C.P.E. Bachs Evangelist Johann Heinrich

C.P.E.
Bachs Evangelist, Johann Heinrich Michel

Paul Corneilson
In contrast to Johann Sebastian Bachs tenure at Leipzig, where precious little is known
about his church singers, there is ample documentation for C.P.E. Bachs Kapelle at Hamburg.1
One of Bachs most important tenors in Hamburg, Johann Heinrich Michel, also happens
to have been Bachs most prolific copyist.2 Michel normally sang the role of Evangelist in the
twenty-one Passions performed between 1769 and 1789, the only exceptions being the St.
Luke settings of 1771, 1779, and 1787 which do not call for a tenor Evangelist. In addition,
Michel was assigned arias in cantatas and works for special occasions that Bach composed. By
analyzing the specific characteristics of arias (range and tessitura, passage work, tonality and
affective qualities of the vocal lines), whether written by Bach or another composer, I construct
a profile of Michels voice and attempt to show how Bach employed him as a soloist. Such
methodology might be applied to other singers, in Hamburg and perhaps also Leipzig.3
When Charles Burney visited Hamburg in 1772 Bach complained that musical standards had declined in the past fifty years.4
He [Bach] offered to accompany me to every church in Hamburg, where a good
organ was to be found; said he would look out for me some old and curious
things; and told me at my departure, that there would be some poor music of
1. Most of the research on J.S. Bachs singers has focused on his ensemble; see the expanding literature by Joshua Rifkin, Andrew Parrott, Christoph Wolff, et al.
2. See Paul Kast, Die Bach-Handschriften der Berliner Staatsbibliothek (Trossingen: Hohner, 1958) as
well as the more recent survey in Keiichi Kubota, C.P.E. Bach: A Study of His Revisions and Arrangements
(Tokyo: Academia Music, 2004), appendix 2, 18890.
3. There is a long tradition of secondary literature on the singers of Handel and Mozart, but relatively
little on the singers of J.S. Bach, largely because there is little documentation on their careers. For a recent survey see Andreas Glckner, Alumnen und Externe in den Kantoreien der Thomasschule zur Zeit
Bachs, Bach-Jahrbuch 92 (2006): 936; for information on the bass Johann Christoph Samuel Lipsius,
see Hans-Joachim Schulze, Studenten als Bachs Helfer bei der Leipziger Kirchenmusik, Bach-Jahrbuch
70 (1984): 4552.
4. Burney writes, M. Bach received me very kindly, but said that he was ashamed to think how small
my reward would be, for the trouble I had taken to visit Hamburg. You are come here, said he, fifty years
too late. The Present State of Music in Germany, the Netherlands and United Provinces, 2 vols., 2nd ed.,
corrected (London: T. Becket, 1775), 2:246. Although it is possible that something might have been lost
in translation, the critique seems at least plausible. Telemann had similarly complained of this decline in
the 1730s, following the closing of the Opera. However, Burney knew little German himself, and it is not
known how much English Bach knew. When Christoph Daniel Eberling published a German translation of Burneys travels, he substituted the original text of Bachs autobiography, rather than translating
Burneys paraphrase. On the other hand, Bachs comments on Hamburg as related in Burneys English are
largely repeated in Eberlings German version.
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Er ist der Vater

his, performed in St. Catherines church, the next day, which he advised me not
to hear. His pleasantry removed all restraint without lessening that respect and
veneration for him, with which his works had inspired me at a distance.5
Burney appreciated Bachs sense of humor. Undeterred by this warning, on the following
day, Saturday, 10 October 1772,
M. Bach accompanied me to St. Catherines church, where I heard some very
good music, of his composition, very ill performed, and to a congregation wholly
inattentive. This man was certainly born to write for great performers, and for a
refined audience; but he now seems to be out of his element. There is a fluctuation
in the arts of every city and country where they are cultivated, and this is not a
bright period for music at Hamburg.
At church, and in the way home, we had a conversation, which was extremely
interesting to me: he told me, that if he was in a place, where his compositions
could be well executed, and well heard, he should certainly kill himself, by exertions to please. But adieu music! now, he said, these are good people for society,
and I enjoy more tranquility and independence here, than at a court; after I was
fifty, I gave the thing up, and said let us eat and drink, for to-morrow we die! and I
am now reconciled to my situation; except indeed, when I meet with men of taste
and discernment, who deserve better music than we can give them here.6
That same evening, Burney also attended a concert organized by Herr Ebeling that featured
selections from Bachs Passions-Cantate, Wq233 along with other works. Burney explicitly
praises the pathetic air depicting Peters weeping following the denial.
Several of M. Bachs vocal compositions were performed, in all which great genius
and originality were discoverable; though they did not receive the embellishments,
which singers of the first class might have given to them. M. Bach has set to music,
a Passione, in the German language, and several parts of this admirable composition were performed this evening. I was particularly delighted with a chorus in it,
which for modulation, contrivance, and effects, was at least equal to any one of the
best choruses in Handels immortal Messiah. A pathetic air, upon the subject of
St. Peters weeping, when he heard the cock crow, was so truly pathetic as to make
almost every hearer accompany the saint in his tears.7
5. Present State of Music, 2:24647. The work that Burney probably heard was a Michaelmas cantata,
Ich will den Namen des Herrn preisen, Wq245 (H810).
6. Ibid, 2:25152. Burney had written to Eberling in November 1771 and specifically asked him to
send some of Bachs church music and any new harpsichord music. See The Letters of Dr Charles Burney,
vol. 1, 17511784, ed. Alvaro Ribeiro (Oxford: Clarendon Press, 1991), 106.
7. Ibid, 2:25455.
96
C.P.E. Bachs Evangelist

