Der Gerechte kömmt um (motet)

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Der Gerechte kömmt um
Motet
First page of "Der Gerechte kömmt um", No. 39 in Wer ist der, so von Edom kömmt
EnglishThe righteous perishes
KeyE minor
OccasionGood Friday; Funeral?
Writtenarrangement attributed to Johann Sebastian Bach
TextIsaiah 57:1–2
LanguageGerman
Based onTristis est anima mea attributed to Johann Kuhnau
VocalSSATB
Instrumental

Der Gerechte kömmt um ('

Passion oratorio which is a pasticcio based on compositions by, among others, Carl Heinrich Graun, Georg Philipp Telemann and Bach. Likely Der Gerechte kömmt um existed as a stand-alone motet, for example for performance on Good Friday or at a funeral, before being adopted in the pasticcio.[1][2][3][4]

Music

See also: Tristis est anima mea (attributed to Kuhnau)

The oldest extant source for the

TWV 1:1585, composed in 1722) and a variant of the opening chorus of Johann Sebastian Bach's cantata Herr Jesu Christ, wahr' Mensch und Gott, BWV 127 (composed in 1725).[8][9][10][11] The exact time of origin of either the Tristis est anima mea motet or Der Gerechte kömmt um can not be ascertained, and, according to Daniel R. Melamed, it can even not be excluded that the latter was composed first, and that the Latin motet was derived from it.[12] Usually, however, it is assumed that Der Gerechte kömmt um was arranged from the motet attributed to Kuhnau.[2][5][6][13][14]

Stylistically, the motet attributed to Kuhnau leans on earlier Italian models.

colla parte with the first soprano.[4][16][17]

The motet attributed to Kuhnau is structured in eight sections, each of which consecutively sets one of the eight phrases of the Latin text. The German arrangement is structured as an instrumental prelude followed by a block treating the first four phrases of the German text, followed by an instrumental interlude, and concluded by a block that treats the last four phrases of the German text. According to

118.2.[4][17][18]

The vocal parts of the motet attributed to Kuhnau and the Der Gerechte kömmt um contrafactum are not entirely identical: differences seem mostly inspired by differences in text expression and diction between the German and Latin texts. Changes in the vocal parts, which include addition of transition notes, also lead to different harmonies, and to a closer connection of some of the consecutive phrases. 18th-century sources, such as the D-B Mus.ms. 8155 manuscript, carry no indication of how and when the Der Gerechte kömmt um version originated. According to Grubbs, the middle voices of the work lack the elasticity which is characteristic for a composition by Bach. The intricacies of the German version, including its additional instrumental material and various adjustments to vocal lines, point to Bach as arranger, while they are in line with what is known from arrangements the composer produced of his own work and that of others.[4][17][18]

Text

See also: The righteous perishes

The Latin text of the motet attributed to Kuhnau, "

Neu Leipziger Gesangbuch.[3][4][17][19][20][21][22]

Start of "Und heilige Leute werden aufgerafft" (voices only), edited by Karl Hermann Bitter (1872)[27]

The setting of the third phrase (und heilige Leute werden aufgerafft), bars 28–38, ends on a harmonically surprising cadence, which, according to Grubbs, prefigures passages from Johannes Brahms's 19th-century German Requiem, Op. 45. The last phrase before the instrumental intermezzo (und niemand achtet drauf) is repeated. The fifth phrase (Denn die Gerechten werden weggerafft vor dem Unglück) is set homophonically. The sixth phrase (und die richtig vor sich gewandelt haben) is, like the fourth, repeated.[24] According to Gardiner, the composition culminates in the bar of silence between the seventh phrase (kommen zum Frieden) and the coda of the last phrase (und ruhen in ihren Kammern).[18]

Passion oratorio movement

See also: Wer ist der, so von Edom kömmt

The Wer ist der, so von Edom kömmt pasticcio Passion oratorio has 42 movements.

BWV 1088, and has 15 movements derived from Part II of Graun's Passion cantata.[8][30] Its narrative is carried by 6 inserted stanzas of Michael Weiße's hymn "Christus, der uns selig macht".[31] "Der Gerechte kömmt um" is the 39th movement of the pasticcio, placed between four-part settings of the 6th and 7th stanzas of Weiße's hymn: these stanzas respectively portray a scene of Jesus hanging at the cross (before his death), and the burial of Jesus. The Isaiah 57:1–2 text, lamenting the death of the righteous, is placed between these stanzas as a meditation on Christ's death.[32][33] It is not the only occurrence of texts from the Book of Isaiah in the Passion oratorio: four movements adopted from the Graun cantata, respectively Nos. 17, 3, 7 and 11 in the pasticcio, have Isaiah 53:3–5 as text.[34]

Around 1800, a set of performance parts of the "Der Gerechte kömmt um" choir was extracted from the D-B Mus.ms. 8155 manuscript, likely for a performance of the movement by the Sing-Akademie zu Berlin.[35] In a 1872 publication, Karl Hermann Bitter described the 39th movement of the Passion oratorio thus:[36]

