The St John Passion and the Performer

Author(s): Donald Burrows

Source: The Musical Times, Vol. 118, No. 1609 (Mar., 1977), pp. 198-199+201-202
Published by: Musical Times Publications Ltd.
Stable URL: http://www.jstor.org/stable/959790
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aspects of Ramler's text can be seen in some very (no.
(no. 11)
11)which
whichstarts
starts
with
with
an echo
an echo
of J.
ofS.J.
Bach
S. Bach
to theto the
traditional recitative sections, many of which are words 'Ich folge dir' but then loses touch with the
conventional simple recitative. But Bach does take intimacy of its model in a fanfare-dominated
the opportunity to add strings wherever the narrator trumpet obbligato. The most famous aria in the work
reports speech, and in one section-the opening is the penultimate number, for bass, 'Ihr Tore
recitative, which follows the first chorus-makes a Gottes' (no.21), serves to balance the tenor
distinctive contribution to the development of aria in Part 1, but uses the full complement of
accompanied recitative. Here the trembling of horns and trumpets. This setting so overwhelmed
Judaea before the news of God's triumph is graph-Zelter that when he came to set the text himself he
ically depicted with jagged figures on the strings omitted this aria on the grounds that Bach had
supported by a prominent timpani part, and the composed it 'with such colossal grandeur and in such
flight of God's enemies is portrayed by wisps of a godlike manner, that any other composer who
phrases disappearing off the top string of the tried it after him would be certain to fail'.
violins. Here Bach is closest to his predecessor Bach's Auferstehung und Himmelfahrt Jesu never
Telemann in the creation of dramatic effects which attained the popularity of Graun's Der Tod Jesu.
his listeners would have found it easy to appreciate. But it did win great respect, significantly from those
In the arias Bach comes nearer than elsewhere to who in the following generation were beginning to
the spirit of his times; but nevertheless he is still cultivate the music of the high Baroque. It was
concerned to avoid mere pleasantness, and to match written in 1777-8, but was only published ten years
his music to the grandeur of his subject rather than later, in 1787. The next year Emanuel Bach died in
the limited emotional range of the text. A soprano December, but on February 26, and again on March
and tenor duet (no.9) is conventionally expressive in 4, his Auferstehung was given, with a success which
a Hasse-like style, and a bass aria (no.15) remains was reported by Forkel in Vienna. It was given at the
rather weak in spite of an unusual part for obbligato home of Count Johann Esterhazy, and the per-
bassoon and a fierce but isolated unison passage for formance was organized by Baron van Swieten; the
strings. In a different class, however, is a tenor aria conductor was Mozart.

The St John Passion and the Performer

Donald Burrows

With the activity of the Christmas season over, followed by a hunt through the various partly
conductors and choirmasters considering the satisfactory published translations. The problems of
musical needs of the spring may well resolve to finding the correct type of English translation were
perform J. S. Bach's Passion according to St John- fully rehearsed in The Musical Times during 1961,
a work that is technically challenging yet demands following an article by Walter Emery,' and many
forces modest in comparison with those needed for performances demonstrate that fresh assaults on the
other large-scale choral masterpieces. The chorus difficulties can still be made. Though other English
work is interesting and well-distributed through the versions are available, the Atkins version (pub-
piece and (although the difficulties of the main solo lished by Novello) still seems to be the most popular
parts should not be underestimated) the work starting-point for provincial choral societies:
provides a limited number of parts for semi- conductors are warned, however, that the orchestral
professional soloists or outstanding members of the material which is hired to complement the English
chorus. Once the choice to perform the work has versions more often than not has cues and recitative
been made, however, two fundamental decisions texts in German only.
have to be taken: should the performance be in The question of musically different versions of the
German or English? Which version of the Passion John Passion is one that so far has hardly penetrated
should be used ? beyond the fringe of professional performances.
Though professional performances are nowadays But the work of Bach scholars over the last 20 years,
most frequently in German, there is still a case for culminating in Arthur Mendel's recently published
performances in English. Audiences outside Lon- edition for the Neue Bach-Ausgabe,2 has now made
don are less bilingual than many professional the necessary information available and, when
musicians (especially Evangelists) would like to performing material is provided, will make the
imagine: the close arguments and dramatic inter- various alternatives accessible. Some of the infor-
play of the soloists and chorus, particularly in Part 2 mation already easily available is in any case of
of the Passion, demand efficient communication and immediate practical relevance as far as those plan-
for many audiences such efficiency can be attained ning performances are concerned, since it affects
only if the performance is in their everyday language. questions of instrumentation as well as the choice of
'Everyday language' is not necessarily the same as alternative movements. It will be difficult to
'everyday speech', however, and the decision to l'Bach versus the Bible', MT April 1961, p.221
perform the John Passion in English is usually 211/4: Johannes-Passion: see MT review, Oct 1976, p.833
198