The aria Burney refers to is Wende dich zu meinem Schmerze, possibly sung by the tenor
(or baritone) Herr Wreden, for whom it was originally written in the 1769 St. Matthew
Passion.8
The Hamburg Kapelle during C.P.E. Bachs Tenure
In March 1768 Bach arrived in Hamburg, where he succeeded Georg Philipp Telemann
as city music director and cantor at the Johanneum. (Technically, it was as cantor, not as
music director, that he was responsible for music during worship services at the five principal
churches.) Bach was responsible for the preparation and performance of all the Quartalstcke
(ganze Musik or music for high festivals of Christmas, Easter, Pentecost, and Michaelmas)
and Sunday cantatas (halbe Musik).9 In addition, Passions were presented at the five main
churches and many of the lesser churches during Lent and Holy Week. The music director also
received additional payment to provide Einfhrungsmusiken (H821, installation cantatas for
which the music director was paid extra based on the amount of new music it contained) and
Brgercapitainsmusiken (H822, music for the irregular meetings of the captains of the city
militia in 1780 and 1783). Bach led a group of eight regular (salaried) singers and a band of
fifteen instrumentalists.10 This means that church music in Hamburg was generally performed
with two singers on a part (or one in the case of Bachs double-choir Heilig, Wq217, a work
he frequently inserted in his cantatas).11 Original performing material, almost all of which descends from Bachs own library and is now located in the Staatsbibliothek zu Berlin, including
8. See introduction and critical report to CPEB:CW, IV/4.1. The house copy of the Passions-Cantate,
D-B, Mus. ms. Bach P 337, p. 44, has H. Kirchner for this aria, but he only started singing in Hamburg
much later, c. 1786. Michels name is listed with a few recitatives and the aria Verstockte Snder, solche
Werke.
9. The meanings of the terms ganze Musik and halbe Musik were first discussed by Barbara Wiermann,
who noticed that the schedule of figural music performances consisted of two independent rotations of
ganze and halbe Musiken in the five principal Hamburg churches. See Wiermann, Carl Philipp Emanuel
Bach Gottesdienstmusiken, Carl Philipp Emanuel Bachs geistliche Musik, Bericht ber das Internationale
Symposium (Teil 1) vom 12. bis 16. Mrz 1998 in Frankfurt (Oder), aga und Zielona Gra, ed. Ulrich
Leisinger and Hans-Gnter Ottenberg (Frankfurt/Oder: Konzerthalle, 2001), 85103, esp. 87ff. See
also Reginald L. Sanders, Carl Philipp Emanuel Bach and Liturgical Music at the Hamburg Principal
Churches from 1768 to 1788 (Ph.D. diss., Yale University, 2001).
10. These forces were occasionally fortified by additional musicians, and at certain times, only
seven singers were available to him. This is explained and documented most thoroughly in Sanders,
and more recently by Jrgen Neubacher, Georg Philipp Telemanns Hamburger Kirchenmusik und ihre
Auffhrungsbedingungen (17211767). Organisationsstrukturen, Musiker, Besetzungspraktiken. Mit einer
umfangreichen Quellendokumentation (Hildesheim: Olms, 2009).
11. Paul Corneilson, Zur Entstehungs- und Auffhrungsgeschichte von Carl Philipp Emanuel
Bachs Heilig, Bach-Jahrbuch 92 (2006): 27389.
97
Er ist der Vater

the archives of the Sing-Akademie zu Berlin,12 identifies many of the specific singers involved
in these liturgical performances.
Surviving calendars and payment records indicate that Bach was responsible for more
than a hundred services each year. For most years, however, we have little specific information
on exactly what cantatas were performed, with the exception of annual Passions presented
on the Sundays of Lent and Holy Week. As is well known by now, Bach mostly borrowed or
arranged works of other composersespecially his father and godfather, and a few contemporaries such as Carl Heinrich Graun, Georg Benda, Gottfried August Homiliusoccasionally
writing choruses, arias, or simple and accompanied recitatives to create new pasticcios for
the festival Quartalstcke.13 Notable exceptions are his oratorios (Die Israeliten in der Wste,
Die Auferstehung und Himmelfahrt Jesu, and the Passions-Cantate) and a number of incidental
works or chamber cantatas which, like the oratorios, Bach published (the double-choir Heilig,
Wq217; Phillis und Thirsis, Wq232; Der Frhling, Wq237; and Klopstocks Morgengesang,
Wq239). Thus, it seems that what Bach told Burney is essentially true: he did not overexert
himself in writing church music, but when he did, the results were successful and many were
published to spread his fame.
Sources of Information on Singers
Since the time of Johann Selle, not later than 1643, the Hamburg authorities had supported eight professional singers through a Convictorium. This was disbanded well before
Bach arrived, but there still existed a system of cooperative payment for the singers, including
the Kmmerei, churches, and other institutions (hospitals and orphanages). As music director,
Bach was responsible for hiring and (if necessary) firing the singers and instrumentalists. He
also had to provide an accounting of expenses to the Kmmerei, for example, in 1788 Bach
received 2024 Marks (in quarterly payments of 506 Mk) to distribute among the singers.14 Pay
12. See Enlin. For a summary of the history of this collection and its importance, see Christoph
Wolff, Recovered in Kiev: Bach et al. A Preliminary Report on the Music Archive of the Berlin SingAkademie, Notes 58 (2001): 25971.
13. See Heinrich Miesner, Philipp Emanuel Bach in Hamburg. Beitrge zu seiner Biographie und zur
Musikgeschichte seiner Zeit (Leipzig: Breitkopf & Hrtel, 1929); Stephen L. Clark, The Occasional Choral
Works of C.P.E. Bach (Ph.D. diss., Princeton University, 1984); Rachel Wade, Newly Found Works
of C.P.E. Bach, Early Music 16/4 (1988): 52332; Ulrich Leisinger, Neues ber Carl Philipp Emanuel
Bachs Passionen nach historischer und alter Art, Jahrbuch des Staatlichen Instituts fr Musikforschung
Preuischer Kulturbesitz 2002, 107119; Uwe Wolf, Der Anteil Telemanns an den Hamburger
Passionen Carl Philipp Emanuel Bachs, in Telemann, der musikalische Maler. Telemann Kompositionen im
Notenarchiv der Singakademie zu Berlin, ed. Carsten Lange and Brit Reipsch (Hildesheim: Olms, 2010),
41222.
14. For further details, see Sanders, esp. 9698, 1013, 14647.
98

was determined by seniority and level of responsibility, so that in 1788 the two basses, Illert
and Hoffmann, and Michel were the highest paid of the church singers. (Illert, the most senior
and hence first singer, usually sang the role of Jesus in the Passions.) A document in Illerts
hand lists the names of eight singers and accompanist Volkers, along with the payment they
received in 1788.15
Nach dem Bericht des ersten Sngers Illert hat der verstorbene Kapellmeister
Bach, den gewhnlichen Kirchen Sngern folgende Salaria gegeben
Bassisten
Illert jhrlich

Hoffmann
Tenoristen
Michelsen [Michel]

Steinegger
Altisten
Delfert [Delver]

