List of Tables and Illustrations List of Abbreviations Preface N. T. Wright Acknowledgements Introduction From the 'Fifth Evangelist' to the Birth of the Neue Bachausgabe Theological Bach Research: Back to the Sources Considering Anti-Judaism in Bach's Music Bach and Theology Re-assessed Purpose and Scope of this Study Part 1: Composer and Work Learning the Craft of a Church Musician 1.1. Bach's Schooling 1.2. Singer, Instrumentalist, Church Musician 1.3. 'Singing preaching and praising of God' 'It pleased God that I should be called' - Bach's Office and Craft 2.1. The Purpose of Church Music 2.2. 'Gnaden-Gegenwart': God's Presence in Sacred Music 2.3. Music for the Glory of God Proclaiming Scripture through Music - The Development of Bach's Cantatas 3.1. Musical and Textual Models for Bach's Early Cantatas 3.2. The 'Modern Cantata' 3.3. From Kothen to Leipzig: from Capellmeister to Lutheran Cantor 3.4. The Leipzig Cantatas: Words and Music that Amplify Scripture 3.5. Composing, Rehearsing and Performing the Cantata Bach's St John Passion 4.1. The Development of the Lutheran Responsorial Passion 4.2. The Liturgical and Homiletic Context of Bach's St John Passion 4.3. The Libretto of Bach's St John Passion 4.3.1. Textual Elements of the St John Passion: Biblical Text 4.3.2. Textual Elements: Madrigalic Texts 4.3.3. Textual Elements: Chorales 4.4. The Purpose and Message of Bach's St John Passion Part 2: Commentary Study Translation Katherine Firth Commentaries and Sermon Collections 2.1. Abraham Calov's 'Great German Bible' (1682) 2.2. Johannes Olearius' Haupt Schlussel (1681) 2.3. Sermon Collections: Martin Luther (1528-29) Commentary 1. Prima Parte - First Part of the Passion Exordium - Prologue Hortus - Jesus in the Garden of Gethsemane Pontifices - Jesus Before the Chief Priests 2. Parte Secunda: Nach der Predigt - Second Part of the Passion: Following the Sermon Pilatus - Jesus Before Pilate Crux - Jesus Dies on the Cross Sepulchrum - Jesus is Laid in the Tomb Bibliography Index TABLES 1: Libretti published in Salomo Franck's Evangelisches Andachts-Opffer, Geist und Weltlicher Poesien Zweyter Teil and Evangelische Sonn- und Festtages-Andachten (1716) 2: Libretti published in Ziegler's Versuch in gebundener Schreib-Art (1728) 3: Libretti published in Picander's Ernst-Schertzhaffte und Satyrische Gedichte 4: Libretto of Bach's St John Passion as first performed in 1724 (I) 5: Libretto of Bach's St John Passion as performed in 1725 (II) 6: Known and Unknown sources of Free Poetry in Bach's St John Passion 7: Consolation and Commitment in Arias and Ariosos of Bach's St John Passion 8: Interior Questions and Answers in the Chorus Arias of Bach's St John Passion 9: Actus Chorales in Bach's St John Passion 10: Petitions from Stockmann's Passion Chorale in Bach's St John Passion ILLUSTRATIONS 1. Dedication of Solomon's Temple: Frontispiece of the 1673 Eisenachisches Gesangbuch, Herzog August Bibliothek Wolfenbuttel, TL 45. 2. Exterior and Interior of St Thomas' Church Leipzig: Frontispiece of the 1710 Leipziger Kirchen-Staat, Niedersachsische Staats- und Universitatsbibliothek Gottingen, 8 H E RIT I, 11920. 3. Picander's Texts for the Passion-Music according to the Evangelist Matthew set to music by Bach in the St Matthew Passion, 1727, from the 1748 Ernst-Scherzhafte und Satyrische Gedichte, p. 471, Bayerische Staatsbibliothek Munchen, P.O. germ. 600 e/2. 4. Frontispiece of Bach's copy of Calov's annotated New Testament from the Great German Bible, Concordia Theological Seminary, St Louis, Missouri. 5. Mors: Olearius' commentary on John's account of the death of Jesus, Bayerische Staatsbibliothek Munchen, 2 Exeg. 650 e-5. 6. Autograph Score, p. 11: Different Cross-motifs (1-3, 2-4 and 1-4, 2-3) on 'Jesum von Nazareth', Bach Digital Project. 7. Autograph Score, p. 12: Cross-motifs (1-4, 2-3) on 'Jesum von Nazareth', Bach Digital Project. 8. Autograph Score, p. 17: Cross-motif (1-4, 2-3) on 'Jesu nach und', Bach Digital Project. 9. Intrade Herrn Sebastian Knupfers, Kritischer Bericht. 10. Autograph Score, p. 34: Answers to Questions, though not in Bach's hand, Bach Digital Project. 11. Johann Saubert, DYODEKAS emblematum sacrorum (1625): The alto voice as an expression of the Holy Spirit, Bibliotheque Municipale de Lyon, SJ CS 320/5.
