By Michael Marissen
Bach's St. John ardour is definitely one of many monuments of Western song, but performances of it are unavoidably debatable. largely, for the reason that of the mix of the robust and hugely emotional tune and a textual content that comes with passages from a gospel marked via vehement anti-Judaic sentiments. What did this masterpiece suggest in Bach's day and what does it suggest today?Although bibliographies on Bach and Judaism have grown drastically due to the fact global conflict II, there was little or no paintings at the dating among the 2 parts. this is often rarely staggering; Judaica students and tradition critics targeting problems with anti-Semitism usually lack musical education and are, in any occasion, really quite attracted to much more urgent social and political matters. Bach students, nonetheless, have usually focused on narrowly outlined musical themes. surprisingly, consequently, virtually no scholarly consciousness has been given to relationships among Lutheranism and the faith of Judaism as they have an effect on Bach's so much arguable paintings, the St. John ardour. via a reappraisal of Bach's paintings and its contexts, Marissen confronts Bach and Judaism without delay, offering interpretive remark which can function a foundation for a extra proficient and delicate dialogue of this troubling paintings. together with a protracted interpretive essay, via an annotated literal translation of the libretto, a consultant to recorded examples, and a close bibliography, this concise textual content offers the reader with the instruments to evaluate the paintings by itself phrases and within the applicable context.
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Extra resources for Lutheranism, Anti-Judaism, and Bach's St. John Passion: With an Annotated Literal Translation of the Libretto
Example text
For some further comments on John, see n. 12 in the Annotated Literal Translation. For a convenient summary on John's extreme hostility to Jews, see Pagels, Origin of Satan, 98-111. Lutheranism, Anti-Judaism, andBach's St. 56 To pur it another way: to interpret the St. John Passion properly, we need to concern ourselves primarily not with what John's gospel means but with what it apparently has been taken to mean in Bach's music. 's music appropriates Luther's polemics. One of the most uncomfortable expressions from the gospel's narrative within the St.
It is through these two key numbers and a third aria that Bach's music can be seen to portray stages in maturing discipleship: eager innocence in 43. Much less easily noticed, Peter's ornamented version of the cadence formula also conforms to the shape of the closing words of no. 9, at the place where Jesus is affirmed as "my light," on scale degrees 5 up to 3 over V, down to 2 and 1 over I (Ex. 12: Kuijken, CD 1, track 12, 3:36—3:42). My thanks to Danielle Tylke for this observation. Peter's second denial, at no.
43 True to Lutheran teaching, the validity of faith and discipleship depends upon God, not humans' good works. And it is of course only Jesus, as Son of God, who can say Ich bin's. These ideas concerning faith and works are developed further, again musically, in the aria that follows Peter's third denial, "Ach, mein Sinn"(no. 13). This number was adapted from the first strophe of Christian Weise's poem "Der weinende Petrus " in Der griinen Jugend. Although Weise's poem was entitled "The Sobbing Peter," Peter himself does not sing this aria in the St.