Seidel
Discantisten Schumacher

Nerich

Den Accompanisten Volkers

400 Mk
320 Mk
320 Mk
240 Mk
200 Mk
200 Mk
264 Mk
264 Mk
2208 [Mk]
106 [Mk]
2314 [Mk]
Much information regarding Bachs singers can be gleaned from annotations on the original performing parts. Names of singers are occasionally given as caption headings at the beginning of a part, or more often in the autograph scores and in Vorlagen for the pasticcios, where
Bach indicated which singer was supposed to sing particular arias, duets, and recitatives, so the
copyist would know for which part to copy the music. For instance, figure 1 shows the end of a
movement in one of the installation cantatas, followed by the tenor vocal line for an aria (to be
copied into Herr Michels part). In the autograph score of the birthday cantata, Dank-Hymne
der Freundschaft, H824e, Bach wrote detailed instructions to his copyist (Michel, in this case)
about how to realize the strophic verses in the concluding movement (see CPEB:CW, V/5.1,
pp. 14243). Some of Bachs autograph scores (often incomplete) had been separated from
the parts at the time of the 1805 auction. Printed librettos survive for all the Passions and a
few of the cantatas, but these do not include the names of the singers and roles they were to
sing; however, the librettos for the Brgercapitainsmusiken (H822ad) do include names of
singers and their allegorical roles. In 1780, Michel sang Der Patriotismus (Patriotism) and Die
Eintracht (Concord); in 1783, he sang Die Friede (Peace) and Die Wahrheit (Truth).
15. D-Ha, Senat, 111-1, C1. VII. Lit. He. Nr. 2. Vol. 8b. Fasc. 6, enclosure to fol. 6; transcribed in
Sanders, 104.
99
Er ist der Vater
Figure 1. Autograph score of Einfhrungsmusik Winkler, H821f, with the cue

Von der dritten Arie, die Singstimme. / H. Michel, poco andante. (D-B, SA 713)
100

It was Bachs practice to use boy sopranos, as we know from the Musikalischen
Correspondenz (Speyer, 1792):
schon der selige Bach klagte sehr darber, da er nichts groes auffhren
knnte, und alles gute fr diese zwei Stimmen [i.e., basses] geben msse, weil
die 2 Chorknaben selten ber zwey oder drei Jahre ihre gute Discantstimme behielten und es denn in verschiedenen Jahren wieder daran fehlte. Die Tenor- und
Altsnger sind gute brave Leute, aber ohne gefllige Stimme.16
Since the boy sopranos were only able to sing in the group for two or three years, they had
a different status than the six adult singers. A few of the boys eventually sang alto or tenor,
including Hartnack Otto Conrad Zinck, Friederich Nicolaus Delver, and Hartmann.17
Others sang soprano for a couple of years then disappeared from the records, including Lders
(176971), Rauschelbach (177374), Ebeling (177677), Johann Christian Lau (178081),
Nohrlich (178384), Nerich and Johann Georg Schumacher (178889), who each received
264 Mk in 1788.
Some singers served multiple roles. For instance, Otto Ernst Gregorius Schieferlein
(170487) was active from around 1740 as an alto and copyist for Georg Philipp Telemann
and C.P.E. Bach. (Schieferlein is probably the scribe known as Telemann A and Anon. 304.)18
Georg Michael Telemann (17481831), grandson of G.P. Telemann, served as his grandfathers accompanist from at least 1765. Together with Schieferlein, he filled in as interim director between the elder Telemanns death and Bachs arrival (June 1767April 1768).19 Georg
Michael composed music for Bachs introduction on 19 April 1768, and continued to serve
as Bachs accompanist until he went to the University of Kiel in 1770. (He eventually became
kapellmeister in Riga.) In a letter to Georg Michael, dated 31 January 1771, Bach states that
the alto Herr Holland is no longer able to sing and that Bach had promised him a position as
accompanist nearly a year ago.20 Bach was quite annoyed that he had to pay Georg Michael
for services he was no longer providing, and said that he would not do so after Easter.
16. Cited by Sanders, 383, as quoted by Josef Sittard, Geschichte des Musik- und Concertwesens in
Hamburg vom 14. Jahrhundert bis auf die Gegenwart (Altona and Leipzig: A.C. Reher, 1890), 53.
17. According to Sanders, there was apparently more than one singer by the name of Hartmann, as
well as Johann Samuel Hartmann (17481830), who played violin, cello, and trumpet.
18. On the possible identity of Anon. 304 and Schieferlein, see Peter Wollny, review of Georg Philipp
Telemann. Autographe und Abschriften, ed. Joachim Jaenecke, Bach-Jahrbuch 81 (1995): 218.
19. See Joachim Kremer, Das norddeutsche Kantorat im 18. Jahrhundert (Kassel: Brenreiter, 1995),
124. See also Neubacher, 454.
20. Stephen L. Clark published an English translation with the German text in The Letters of Carl
Philipp Emanuel Bach to Georg Michael Telemann, Journal of Musicology 3 (1984): 18893; see also
CPEB-Briefe, 1:13236; CPEB-Letters, 2022. According to Neubacher, 429, Johann David Holland
(17461827) became Music Director at the Hamburg Cathedral in 1776 but left Hamburg in 1782 and
eventually became a music professor at the University at Vilnius.
101
Er ist der Vater

Since Bach does not use alto clef for his altos (modern countertenors), it is sometimes
difficult to distinguish between altos and sopranos (notated in soprano, C clef ). Music for Carl
Rudolph Wreden (active between 1760 and 1774)21 is usually notated in tenor clef but also
occasionally in bass clef. There are even times when he (or other tenors) sang music notated
in soprano clef, presumably an octave lower than written. It is also important to keep in mind
that only the organ in St. Michaelis was tuned to Kammerton (sounding at the notated pitch).
The organs in St. Catharinen and St. Nicolai were tuned a whole step higher than regular pitch,
and the organs in St. Petri and St. Jacobi were tuned a minor third higher.
The following are the regular singers (alto, tenor, bass) who were singing in 1788, the
final year of C.P.E. Bachs life:22
Altos
Friederich Nicolaus Delver (17591847) appeared as a boy soprano in the 1776
Passion, and was singing alto by 1779; he earned 200 Mk in 1788, and received a
pension in 1814.
Johann Matthias Seydel (175592) sang in the Brgercapitainsmusik in 1780, and
in 1788 earned 200 Mk.
Tenors
23
Johann Heinrich Michel (17391810) was active from 1762 until at least 1792,
and in 1788 he earned 320 Mk as a church singer.
Leopold August Elias Steinegger (fl. 17881814) performed in 1785 at the
Waisenhauskirche (possibly as an instrumentalist) and earned 240 Mk in 1788; he
received a pension in 1814.
Two other tenors, Herr Rosenau and Herr Kirchner, were occasionally used as auxiliary singers
between 1785 and 1789.24
21. See Neubacher, 46263.

