“Und neiget das Haupt…”
Über ein Motiv aus der Frömmigkeitsgeschichte in Bachs Johannes-Passion und in Brockes-Passionen von Keiser, Händel, Telemann und Mattheson. On a Motif from the History of Piety in Bach’s St. John Passion and in the Brockes-Passions by Keiser, Handel, Telemann, and Mattheson
Bibliographic Data
| ID | 21291842 |
|---|---|
| Authors | Peter Petersen (0000-0002-2092-4791, Em. Professor für Musikwissenschaft an der Universität Hamburg, corresponding author) |
| Year | 2023 |
| Volume | 80 |
| Issue | 2 |
| Pages | 78-98 |
| Publication date | 2023-01-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Archiv für Musikwissenschaft (JOURNAL) |
| Journal identifiers | ISSN: 0003-9292 • E-ISSN: 2366-2794 |
| Publisher | Wissenschaftliche Verlagsgesellschaft mbH (PUBLISHER • DE) |
| DOI | 10.25162/afmw-2023-0005 |
| OpenAlex | W4385352845 |
| Language | EN |
The aria “My dearest Savior” (Mein teurer Heiland) from Bach’s St. John Passion deals with a motif belonging to the history of piety in which the bowing of Jesus’s head at the moment of his death is interpreted as a yes-word to the believer for salvation. Bach’s text closely follows Barthold Heinrich Brockes’s 1712 passion poem “Der für die Sünde der Welt gemarterte und sterbende JESUS,” which was set to music by several composers. A comparison of four settings reveals similarities, yet concludes that Bach’s aria with chorus, where the Crucified One is symbolized by a repeated cello motif that uses the form of a musical Christ monogram (Chi/Rho), exceeds all other models in quality and originality
Aesthetics · Art · Art history · Chorus · Literature · Messiah · Motif (music) · Musical · Originality · Passion · Piety · Poetry · Theology · Historical Influence and Diplomacy · Philosophy · Psychology · Reformation and Early Modern Christianity
| Highly cited | No |
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