Jump to content

Evangelist (Bach): Difference between revisions

From Wikipedia, the free encyclopedia
Browse history interactively
← Previous edit
Content deleted Content added
VisualWikitext
MystBot (talk | contribs)
177,678 edits
m r2.6.4+) (robot Adding: de:Evangelist (Oratorium)
 
(45 intermediate revisions by 17 users not shown)
Line 1: Line 1:
{{Short description|Role of a singer}}
⚫
The '''Evangelist''' in the music of [[Johann Sebastian Bach]] is the tenor part in his [[oratorio]]s and [[Passion (music)|passions]] who narrates the exact words of the [[Bible]], translated by [[Martin Luther]], in [[recitative]], namely in the works ''[[St John Passion]]'', ''[[St Matthew Passion]]'' and the ''[[Christmas Oratorio]]'', also in the ''Ascension Oratorio [[Lobet Gott in seinen Reichen, BWV 11]]''.
[[File:BWV 244 Nr. 71.jpg|thumb|Beginning of a recitative (''[[St Matthew Passion]]'', No. 61), the Bible words written in red]]
⚫
The '''Evangelist''' in the music of [[Johann Sebastian Bach]] is the tenor part in his [[oratorio]]s and [[Passions (Bach)|Passions]] who narrates the exact words of one of the [[Four Evangelists]] of the [[Bible]], translated by [[Martin Luther]], in [[recitative]] secco. The part appears in the works ''[[St John Passion]]'', ''[[St Matthew Passion]]'', and the ''[[Christmas Oratorio]]'', as well as the ''[[St Mark Passion, BWV 247|St Mark Passion]]'' and the ''Ascension Oratorio'' [[Lobet Gott in seinen Reichen, BWV 11|''Lobet Gott in seinen Reichen'', BWV 11]]. Some [[Bach cantata|cantata]]s also contain recitatives of Bible quotations, assigned to the tenor voice.


Bach followed a tradition using the tenor for the narrator of a gospel. It exists (and is also often called ''the Evangelist'') in earlier works setting biblical narration, for example by [[Heinrich Schütz]] (''[[Christmas Story (Schütz)|Weinachtshistorie]]'', ''Matthäuspassion'', ''Lukaspassion'', ''Johannespassion'').
⚫
In contrast, the '''Vox Christi''', Voice of Christ, is always the [[Bass (voice type)|bass]] in Bach's works, including several [[Bach cantata|cantata]]s.


⚫
In contrast, the [[vox Christi]], voice of Christ, is always the [[Bass (voice type)|bass]] in Bach's works, including several [[Bach cantata|cantata]]s.
⚫
==Music and sources==


⚫
== Music and sources ==
The Evangelist reports in [[Recitative#Secco|secco recitative]]s accompanied by [[Figured bass#Basso continuo|basso continuo]] only. In great contrast to his tenor voice, Bach gave the words of [[Jesus]] always to a [[Bass (voice type)|bass]] singer. His part is traditionally called ''Vox Christi'', voice of Christ, to stress that whereas the Evangelist really is an Evangelist, a teller of good news, the bass singer is not Jesus Christ. The recitatives of Jesus in the ''St John Passion'' lean toward [[Arioso]], in the ''St Matthew Passion'' they are also highlight by an accompanying [[string quartet]].


The Evangelist reports in [[Recitative#Secco|secco recitative]]s accompanied by [[Figured bass#Basso continuo|basso continuo]] only.
⚫
In the ''St John Passion'' the story consists of chapters 18 and 19 of [[John the Evangelist]], the ''St Matthew Passion'' tells the complete chapters 26 and 27 of [[Saint Matthew|Matthew the Evangelist]]. The first versions of the ''St. John Passion'' contained two additional lines from Matthew mentioning the weeping of the disciple [[Saint Peter|Peter]] and the tearing of the temple curtain, dramatic situations that Bach cared about. He composed the weeping in an expressive [[melisma]] and the tearing in a forceful downward run followed by [[tremolo]], but removed the parts in later versions.