22. For a summary of the entire ensemble of church musicians, see Sanders, appendix 3.2, 14859;
see also Robert von Zahn, Musikpflege in Hamburg um 1800. Der Wandel des Konzertwesens und der
Kirchenmusik zwischen dem Tode Carl Philipp Emanuel Bachs und dem Tode Christian Friedrich Gottlieb
Schwenkes (Hamburg: Verein fr Hamburgische Geschichte, 1991), 22, 139, 203.
23. Michels dates are given in Jrgen Neubacher, Der Organist Johann Gottfried Rist (17411795)
und der Bratschist Ludwig August Christoph Hopff (17151798): zwei Hamburger Notenkopisten Carl
Philipp Emanuel Bachs, Bach-Jahrbuch 91 (2005): 12122. See also Kremer, 300301.
24. Rosenaus name is listed as one of the tenors for the Dank-Hymne der Freundschaft, H824e
(1785); and Kirchner sang in the Musik am Dankfeste wegen des fertigen Michaelisturms, H823 (1786)
and the last three Passions.
102

Basses
Friedrich Martin Illert (17381811) was active from 1754 until at least 1792,25 and
in 1788 was the first singer, earning 400 Mk annually.
Johann Andreas Hoffmann (17521832) was singing as a church singer by 1770,
and earned 320 Mk in 1788. He received a pension in 1814 and led a performance
of Handels Messiah in 1818.26
A survey of Bachs vocal music reveals that the two tenor and bass parts are generally quite balanced within each cantata and Passion. This cannot be a coincidence; Bach might have favored
certain singers, but for the most part, they were treated equally within the ensemble. What is
evident in the performing material from Bachs library is that from time to time adjustments
and last-minute substitutions had to be made.
For many years, the tenor Michel was known only by his last name from a reference by
Georg Poelchau in a MS copy of BWV 1060.27 In the last year of his life, Bach only referred
to his busy copyist in letters to Westphal, who was in the process of acquiring the complete
instrumental music of Bach. Bachs widow and daughter continued the correspondence with
Westphal, and refer to Michel as their most loyal copyist.28 Only in 1995 did Stephen Clark
find a document, signed by six of Bachs singers, that includes Michels full name (see figure 2).
We can be relatively secure that the copyist Michel and the tenor Michel are one and the
same person. It is not entirely clear when Michel became active as a copyist; perhaps as early
as 1770, when Bach had to compose, copy, and prepare a work for the visit that year of the
Swedish crown prince.29 However, Michel only became Bachs principal copyist after Anon.
304 declined around 1781.
25. Neubacher, 431.
26. Neubacher, 429.
27. D-B, Mus. ms. Bach P 241, p. 34: Von H. Michels Hand. Tenorist beym Bachschen Kirchenchor
in Hamburg 1787. See Georg von Dadelsen, Bemerkungen zur Handschrift Johann Sebastian Bachs, seiner
Familie und seines Kreises (Trossingen: Hohner, 1957), 24. Rachel Wade also found a similar reference
in P 344 (also in Poelchaus hand): Die Discantstimme hat Herr Michael, Tenorist am Hamburgischen
Kirchenchore (Bachs Notist) geschrieben. Wade, The Keyboard Concertos of Carl Philipp Emanuel Bach
(Ann Arbor: UMI Research Press, 1981), 26, 126.
28. The letters are published in Manfred Hermann Schmid, Das Geschft mit dem Nachla von
C.Ph.E. Bach. Neue Dokumente zur Westphal-Sammlung des Conservatoire Royal de Musique und der
Bibliothque Royale de Belgique in Brssel, Carl Philipp Emanuel Bach und die europische Musikkultur
des mittleren 18. Jahrhunderts, ed. Hans Joachim Marx (Gttingen: Vandenhoeck & Ruprecht, 1990),
473528.
29. According to a note on the wrapper to the parts for Spiega, Ammonia fortunata, Wq216 in
D-B, SA 1239: Mit diesem Chor lie Hamburg anno 70 / den Schwedischen Cron Prinzen und deen /
jngsten Bruder seine Devotion und Freude / ber Ihre hohe Gegenwart bezeugen und / besingen. C.P.E.
Bach mute es in / 12 Stunden componiren. Es wurde 2mahl / gemacht, stark besetzt, copirt, an den /
Knig nach Stockholm geschickt. Sonst hat / es noch Niemand. Two of the three Canto parts and one
103
Er ist der Vater
Figure 2. Document extract with signatures of six regular church singers, dated 1789
(D-Hs, Senat Cl. VII. Lit. He. No. 2. Vol. 8b. Fasc. 7, fol. 24)
In a letter dated 7 April 1763, Georg Philipp Telemann informed the Proto-Scholarcha
(the chief executive of the Johanneum and Gymnasium) that he had finally hired a suitable
tenor for his choir and therefore had to dismiss a less able singer:
Da, Ew.r Hochweisheiten persnlich meine unterthnige Aufwartung zu machen,
durch die zunehmende Schwche meiner Beine verhindert werde, so habe hiermit
gehorsamst anzeigen sollen, da ich endlich einen tchtigen Tenorsnger entdecket, und ihm bey hiesiger Kirchenmusik einen Platz eingerumet, dagegen aber
einen andern zu verabschieden habe.30
This letter almost certainly refers to Michels appointment, for he is known to have begun singing in Telemanns ensemble as a tenor around 1762. We also know that in 1760 Telemann did
not have a reliable tenor, and thus wrote the Evangelist part for bass in the St. Luke Passion
that year.31
Unlike his godfather and predecessor as music director in Hamburg, Bach did not write
operas, either in Berlin or Hamburg. However, there is an account in a review of a staged
performance of Dittersdorf s Hiob in Berlin, which states that Bach attempted one act of an
opera, but it did not succeed:
of the Tenore parts are in Michels hand; Enlin tentatively identified some of the other parts as early
Michel? (fruh Michel?), but these are in a different, otherwise unidentified hand. I am grateful to Peter
Wollny for his assistance in evaluating this source; see further discussion in CPEB:CW, V/5.2.
30. Georg Philipp Telemann. Briefwechsel: smtl. erreichbare Briefe von u. an Telemann, ed. Hans Grosse
and Hans Rudolf Jung (Leipzig: Deutscher Verlag fr Musik, 1972), 45. I am grateful to Jason B. Grant
for drawing this letter to my attention. See also Neubacher, 24041.
31. When C.P.E. Bach used Telemanns 1760 St. Luke Passion as the model for his 1771 Passion
(published in CPEB:CW, IV/6.1), he decided to redistribute a portion of the Evangelist part to treble
voices.
104

