Jesus Christus ist um unsrer Missetat willen verwundet is a St Mark Passion which originated in the early 18th century and is most often attributed to Reinhard Keiser. It may also have been composed by his father Gottfried or by Friedrich Nicolaus Bruhns. Johann Sebastian Bach produced three performance versions of the Passion, the last of which is a pasticcio with arias from George Frideric Handel's Brockes Passion. There are two other extant 18th-century versions of the Passion, both of them independent of Bach's versions. The Passion was performed in at least three cities in the first half of the 18th century: in Hamburg in 1707 and 1711, in Weimar around 1712, and in Leipzig in 1726 and around 1747.
The passion was probably composed around 1705 by Gottfried Keiser,[1] by his son Reinhard,[2] or by Friedrich Nicolaus Bruhns.[3] [4] The 18th-century scores of the composition don't always indicate a composer, but the name of Reinhard Keiser or "Kaiser" is found there. The work can also be considered as an anonymous composition.[5] The music of this passion is known from Bach's three versions, from an anonymous manuscript score that originated in or around Hamburg, and from another anonymous manuscript score that is conserved in the county of Hohenstein, Thuringia. No libretto author for the original work is known. Also for the later arrangements text authors are largely unknown, except for the pasticcio parts by Handel based on the Brockes Passion by Barthold Heinrich Brockes.
The oldest record of Jesus Christus ist um unsrer Missetat willen verwundet is a staging in the Cathedral (Dom) of Hamburg in 1707. Shortly before the end of the 20th century a printed libretto of that performance, and that of a repeat performance in 1711, were rediscovered.[6] These performances were directed by Friedrich Nicolaus Bruhns (also spelled: Brauns), the music director of the Hamburg Cathedral from 1685 to 1718, hence the association of the Passion setting with this composer.[7] Possibly the versions performed in Hamburg in 1707 and 1711 were adapted from an earlier lost version, maybe not even composed for Hamburg. The earliest extant copy of the music of the Passion was produced by Johann Sebastian Bach for performance in Weimar around 1712. Which model was used by Bach is not known: it may have differed from the scores used in Hamburg. Bach's adjustments to the score he had before him were probably minor.
The libretto has the Biblical text interspersed with free verse and chorale texts. The chorale texts are taken from "Was mein Gott will, das g'scheh allzeit" by Albert, Duke of Prussia (verse 1), "Christus, der uns selig macht" by Michael Weiße (Verse 8), "O Haupt voll Blut und Wunden" by Paul Gerhardt (verses 9 and 10), and "O Traurigkeit, o Herzeleid" by Johann Rist. Unlike Passions for instance written for Leipzig, there is no division of the work into two parts.
Voices:[8]
Orchestra:
The original version of the Passion would have been composed around 1705. Its first Hamburg performance took place in the Cathedral in 1707, under the direction of Bruhns, who also conducted the Hamburg performance of 1711.[9]
Bach's first version, BC 5a, originated in the early 1710s in Weimar.[10] Whether he changed anything to the original is uncertain, but the arrangement of the "O hilf, Christe, Gottes Sohn" and "O Traurigkeit, o Herzeleid" chorales is usually attributed to him. Possibly he also composed the first "Symphonia" (No. 10 [18]), which is only found in Bach's versions.
Bach performed Jesus Christus ist um unsrer Missetat willen verwundet twice in a Good Friday service in Leipzig.
Bach staged the passion in a new version, BC 5b, in 1726 in Leipzig.[11] [12] [13] The order of service in Leipzig requested passions in two parts: apparently for this reason Bach added the chorale "So gehst du nun, mein Jesu", BWV 500a, as a conclusion for the first part. In this version he also slightly modified the "O hilf, Christe, Gottes Sohn" and "O Traurigkeit, o Herzeleid" chorale settings.
