), Polish ( Kalwaria ), and Lithuanian ( Kalvarijos ). The 1611 King James Version borrowed

1470-405: The basilica church Constantine built over the remainder of the enclosure was destroyed at the turn of the 11th century, and has not been replaced. Christian tradition claims that the location had originally been a Christian place of veneration, but that Hadrian had deliberately buried these Christian sites and built his own temple on top, on account of his alleged hatred for Christianity. There

SECTION 20

#1732859583944

1540-462: The 1730s, Bach revised the St John Passion again, restoring the original opening chorus, removing the final Chorale (thus ending the work with the choral Movement No. 39), and removing the three new arias. He also excised the two interpolations from the Gospel of Matthew that appeared in the work, probably due to objections by the ecclesiastical authorities. The first of these he simply removed; he composed

1610-462: The 1769 King James Version , the relevant verses of the New Testament are: In the standard Koine Greek texts of the New Testament , the relevant terms appear as Golgothâ ( Γολγοθᾶ ), Golgathân ( Γολγοθᾶν ), kraníou tópos ( κρανίου τόπος ), Kraníou tópos ( Κρανίου τόπος ), Kraníon ( Κρανίον ), and Kraníou tópon ( Κρανίου τόπον ). Golgotha's Hebrew equivalent would be Gulgōleṯ ( גֻּלְגֹּלֶת , "skull"), ultimately from

1680-413: The 7th century BC and that the site may have been abandoned by the 1st century. Eusebius comments that Golgotha was in his day (the 4th century) pointed out north of Mount Zion . While Mount Zion was used previously in reference to the Temple Mount itself, Josephus , the first-century AD historian who knew the city as it was before the Roman destruction of Jerusalem , identified Mount Zion as being

1750-594: The Gospel of John in the Luther Bible , and the tenor Evangelist follows exactly the words of that bible. The compiler of the additional poetry is unknown. Models are the Brockes Passion and a Johannes-Passion by Christian Heinrich Postel . The first scene is in the Kidron Valley , and the second in the palace of the high priest Kaiphas . Part Two shows three scenes, one with Pontius Pilate , one at Golgatha , and

1820-568: The Gospel of John, but the Gospel of Matthew . A modern example originating in Communist Hungary demonstrates the congregational character of St John Passion . In the early 1950s musicians were allowed to play church music only in the frame of liturgy . However, the St John Passion is an almost complete Lutheran liturgy , focused on the Evangelium . Hence, by inserting four missing features,

1890-618: The Great , during her visit to the Holy Land in 325. Other locations have been suggested: in the 19th century, Protestant scholars proposed a different location near the Garden Tomb on Green Hill (now "Skull Hill") about 500 m (1,600 ft) north of the traditional site and historian Joan Taylor has more recently proposed a location about 175 m (574 ft) to its south-southeast. The English names Calvary and Golgotha derive from

1960-578: The Great , in 325. Less than 45 meters (150 ft) away, Helena also identified the location of the tomb of Jesus and claimed to have discovered the True Cross ; her son, Constantine, then built the Church of the Holy Sepulchre around the whole site. In 333, the author of the Itinerarium Burdigalense , entering from the east, described the result: On the left hand is the little hill of Golgotha where

2030-540: The Holy Sepulchre . This places it well within today's walls of Jerusalem , which surround the Old City and were rebuilt in the 16th century by the Ottoman Empire . Proponents of the traditional Holy Sepulchre location point to the fact that first-century Jerusalem had a different shape and size from the 16th-century city, leaving the church's site outside the pre-AD 70 city walls. Those opposing it doubt this. Defenders of

2100-455: The Holy Sepulchre and under the nearby Muristan , it was found that the area was originally a quarry, from which white Meleke limestone was struck; surviving parts of the quarry to the north-east of the chapel of St. Helena are now accessible from within the chapel (by permission). Inside the church is a rock, about 7 m long by 3 m wide by 4.8 m high, that is traditionally believed to be all that now remains visible of Golgotha ;

