Northwest Sinfonietta Music off the Record Johann Sebastian Bach St. John Passion Dr. Ken Owen

J.S. Bach ( ) What do you know about Bach? Prolific ◦ Every genre except opera ◦ 300 cantatas in 3 years Fugues & fugal writing ◦ Well Tempered Klavier Remarkable craftsmanship

Bach Family Tree (selective)

Bach professional musicians

Youngest of 8 children

Family tradgedy 9yrs old – mother dies Dad remarries Dad dies ◦ Stepmom left w/5 children under 12 ◦ Asked by Count of Schwarzburg-Arnstadt  “whether there was not another Bach available who would like to apply for Johann Christoph’s (Dad’s twin) post, for I should and must have a Bach again”  “the springs of musical talent in the Bach family have run dry within the last few years”

Johann Sebastian Bach ( ) Lives with older brother Johan Christoph ◦ Student of Johannes Pachelbel ◦ Church organist Graduated from school at a young age ◦ St. Michael’s church ◦ Choral scholar

Career Organist in Arnstatd Ego gets him in trouble ◦ Fight with a student basoon player, Geyserbach  Older than Bach ◦ Because Bach had called him a “Zipple fagottist”  Translated “greenhorn” or “nanny-goat” basoonist

Didn’t get along w/instrumentalists and wouldn’t help

Career Organist in Mülhausen ◦ Marries Maria Barbara Concert Master in Weimar ◦ Thrown in jail for quitting job ◦ 4 weeks!

Career Capellmeister in Cöthen ◦ Wife dies ◦ Marries Anna Magdalena – singer Cantor & director of music at Leipzig ◦ 3 rd choice – settled for Bach ◦ 1724 – St. John Passion ◦ 1750 – eye surgeries for cateracts ◦ 1750 – dies of stroke

Leipzig Duties included teaching Latin Oversight of music at the three churches in Leipzig – mostly the 2 big ones Audition new music students ◦ Scholarships for Sunday performance Teach student musicians and prepare them for Sunday performances ◦ Always frustrated with student abilities

St. Thomas Church in Leipzig

St. John Passion Passion = musical setting of Jesus’ suffering and death. Leipzig stuck in a rut ◦ Tradition of singing a passion by Johann Walter from 1530! ◦ No Instruments allowed in passion! ◦ Avoided the trend to set it in operatic style, like an oratorio.

St. John Passion 1720 – Bach’s predecessor convinces them to allow orchestra and write a new passion ◦ Rules:  Text from New Testament – no alterations 1723 – want a famous musician to draw in the Easter crowds ◦ Still stuck to text rules (unlick composers in other cities) ◦ Aria problems

St. John Passion 3 text sources ◦ New Testament direct quotes  Recitative  Tells the story - characters ◦ Non-scriptural Lutheran poetry  Arias  Anonymous reflection on story & devotion ◦ Lutheran Chorales – hymns  Sung in chorale style by choir  Familiarity to congregation

Recitatives, Arias & Chorales, Oh My! Recitative ◦ speech-like flexible rhythms ◦ One note per syllable ◦ Intended to be dramatic, musical speech Aria ◦ more melodic ◦ regular beat ◦ Words extended over musical lines Chorales = hymns in 4 part harmony

Recitative Evangelist “Jesus spricht zu ihnen” Jesus “Ich bin’s.” Evangelist “Judas aber, der ihn verriet, stund auch bei ihnen. Als nun Jesus zu ihnen sprach: Ich bin’s, wichen sie zurück und fielen zu Boden. Da fragte er sie abermal. ” Jesus “Wen suchet ihr?” Evangelist “Sie aber sprachen:” Evangelist “Jesus said to them” Jesus “I am He.” Evangelist “Judas also, who had betrayed him, stood though beside them. And when Jesus had said to them, “I am He,” they drew back and fell to the ground. Then he asked them for a second time:” Jesus “Whom do ye seek?” Evangelist “And they did answer:”

Soprano Aria “Zerfließe, mein Herze, in Fluten der Zähren, Dem Höchsten zu Ehren! Erzähle der Welt und dem Himmel die Not: Dein Jesus ist tot!” “O melt now, my bosom, in rivers of weeping, The Most High to honor! Declare to the world and to heaven thy woe: Thy Jesus is dead!”

Chorale Ach grosser König

Part I Betrayal and Capture (John 18:1–14) Peter’s Denial (John 18:15–27, Matthew 26:75) Part II Interrogation and Flagellation (John 18:28–40, 19:1) Condemnation and Crucifixion (John 19:2–22) The Death of Jesus (John 19:23–30) Burial (Matthew 27:51–52, John 19:31–42) Story

Evangelist: Tenor Jesus: Bass Petrus (Peter): Bass Magd (Maid): Soprano Diener (Servant): Tenor Solos: Soprano, Alto, Tenor and Bass Chorus: Soprano, Alto, Tenor, Bass VOICES AND CHARACTERS

Devotion & Symbolism in Bach Bach’s markings on scores ◦ JJ = Jesu Juva ◦ SDG = Soli Deo Gloria Symmetry in movement plan Number symbolism Musical figures ◦ Cross? Scoring

Soprano Aria “I follow thee” ◦ 2 flutes in unison  Duality of God/man ◦ Musically following

Enjoy the concert You can find this Powerpoint at Thank you for coming! - Ken Owen