The Matthew Passion and B Minor Mass[63]
[Sidenote: _The Lutheran Services_]
It was Luther’s chief intention to make the congregation take more part
in the service of the Church than they had formerly done. The first
thing therefore was to diminish or abolish the use of Latin; and the
people were made to sing what they could understand and appreciate.
Luther translated a number of excellent old church hymns, and made
new tunes for them, being assisted in this work by friends. The newly
arranged hymns were to take the place of the Graduals, Offertories, &c.
He also translated and reorganised the chief parts of the Mass; thus
the Kyrie became “Gott Vater in Ewigkeit,” the Gloria, “Allein Gott in
der Höh sei Ehr,” the Creed, “Wir glauben all an einen Gott,” and the
Agnus Dei, “Christe du Lamm Gottes.”
The Preface, the Benedictus, and Hosanna were left in Latin.
Besides the chorales, he instituted the motet for the choir, which was
accompanied ordinarily by the organ, but on high festivals by cornets
and trombones. The style of the motets was that of Palestrina and
Orlando Lasso, and the texts were chosen from the Bible, especially the
Psalms. On days of humiliation, a long Litany and several Latin hymns
were sung instead of the Gloria. In Holy Week and on Palm Sunday and
Good Friday, instead of the Epistle, the Story of the Passion was sung
antiphonally from one of the gospels by two priests before the altar.
But several inconveniences gradually arose. In spite of Luther’s urgent
order, “A priest _must_ be able to sing,” there were, in course of
time, only a few who could, and those sang badly--most priests could
not even keep to a single note.
Let us imagine an unbroken monotone or monotonous chant badly intoned,
of the length of perhaps over one hundred verses; and the service,
being lengthened by the addition of hymns, &c., occupied sometimes from
four to five hours, all in one wearisome unison, and entirely deprived
of the variations which gave life to the Catholic service. Moreover if
anyone came late or left early he was severely reprimanded.
[Sidenote: The German Mass]
Luther said, “We arrange the German Mass as well as we can; our
successors will improve it.” But for a hundred years after his death
men held most conscientiously to the letter of his sayings, and when
alterations were made, they were done so sparingly that they were
of little effect. The Latin songs were almost all assigned to other
services, _e.g._ the “Rex Christe” was assigned to the vespers, the
“Crux fidelis” to Thursday in Holy Week, and the singing of the Passion
before the altar was changed to a mere reading from the pulpit.
But when read, only a very small portion of the congregation either
heard or understood it in a large and well-filled church; and soon
there arose disorders, especially when the old Protestant strictness
of discipline began to decline, and the Thirty Years’ War had produced
much roughness in manners. A way out of the difficulty was found,
which must be mentioned, though it only lasted a few years. It was
certainly conceived in accordance with Luther’s principles, but it
was soon found to be entirely impracticable. The congregation were
_themselves_ to sing the Passion story. For this purpose a song was
composed by Paul Stockmann (“Jesu Leiden, Pein und Tod”) containing
all the chief points in the story. Not only did the composition prove
entirely unsatisfactory in itself, but can one imagine four and thirty
strophes of eight lines each being sung straight away to one of the
dullest and most monotonous melodies that was ever composed!
During this period, however, Figural music had, outside the Church,
been gradually developing in a freer and more easily appreciated
manner, and was therefore becoming widely cultivated.
[Sidenote: _Introduction of Figural Music_]
It found favour with the people, since there was no law against
its use, so that it began to enter the Church, not in ordinary
services, but on festivals. The result was most favourable. We find
expressly stated the attention and the devout pleasure with which
the congregation listened to the conjunction of song and strings.
Gradually, therefore, this music was received into favour, first on
festivals and afterwards on Sundays in the principal churches, and that
without any special care that the text and expression had any regular
connection with particular parts of the Liturgy, much less with the
special subject of the sermon. The cantor and music director in fact
did not know beforehand what the subject was to be.