⚫
In the ''St John Passion'' the story consists of chapters 18 and 19 of [[John the Evangelist]], the ''St Matthew Passion'' tells the complete chapters 26 and 27 of [[Saint Matthew|Matthew the Evangelist]]. The first versions of the ''St. John Passion'' contained two additional lines from Matthew mentioning the weeping of the disciple [[Saint Peter|Peter]] and the tearing of the temple curtain. Bach composed the weeping in an expressive [[melisma]] and the tearing in a forceful downward run followed by [[tremolo]], but removed the parts in later versions.
⚫
A ''[[St Mark Passion (Bach)|St Mark Passion]]'' after [[Mark the Evangelist]] is lost. The ''Christmas Oratorio'' follows [[Luke the Evangelist]] for parts 1 to 4, and St. Matthew for Parts 5 and 6. In the ''[[Lobet Gott in seinen Reichen, BWV 11|Ascension Oratorio]]'' the story is compiled verse by verse from different biblical sources. The ''[[Easter Oratorio]]'' is an exception, as a play of four biblical characters without narration.

⚫
The ''Christmas Oratorio'' follows [[Luke the Evangelist]] for parts 1 to 4, and St. Matthew for Parts 5 and 6. A ''[[St Mark Passion, BWV 247|St Mark Passion]]'' after [[Mark the Evangelist]] is lost, but has been reconstructed by several scholars. In the ''Ascension Oratorio'', BWV 11, the story is compiled verse by verse from different biblical sources. The ''[[Easter Oratorio]]'' is an exception, as a play of four biblical characters without narration.<ref name="Dürr">[[Alfred Dürr]]. 1971. ''Die Kantaten von Johann Sebastian Bach'', Bärenreiter 1999, {{ISBN|3-7618-1476-3}} (in German)</ref>


==Evangelist singers==
==Evangelist singers==
Some tenors are known especially for their rendition of the Evangelist, including:
Some tenors are known especially for their rendition of the Evangelist, including:
*[[Theo Altmeyer]]
* [[Theo Altmeyer]]
*[[Gervase Elwes]]
* [[Gervase Elwes]]
*[[Karl Erb]], mentioned in ''[[Doctor Faustus (Thomas Mann novel)]]''
* [[Karl Erb]], mentioned in Thomas Mann's novel ''[[Doctor Faustus (novel)|Doctor Faustus]]'' as ''[[Karl Erb#Literary reference|Erbe]]'' (in English: Heritage)
*[[Kurt Equiluz]]
* [[Kurt Equiluz]]
*[[John van Kesteren]]
* [[Ernst Haefliger]]
*[[Peter Pears]]
* [[John van Kesteren]]
*[[Christoph Prégardien]]
* [[Peter Pears]]
*[[Peter Schreier]]
* [[Christoph Prégardien]]
*[[James Taylor (tenor)|James Taylor]]
* [[Peter Schreier]]
* [[James Taylor (tenor)|James Taylor]]
* [[Steuart Wilson]]
* [[Derek Chester]]


⚫
== Evangelist in cantatas ==
==Vox Christi singers==
The Evangelist narrates in several cantatas.
Some basses and baritones are especially known for giving their voice to Jesus, including:
*[[Franz Kelch]]
*[[Max van Egmond]]
*[[Klaus Mertens]]
*[[Peter Kooy]]


In [[Jesus nahm zu sich die Zwölfe, BWV 22|''Jesus nahm zu sich die Zwölfe'', BWV 22]] (7 February 1723, [[Quinquagesima]]), the cantata starts with a scene from the Gospel, the announcement of suffering in Jerusalem, quoting {{Sourcetext|source=Bible|version=King James|book=Luke|chapter=18|verse=31|range=,34}}. The tenor as the Evangelist begins the narration from the verse 31, ''{{lang|de|Jesus nahm zu sich die Zwölfe}}'' (Jesus gathered the twelve to Himself). The bass as the [[vox Christi]] (voice of Christ) sings the announcement of the suffering, ''{{lang|de|Sehet, wir gehn hinauf gen Jerusalem}}'' (Behold, we go up to Jerusalem), A choral [[fugue]] illustrates the reaction of the disciples.
⚫
==Vox Christi in cantatas==
In ''[[Nun komm, der Heiden Heiland, BWV 61]]'' (2 December 1714) the bass sings the words of Christ from [[Book of Revelation|Revelation]] 3:20, "Siehe, ich stehe vor der Tür und klopfe an. So jemand meine Stimme hören wird und die Tür auftun, zu dem werde ich eingehen und das Abendmahl mit ihm halten und er mit mir." ("Behold, I stand at the door and knock. Anyone that hears My voice and opens the door, to him I will enter and keep the evening meal with him and he with Me.").