2170-595: The Latin forms directly, while Wycliffe and other translators anglicized them in forms like Caluarie , Caluerie , and Calueri which were later standardized as Calvary . While the Gospels merely identify Golgotha as a "place", Christian tradition has described the location as a hill or mountain since at least the 6th century. It has thus often been referenced as Mount Calvary in English hymns and literature . In

St John Passion - Misplaced Pages Continue

2240-530: The Lord was crucified. About a stone's throw from thence is a vault [crypta] wherein his body was laid, and rose again on the third day. There, at present, by the command of the Emperor Constantine, has been built a basilica ; that is to say, a church of wondrous beauty. Various archeologists have proposed alternative sites within the Church as locations of the crucifixion. Nazénie Garibian de Vartavan argued that

2310-581: The Moravian town of Bethlehem, Pennsylvania , was the first to perform the St John Passion in the Americas. This spurred a revival of Bach's choral music in the New World. While writing the St John Passion , Bach intended to retain the congregational spirit of the worship service. The text for the body of the work is taken from the Gospel of John chapters 18 and 19. To augment these chapters, which he summarized in

2380-625: The Temple Mount, on the junction of the Via Dolorosa and the Eastern Cardo (the Tyropoeon ), adjacent to the Temple of Jupiter Capitolinus , intentionally built atop the Temple Mount. Another popular holy site that Hadrian converted to a pagan temple was the Pool of Bethesda , possibly referenced to in the fifth chapter of the Gospel of John, on which was built the Temple of Asclepius and Serapis . While

2450-401: The Temple of Aphrodite was still present, of a ship, a common early Christian symbol and the etching "DOMINVS IVIMVS", meaning "Lord, we went", lending possible support to the statement by Melito of Sardis' asserting that early Christians identified Golgotha as being in the middle of Hadrian's city, rather than outside. During 1973–1978 restoration works and excavations inside the Church of

2520-530: The church on the site. The height of the Golgotha rock itself would have caused it to jut through the platform level of the Aphrodite temple, where it would be clearly visible. The reason for Hadrian not cutting the rock down is uncertain, but Virgilio Corbo suggested that a statue, probably of Aphrodite, was placed on it, a suggestion also made by Jerome . Some archaeologists have suggested that prior to Hadrian's use,

2590-593: The commenting arias and hymns that tended to shift the blame for the death of Jesus from "the Jews" to the congregation of Christians. Bach-Werke-Verzeichnis The Bach-Werke-Verzeichnis ( BWV ; lit.   ' Bach works catalogue ' ; German: [ˈbax ˈvɛrkə fɛrˈtsaeçnɪs] ) is a catalogue of compositions by Johann Sebastian Bach . It was first published in 1950, edited by Wolfgang Schmieder . The catalogue's second edition appeared in 1990. An abbreviated version of that second edition, known as BWV ,

2660-556: The crucifixion site involves identifying a site that, in the city of Jerusalem some four decades before its destruction in AD   70, would have been outside a major gate near enough to the city that the passers-by could not only see him, but also read the inscription 'Jesus the Nazarene, King of the Jews'. Christian tradition since the fourth century has favoured a location now within the Church of

2730-403: The design of the church means that the Calvary Chapel contains the upper foot or so of the rock, while the remainder is in the chapel beneath it (known as the tomb of Adam ). Virgilio Corbo , a Franciscan priest and archaeologist, present at the excavations, suggested that from the city the little hill (which still exists) could have looked like a skull. During a 1986 repair to the floor of

2800-454: The eyes of a skull. He and a few others before him believed that the skull-like appearance would have caused the location to be known as Golgotha. Nearby is an ancient rock-cut tomb known today as the Garden Tomb , which Gordon proposed as the tomb of Jesus. The Garden Tomb contains several ancient burial places, although the archaeologist Gabriel Barkay has proposed that the tomb dates to