Everything else that had been used from former times remained, except
that after Frederick Augustus, Elector of Saxony, entered the Roman
Church in 1697, and organised such splendid services in his Court
church as had never been before heard in North Germany, more freedom
was allowed in the Lutheran churches.
The celebration of the Passion remained as before, and we have only to
add that during the Fast and Advent weeks all instruments, including
the organ, had to be silent, even during the singing of the thirty-four
strophes.
[Sidenote: _The Origin of Bach’s Passion Music_]
At last there came to the head of spiritual affairs at Leipsic a man
of decided character, highly esteemed as a learned theologian, a very
impressive preacher, and respected for his strictness of teaching
and life, Salomon Deyling, Doctor and Professor of Theology, &c.
(1677-1755). He could no longer endure the state of things in Passion
Week, and, since in 1723 the great and famous Sebastian Bach had
become cantor of the Thomas School and music director of the two chief
churches at Leipsic, he associated himself with him in order to see if
his ideas could be put in practice. The idea which he propounded to
Bach was this: “The early arrangement of the service was the best, but
was only suitable to its own date: we must try and make our arrangement
on the model of the earliest, but in keeping with modern requirements.
“On each Palm Sunday and Good Friday the history of the Passion of
the Lord is made known antiphonally, according to one or other of the
Evangelists, exactly in accordance with the sacred writer’s words!
Who could improve on this? They must be sung, how else are they to be
understood by all? But they must be sung by some one who can sing!
namely by you: and so that everything may sound well and be impressive
they must be musically sung, and accompanied.
“Your best singer, who can pronounce clearly and well, must sing the
words of the Evangelist in recitative, and, in order to produce more
impression and life and variety, the other persons of the story must
be represented by other singers, and the Jewish people by a chorus. At
the chief points in the story there will be pauses, during which, by
means of an aria, the congregation shall lay to heart what they have
heard; and that all of us shall be refreshed from time to time, there
shall be well chosen verses from all the known hymns, in which the
congregation can join. Now, your business is to carry all this out in
a connected and artistic manner.” And thus arose Bach’s Passion music,
which completely fulfilled everything that was expected of it. However
few there were who could understand and honour and enjoy them as art
works, these services, and Bach’s method of treating them, were gladly
received by the congregation, and the performance of such oratorios
became every time a truly edifying and Christian artistic feast.
This account refers of course chiefly to Leipsic. It is supposed that
the decay of the performance of the Passion was due to the pupils and
sons of Bach, who tried to improve on his and Deyling’s arrangement
by the introduction of Italian and lighter methods, which, though
pleasing, were soon found to be unsuitable to the simple words of the
Bible and Hymn-book.
[Sidenote: _Early Passion Services_]
The custom of performing the Passion in an epic and dramatic form
during Holy Week is exceedingly ancient. It exists still in the
Catholic Church in an ancient traditional way, consisting of the
relation of the gospel narrative by one singer, the speeches of Jesus
by another, while a third represents the crowd called _turba_. Music
and the dramatic element are little represented, and the performers
only make use of accent or intonations. In the Reformed Church the
performance of the Passion in German, and in artistic style, did
not take place earlier than the last half of the sixteenth century.
Winterfeld finds the earliest Passion music arranged for chorus after
the Gospel of St Matthew in Keuchenthal’s Gesangbuch, Wittenberg, 1573.
A short instrumental piece precedes it and another closes it, and for
the rest, only the words of the _turba_ are allotted to chorus. A
similar work is the Passion according to St John, which is found in
Selneccer’s Gesangbuch, 1587, but here there are hymns to be sung by
the congregation.
The Passion according to St John, of Bartholomäus Gese, 1588, begins
with a five voice chorus, followed by the gospel narration by a tenor
in Plainsong. The words of Christ are usually sung by four chorus
voices, the words of Peter and Pilate by three voices, those of the
maid and servant of the High Priest by two voices, the _turba_ are in
five voices, and a five voice chorus concludes the work.