In [[Am Abend aber desselbigen Sabbats, BWV 42|''Am Abend aber desselbigen Sabbats'', BWV 42]] (8 April 1725, first Sunday after [[Easter]]), the tenor opens after a Sinfonia, accompanied by the continuo in repeated fast notes, possibly illustrating the anxious heart beat of the disciples, when Jesus appears, "On the evening, however, of the same Sabbath, when the disciples had gathered and the door was locked out of fear of the Jews, Jesus came and walked among them", {{Sourcetext|source=Bible|version=King James|book=John|chapter=20|verse=19}}.
In ''[[Bereitet die Wege, bereitet die Bahn! BWV 132]]'' (22 December 1715) the question ''Wer bist du?'' (Who are you), posed to St. John in the Gospel, is given to the bass, as if Jesus asked the listener this question.


In [[Er rufet seinen Schafen mit Namen, BWV 175|''Er rufet seinen Schafen mit Namen'', BWV 175]] (22 May 1725, [[Pentecost Tuesday]]), the tenor sings the opening recitative, "Er rufet seinen Schafen mit Namen und führet sie hinaus", {{Sourcetext|source=Bible|version=King James|book=John|chapter=10|verse=3}}.
In ''[[O Ewigkeit, du Donnerwort, BWV 60]]'' (7 November 1723) the bass as the voice of Christ answers in dialogue a recitative of the tormented Fear three times with ''[[Selig sind die Toten]]''.


In [[Siehe, ich will viel Fischer aussenden, BWV 88|''Siehe, ich will viel Fischer aussenden'', BWV 88]] (21 July 1726, 5th Sunday after [[Trinity Sunday|Trinity]]), the tenor begins part 2 with a recitative on {{Sourcetext|source=Bible|version=King James|book=Luke|chapter=5|verse=10}}, "Jesus sprach zu Simon" (Jesus said to Simon).
In ''[[Schau, lieber Gott, wie meine Feind, BWV 153]]'' (2 January 1724) the [[Bible]] word from {{bible|Isaiah 41}}:10, "Fürchte dich nicht, ich bin mit dir" ("Fear not, I am with you"), is given to the bass as the Vox Christi, as if Jesus said it himself.


In [[Wer Dank opfert, der preiset mich, BWV 17|''Wer Dank opfert, der preiset mich'', BWV 17]] (22 September 1726, 14th Sunday after Trinity), the tenor begins part 2 with a recitative on {{Sourcetext|source=Bible|version=King James|book=Luke|chapter=17|verse=15|range=–16}}.
In ''[[Jesu, der du meine Seele, BWV 78]]'' (10 September 1724) a bass recitative with strings, ''Die Wunden, Nägel, Kron und Grab'' (''The wounds, nails, crown and grave''), is reminiscent of the Vox Christi in Bach's ''[[St. Matthew Passion]]''.