Da der verstorbene Bach in Hamburg mit so vielem Glcke die vortrefflichsten Oden und Oratorii in Music gesetzt hatte; so vermuthete man, da er auch
in Opern eben so glcklich seyn wrde. Man ersuchte ihn einmahl, sich der
Tonsetzung eines Singspiels zu unterziehen. Bach that es und lieferte einen Act.
Man probirte denselben und er mifiel gnzlich. Der Fehler lag nur darin, weil
Bach die dramatischen Wirkungen nicht kannte.32
One would like to know more about Bachs attempt to write an opera, but no other documentation or music survives, unless of course Bach reused some of it in his cantatas. Some of Bachs
vocal music is quite operatic, and at least one of Telemanns Hamburg church singers, Johann
Friedrich Helmuth, did become an opera singer.33
Michels Voice
Table 1 lists the major works that Michel sang with music either written entirely or arranged by Bach during his tenure at Hamburg: Passions, Quartalstcke, Einfhrungsmusiken,
and other works for special occasions. It does not include all of the cantatas he would have
performed from Sunday to Sunday and other occasions (funerals, concerts, etc.). The arias in
boldface type represent pieces by C.P.E. Bach written specifically for Michel. (Arias borrowed
from his own work, e.g., the Magnificat, Wq215, or other arias he borrowed from other
composers, that is, not written for Michel, are not highlighted. Choruses, duets, and recitativethough also written for Michelare not included in this survey.) Several Quartalstcke
were revived and sometimes revised in later years, but the works are only listed at their first
appearance. Thus, the table also provides some sense of the number of new vocal works Bach
wrote each year, though his Passions all incorporate music by other composers.
If we examine the range and tessitura of the arias Michel is known to have sung, it is
clear that he was most comfortable singing from F below middle C to the G above (fg in the
Helmholtz system). The bottom of his range was around d, though one aria (no. 7 in H821n,
from 1787) has a low B. He could easily sing g or even a on occasion (very rarely sustaining
these pitches), but for the most part Bach avoids the highest register, whether in the new music
he wrote for Michel or in choosing music for him by other composers. In the 1772 St. John
Passion, the one aria assigned to Michel (borrowed from Stlzels 1749 Passion; see CPEB:CW,
IV/7.1) is in E minor with several high as; this might have been too taxing for Michel, who
was also singing the role of Evangelist in the Passion, and so he copied the aria on a separate
32. Quoted in Christoph Henzel, Quellentexte zur Berliner Musikgeschichte im 18. Jahrhundert
(Wilhelmshaven: Florian Noetzel, 1999), 205.
33. Jrgen Neubacher, Von Telemann zu Mozart: ehemalige Hamburger Kirchensnger als
Sngerschauspieler auf Theaterbhnen in der zweiten Hlfte des 18. Jahrhunderts, Musiktheater in
Hamburg um 1800, ed. Claudia Mauer Zenck, Hamburger Jahrbuch fr Musikwissenschaft, 22 (Frankfurt:
Peter Lang, 2005).
105
Er ist der Vater

leaf for one of the boy sopranos to sing (presumably agreed to by both Bach and Michel). It is
unclear at what point this change was made, perhaps only after the rotation of Passion performances had begun. It is also possible that Michel alternated with one of the sopranos during
Lent 1772; there are no indications in either the tenor or soprano part that one or the other
was preferred.
Michel would have been an expert at declaiming simple recitatives as the Evangelist in
the Gospel narrative of Passions. Far from generic, the Evangelists recitatives are quite expressive, as Bach was drawing on his fathers Passions for inspiration (primarily in the St. Matthew
Passion of 1769, 1781, and 1789). Since C.P.E. Bach borrowed several of J.S. Bachs turbae
from the St. Matthew Passion, BWV 244, we can readily see how Emanuel rewrote the vocal
lines for the Evangelist to accommodate Michels lower tessitura. Two examples will suffice: in
example 1a (BWV244, mvt. 38a38b) the Evangelist has g on klei-ne followed by a on
hin-zu in the next measure; in example 1b (H782, mvt. 17a17b) the vocal line is a sixth
lower, with c on hin-zu and eventually going as high as f on zu Petro (where J.S. Bach
has d). Before the first turba La ihn kreuzigen (BWV244, mvt. 45a45b and H782,
mvt. 24c24d), the Evangelists Sie sprachen alle has exactly the same notes (bebc),
going into the chorus in A minor. In example 2a, before the second turba La ihn kreuzigen, however, Sebastians Evangelist (BWV244, mvt. 50a50b) sings a on schrie-en and
gs on sprachen going to the chorus in B minor, but in example 2b (H782, mvt. 26a26b),
Emanuel rewrites the line so the Evangelist starts on f on Sie schrieen but then descends to
g below middle C for sprachen.
Bach also borrowed and adapted the Gospel narratives of Telemann (1760 St. Luke and
1745 St. John) and Homilius (undated St. Mark, St. Luke, and St. John). Michel frequently
sang simple and accompanied recitative in other works, where Bach could rely on him to give a
solid performance. For instance, he was given recitatives in the installation cantatas for Pastors
Klefeker, Hornbostel, Winkler, Gerling, Sturm, Gasie, Berkhahn, and Willerding. Michel also
had only recitatives to sing (in addition to the chorales and choruses) in Der Frevler mag die
Wahrheit schmhn, Wq246 (1785), Wenn Christus seine Kirche schtzt, WfIV/6 (1778), and
Versammlet euch dem Herrn zu Ehren, H823 (1786). (Jason Grant discusses the recitative O
Michael! du, dessen Tritte in this volume.) After 1776, in the years when Michel was singing
the Evangelist, he was not given any other arias or duets to sing; only in the St. Luke Passions
of 1779 and 1787, when he was not the Evangelist, did Bach assign him arias.
As to be expected in a career lasting more than twenty years, Michel sang a variety of aria
types in the Passions and cantatas. One of the first arias that Bach wrote for him is representative: Verstockte Snder, solche Werke, no. 20 in the 1769 St. Matthew Passion. (This aria is
also discussed by Ulrich Leisinger in this volume.) The piece is in F major, with an inclusive
range from c to g but mostly falls within the octave ff. There is no opening ritornello, but
the tenor begins with an angular motive that defines the key and compass. Coming in the
106
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Example 1. Comparison of J.S. Bachs and C.P.E. Bachs recitative
preceeding the turba chorus, Wahrlich, du bist auch einer von denen
a. BWV 244, mvt. 38a
15 Petrus Evangelista
nicht.
Und
ber ei ne klei
ne
Wei
le
tra
ten hin zu,
die da stun den,
und spra chen zu Pe
tro:
7
b. H 782, mvt. 17a