Bach combined the passion with seven arias from Handel's Brockes Passion for a new performance around 1747. Some of these arias replaced movements of the preceding version, other arias were inserted without replacing earlier material. This pasticcio version is known as BNB I/K/2.[14]
| (green background:) appears without discernable modifications in all four versions | ||||||||||
| Movement | Voices | Instr. (all choral movements incl. Ob I/II) | Hamburg 1707 | BC D 5a | BC D 5b | BNB I/K/2[15] | ||||
|---|---|---|---|---|---|---|---|---|---|---|
| Sonata and Chorus | choir | Str Bc | data-sort-value=" 01. " | 1. Jesus Christus ist um unser Missetat willen verwundet | data-sort-value=" → 01 " | → 1 | data-sort-value=" → 01 " | → 1 | data-sort-value=" → 01 " | → 1 |
| Recitative | Evangelist, Jesus, Peter | Str Bc | data-sort-value=" 02. " | 2. Und da sie den Lobgesang gesprochen hatten | data-sort-value=" → 02 " | → 2 | data-sort-value=" → 02 " | → 2 | data-sort-value=" → 02 " | → 2 |
| Aria | soprano | Bc | data-sort-value=" 03. " | 3. Will dich die Angst betreten | data-sort-value=" → 03 " | → 3 | data-sort-value=" → 03 " | → 3 | data-sort-value=" → 03 " | → 3 |
| Recitative | Evangelist, Jesus | Str Bc | data-sort-value=" 04. " | 4. Und nahm zu sich Petrus und Jakobus und Johannes | data-sort-value=" → 04 " | → 4 | data-sort-value=" → 04 " | → 4 | data-sort-value=" → 04 " | → 4 |
| Chorale | choir | Str Bc | data-sort-value=" 05. " | 5. Was mein Gott will, das g'scheh allzeit | data-sort-value=" → 05 " | → 5 | data-sort-value=" → 05 " | → 5 | data-sort-value=" → 55 " style="text-align:center" | — |
| Aria | soprano | Ob Bc | data-sort-value=" 53. " style="text-align:center" | — | data-sort-value=" → 39 " style="text-align:center" | — | data-sort-value=" → 39 " style="text-align:center" | — | data-sort-value=" → 05 " | 5. Sünder, schaut mit Furcht und Zagen, HWV 48/9 |
| Recitative | Evangelist, Jesus | Str Bc | data-sort-value=" 06. " | 6. Und kam und fand sie schlafend | data-sort-value=" → 06.1 " | → 6a [6] | data-sort-value=" → 06.1 " | → 6a [6] | data-sort-value=" → 06.1 " | → 6a |
| Recitative | Evangelist, Judas | Bc | data-sort-value=" 07. " | 7. Und alsbald, da er noch redet | data-sort-value=" → 06.2 " | → 6b [7] | data-sort-value=" → 06.2 " | → 6b [7] | data-sort-value=" → 06.2 " | → 6b |
| Aria | tenor | Vl I/II Bc | data-sort-value=" 08. " | 8. Wenn nun der Leib wird sterben müssen | data-sort-value=" → 07 " | → 7 [8] | data-sort-value=" → 07 " | → 7 [8] | data-sort-value=" → 07 " | → 7 |
| Recitative | Evangelist, Jesus | Str Bc | data-sort-value=" 09. " | 9. Die aber legten ihre Hände an ihn | data-sort-value=" → 08.1 " | → 8a [9] | data-sort-value=" → 08.1 " | → 8a [9] | data-sort-value=" → 08.1 " | → 8a |
| Recitative | Evangelist | Bc | 10. Und die Jünger verließen ihn alle und flohen | data-sort-value=" → 08.2 " | → 8b [10] | data-sort-value=" → 08.2 " | → 8b [10] | data-sort-value=" → 08.2 " | → 8b | |
| Chorus | choir | Str Bc | 11. Wir haben gehöret, daß er saget | data-sort-value=" → 08.3 " | → 8c [11] | data-sort-value=" → 08.3 " | → 8c [11] | data-sort-value=" → 08.3 " | → 8c | |