Heinrich Schütz, 1585-1672, in whose “Resurrection of the Lord” modern
forms are found, has very sparingly used similar forms in his Passions
according to all four Evangelists, but chiefly in the concluding
choruses. The Passions in Vopelius’ Gesangbuch, 1682, show that the
early forms were still in use at that date.
The Passion of Capellmeister Johann Sebastiani, 1672, at Königsberg,
shows an advance in form here and there; and here also for the first
time do we find the artistic use of hymn tunes, while in Schütz
only the final movements of his Passions have any connection with
the chorale. The biblical narrative is no longer in plainsong, but
recitative, accompanied either by two violins or two violas and
bass, and this is the first example of instrumental accompaniment in
a Passion music. The _turba_ are in four voice chorus, with a fifth
part in high tenor for the Evangelist. Two violins, four violas and
bass always accompany him. The hymns are directed only to have their
melodies sung, the remaining parts being played by the strings.
A remarkable appearance was that of the Passion oratorios at Hamburg,
in which Handel, Keiser and Mattheson introduced the regular song
forms, the recitative, aria, and the duet of the opera, and in such a
method as only could be performed by very highly trained singers. At
first the words of Scripture in their original formed the basis.
In 1704, however, an entirely new departure was made in “The bleeding
and dying Jesus” of Reinhold Keiser, with words by Hunold-Menantes.
Here there was no Evangelist, nor were words of the Scripture
introduced, but three cantatas or soliloquies, similar to dramatic
scenes, took an important place. They were called the “Lamentation of
Mary,” the “Tears of Peter,” and the “Lovesong of the Daughter of Zion.”
The novelty, which excited the fiercest criticism and raised a great
contest, did not take root, although through its means a new way was
opened up. For this attempt led the Hamburg Councillor Brockes to write
a musical poem of a similar kind, in which the evangelist was retained
in order to fill the gaps between the scenes.
This composition, which was greatly admired, was set to music by
Keiser, and afterwards by Handel, Mattheson and Telemann. The first
performance of Keiser’s setting took place in Holy week in 1712, and it
is of special interest, since Bach took some of the words for the arias
in his _St John Passion_.
[Sidenote: Passion Settings]
In the _Matthew Passion_ Bach follows that of Sebastiani with the
addition of new forms derived from the drama, but enriched and ennobled
by the mind of the Master. Scripture words and hymns no longer
satisfied his contemporaries or himself; and as long as the kernel
of the work was scriptural, according to use consecrated by time, no
objection could be made to the introduction of what had already been
accepted in other services in the Church. Only the soliloquies, those
theatrical scenes in which biblical persons appear with words other
than biblical, he would not introduce, for it was too like the stage.
Thus in a form, which though new, was intimately connected with the
old, did the _Passions_ of Bach appear, and the congregation took part
by singing the chorales. It is not known for certain how many Passions
Bach wrote; the number is said to be five.
Regarding the author and composer of the _St Luke’s Passion_ nothing is
known for certain, for Bach gives neither in his copy. The arguments
for its being his work are that it is in his writing, and is possibly
a youthful composition, and that he recopied it in later years so
that it should not be forgotten; while the chief argument against its
genuineness is its insignificance. The Bachgesellschaft publish it with
the above reservation.