16
Petrus
Evangelist
nicht.
Und
ber
ei
ne klei ne Wei le
tra ten hin zu,
die da stun den,
und spra
chen zu Pe tro:
Example 2. Comparison of J.S. Bachs and C.P.E. Bachs recitative

preceeding the turba chorus, Lass ihn kreuzigen
a. BWV 244, mvt. 50a
Chorus I, II
Basso
Evangelista
Sie schrie en
ber noch mehr und
spra chen:
b. H 782, mvt. 26a
Sie schrie en
6
ihn
kreu
7
6
5
7
5
6
4
2
Chor
Basso
Evangelist
Lass
a
7
ber noch mehr
und spra chen:
Lass
ihn
kreu
unis.
Passion right after Judas betrayal, it is a rage aria warning sinners to repent before it is too
late. The setting is marked by Bachs characteristic slippery chromatic harmony, full of deceptive twists and turns. Michels ear and musicianship are tested with leaps of minor 7ths (mm.
3, 15, 16), diminished 7ths (mm. 4 and 14), and diminished 5th (mm. 67). (See example 3.)
This is mostly a syllabic setting, though as we shall see Michel was capable of singing passage
work as well. Since this aria was also used in the Passions-Cantate, Wq233, a work sung every
Lent at some of the lesser churches in Hamburg, this is the piece Michel probably sang most
frequently during Bachs tenure.
107
Er ist der Vater

Example 3. Opening of Aria no. 20 (tenor and basso continuo lines)
from the 1769 St. Matthew Passion (CPEB:CW, IV/4.1)
Allegro e con spirito
8
Ver stock
te
Sn der!
Ver stock te Sn der, sol che Wer ke be ge het ihr,

7
5
unis.
5
3
6
4
ja
unis.
ihr,
und fhlt
es
nicht, und fhlt es nicht.
4
3
Ein Herz voll

7
5
Bos heit
nennt ihr
8
3
9
4
Str ke
6
4
und das Ge wis
sen ein Ge dicht.
6
4
6
5
7
5
Ver stock te
unis.
6
5
Sn der! Ver stock te
6
5
Sn der, sol che

4
12
Wer ke be ge het ihr und fhlt es nicht, nicht, nicht. Ein Herz voll Bos heit nennt ihr Str ke und das Ge
6
5
6
5
unis.
6
5
mf
16
wis sen, und das

9
4
8
3
Ge
6
5
wis sen nennt

9
4
8
3
ihr ein Ge dicht, ein Ge dicht, ein Ge dicht.
Ihr fhlt es
tasto
pp
20
nicht, ver stock te Sn der,

unis.
mf
108
das Ge wis
6
sen
6
fhlt ihr nicht, ihr nennt es ein Ge dicht.

6
unis.
mf

Two arias from installation cantatas, no. 8 in H821f (1773) and no. 7 in H821l (1785),
demonstrate a remarkable consistency in expressive details despite contrasting keys (F major
vs. G minor) and different formal structures (D.S. vs. two-part aria similar to a sonata).34 Both
are cantabile arias in 3/4 time and moderate tempos (Poco andante and Mig und gelassen,
respectively); both arias begin with a leap up a fourth, from 5 to 8 (see examples 4 and 5),
the same interval used to begin many recitatives (see also example 3).
Example 4. Aria no. 8 (tenor and basso continuo lines)
from Einfhrungsmusik Winklers, H821f
20
tr
Kei
ne Reu
soll
den
Vor satz uns
ent
weihn;
p
25
tr
ber,
gro
er
Va
ter,
wei
30
die
35
sem
Vor
satz
ein,
tr
gro
er
Va ter,
wei he uns
zu
die
er
sem
zu
gro
he uns
Vor
Va
ter,
tr
satz
ein!
34. For a brief survey of aria forms in works performed by C.P.E. Bach, see Howard E. Smither,
Arienstruktur und Arienstil in den Oratorien und Kantaten Bachs, Carl Philipp Emanuel Bach und die
europische Musikkultur des mittleren 18. Jahrhunderts, 34568.
109
Er ist der Vater

from Einfhrungsmusik Gasie, H821l
9
Ab
ge
hrm
ter
Wan
gen
Tr
nen,
mat
tasto
ter
14
Au
4
gen
3
ngst
9
4
lichs
Seh
nen
und
ein
po
chend Herz
7
voll
6
20
Qual
7
stmp
6
fen
nicht
4
3
des
To
des
Stahl,
7
4
2
7
4
8
3
25
stmp fen nicht des To des

6
Stahl,
7
stmp fen nicht des

6
To
6
4
des
Stahl.
5
3
7
2
8
3
Neither of these two arias would be out of place in an opera, and it is safe to say that
C.P.E. Bach must have absorbed the galant, Italianate style of his Berlin colleague Carl Heinrich
Graun. Few opera composers of the period were as adventurous harmonically as Bach, especially in the later aria (example 5), with its rising chromatic bass line matched to a certain
extent by the tenor.
My last example is the aria no. 9 from the Dank-Hymne der Freundschaft. The text has
four couplets of hexameter with a dactyl beat ( ) in the first line that changes to an iamb
beat ( ) halfway through the second line, producing a hemiola effect. The couplets, labeled
ad, correspond to the music in example 6.
110

a. Schon schimmern durch graulichte Nebel von ferne die gldenen Zinnen,
sie leuchten wie Sterne im Rosenlicht der Ewigkeit.
b. Schon weht mir der West paradiesische Dfte sanft lispelnd entgegen,
bebalsamt die Luft mit Vorgefhl der Seligkeit.
c. Schon hr ich die Jubel der seligen Chre, die Hymnen der Andacht,
ich hre der Himmelsharfen reinen Klang.
d. Laut schallt es, das Heilig! der Engel, der Brder, mit Cymbelton hallen
die Himmel es wieder, wie Donner hallt in der Hlle der Sang.

from Dank-Hymne der Freundschaft, H824e
a.
11
Schon schim mern durch

6
4
5
3
grau lich
te
7
5
mf
6
5
mf
Ne
bel von
fer
ne
7
5
9
4
8
3
mf
die
de
nen
17
gl
tr
Zin nen,
sie leuch ten wie Ster ne im
9
4
Ro
8
3
sen licht
der E wig keit.

