C.P.E. Bach and the sentimental style: Musical tastes began to change as early as the 1730s, favoring the so-called Empfindsam (“sentimental”) style, which placed a premium on authentic (i.e. not stylized) feelings, naturalness, and simplicity. This becomes especially clear when we look at Carl Philipp Emanuel Bach’s oratorio passions.
In honor of the 300th anniversary, Carus editor-in-chief Dr. Uwe Wolf looks at Bach’s chorale cantata year-cycle from 1724/1725.
How do we get as close as possible to the 1724 version of the St. John Passion in 2024? What performance material is needed? Here you will find some practical performance thoughts, also on the 1725 version, from chief editor Dr. Uwe Wolf.
When asked about her favorite composers or indeed a favorite piece, Ute Kelemen could give a whole range of different answers. But if she really wanted one composer for her spell on that desert island, then it would be Bach. A single chorale by him holds so much comfort and hope that she would be able to survive for a while.
The St. John Passion was performed under Bach’s direction in Leipzig at least four times, but each time in a different form. And not all versions survive complete, so decisions need to be made for each performance nowadays. Increasingly the 1725 version with the opening chorus “O Mensch, bewein dein Sünde groß” is performed. The omission of “Herr, unser Herrscher” in this performance version is coupled with new discoveries. We hear the part of the evangelist as it was sung back then in Leipzig. In addition, highly dramatic arias such as “Himmel reiße, Welt erbebe” are heard to their best advantage.
(c) Sven Cichowicz
© Sven Cichowicz