| Recitative | Evangelist, High priest, Jesus | Str Bc | 12. Aber ihr Zeugnis stimmet noch nicht überein | data-sort-value=" → 08.4 " | → 8d [12] | data-sort-value=" → 08.4 " | → 8d [12] | data-sort-value=" → 08.4 " | → 8d | |
| Aria | tenor | Ob I/II Vl I/II (all in unison) Bc | data-sort-value=" 53. " style="text-align:center" | — | data-sort-value=" → 35 " style="text-align:center" | — | data-sort-value=" → 35 " style="text-align:center" | — | data-sort-value=" → 08.5 " | 9. Erwäg, ergrimmte Natternbruth, HWV 48/23 |
| Recitative | Evangelist | Bc | data-sort-value=" 53. " | (12 continued) | data-sort-value=" → 37 " | → (8d [12] continued) | data-sort-value=" → 37 " | → (8d [12] continued) | data-sort-value=" → 08.6 " | → 10a Da fingen an etliche ihn zu verspeien |
| Chorus | choir | Str Bc | 13. Weissage uns! | data-sort-value=" → 08.5 " | → 8e [13] | data-sort-value=" → 08.5 " | → 8e [13] | data-sort-value=" → 08.7 " | → 10b | |
| Recitative | Evangelist, Ancilla, Peter | Bc | 14. Und die Knechte schlugen ihn in's Angesicht | data-sort-value=" → 08.6 " | → 8f [14] | data-sort-value=" → 08.6 " | → 8f [14] | data-sort-value=" → 08.8 " | → 10c | |
| Chorus | choir | Str Bc | 15. Wahrlich, du dist der' einer | data-sort-value=" → 08.7 " | → 8 g [15] | data-sort-value=" → 08.7 " | → 8 g [15] | data-sort-value=" → 08.9 " | → 10d | |
| Recitative | Evangelist, Petrus | Bc | 16. Er aber fing an sich zu verfluchen und zu schwören | data-sort-value=" → 08.8 " | → 8h [16] | data-sort-value=" → 08.8 " | → 8h [16] | data-sort-value=" → 09.0 " | → 10e | |
| Aria | tenor | Vl I/II (in unison) Bc | 17. Wein, ach wein jetzt um die Wette | data-sort-value=" → 09 " | → 9 [17] | data-sort-value=" → 09.1 " | → 9 [17] | data-sort-value=" → 09.1 " | → 11 | |
| Chorale | choir | Str Bc | data-sort-value=" 54. " style="text-align:center" | — | data-sort-value=" → 40 " style="text-align:center" | — | data-sort-value=" → 09.2 " | 9+. So gehst du nun, mein Jesu, BWV 500a (BDW ) | data-sort-value=" → 09.2 " | → 12 |
| Sinfonia | Vl I/II Va I Bc | 18. | → 10 [18] | → 10 [18] | → 13 | |||||
| Recitative | Evangelist, Pilate, Jesus | Bc | 19. Und Bald am Morgen | → 11 [19] | → 11 [19] | → 14 | ||||
| Aria | alto | Vl I/II Bc | 20. Klaget nur, ihr Kläger hier | → 12 [20] | → 12 [20] | → 15 | ||||
| Recitative | Evangelist, Pilate | Bc | 21. Jesus aber antwortete nichts mehr | → 13a [21] | → 13a [21] | → 16a | ||||
| Chorus | choir | Str Bc | 22.1 Kreuzige ihn! | → 13b [22] | → 13b [22] | → 16b | ||||
| Recitative | Evangelist, Pilate | Bc | 22.2 Pilatus aber sprach zu ihnen | → 13c [22] | → 13c [22] | → 16c | ||||
| Chorus | choir | Str Bc | 22.3 Kreuzige ihn! | → 13d [22] | → 13d [22] | → 16d | ||||
| Chorale | choir | Str Bc | 23. O hilf, Christe, Gottes Sohn | data-sort-value=" → 14 " | 14. [23] O hilf, Christe, Gottes Sohn (BDW ) | data-sort-value=" → 14 " | 14a. O hilf Christe, Gottes Sohn, BWV 1084 (BDW ) | → 17 | ||
| Sinfonia | Vl I/II Va I Bc | 24. | → 15 [24] | → 15 [24] | → 18 | |||||
| Recitative | Evangelist | Bc | 25. Pilatus aber gedachte | → 16a [25] | → 16a [25] | → 19a | ||||
| Chorus | choir | Str Bc | 26. Gegrüßet seist du, der Juden König | → 16b [26] | → 16b [26] | → 19b | ||||