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combine the performing material of the new edition is one of Mendel's most fascinating achievements,
with any of the practical editions derived from the though one which it is difficult to follow through the
Bach-Gesellschaft text since the numbering of the critical commentary. Having been promised5 an
movements is different (here I shall refer to them byexplanation of a particular riddle in the flute parts
their German titles and their numbering in the of 'Lasset uns den nicht zerteilen' (no.54), I spent
Atkins edition). In spite of the useful preface to the a few puzzled hours before finding the answer on
scores of the new edition, much of the necessary pp. 109-10 of the commentary in a section devoted to
information on Bach's performances on which a different part of the work. Most of the other
practical choices must be based is embedded in the important information about the flute parts is given
German critical commentary. on these pages, except the fact that on Bach's score
Mendel's analysis, developed with reference to there is no designation of an instrument for the
parallel studies in Gottingen, interprets the sur- obbligato part in 'Ich folge dir gleichfalls' (no.13):
viving score and the bewildering mass of original presumably Bach was undecided over this when he
performing parts in terms of four successive versions. wrote the score and never had the stimulus of an
The earliest performing parts can now be dated to a actual performance to make him decide.
performance in 1724, thus putting out of court the Of the other versions of the Passion, the second
idea of a 1723 performance in Leipzig before the (1725) has most variants from the normal pattern: as
'mediocre candidate' received his appointment as well as new music for the soloists, the choir will need
Kantor. The second, substantially altered, version the alternative versions of the first and last choruses
dates from the following year, but precise dates can (the former is familiar from its use in the Matthew
not yet be given to the others: the third seems to date Passion). With intelligent use of the critical com-
from 1728-32 and the last from the 1740s. mentary6 as well as the music in the appendix to the
Most performances of the John Passion have been NBA score, this version should not be difficult to
based on the fourth (final) version: a safe text of thisuse: as with the 'normal' version, two flutes and two
could be produced by the Bach-Gesellschaft edition oboes are required. This version has not been
because virtually complete performing parts survive. performed frequently enough as yet to weigh the
As indicated, most practical editions have been effect of 'O Mensch, bewein' (which usually con-
derived from the B-G text. Even in this apparently cludes Part 1 of the Matthew Passion) in place of the
textually safe fourth version, however, there is opening chorus, nor the effect of a more extended
room for manoeuvre. In addition to the parts there movement in place of the familiar final chorale; of
survives a score, the first 20 sides of which are in the arias, the replacement for 'Ach, mein Sinn'
Bach's hand: these are reproduced in facsimile as an (no.19) is probably the most significant in its differ-
appendix to the full score of the new edition. ent treatment of Peter's denial.
It would appear that this score was begun by Bach The performance of the third version is not, on
around 1740, but not completed, perhaps because the basis of the surviving music, a practical pro-
the performance for which he was preparing neverposition: some of the music appears to be lost. But
took place. A possible candidate for such a non- with a small performing group in a small church an
performance (not mentioned by Mendel) might be attempt could be made at reconstructing the original
the year 1739, when Bach's preparations for the (1724) version. The musical movements are largely
Passion music were interrupted by interference from the same as in the final one but some guesswork is
the town council-it would have been true to say needed to restore the original scoring. In his first
of the John Passion in 1739 that it had been per- Passion season in Leipzig, Bach had to be reminded
formed 'a few times already'.3 When, a few years that it was the turn of the Nicolaikirche to be the
later, the final version of the Passion found in the venue for the Passion music: in his reply, Bach
parts was prepared, slightly different performing complained that there was not enough room for the
circumstances arose, and these are reflected in small performers and that the harpsichord needed repair-
discrepancies between the texts of the score and the ing.7 Even when a little extra space had been
parts. In the main, these affect the woodwind: it created, Bach could not spread himself in the
would appear that in the score Bach was writing for smaller church as he did in the instrumentally
two oboes vithout flutes, while the parts made pro- expanded version for the Thomaskirche the next
vision for two of each. It is instructive to compare year. It is not clear whether Bach had completed
the first movement as given in the score (main text the Passion before the move to the smaller church
of the new edition) with the version in the parts was forced upon him: the Council minute says that
(Appendix 1) to see what happened to the wind the booklet had already been printed, but it is
parts in the middle section. Even if the 'normal' possible that the text had been agreed before Bach
version is to be performed, some consideration even set to work. Whether the 1724 version was
could be given to the possibility of attempting a composed with a small group in mind or whether it
flute-less text: many of the flute parts do not lie represents Bach's practical reduction of a completed
well and most performances contain at some stage an work, a performance based on a reconstruction of
example of the intonation difficulties cited by this version would be both practical and interesting.
Mendel.4 The tracing of the development of the The orchestra could be composed of strings and
flute parts through the various versions of the work oboes only, giving the obbligato in no.13 to oboe