2870-607: The first decade of the 21st century. Provenance of standard texts and tunes, such as Lutheran hymns and their chorale melodies , Latin liturgical texts (e.g. Magnificat ) and common tunes (e.g. Folia ), are not usually indicated in this column. For an overview of such resources used by Bach, see individual composition articles, and overviews in, e.g., Chorale cantata (Bach)#Bach's chorale cantatas , List of chorale harmonisations by Johann Sebastian Bach#Chorale harmonisations in various collections and List of organ compositions by Johann Sebastian Bach#Chorale Preludes . Appearing in

St John Passion - Misplaced Pages Continue

2940-552: The latter both doubling on oboe da caccia . For special colors Bach also used lute , viola d'amore and viola da gamba , instruments that were already old-fashioned at the time. In present-day performances the part of Jesus is often given to one bass soloist, Pilate and the bass arias to another. Some tenors sing the Evangelist – a very demanding part – and the arias. The smaller parts (Peter, Maid, Servant) are sometimes performed by choir members. Bach followed chapters 18 and 19 of

3010-580: The main catalogue, in three sections: Within each section of the Anhang the works are sorted by genre, following the same sequence of genres as the main catalogue. Schmieder published the BWV's second edition in 1990, with some modifications regarding authenticity discriminations, and more works added to the main catalogue and the Anhang . Several compositions were repositioned in the over-all structure of chapters organised by genre and Anhang sections. In 1998 Alfred Dürr and Yoshitake Kobayashi published

3080-420: The music council, it was to be first performed at St. Nicholas. Bach quickly agreed to the move, but pointed out that the booklet was already printed, that there was no room available and that the harpsichord needed some repair, all of which, however, could be attended to at little cost; but he requested that a little additional room be provided in the choir loft of St. Nicholas Church, where he planned to place

3150-497: The music, Bach used an elaborate body of commentary consisting of hymns, which were often called chorales, and arias. He adhered to Martin Luther 's translation of the Bible and made no noticeable modifications. Bach proved that the sacred opera as a musical genre did not have to become shallow in liturgical use by remaining loyal to the cantus firmus and the scriptural word. He did not want

3220-491: The musicians needed to perform the music. He also asked that the harpsichord be repaired. The council agreed and sent a flyer announcing the new location to all the people around Leipzig . The council made the arrangements requested by Bach regarding the harpsichord and space needed for the choir. The St John Passion is written for a four-part choir with soloists, as well as an instrumental ensemble of strings and basso continuo with pairs of flauti traversi and oboes ,

3290-616: The name and its origin. Jerome considered it a place of execution by beheading ( locum decollatorum ), Pseudo-Tertullian describes it as a place resembling a head, and Origen associated it with legends concerning the skull of Adam . This buried skull of Adam appears in noncanonical medieval legends, including the Book of the Rolls , the Conflict of Adam and Eve with Satan , the Cave of Treasures , and

3360-465: The now-buried Constantinian basilica’s altar was built over the site. Prior to Helena's identification, the site had been a temple to Aphrodite . Constantine's construction took over most of the site of the earlier temple enclosure, and the Rotunda and cloister (which was replaced after the 12th century by the present Catholicon and Calvary chapel ) roughly overlap with the temple building itself;

3430-526: The old city, they "incidentally confirm[ed] the bringing of Golgotha inside a new town wall." In 2007 Dan Bahat , the former City Archaeologist of Jerusalem and Professor of Land of Israel Studies at Bar-Ilan University , stated that "Six graves from the first century were found on the area of the Church of the Holy Sepulchre. That means, this place [was] outside of the city, without any doubt…". The traditional location of Golgotha derives from its identification by Queen Mother Helena , mother of Constantine

3500-509: The opening and closing choruses and added three arias ( BWV 245a-c) while cutting one ( Ach, mein Sinn ) from the original version. The opening chorus was replaced by O Mensch, bewein dein Sünde groß , which was later transposed and reused at the end of part one of the St Matthew Passion . The closing chorale was replaced by a brilliant setting of " Christe, du Lamm Gottes ", taken from the cantata Du wahrer Gott und Davids Sohn , BWV 23 . The three new arias are not known to have been reused. In