9
6
4
b.
32
Schon weht mir der

7
5
West
9
4
pa ra die
8
3
si sche Df te sanft
9
4
8
3
lis pelnd ent
ge
gen,
be
tasto
pp
39
tr
bal samt die

6
Lf
te
9
4
8
3
mit
Vor
7
ge
fhl
7
5
7
4
der
Se
6
lig
keit.
111
Er ist der Vater

Example 6 continued
c.
53
Schon
hr
ich
5
3
die
Ju
bel
der
se
li gen
Ch
re,
die
p
58
Hym nen
der
An dacht,
6
4
3
7
5
ich h
6
4
3
pp
re,
ich h
re der Him
6
5
mf
mels
63
har
fen
rei
nen
Klang,
9
4
der Him mels har
8
3
6
5
fen
Klang.
d.
71
9
4
Laut
schallt
es,
das
Hei
lig!
6
4
5
3
7
5
6
4
8
3
der
mf
En
gel, der
5
3
7
5
75
ff
Br
der,
9
4
8
3
mit
Cym
bel ton
hal
len
die
Him
7
mel
es
wie
der;
wie
80
Don
ner,
wie
Don
ner
hallt
in der
Hl
le der
Sang.
tasto
f
112
attacca

Bach sets the text in 3/4 meter and produces a cadential hemiola at the end of each period.
Rather than setting the couplets in a strictly strophic treatment, he writes varied reprises. The
first couplet quickly modulates from the tonic G to dominant D; the second begins in D and
modulates to A minor; the third moves from E minor to B minor; and the last begins back in
G and closes again on the dominant D. The vocal line becomes more complicated in the first
three couplets (ac), and reaches the highest pitch a for the tenor on the word Himmels-
(m.62). The final couplet begins at the same pitch level as the first, but the Donner of the
final line makes a dramatic conclusion, setting up the Chor der Engel in the double-choir
Heilig, Wq217 with a deceptive cadence (D major to E minor).35
In the absence of more definite documentation, it is possible to make educated guesses
about the distribution of arias in Bachs other church music. No singers names are given in
the printed libretto for Die Israeliten (in D-Hs, A/70012, 13), and the autograph score and
performing parts are mostly lost (see CPEB:CW, IV/1). However, the role of Aaron is assigned
to a tenor, and given the range of the three solo piecesaccompanied recitative no. 4 (ff),
aria no. 5 (df), and recitative no. 8 (with only a single a)it is plausible that Michel sang
the role in the premiere for the opening of the Lazarethkirche in November 1769. Similarly,
in Auf, schicke dich, Wq249 (Christmas 1775), Bach reused an aria (no. 8a) that he wrote for
Michel in H821e (no. 11a), so we can assume Michel also sang the aria in the latter work,
Wq249. Although the cantata Nun danket alle Gott, Wq241 (Easter 1780) includes one aria
for tenor (no. 3), this was borrowed from the Einfhrungsmusik Palm, H821a (no. 13) with
a different text that was also used in the 1777 St. Matthew Passion (no. 30). Since Michel did
not sing this aria in either of the earlier works, it seems unlikely that he would have sung it in
Wq241.
Another curious example is the tenor aria, Sing ihm, voll Rhrung, Wq212, which
as far as we know was written by Bach. The aria was copied out in score and Bach added a
new text for the Einfhrungsmusik Klefeker, H821b, no. 10.36 This aria was sung by Wreden
in November 1771, so when Bach reused it as aria no. 5 in the Michaelmas cantata, Siehe,
ich begehre deiner Befehle, Wq247 with the original text (Sing ihm, voll Rhrung) in 1775,
Michel probably did not sing it. What work Bach borrowed this aria from is not known,
though it seems unlikely he would have written it with one text and substituted another before
the original had been performed.
35. See the introduction to CPEB:CW, V/5.1, p. xii. See also Corneilson, 27980.
36. The aria is preserved in the composite MS D-B, Mus. ms. Bach P 349 with the text underlay in
Bachs hand. See CPEB:CW, V/3.1 for further information.
113
Er ist der Vater

Conclusion
Some may well ask, why should we bother to study Michel and the other church singers
at Hamburg, especially when very few (if any) modern ensembles will perform Bachs vocal
music with exactly the same disposition of singers Bach used in Hamburg? First of all, because
we have sufficient documentation to reconstruct Bachs ensemble, it can serve as a case study
for liturgical practice in Hamburg at the end of the eighteenth century. This is not to suggest
we can say how it really was Sunday to Sundaythere are still far too many gaps in our
knowledge of the repertory and variables (including sickness and other factors that would have
caused Bach headaches, as they did Telemann before him)but more so than for J.S. Bachs
Leipzig (at least for the entire tenure as cantor), we have a good deal of information on C.P.E.
Bachs Hamburg. Above all, we can see how the limitations and strengths of his church singers
shaped Bachs vocal music. As an overworked church musician, Bach had to deal with the singers and instrumentalists available to him. He secured his reputation for posterity through his
Magnificat, oratorios, and other published works, especially his late Kenner und Liebhaber
collections and Versuch ber die wahre Art das Clavier zu spielen. Nevertheless, the liturgical
music for Hamburg provides a glimpse into how he made the most of a less than ideal artistic
situation.
On Bachs vocal work, Burney wrote:
for though his genius is equal to every thing in music, yet he has not had the
practice, the experience, nor the singers, or orchestra, to write for, which others
have had before him: however, each candid observer and hearer, must discover, in
the slightest and most trivial productions, of every kind, some mark of originality
in the modulation, accompaniment, or melody, which bespeak a great and exalted
genius.37
37. Present State of Music, 2:256.

114

Table 1. Passions, Oratorios, and Cantatas Sung by the Tenor Michel, 176889
Year/ Season Work
or Date
1768
Easter

2 July

Type/Number
(Key, Range)
Sing Volk der Christen,

H808/3
Meine Seele erhebt den
Herrn, H819
1769
Lent
St. Matthew Passion,
aria no. 20

H782
(F maj., cg)a
Easter
Gott hat den Herrn

auferwecket, Wq244

Pentecost
Herr, lehr uns tun, H817
aria no. 6

(D min., de)b
12 July
Einfhrungsmusik Palm,
duet no. 7

H821a
Michaelmas Den Engeln gleich, Wq248 accomp. no. 2

1 Nov.
Die Israeliten in der
accomp. no. 4;

Wste, Wq 238
aria no. 5

(D min., dg)
1770
Lent
St. Mark Passion, H783
aria no. 27

(E min., da)c
Michaelmas Es erhub sich ein Streit,
[aria no. 3]d

BWV19 (arr.)
1771
Lent
Easter

Michaelmas

5 Nov.

8 Nov.

St. Luke Passion, H784

duet no. 11
Ist Christus nicht
[aria no. 5]e
auferstanden, H808/4
Wie wird uns werden,
WfXIV/5 (arr.)
Einfhrungsmusik Klefeker,
aria no. 9
H821b
(D maj., da)
Einfhrungsmusik
[aria no. 3
Schuchmacher, H821c
(B-flat maj., dg)]
1772
4 Feb.
Einfhrungsmusik Hseler,