3see H. David and A. Mendel: The Bach Reader (2/1966), 162-3;
A. Glockner (MT July 1975, p.614), attaches a different signifi-
cance to the document.
4see A. Mendel: 'Traces of the Pre-History of Bach's St. John
Passion', Festschrift Otto Erich Deutsch (1963), 31
5A. Mendel: 'Recent Developments in Bach Chronology',
MQ, xlvi (1960), 295
bMost of the important points concerning this version are
treated in English in the article cited in note 4.
7The Bach Reader, 96-7

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or violin (the former probably more suitable) and quake was not in the story as originally set. The use
rescoring nos.62-3 using strings as suggested on of the harpsichord rather than the organ usually
pp. 110-11 of the critical commentary. makes communication with the soloists easier in
the recitatives.
Whichever version of the John Passion is per-
formed, some consideration must be given to the Fortunately, most Evangelists today are musically
instrumental bass part. When Bach marked up one intelligent over the correct use of appoggiaturas, an
of the continuo parts for 'Bassono Grosso' he was area in which it is impossible to generalize if an
referring to a bassoon large enough to cope with the English performance is in the offing since trans-
low notes required in, for example, the opening lations differ so much in their placing of verbal
chorus; but that is not an excuse for grotesqueries stress: the same can be said of the treatment of
with a double bassoon in the name of musicology. cadences, though there are several occasions in the
Some questions about the bass register parts are John Passion where a badly placed delayed cadence
difficult to answer because there is no way of can hold up the narrative unnecessarily. In my own
knowing how many of the original ones have been experience, most attempts to use the organ for the
lost. A gamba part for 'Erwage' (no.32) should accompaniment of the recitatives have slowed down
surely be added to the list of lost parts on pp.65-6 the narrative, fallen foul of an appoggiatura or two
of the commentary, and practical experience leads and made the timing of cadences more difficult.
me to suspect that the opening chorus leads of 'Wir For the fourth version of the Passion, the only one
haben ein Gesetz' and 'Lassest du diesen los'
for which a demonstrably complete set of continuo
(nos.38 and 42) were doubled by any bass instru- parts survives, the facts seem to support the use of a
ments that the continuo department had not harpsichord. The set includes two complete parts
claimed. Even where there is a very firm vocal bass
labelled 'cembalo', one figured and one unfigured:
section the balance in these choruses is usually the latter, however, may be a cello-gamba part
rather odd because of Bach's habit of doubling the copied, with title, from a harpsichord part and to
other voices with instruments while giving the that extent its title may be an error. But the former
orchestral basses an independent line. At the start points quite clearly to the use of the harpsichord,
of the second of these choruses in particular some and it is supplemented by a keyboard transcription
discreet instrumental doubling can give more of the 'lute' solo in 'Betrachte, meine Seel' ' (no.31)
conviction to the harmony: provided no double for use in the same performance. Bach's practice in
basses leave the instrumental bass line, such a the earlier versions is more difficult to determine.
division of the instrumental bass helps the ear to Leipzig organ parts are usually readily identifiable
sort out a couple of bars of very difficult texture. because of transposition, and there is a good case,
Obviously the same considerations do not apply in based on the surviving parts for the cantatas, for
other choruses: at the beginning of 'Lasset uns den seeing the organ as Bach's normal Continuo instru-