3570-448: The orchestration, most notably replacing the by-then almost obsolete viola d'amore with muted violins . Also, Bach's orchestra for this piece would have been very delicate in nature because he called for many gamba strings. In the summer of 1815, Bach's Passions began to be studied once again. Parts of the St John Passion were being rehearsed and the St Matthew Passion was soon to follow. Fred Wolle, with his Choral Union of 1888 at

SECTION 50

#1732859583944

3640-503: The place had actually been known as "Gol Goatha"—which he interpreted to mean "heap of death" or "hill of execution"—and had become associated with the similar sounding Semitic words for "skull" in folk etymologies . James Fergusson identified this "Goatha" with the Goʿah ( גֹּעָה ) mentioned in Jeremiah 31 :39 as a place near Jerusalem, although Krafft himself identified that location with

3710-457: The positioning of the Temple of Aphrodite may be, in light of the common Colonia layout, entirely unintentional, Hadrian is known to have concurrently built pagan temples on top of other holy sites in Jerusalem as part of an overall " Romanization " policy. Archaeological excavations under the Church of the Holy Sepulchre have revealed Christian pilgrims' graffiti, dating from the period that

3780-486: The relevant passages " place of the skull " or "Place of the Skull", the Greek forms of the name grammatically refer to the place of a skull and a place named Skull. (The Greek word κρᾱνῐ́ον does more specifically mean the cranium , the upper part of the skull, but it has been used metonymously since antiquity to refer to skulls and heads more generally.) The Fathers of the Church offered various interpretations of

3850-553: The rending of the veil in the temple (in Version I, this second line was replaced by the line from the Gospel of Mark). He chose the chorales: For the words of the aria "Ach, mein Sinn" (#13), Bach used an adaptation of a 1675 poem by Christian Weise , "Der weinende Petrus". For the central chorale (#22) "Durch dein Gefängnis, Gottes Sohn, muß uns die Freiheit kommen" ("Through Your prison, Son of God, must freedom come to us) Bach adapted

3920-473: The rock outcrop had been a nefesh – a Jewish funeral monument, equivalent to the stele . The Itinerarium Burdigalense speaks of Golgotha in 333: "... On the left hand is the little hill of Golgotha where the Lord was crucified. About a stone's throw from thence is a vault (crypta) wherein His body was laid, and rose again on the third day. There, at present, by the command of the Emperor Constantine, has been built

3990-509: The rock. Based on the late 20th century excavations of the site, there have been a number of attempted reconstructions of the profile of the cliff face. These often attempt to show the site as it would have appeared to Constantine. However, as the ground level in Roman times was about 4–5 feet (1.2–1.5 m) lower and the site housed Hadrian's temple to Aphrodite, much of the surrounding rocky slope must have been removed long before Constantine built

4060-463: The separate Gennáth ( Γεννάθ ) of Josephus , the "Garden Gate" west of the Temple Mount . There is no consensus as to the location of the site. John 19:20 describes the crucifixion site as being "near the city". According to Hebrews 13:12 , it was "outside the city gate". Matthew 27:39 and Mark 15:29 both note that the location would have been accessible to "passers-by". Thus, locating

4130-454: The site of the crucifixion, as it would be strong enough to hold in place a wooden trunk of up to 2.5 metres (8 ft 2 in) in height (among other things). The same restoration work also revealed a crack running across the surface of the rock, which continues down to the Chapel of Adam ; the crack is thought by archaeologists to have been a result of the quarry workmen encountering a flaw in

4200-568: The stone which lies there to this day." And just in such a way the pilgrim Egeria often reported in 383: "… the church, built by Constantine, which is situated in Golgotha…" and also bishop Eucherius of Lyon wrote to the island presbyter Faustus in 440: "Golgotha is in the middle between the Anastasis and the Martyrium, the place of the Lord's passion, in which still appears that rock which once endured

4270-428: The third finally at the burial site. The dramatic argument between Pilate, Jesus , and the crowd is not interrupted by reflective elements but a single central chorale. The numbering of the movements is different in different editions. The following table uses the numbers of the Neue Bach-Ausgabe (NBA). Bach followed the Gospel of John but added two lines from the Gospel of Matthew, the account of Peter's weeping and

