Ein Lämmlein geht und trägt die Schuld (Stölzel)
Ein Lämmlein geht und trägt die Schuld, also known by the title of its earliest extant printed libretto, Die leidende und am Creutz sterbende Liebe Jesu, is a Passion oratorio by Gottfried Heinrich Stölzel, composed in 1720. Its opening chorus is based on Paul Gerhardt's "Ein Lämmlein geht und trägt die Schuld" and its usual hymn tune, Wolfgang Dachstein's "An Wasserflüssen Babylon" melody.
The Passion oratorio was performed at least half a dozen times in various German cities during the composer's lifetime, and Johann Sebastian Bach reworked one of its arias to a cantata movement (BWV 200). As Markus Rathey has shown, Stölzel's Oratorio inspired Bach in his composition of the Christmas Oratorio, which was performed at the end of 1734.[1]
History
Gottfried Heinrich Stölzel was already an accomplished composer when he settled in Gotha, where he would remain for the rest of his life, in late 1719.[2] His first large work for that city was a Christmas oratorio consisting of three cantatas, to be performed on three consecutive days in December 1719.[3]
Gotha 1720
In 1720, the libretto of Die leidende und am Creutz sterbende Liebe Jesu was printed in Gotha, where the passion oratorio was performed in two parts, on Maundy Thursday and Good Friday.[4]
Sondershausen 1730s
From 1730, Stölzel provided liturgical music for Sondershausen. The score and parts of Stölzel's performance version of Ein Lämmlein geht und trägt die Schuld, copied in Gotha, survived in Sondershausen, where the Passion oratorio was likely performed more than once in the 1730s.[5][6]
Leipzig 1734
Johann Sebastian Bach performed the Passion oratorio, under the title Der Gläubigen Seele Geistliche Betrachtungen Ihres leidenden Jesu, on Good Friday in 1734.[7][8]
1736: Rudolstadt and Nürnberg
Printed librettos of the Passion oratorio appeared in Rudolstadt and Nürnberg in 1736, indicating performances in both cities in that year.[9][10]
Göttingen 1741
Another printed libretto, published in Göttingen in 1741, mentioning Stölzel as the author of both the libretto and the music, indicates a performance in that city.[11][12]
Berlin manuscript
A manuscript copy of the score, derived from the Nürnberg version, is preserved in Berlin and indicates a further 18th-century performance of the Passion oratorio.[13]
Music and text
Stölzel's Passion oratorio is structured as a succession of cantata-like Betrachtungen (contemplations).[14][15] Typical for Stölzel's oratorios, the text of Ein Lämmlein geht und trägt die Schuld is lyrical and meditative, rather than carried by a dramatic narrative, such as a Bible extract.[15][16] Stölzel is the author of the Passion oratorio's libretto.[11][12]
The movements are recitatives followed by arias, and several chorales.[14] The opening chorus is a chorale on Paul Gerhardt's "Ein Lämmlein geht und trägt die Schuld" hymn, set, as usual, to the tune of Wolfgang Dachstein's "An Wasserflüssen Babylon", and enriched with figuration by the strings (Str).[14] The text of the next movement, sung by the Chor der gläubigen Seelen (choir of faithful souls), is free poetry inspired by the Song of Songs, 6:1: "Wohin ist doch mein Freund gegangen?" (Where did my friend go?).[17] Near the end is the only other choral movement set to free poetry, and sung by the Chor der gläubigen Seelen:[17] "Mein Jesus stirbt" is the only elaborate chorus.[14]