nicht zerteilen' (no.54) the dice-rattling instru- ment, the use of the harpsichord indicating special
mental bass is difficult to hear at the best of times
performing circumstances or periods when the organ
and no players can be spared. Any attempt to was out of commission. Remembering that Bach
double the choral bass in 'Mein treuer Heiland'
regarded the presence of a well-regulated harpsi-
(no.60) would lead to disastrous impediments chord as necessary for the performance in 1724, one
within the soloist's register: Bach himself was in is bound to ask whether this was Bach's first choice
two minds about doubling the upper voices of the as the main continuo instrument or whether it was
chorale in this movement.
merely intended to supplement the organ. Along
Unfortunately, the evidence of the surviving with the continuo parts of the fourth version there
sources does not provide final answers to the vexed remain various parts from earlier ones, some of
question of the keyboard instrument most suitable them no doubt owing their survival to the fact that
for the continuo part. Different record reviewers in they could be adapted as bassoon or instrumental
recent years have criticized all-organ, all-harpsi- bass parts for the later versions. None of these
chord and mixed organ-harpsichord treatments of provides a firm answer to the question since there is
the continuo; and one is bound to read the evidence no other keyboard continuo part among them.
partly in the light of one's own prejudices. My own One transposed organ part, for no.31 only, survives
are in favour of the harpsichord, which allows a from the third version, but this could be seen as an
faster and clearer dramatic narrative: organs suit- obbligato part from a 'special effects department'
able for continuo work are still relatively rare and for this movement, and is not evidence for the
any attempt to use an unsuitable instrument usually general use of the organ as a continuo instrument.
results in problems of both balance and intonation. The continuo parts from earlier performances are
Alternations of Evangelist-harpsichord with untransposed, but also unfigured, so are not likely
Christus-organ are now mercifully out of fashion; to have been for keyboard. Mendel deduces that the
but, perhaps understandably, few harpsichord-based figured continuo part from version four was pre-
performances are as yet able to resist the temptation pared from a transposed part which has been lost,8
to provide a wash of organ behind Peter's tears, the so there is a high probability that the organ was
earthquake following the rending of the temple used as the main continuo instrument at some stage.
veil, or the inscription over the cross. It is interestingNevertheless, in view of the evidence from version
to note the first two of these incidents, which four, there seems to be good reason to regard a
provide the Evangelist with some of his most stimu- continuo part based on the harpsichord as a legiti-
lating dramatic moments, were removed in the third mate alternative.
version of the Passion, and indeed that the earth- 8Kritischer Bericht, 66

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 In this matter, as in the others outlined above, logical
logical conclusion
conclusiontotothe
the extent
extent
of of
performing
performingthe the
conductors are free to draw their own conclusions two
two parts
partsofofthe
thePassion
Passion either
either
side
side
of of
a sermon.
a sermon.
But But
from the evidence in the preface and critical com- for the first time all the evidence on which our
mentary to the NBA edition. In many areas guess- musical guesses must be based is relatively easily
work is still required, and an 'authentic' performance available: it can be, and deserves to be, an addi-
cannot be based entirely on certainties. Few of us, in tional stimulus to even the most modest performance
any case, would wish to carry authenticity to its of the work.