H821d

accomp. no. 2;
aria no. 3
(G maj., da)g
Documentation
SA 251; rev. in 1775,

1781
SA 256257; rev.
1773, 1776, 1780
SA 18 and SA 5155
P 345 and St 182;
originally written in
Berlin, 1756; rev. in
1776, 1787
SA 257
SA 711
SA 248 and P 373;
rev. in 1774
Performed for the
opening of the
Lazarethskirche
SA 22
St 25b; rev. in 1776,
1781
SA 23
SA 249
St 265
SA 714
P 348f
SA 706 and P 346
115
Er ist der Vater

Table 1 continued
Year/ Season Work
or Date
Type/Number
(Key, Range)
Lent
St. John Passion, H785
aria no. 11

(E min., ea)h
23 Sept.
Einfhrungsmusik
aria no. 11a

Hornbostel, H821e
(E-flat maj., df)
Michaelmas Ich will den Namen des
[aria no. 2]i

Herrn preisen, Wq245
Christmas
Ehre sei Gott in der Hhe,
[aria no. 5]

H811
Documentation
SA 4657
SA 707
SA 253; rev. in 1777,
1782, 1786
SA 247; rev. in 1778,
1782
1773
14 Jan.

Lent
Einfhrungsmusik Winkler,
H821f
St. Matthew Passion, H786
aria no. 8
(F maj., ea)

SA 713 and P 340
1774
Lent
SA 24 and SA 1511
1775
Lent
duet no. 21
Michaelmas Siehe, ich begehre deiner

Befehle, Wq247

12 Dec.
Einfhrungsmusik Friderici, [aria no. 7

H821g
(A min., ea)]
Christmas
Auf, schicke dich, recht
aria no. 8ak

feierlich, Wq249
SA 5136
SA 50
SA 252 and P 349;
rev. in 1779, 1783,
1788
P 347j
SA 289; rev. in 1779,
1786
1776
Lent

aria no. 11
(E-flat maj., eg)l
SA 19
1777
Lent
28 Nov.

aria no. 15a
(D maj., dg)
SA 25
SA 710

Einfhrungsmusik Gerling,
H821h
1778
Lent

Easter
Jauchzet, frohlocket,
[aria no. 3]m

Wq242
1 Sept.
Einfhrungsmusik Sturm,
aria no. 10

H821i
(G maj., fa);

accomp. no. 15
Michaelmas Wenn Christus seine Kirche

schtzt, WfXIV/6 (arr.)
116
SA 26
SA 255; rev. in 1786
SA 715
St 266; rev. in 1784

Table 1 continued
Year/ Season Work
or Date
Type/Number
(Key, Range)
Documentation
1779
Lent

aria no. 22
(B- flat maj., dg)
SA 21
1780
Lent

Easter
Nun danket alle Gott,

Wq241
7 Sept.
Brgercapitainsmusiken,
aria no. 7

Oratorio, H822a
(G maj., dg)


Serenata, H822b

SA 27
SA 245; rev. in 1783
A-Wgm, III 8678
(H23559)
A-Wgm, III 29337
(H27769); D-Hs,
Scrin 36
1781
Lent
SA 28 and SA 29
1782
Lent
15 Jan.

Easter


Einfhrungsmusik Jnisch,
H821k
Gott du wirst seine Seele,
H808/1

aria no. 10
(A maj., ea)
SA 49
SA 712
1783
Lent
4 Sept.


Oratorio, H822c
duet no. 5
Serenata, H822d
SA 30 and SA 717
music lost
1784
Lent
Easter


Anbetung dem Erbarmer,
[accomp. no. 5]
Wq243
SA 31
SA 704 and P 339
1785
Lent
Jan./Feb.n

3 Aug.

30 Aug.


Dank-Hymne der
Freundschaft, H824e
Einfhrungsmusik Schffer,
H821m
Einfhrungsmusik Gasie,
H821l
SA 32 and SA 269
SA 267

aria no. 9
(G maj., dg)
aria no. 5
(A maj., da)
aria no. 7
(G min., cg)
D-Hs, Scrin 37
SA 708
SA 709
117
Er ist der Vater

Table 1 continued
Year/ Season Work
or Date
Type/Number
(Key, Range)
Documentation
Michaelmas

Der Frevler mag die

Wahrheit schmhn, Wq246
SA 254
1786
Lent
31 Oct.

Musik am Dankfeste, H823
SA 33
SA 243
1787
Lent

8 Feb.
Einfhrungsmusik Berkhahn,

H821n
after June
Einfhrungsmusik Willerding,

H821o

aria no. 12
(D maj., da)
aria no. 7
(E-flat maj., Bg)
arioso no. 7
(G maj., ga);
duet no. 9;
accomp. no. 15b
SA 34
SA 716
SA 705
1788
Lent
SA 35o
1789
Lent
SA 36
a. This aria was also included in the Passions-Cantate, Wq233, as no. 9, a work that was given
frequently at Hamburg churches during Lent.
b. This aria was originally written for alto; cf. no. 7 in the Magnificat, Wq215, dating from 1749.
c. This aria was borrowed from the St. Mark Passion by Homilius (see CPEB:CW, IV/5.1).
d. This aria was borrowed from a cantata by Benda, Lorenz 597.
e. This aria was borrowed from a cantata by Benda, Lorenz 534.
f. The original performing material for this work is lost.
g. This aria was written as no. 3 in Wq215, with a different text, dating from 1749.
h. This aria was borrowed from the 1749 Passion by Stlzel (see CPEB:CW, IV/7.1).
i. This aria was borrowed from a cantata by Benda, Lorenz 603.
j. The original performing material and libretto for this work are lost.
k. This is the same aria as H821e, no. 11a.
l. This aria was borrowed from the St. John Passion by Homilius (see CPEB:CW, IV/7.2).
m. This aria was borrowed from a cantata by C.H. Graun, B:III:27, no. 2.
n. Possibly not performed in 1785 but only later; see introduction to CPEB:CW, V/5.1.
o. Tenor Evangelist part is lost for this Passion.
118

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C.P.E. Bachs Evangelist Johann Heinrich

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C.P.E.

Bachs Evangelist, Johann Heinrich Michel

Er ist der Vater