| Recitative | Evangelist | Bc | 27. Und schlugen ihm das Haupt mit dem Rohr | → 16c [27] | → 16c [27] | → 19c | ||||
| Aria | bass | Str Bc | 28. O süßes Kreuz | → 17 [28] | → 17 [28] | → 20 | ||||
| Recitative | Evangelist | Bc | 29. Und sie brachten ihn an die Stätte Golgatha | → 18 [29] | → 18 [29] | → 21 | ||||
| Aria | soprano | Ob Bc | 30. O Golgotha! | → 19 [30] | → 19 [30] | data-sort-value=" → 69 " style="text-align:center" | — | |||
| Aria and Chorus | soprano, choir | Vl I/II (in unison) Bc | data-sort-value=" 55. " style="text-align:center" | — | data-sort-value=" → 52 " style="text-align:center" | — | data-sort-value=" → 69 " style="text-align:center" | — | data-sort-value=" → 22 " | 22. Eilt, ihr angefochtnen Seelen HWV 48/39b |
| Recitative | Evangelist | Bc | 31. Und da sie ihn gekreuziget hatten | → 20 [31] | → 20 [31] | → 23 | ||||
| Aria | alto | Bc | 32. German: Was seh' ich hier | → 21 [32] | → 21 [32] | data-sort-value=" → 74 " style="text-align:center" | — | |||
| Aria | soprano | Str Ob I/II Bc | data-sort-value=" 56. " style="text-align:center" | — | data-sort-value=" → 53 " style="text-align:center" | — | data-sort-value=" → 71 " style="text-align:center" | — | data-sort-value=" → 24 " | 24. Hier erstarrt mein Herz und Blut HWV 48/42b |
| Recitative | Evangelist | Bc | 33. Und es war oben über ihm geschrieben | → 22a [33] | → 22a [33] | → 25a | ||||
| Chorus | choir | Str Bc | 34. Pfui dich (or: Sieh doch), wie fein zerbrichst du] | → 22b [34] | → 22b [34] | → 25b | ||||
| Recitative | Evangelist | Bc | 35. Desselbengleichen die Hohenpriester | → 22c [35] | → 22c [35] | → 25c | ||||
| Chorus | choir | Str Bc | 36. Er hat andern geholfen | → 22d [36] | → 22d [36] | → 25d | ||||
| Recitative | Evangelist | Bc | 37. Und die mit ihm gekreuzigte waren | → 22e [37] | → 22e [37] | → 25e | ||||
| Aria | soprano | Vl I/II Bas I/II Bc | data-sort-value=" 57. " style="text-align:center" | — | data-sort-value=" → 54 " style="text-align:center" | — | data-sort-value=" → 72 " style="text-align:center" | — | data-sort-value=" → 26 " | 26 Was Wunder, das der Sonnen Pracht HWV 48/45b |
| Recitative | Evangelist | Bc | data-sort-value=" 59. " | (37 continued) | data-sort-value=" → 57 " | → (22e [37] continued) | data-sort-value=" → 77 " | → (22e [37] continued) | → 27a Und um die neunte Stunde | |
| Arioso | Jesus | Str Bc | 38. Eli, Eli, lama asabthani? | → 22f [38] | → 22f [38] | → 27b | ||||
| Recitative | Evangelist | Bc | 39. Das ist verdolmetschet | → 22 g [39] | → 22 g [39] | → 27c | ||||
| Chorus | choir | Str Bc | 40. Siehe, er rufet den Elias | → 22h [40] | → 22h [40] | → 27d | ||||
| Recitative | Evangelist, Soldier | Bc | 41. Da lief einer | → 22i [41] | → 22i [41] | → 27e | ||||
| Chorale | alto | Bc | 42. Wann ich einmal soll scheiden | → 23 [42] | → 23 [42] | → 28 | ||||
| Aria | soprano | Vl I/II (in unison) Bc | 43. Seht, Menschenkinder, seht | → 24a [43] | → 24a [43] | → 29a (either this one or 29b) | ||||
| Aria | tenor | Vl I/II (in unison) Bc | 44. Der Fürst der Welt erbleicht | → 24b [44] | → 24b [44] | → 29b (either this one or 29a) | ||||
| Sinfonia | Vl I/II Va I Bc | 45. | → 25 [45] | → 25 [45] | → 30 | |||||