It consists mostly of chorales in four parts with short recitatives
between them. There are few arias or choruses, and a sermon is to be
preached in the middle.[64]
[Sidenote: _Matthew Passion_]
The first performance of the _Matthew Passion_ took place on Good
Friday, 1729. The words, where not scriptural, are by Picander. All
the resources of art are employed in this tremendous work. A double
chorus, a ripieno chorus of sopranos, a double orchestra and double
organ part; a part for the Evangelist which calls forth the very
highest powers of the greatest singers; all the instruments known in
Bach’s time are at various points brought into requisition. We have
already alluded (p. 104) to the effect of the opening chorus when
sung in the Thomas Church. The never-ceasing flow of quavers in 12-8
time, the call to the contemplation of the Passion, the questioning
second chorus which finally unites with the first, the solemn and
dignified march of the orchestra, have a devotional expression which
has never been surpassed. Throughout the work the words of the Saviour
are accompanied by strings alone in four parts, with the continuo
(which was never omitted in those days). The chorales, which are of
frequent occurrence, are to be sung in unison by the congregation, and
harmonised by the choir and instruments. The words of the _turba_ or
Jewish people are always allotted to double choruses, which throw the
expressions backwards and forwards at each other in a turbulent manner
(see p. 123).
The disciples are also represented by a double chorus, as are the
Christian congregation; and the music of the various double choruses
is in keeping with sentiments which might be supposed to actuate the
singers. The arias which fill the “pauses” suggested by Deyling are
allotted to an alto, soprano, tenor, or bass, and are accompanied, in
addition to the organ, by two flutes, or two oboi d’amore, or oboi da
caccia, or by a viola da gamba, or by a violin solo with string band.
After Bach’s death this magnificent work was performed at St Thomas
Church till the end of the seventeenth century, when it was laid aside
until revived by Mendelssohn in 1829, just one hundred years after its
first performance.
[Music:
Ja nicht auf das Fest auf dass nicht ein Aufruhr werde
Weissage]
[Sidenote: _B Minor Mass_]
The gigantic B Minor Mass was gradually composed. At first it
was to have been a “missa brevis,” but the rest was added later.
Hilgenfeldt[65] makes the following remarks on it:--“This Mass is
one of the noblest works of Art, full of inventive genius, depth of
feeling, and astonishing artistic power: there is no other of the
same calibre which can be compared to it. It was originally written
for the Saxon Court, and was first performed at Dresden. On his other
compositions of the same kind Bach has expended far less energy. It is
possible that a Protestant artist such as he was could not entirely
enter into the religious point of view which he was obliged to take in
composing for the Catholic Church, and several of his other masses are
merely collected from portions of his cantatas.”
This is, however, also the case with the B minor Mass: thus the
Crucifixus occurs in the cantata “Weinen Klagen,” the Hosanna in
“Preise dein Glücke,” the Agnus in “Lobet Gott in seinen Reichen.”
The Mass is dedicated to Frederick Augustus in the following words:--
“ILLUSTRIOUS ELECTOR,--GRACIOUS MASTER,--To Your Royal Highness I offer
in deepest devotion this small fruit of the knowledge to which I have
attained in music, with the most humble prayer that you will look upon
it, not according to the poor composition, but with your world-renowned
clemency, and therefore will take me under your powerful protection.
“I have for some years had the direction of the music in the two chief
churches at Leipsic, but have suffered several disagreeable things, and
my income has been reduced though I am myself blameless; but these
troubles would be easily overcome if your Highness would grant me the
favour of a decree, after conference with your Court orchestra.
“The gracious granting of my humble prayer would bind me to
everlastingly honour you, and I offer myself to do anything with
obedience that Your Royal Highness may require of me in the way
of composing church or orchestral music, and to give unwearied
industry, and to dedicate my whole strength to your service.--With
ever-increasing faithfulness, I remain, Your Royal Highness’ most
obedient Servant,--JOHANN SEBASTIAN BACH.”
This letter was handed in to the Court at Dresden when Bach was there
on a visit, July 27th, 1733. The reader will remember that he was at
this time in conflict with Ernesti, and the Council;--the title of
“Hof compositeur,” Court composer, was not however given him until
1736. Though Hilgenfeldt says the B minor Mass was first performed at
Dresden, it is doubtful whether it was ever performed outside the two
chief churches at Leipsic, and even there it was only done in parts.