In January 1990, Hermann Max, conducting the Rheinische Kantorei and Das Kleine Konzert, recorded the Wer ist der, so von Edom kömmt pasticcio, including the "Der Gerechte kömmt um" movement with a performance time of 4:24.[38] In the first half of 2019, Gotthold Schwarz conducted Concerto Vocale and the Saxon Baroque Orchestra Leipzig in a recording of the Passion oratorio, the performance time of its 39th movement being 5:28.[39] Another recording of the pasticcio was realized in 2020, by György Vashegyi conducting the Purcell Choir and Orfeo Orchestra, with a performance time of 5:58 for the "Der Gerechte kömmt um" movement.[40]

Motet

See also:
Motet (Bach)

There are reasons why Der Gerechte kömmt um likely was a motet in its own right before it was adopted into the Wer ist der, so von Edom kömmt pasticcio: first, its model, the Tristis est anima mea setting attributed to Kuhnau, was a stand-alone motet, also, most of the movements of the pasticcio demonstrably existed before being adopted in the Passion oratorio, and further, the colla parte flutes rather seem an addition designed to exploit the full orchestral forces needed for a performance of the Passion oratorio, than an original part of the Der Gerechte kömmt um composition.

deest for several decades, the motet arrangement, attributed to Bach, was given the BWV number 1149.[1]

In November 1978, the Choir of

Jeffrey Thomas, performed the motet in concert, and recorded it.[19][53]

References

  1. ^ a b c Instrumental and Supplement at www.bach333.com, pp. 127–128
  2. ^ a b c Der Gerechte kömmt um at Bach Digital.
  3. ^ a b c d Melamed 1995.
  4. ^ a b c d e f g Hellmann 1967.
  5. ^ a b Hellmann 1967, p. 93.
  6. ^ a b Melamed 1995, p. 148.
  7. ^ Ebata 2020.
  8. ^ a b c D-B Mus.ms. 8155 at Bach Digital.
  9. ^ Aart van der Wal. Soli Deo Gloria: The Leipzig Bach Festival 2008 – "Part Two: The Music 17th–20th June" at www.musicweb-international.com
  10. RISM 450004757
  11. ^ Herr Jesu Christ, wahr' Mensch und Gott BWV 127 at Bach Digital.
  12. ^ a b Melamed 1995, p. 149.
  13. ^ Morton 1992, p. 12.
  14. RISM 452024329
  15. Novello & Co
    , 1884.
  16. ^ Mus.ms. 12263/3 at Berlin State Library website.
  17. ^ a b c d e f g Grubbs 1965, pp. 35–37.
  18. ^ a b c Gardiner 2009, p. 13.
  19. ^ a b c Thomas 2017.
  20. ^ Ecce quomodo moritur justus (Jacob Handl) in the Choral Public Domain Library (ChoralWiki)
  21. ^ Jeż 2007, p. 40.
  22. ^ Vopelius 1682.
  23. ^ Hellmann 1967, pp. 93–94.
  24. ^ a b Grubbs 1965, p. 37.
  25. ^ "Der Gerechte kömmt um", pp. 84–88 in Mus.ms. 8155 at Berlin State Library website.
  26. ^ Jesaja 57:1–2 in Luther Bible, ed. Kelp (1704) at Google Books
  27. ^ Bitter 1872, p. 334.
  28. ^ Grubbs 1965, pp. 10, 20.
  29. ^ Grubbs 1965, pp. 10, 15, 21, 23–25.
  30. ^ Grubbs 1965, pp. 10, 25–31.
  31. ^ Grubbs 1965, pp. 10, 21, 31–35.
  32. ^ "Christus, der uns selig macht". hymnary.org.
  33. ^ Grubbs 1965, pp. 21–23, 31–35.
  34. ^ Grubbs 1965, pp. 10, 15, 21.
  35. ^ D-B Mus.ms. 8185 at Bach Digital.
  36. ^ Grubbs 1965, p. 23.
  37. ^ Bitter 1872, pp. 333–334.
  38. AllMusic
    .
  39. ^ Graun, Telemann & Bach: Wer ist der, so von Edom kömmt at Chandos website.
  40. ^ Graun, Telemann & J.S. Bach: Wer ist der, so von Edom kömmt at Chandos website.
  41. ^ Wollny 2002, pp. 36–47.
  42. SLUB Dresden
    website.
  43. BnF 38115375s
    .
  44. ^ Bach: Magnificat at Presto Classical website.
  45. ^ Motets BWV 225-231 – Cantatas BWV 50 & 118 / J.S. Bach at Catalog of Music Library Lilian Voudouri.
  46. OCLC 840105873
    .
  47. ^ Motets by the Bach Dynasty. Hungaroton, HCD 31549 (1997).
  48. ^ Motets by the Bach dynasty at Stradivarius website.
  49. ^ a b Billinge 2015.
  50. ^ a b Der Gerechte kommt um at Hyperion website.
  51. Muziekweb
    website.
  52. ^ JS Bach - Missae Breves BWV 234 & 235 at Presto Classical website.
  53. ^ Winn 2017.

Sources

External links
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