Working
Working for
for Benjamin
Benjamin Britten
Britten
Imogen Holst

When the Editor of The Musical Times asked me to division between the two hands on the keyboard to
set down some of my 'impressions and memories' disguise the clear outlines of the music.
of Benjamin Britten, I decided that the most prac- He began the full score of Gloriana in February
tical contribution I could make would be to men- 1953 and we then had to work for at least ten hours
tion a few of the things I learnt while working afor
day in order to get through it in a month. I pre-
him. pared the 34-stave pages for him, spacing the bar-
lines, writing the clefs and signatures, copying out
It is difficult to describe his energy, which always
left the rest of us far behind. He could go straight the vocal lines, and eventually filling in any instru-
from a rehearsal to a committee meeting and then to ments that were to be doubled. We sat side by side
a discussion with a librettist, putting the whole of at separate tables, and I was dismayed to see how
his mind from one thing to another without any quickly he wrote-he could get through 28 pages in
hesitation. People have often remarked on the speed a day. I thought I should never catch up with him.
with which he wrote his music; but he nearly always On one occasion he had reckoned to get to the end
thought about each work for a long time before of a scene by 4 o'clock, but he finished it just after
beginning to write it. The Mi3sa brevis, for example, midday and, as usual, he turned round while he put
was written in only a few days, but he had been in the last note, saying: 'Now in the next scene . . .'.
thinking about it for more than six months. When- He seldom had to stop and think. There were a few
ever he was actually writing, his concentration was momentary queries: could trombones glissando a
impregnable: I remember one pouring wet day when 4th fairly low down? Could the bass clarinet
he got soaked through while sitting indoors at his flutter-tongue? What were the shakes that the
desk because he hadn't noticed that the rain was bassoon couldn't manage? My first chance to keep
coming in on him. pace with him was when he reached the tutti contra-
I first met him in 1943, and during the next few puntal entries at 'Green leaves are we, Red rose our
years did various odd jobs for him. Then, in 1952, golden Queen'. Here, to my great relief, he stopped
when I was already training the Aldeburgh Festival and thought for nearly three-quarters of an hour,
Choir, he asked me to orchestrate Rejoice in the matching the details of the woodwind tonguing or
Lamb for that year's festival as he hadn't time to do the string bowing with the subtle sound of each
it himself. It was a formidable request. Luckily he final consonant in the words.
approved of my instrumentation, and soon after- He was always patient about my many mistakes.
wards he suggested that I should come and live in It is true that he could be very angry; but he was
Aldeburgh, to work as his amanuensis and to help fundamentally a calm person. He was often depres-
in the running of the festival. sed, especially after a bad performance. In a letter
That was in September 1952, and he had just he wrote to me in 1948 he said: 'How essential good
begun writing Gloriana, which had been commis- performances are! I have recently heard several
sioned to celebrate the coronation in June 1953. performances of my own pieces and I felt so de-
Covent Garden wanted the vocal score by the middle pressed that I considered chucking it all up! Wrong
of February, so he planned a timetable for getting tempi, stupid phrasing and poor technique-in fact
each act finished. Every morning he wrote from non-sense'.
about 8.30 to 12.30; then he took the manuscript He was frequently weary. I remember once, when
to the piano and played through what he had he was halfway through a full score, he asked: 'Did
written. He usually went back to work at 4, and your father always enjoy working?' And when the
kept at it until 7.30 or 8. His pencil sketches were vast score of The Prince of the Pagodas was at last
remarkably clear to read. My job was to write out finished he wrote to me, saying: 'Thank God it is
the vocal score so that it could be reproduced for the over and done with (all except those ... metronome-
singers. He gave me helpful advice about my piano marks)'. It was the strain of having to live the double
reductions, telling me to add a tremolando in life of composer-performer that was the chief cause
brackets for a gradual crescendo on slow sustained of his weariness. Foreign orchestral concert tours
brass chords, and to indicate in small notes above were particularly exhausting. In a letter he wrote to
the stave any rapid 'out-of-reach' woodwind me from Aldeburgh in 1968 he said: 'Just off to
passages. He never allowed a convenient pianistic Germany-what a life!-how I wish one could sit
202

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