| Recitative | Evangelist, Centurion | Bc | 46. Und der Vorhang im Tempel zeriß in zwei Stück | → 26 [46] | → 26 [46] | → 31 | ||||
| Aria | bass | Vl I/II Bc | data-sort-value=" 58. " style="text-align:center" | — | data-sort-value=" → 56 " style="text-align:center" | — | data-sort-value=" → 76 " style="text-align:center" | — | data-sort-value=" → 32 " | 32. Wie kömmt's, daß, da der Himml weint HWV 48/50b |
| Recitative | Evangelist | Bc | data-sort-value=" 59. " | (46 continued) | data-sort-value=" → 57 " | → (26 [46] continued) | data-sort-value=" → 77 " | → (26 [46] continued) | → 33. Und es waren auch Weiber da | |
| Aria | alto | Str Bc | 47. Dein Jesus hat das Haupt geneiget | → 27 [47] | → 27 [47] | → 34 | ||||
| Recitative | Evangelist | Bc | 48. Und er kaufte eine Leinwand | → 28 [48] | → 28 [48] | → 35 | ||||
| Chorale | choir | Str Bc | 49. O Traurigkeit, o Herzeleid | data-sort-value=" → 29 " | 29a. [49] O Traurigkeit, o Herzeleid (BDW ) | data-sort-value=" → 29 " | 29a. O Traurigkeit, o Herzeleid (BDW ) | data-sort-value=" → 86 " style="text-align:center" | — | |
| Aria | soprano | Vl I/II Ob Bc | data-sort-value=" 60. " style="text-align:center" | — | data-sort-value=" → 58 " style="text-align:center" | — | data-sort-value=" → 79 " style="text-align:center" | — | data-sort-value=" → 36 " | 36. Wisch ab der Tränen scharfe Lauge HWV 48/53 |
| Chorus | choir | Str Bc | data-sort-value=" 50. " | 50.1 O selig, selig ist zu dieser Frist | → 29b [50] | → 29b [50] | → 37 | |||
| Chorale | choir | Str Bc | data-sort-value=" 51. " | 50.2 O Jesu du | → 29c [50] | → 29c [50] | → 38 | |||
| Chorus | choir | Str Bc | data-sort-value=" 52. " | 50.3 Amen | → 29d [50] | → 29d [50] | → 39 |
There are two known pasticcio versions of the passion, independent of Bach's three versions.
D-Gs 8|o Cod. Ms. philos. 84|e: Keiser 1 is a pasticcio based on Jesus Christus ist um unsrer Missetat willen verwundet and two Passion-Oratorios by Reinhard Keiser: his Brockes-Passion setting (1712) and his Der zum Tode verurteilte und gekreuzigte Jesus, published in Berlin in 1715.[16]
D-B Mus. ms. 11471 is a manuscript representing a pasticcio version of the St. Mark passion-oratorio which originated in or around Hamburg in 1729. In this manuscript the Passion is attributed to Reinhard Keiser. Like the previous, also this pasticcio is completely independent from Bach's versions.
See also: Passions (Bach). Bach held deep regard for the chief Hanseatic League cities of Hamburg and Lübeck throughout his life. In his mid and late teen years, he had opportunities to visit both cities while a student at St. Michael's Church School, Lüneburg (a period from 1700 to 1702). From November 1705 to February 1706, he again made the trip north from Arnstadt to Lübeck (and possibly to Hamburg as well). He again visited Hamburg in 1720 to try out for the position of Organist at the Jakobikirche, a visit during which he won the rarely afforded praise of the aged Johann Adam Reincken. It is possible that he became acquainted with a work during his earlier visits to Hamburg that would occupy a central place in his musical library for the rest of his life.
The manuscripts for the Weimar version (BC 5a) and the first Leipzig version (BC 5b) are: