This book (published in German by Barenreiter in 1988 and now available in English translation for the first time) is a comprehensive guide to the genesis, transmission, structure, meaning, and performance considerations of Bach's St John Passion. One of Bach's most fascinating works, its text demonstrates a profound understanding of St John's Gospel.
This book (published in German by Barenreiter in 1988 and now available in English translation for the first time) is a comprehensive guide to the genesis, transmission, structure, meaning, and performance considerations of Bach's St John Passion. One of Bach's most fascinating works, its text demonstrates a profound understanding of St John's Gospel.
Alfred Dürr is one of the principal editors of the Neue Bach Ausgabe in which he edited Bach's Well-Tempered Clavier. He is the author of the standard work in German on Bach's cantatas. (An English translation of this book, by Richard D.P. Jones, is in progress.) He holds honorary doctorates of music at Baldwin-Wallace College, Ohio and at Oxford University. Alfred Clayton (translator) has translated numerous books, including (for OUP) Paul Badura-Skoda: Interpreting Bach at the Keyboard.
Inhaltsangabe
* Preface * 1: Genesis * Introduction. Did Bach compose a Passion before 1724? * 1. Version I (1724) * 2. Version II (1725) * 3. Version III (c. 1730) * 4. Version IV (c. 1749) * 5. Score A * 2: Transmission * 1. The lost original score X (1724?) * 2. The revised score (source A, c. 1739-1749) * 3. The original parts: Introduction; Set I; Set II; Set III; Set IV; Parts no longer extant * 3: Meaning * 1. Protestant settings of the Passion * 2. The text of the St John Passion: a. The depiction of the Passion in the Gospel according to St John; b. The Gospel text; c. The chorale verses; d. The free poetry * 3: Bach's music: a. The setting of the biblical narrative; b. The chorale movements; c. The choruses; d. The arias and ariosos * 4: Problms associated with the overall formal design and the different versions * 5: Performance practice: a. General remarks; b. The execution of the continuo; c. Specific problems * Appendices: Problematical Points * Appendix I The participation of transverse flutes in Version I * Appendix II The reconstruction of Movement 33 in Version I * Appendix III The chronology of the Passions Bach performed in Leipzig * Appendix IV The problem of symmetry in Bach's work * Bibliography * Picture Credits * Text of the St John Passion (German and English)
* Preface * 1: Genesis * Introduction. Did Bach compose a Passion before 1724? * 1. Version I (1724) * 2. Version II (1725) * 3. Version III (c. 1730) * 4. Version IV (c. 1749) * 5. Score A * 2: Transmission * 1. The lost original score X (1724?) * 2. The revised score (source A, c. 1739-1749) * 3. The original parts: Introduction; Set I; Set II; Set III; Set IV; Parts no longer extant * 3: Meaning * 1. Protestant settings of the Passion * 2. The text of the St John Passion: a. The depiction of the Passion in the Gospel according to St John; b. The Gospel text; c. The chorale verses; d. The free poetry * 3: Bach's music: a. The setting of the biblical narrative; b. The chorale movements; c. The choruses; d. The arias and ariosos * 4: Problms associated with the overall formal design and the different versions * 5: Performance practice: a. General remarks; b. The execution of the continuo; c. Specific problems * Appendices: Problematical Points * Appendix I The participation of transverse flutes in Version I * Appendix II The reconstruction of Movement 33 in Version I * Appendix III The chronology of the Passions Bach performed in Leipzig * Appendix IV The problem of symmetry in Bach's work * Bibliography * Picture Credits * Text of the St John Passion (German and English)
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