⚫
==Fifth Evangelist==
''[[Selig ist der Mann, BWV 57]]'' (26 December 1724) is a dialogue of the Anima and Jesus.
Bach himself is frequently referred to as the Fifth Evangelist for his devoted interpretation of the biblical sources.<ref>[http://www.christianitytoday.com/ct/2000/julyweb-only/52.0c.html "Christian History Corner: The Fifth Evangelist"] in ''Christianity Today'', 2000</ref> In 1929 the Swedish bishop [[Nathan Söderblom]] had called Bach's cantatas the Fifth Gospel.<ref>Uwe Siemon-Netto: [http://www.atlantic-times.com/archive_detail.php?recordID=386 "Why Nippon Is Nuts About J. S. Bach. The Japanese yearn for hope."] {{webarchive|url=https://web.archive.org/web/20110930135711/http://www.atlantic-times.com/archive_detail.php?recordID=386 |date=2011-09-30 }} atlantic-times.com 2005</ref><ref>Birger Petersen-Mikkelsen, "Praedicatio sonora. Musik und Theologie bei Johann Sebastian Bach", in: ''Kirchenmusik und Verkündigung – Verkündigung als Kirchenmusik. Zum Verhältnis von Theologie und Kirchenmusik'', Eutiner Beiträge zur Musikforschung 4, Eutin 2003, pp. 45–60: 47 {{in lang|de}}</ref>

The central movement of ''[[Brich dem Hungrigen dein Brot, BWV 39]]'' (23 June 1726) is a line from the [[Epistle to the Hebrews]] 13:16, ''Wohlzutun und mitzuteilen vergesset nicht'' (''To do good and to share, forget no''). Bach treats it, as if Jesus said the words himself, between [[arioso]] and aria.

The centre of ''[[Es wartet alles auf dich, BWV 187]]'' (4 August 1726) is ''Darum sollt ihr nicht sorgen'' (''Therefore do not be anxious'') from the [[sermon on the mount]]. The words of Jesus are sung by the bass, accompanied by the violins in [[unison]] and the continuo, which also takes part in their motifs.

In ''[[Herr, deine Augen sehen nach dem Glauben, BWV 102]]'' (25 August 1726) Bach himself marked movement 4 for bass ''Arioso'' on words from the [[Epistle to the Romans]] 2:4—5, ''Verachtest du den Reichtum seiner Gnade'' (''Do you scorn the riches of His mercy'').<ref name="Dürr">Dürr, Alfred. 1971. "Die Kantaten von Johann Sebastian Bach", Bärenreiter 1999, ISBN 3-7618-1476-3 (in German)</ref>

In ''[[Wachet auf, ruft uns die Stimme, BWV 140]]'' (25 November 1731) Jesus "appears" with the "Soul" in movement 3, a duet for soprano and bass, ''Wann kommst du, mein Heil?'' (''When will you come, my salvation?'').<ref name="Dürr">Dürr, Alfred. 1971. "Die Kantaten von Johann Sebastian Bach", Bärenreiter 1999, ISBN 3-7618-1476-3 (in German)</ref>

⚫
==The Fifth Evangelist==
Bach himself is frequently referred to as the Fifth Evangelist for his devoted interpretation of the biblical sources.<ref>[http://www.christianitytoday.com/ct/2000/julyweb-only/52.0c.html Christian History Corner: The Fifth Evangelist] in Christianity Today, 2000</ref>

==See also==
* [[St Matthew Passion discography]]
* [[St John Passion discography]]


==References==
==References==
{{reflist}}
{{reflist}}


{{Masses, Magnificat, Passions and Oratorios by Johann Sebastian Bach}}
[[Category:Compositions by Johann Sebastian Bach]]
[[Category:Compositions by Johann Sebastian Bach]]

[[de:Evangelist (Oratorium)]]

Latest revision as of 06:25, 22 April 2024

Beginning of a recitative (St Matthew Passion, No. 61), the Bible words written in red

The Evangelist in the music of Johann Sebastian Bach is the tenor part in his oratorios and Passions who narrates the exact words of one of the Four Evangelists of the Bible, translated by Martin Luther, in recitative secco. The part appears in the works St John Passion, St Matthew Passion, and the Christmas Oratorio, as well as the St Mark Passion and the Ascension Oratorio Lobet Gott in seinen Reichen, BWV 11. Some cantatas also contain recitatives of Bible quotations, assigned to the tenor voice.

Bach followed a tradition using the tenor for the narrator of a gospel. It exists (and is also often called the Evangelist) in earlier works setting biblical narration, for example by Heinrich Schütz (Weinachtshistorie, Matthäuspassion, Lukaspassion, Johannespassion).

In contrast, the vox Christi, voice of Christ, is always the bass in Bach's works, including several cantatas.