On a score of the “Gloria” made in 1740 the note occurs “on the feast
of the Nativity.” The “Sanctus” also was originally intended as a
Christmas piece. The “Kyrie” is of great length; its score occupies
forty-six pages in the Bach Gesellschaft edition. Like the rest of
the choral portions, it has five voices, two sopranos, alto, tenor
and bass. The orchestra consists of two flutes, two oboi d’amore, two
bassoons, strings and continuo.
The Gloria is scored for three trumpets, drums, two flutes, two oboes,
two bassoons, strings and continuo. It will be observed that for the
joyful music of the Gloria the tone of the oboe proper was considered
more suitable than the perhaps more plaintive tone of the oboe
d’amore, which is used in the Kyrie.
At the very outset the hearers are made aware that a work of unusual
proportions is commencing. The words _Kyrie eleison_ are sung in a
massive five part adagio with independent orchestral parts, coming to
a full close at the end of the fourth bar. Here an instrumental “largo
ed un poco piano” commences and continues for twenty-five bars; it
foreshadows the vocal fugue, of which the following is the impressive
subject:
[Music: Kyrie eleison]
After this fugue has been worked at considerable length there is an
instrumental interlude, and it recommences, the bass leading off with
the subject in the tonic. The Christe eleison is set as a duet for
two sopranos in D major, and the second kyrie as a fugue, alla breve,
in four parts, in which the instruments double the voices. It has the
following stirring subject:
[Music: Kyrie eleison]
The “Gloria” begins in D major, and consists of eleven movements,
opening with a vigorous five part chorus vivace.
[Music]
“Quoniam tu solus Sanctus” is a bass aria accompanied by Corno di
caccia, two fagotti and continuo. There are no other instruments.
The Creed contains seven movements. The words “Credo in unum deum”
are a fugue on the ancient Plainsong, which is in semibreves, with a
perpetually moving bass on the organ in crotchets. The only orchestral
instruments are two violins, which play independent parts.
[Sidenote: “Et incarnatus est”]
“Et incarnatus est” for five voices is based on an arpeggio figure
imitated in all the parts:
[Music: Et incarnatus est]
The “Crucifixus,” one of the most impressive movements, is founded on
a chromatic ground bass, which recurs thirteen times, the four part
chorus singing various harmonies above it. This is the form of the
Passacaglia, and the same bass was used by Bach in the opening chorus
of the cantata, “Jesu, der du meine Seele,” though in a very different
manner. “Et resurrexit” is another movement conceived in Bach’s
happiest mood. It is in D major, like the Gloria, and has, if possible,
even more energy and swing. This is the vigorous opening phrase:
[Music: Et resurrexit.]
and it is repeated for the words “Cujus regni non erit finis.”
“Et in Spiritum sanctum” forms a bass solo accompanied by two oboi
d’amore.
“Confiteor unum baptisma,” a closely knit fugue on two subjects, is
in five parts with an independent organ bass. After a time the tempo
becomes adagio, and one of the most overpowering effects in the whole
of music introduces the words “et exspecto resurrectionem mortuorum”;
as it were the whole of creation is called to witness the supreme
miracle of the resurrection of the dead.
[Sidenote: The Sanctus]
The Sanctus is a six part chorus; the voices move for the most part in
flowing triplets, the bass generally in an octave figure. After a time
the triplets give way to the following powerful passage:
[Music: Sanctus Dominus Deus Sabaoth.]
after a few bars of which the triplets are resumed.
“Pleni sunt cœli et terra gloria ejus,” is a six part fugue, and
“osanna” is a double chorus. The “Dona nobis pacem” has the same
opening passage as the Rathswahl cantata. The work from beginning
to end is on a gigantic scale, in which each separate movement is a
masterpiece from every point of view.
FOOTNOTES:
[63] A considerable portion of this chapter is from an article by A. F.
Rochlitz in the _Allg. Musik Zeitung_, 1831.
[64] See Conrad E. F. “Echt oder unecht? Zur Lucas Passion.”
[65] P. 115.