SECTION 60

#1732859583944

4340-400: The traditional site have argued that the site of the Church of the Holy Sepulchre was only brought within the city limits by Herod Agrippa (41–44), who built the so-called Third Wall around a newly settled northern district, while at the time of Jesus' crucifixion around AD 30 it would still have been just outside the city. Henry Chadwick (2003) argued that when Hadrian's builders replanned

4410-524: The verb galal ( גלל ) meaning "to roll". The form preserved in the Greek text, however, is actually closer to Aramaic Golgolta , which also appears in reference to a head count in the Samaritan version of Numbers 1 :18, although the term is traditionally considered to derive from Syriac Gāgūlṯā ( ܓܓܘܠܬܐ ) instead. Although Latin calvaria can mean either "a skull" or "the skull" depending on context and numerous English translations render

4480-406: The very cross on which the Lord was." Breviarius de Hierosolyma reports in 530: "From there (the middle of the basilica), you enter into Golgotha, where there is a large court. Here the Lord was crucified. All around that hill, there are silver screens." (See also: Eusebius in 338. ) In 1842, Otto Thenius , a theologian and biblical scholar from Dresden , Germany , was the first to publish

4550-564: The whole Passion could be performed as if it were part of the liturgy. There would have been no applause, either at the beginning or at the end. The Passion contains quite a few chorales that were in regular use in worship. The congregation and the audience, however, remained silent. More recently, the tradition of including the St John Passion in a full-scale Good Friday service was revived in Kokkola, Finland in 2023. The text Bach set to music has been criticized as anti-Semitic . This accusation

4620-756: The words of an aria from the Johannes-Passion of Christian Heinrich Postel (1700) and used the melody of "Mach's mit mir, Gott, nach deiner Güt" by Johann Hermann Schein . The architecture of Part Two shows symmetry around this movement, the music of the preceding chorus #21f "Wir haben ein Gesetz" corresponds to #23b "Lässest du diesen los", the demand #21d "Kreuzige ihn!" is repeated in an intensified way in #23d "Weg, weg mit dem, kreuzige ihn!", #21b "Sei gegrüßet, lieber Judenkönig" reappears as #25b "Schreibe nicht: der Juden König". Researchers have discovered that Bach revised his St John Passion several times before producing

4690-420: The work falls in two halves, intended to flank a sermon. The anonymous libretto draws on existing works (notably by Barthold Heinrich Brockes ) and is compiled from recitatives and choruses narrating the Passion of Christ as told in the Gospel of John , ariosos and arias reflecting on the action, and chorales using hymn tunes and texts familiar to a congregation of Bach's contemporaries. Compared with

4760-544: The works of Eutychius , the 9th-century patriarch of Alexandria. The usual form of the legend is that Shem and Melchizedek retrieved the body of Adam from the resting place of Noah 's ark on Mount Ararat and were led by angels to Golgotha, a skull-shaped hill at the center of the earth where Adam had previously crushed the serpent's head following the Fall of Man . In the 19th century, Wilhelm Ludwig Krafft proposed an alternative derivation of these names, suggesting that

4830-466: Was delayed and only finally published in 2022. The numbers assigned to compositions by Johann Sebastian Bach and by others in the Bach-Werke-Verzeichnis are widely used for the unique identification of these compositions. Exceptionally BWV numbers are also indicated as Schmieder (S) numbers (e.g. S. 225 = BWV 225 ). BWV numbers 1 to 1126 appear in the 1998 edition of the Bach-Werke-Verzeichnis . BWV numbers above 1126 were assigned from

4900-471: Was published in 1998. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. For example, BWV 992 was composed many years before BWV 1 . BWV numbers were assigned to 1,126 compositions in the 20th century, and more have been added to the catalogue in the 21st century. The Anhang (Anh.; Annex) of the BWV lists over 200 lost, doubtful and spurious compositions. The first edition of

#943056