ELEVENTH BIENNIAL INTERNATIONAL CONFERENCE ON BAROQUE MUSIC
Manchester, 14th-18th July 2004
Johann Sebastian's Matthew Passion as a model for the Hamburg Matthew Passions of Carl Philipp Emanuel
Included in the cache of Sing-Akademie manuscripts recently returned to the Berlin Staatsbibliothek are 21 liturgical passions by Carl Philipp Emanuel Bach. Among the passions are six settings of the Matthew narrative, the first of which was performed in 1769 and the last in 1789, three months following Emanuelís death. That the Bach son drew chorales and turba choruses from his fatherís Matthew Passion is well known. But the extent to which he drew on other aspects of Sebastianís score, including its overall musico-theological structure, became apparent only when I was preparing the first modern performance of Emanuelís 1789 Matthew Passion at the University of Pittsburgh in 2002. (A modern edition of the score, edited by Ulrich Leisinger, is scheduled to appear in 2004 as the first volume of Carl Philipp Emanuel Bach: The Collected Works, published by the Packard Humanities Institute.) To illustrate the ways in which Sebastianís Matthew Passion was used as a model by Emanuel, first in his 1769 setting and then in altered forms in the five Matthew settings that followed, is the primary focus of my paper. Also to be considered is how Emanuel adapted the Leipzig cantorís score to Hamburg liturgical practices.
Last updated on 25 May 2004