Music and sources

[edit]

The Evangelist reports in secco recitatives accompanied by basso continuo only.

In the St John Passion the story consists of chapters 18 and 19 of John the Evangelist, the St Matthew Passion tells the complete chapters 26 and 27 of Matthew the Evangelist. The first versions of the St. John Passion contained two additional lines from Matthew mentioning the weeping of the disciple Peter and the tearing of the temple curtain. Bach composed the weeping in an expressive melisma and the tearing in a forceful downward run followed by tremolo, but removed the parts in later versions.

The Christmas Oratorio follows Luke the Evangelist for parts 1 to 4, and St. Matthew for Parts 5 and 6. A St Mark Passion after Mark the Evangelist is lost, but has been reconstructed by several scholars. In the Ascension Oratorio, BWV 11, the story is compiled verse by verse from different biblical sources. The Easter Oratorio is an exception, as a play of four biblical characters without narration.[1]

Evangelist singers

[edit]

Some tenors are known especially for their rendition of the Evangelist, including:

Evangelist in cantatas

[edit]

The Evangelist narrates in several cantatas.

In Jesus nahm zu sich die Zwölfe, BWV 22 (7 February 1723, Quinquagesima), the cantata starts with a scene from the Gospel, the announcement of suffering in Jerusalem, quoting Luke 18:31,34. The tenor as the Evangelist begins the narration from the verse 31, Jesus nahm zu sich die Zwölfe (Jesus gathered the twelve to Himself). The bass as the vox Christi (voice of Christ) sings the announcement of the suffering, Sehet, wir gehn hinauf gen Jerusalem (Behold, we go up to Jerusalem), A choral fugue illustrates the reaction of the disciples.

In Am Abend aber desselbigen Sabbats, BWV 42 (8 April 1725, first Sunday after Easter), the tenor opens after a Sinfonia, accompanied by the continuo in repeated fast notes, possibly illustrating the anxious heart beat of the disciples, when Jesus appears, "On the evening, however, of the same Sabbath, when the disciples had gathered and the door was locked out of fear of the Jews, Jesus came and walked among them", John 20:19.

In Er rufet seinen Schafen mit Namen, BWV 175 (22 May 1725, Pentecost Tuesday), the tenor sings the opening recitative, "Er rufet seinen Schafen mit Namen und führet sie hinaus", John 10:3.

In Siehe, ich will viel Fischer aussenden, BWV 88 (21 July 1726, 5th Sunday after Trinity), the tenor begins part 2 with a recitative on Luke 5:10, "Jesus sprach zu Simon" (Jesus said to Simon).

In Wer Dank opfert, der preiset mich, BWV 17 (22 September 1726, 14th Sunday after Trinity), the tenor begins part 2 with a recitative on Luke 17:15–16.

Fifth Evangelist

[edit]

Bach himself is frequently referred to as the Fifth Evangelist for his devoted interpretation of the biblical sources.[2] In 1929 the Swedish bishop Nathan Söderblom had called Bach's cantatas the Fifth Gospel.[3][4]

References

[edit]
  1. ^ Alfred Dürr. 1971. Die Kantaten von Johann Sebastian Bach, Bärenreiter 1999, ISBN 3-7618-1476-3 (in German)
  2. ^ "Christian History Corner: The Fifth Evangelist" in Christianity Today, 2000
  3. ^ Uwe Siemon-Netto: "Why Nippon Is Nuts About J. S. Bach. The Japanese yearn for hope." Archived 2011-09-30 at the Wayback Machine atlantic-times.com 2005
  4. ^ Birger Petersen-Mikkelsen, "Praedicatio sonora. Musik und Theologie bei Johann Sebastian Bach", in: Kirchenmusik und Verkündigung – Verkündigung als Kirchenmusik. Zum Verhältnis von Theologie und Kirchenmusik, Eutiner Beiträge zur Musikforschung 4, Eutin 2003, pp. 45–60: 47 (in German)
Retrieved from "https://en.wikipedia.org/enwiki/w/index.php?title=Evangelist_(Bach)&oldid=1220169828"