The Evangelist enunciates messages in a poetical language, on which the Glaubige Seele (faithful soul) comments in recitatives and arias. Soprano (S), alto (A), tenor (T) and bass (B) take turns in performing the text assigned to the Glaubige Seele: the four voices together form the choir of faithful souls. Obbligato instruments, such as oboe or flute, accompany several arias. The Christliche Kirche (Christian Church), that is the choir, sings the chorales.[9][18]
Text and/or music of Stölzel's Ein Lämmlein geht und trägt die Schuld can be found in:[19]
- Music manuscript Mus. A15:2 at the Sondershausen city library, which is named after Johann Karl Wezel. Here the Passion oratorio is set "a 11", that is: four voices (SATB), oboe (Ob), flute (Fl), strings (two violin parts and one viola part), and basso continuo (viola da gamba and harpsichord).[5][6]
- Music manuscript Mus.ms. 21412 III (12) at the Berlin State Library. In this version violin (Vn), two flutes (2Fl), corno (Cr) and bassoon (Bs) perform as instrumental soloists.[20]
- Printed libretto of a 1741 performance of Die leidende und am Creutz sterbende Liebe Jesu in Göttingen.[11][12]
| Movement | Mus. A15:2[6] | Mus.ms. 21412 III (12) | Libretto Göttingen 1741 |
|---|---|---|---|
| Ein Lämmlein geht und trägt die Schuld[21] | 1. Choral; G; 
|
Chorus: SATB•Str•Bc;  [22]
|
Die Christliche Kirche[23] |
| Wohin ist doch mein Freund gegangen | 2. Rec., accomp. | Recit., accomp.: SATB•Str•Bc; [24]
|
Chor der gläubigen Seelen, Evangelist[25] |
| Ach wo nehm ich Tränen her | 3. Aria; g; 2 4 |
Aria: T•Ob•Str•Bc; 2 4[26] |
Gläubige Seele (Aria, D.C.)[27] |
| Nun was du Herr erduldet[28][29] | 4. Choral; E♭;
|
Chorale: SATB•Str•Bc; [30]
|
Christliche Kirche[27] |
| Jetzt kömmt des Satans Kind Ischarioth | — | — | Evangelist[31] |
| Ach Jesu soll dich der den du so liebreich | 5. accomp. | Recit.: A•Bc; [32]
|
Gläubige Seele[31] |
| Darf ich der falschen Welt nicht trauen | 6. Aria; F; 2 4 |
Aria: A•2Fl•Str•Bc; 2 4[33] |
Gläubige Seele (Aria, D.C.)[31] |
| Wenn die Welt mit ihren Netzen[34] | 7. Choral; B♭;
|
Chorale: SATB•Bc; [35]
|
Christliche Kirche[36] |
| Ein einzig Wort ich bin's | 8. Rec., accomp. | — | — |
| Ein eintzig Wort so auf der Rotte | — | — | Evangelist[37] |
| Ach Treuer Seelen-Artzt | — | Recit., accomp.: B•Str•Bc; [38]
|
Gläubige Seele[37] |
| Herr und Meister in dem Helfen | 9. Aria; e; 3 4 |
Aria: B•Str•Bc; 3 4[39] |
Gläubige Seele (Aria, D.C.)[40] |
| Ein Arzt ist uns gegeben[41] | 10. Choral; C; 3 4 |
Chorale: SATB•Bc; [42]
|
Christliche Kirche[40] |
| Der Heiland fragt hiebei | 11. Rec. | — | Evangelist[40] |
| Auch ich mein Jesu fliehe oft von dir | 12. Rec. accomp. | Recit.: S•Bc; [43]
|
Gläubige Seele[44] |
| Hirte der aus Liebe stirbt | 13. Aria; a; 3 4 |
Aria: S•Str•Bc; 3 4[45] |
Gläubige Seele (Aria, D.C.)[46] |
| Ich will hier bei dir stehen[47] | 14. Choral; F;
|
Chorale: SATB•Bc; 3 4[48] |
Christliche Kirche[46] |
| Nunmehro wird der Herr gefesselt | 15. Rec. | — | Evangelist[49] |
| Ach daß ihr Augen Quellen wäret | 16. accomp. | Recit. (acc.): B•Str•Bc; [50]
|
Gläubige Seele[51] |
| Mein nagendes Gewissen | 17. Aria; c;
|
Aria: B•Str•Bc; [52]
|
Gläubige Seele (Aria, D.C.)[51] |
| Ach was soll ich Sünder machen[53] | 18. Choral; g;
|
Chorale: SATB•Bc; [54]
|
Christliche Kirche[55] |
| Die Ältesten der Hohenpriester | 19. Rec. | — | Evangelist[55] |
| Ach unbeflecktes Gotteslamm | 20. accomp. | Recit.: T•Bc; [56]
|
Gläubige Seele[57] |
| Ich will schweigen wenn die Welt mir mit List | 21. Aria; a; 3 8 |
Aria: T•Str•Bc; 3 8[58] |
Gläubige Seele (Aria, D.C.)[57] |
| Die Welt bekümmert sich[59] | 22. Choral; F;
|
Chorale: SATB•Bc; [60]
|
Christliche Kirche[57] |
| Kaum wird der Morgen wieder neu | 23. Rec. | — | Evangelist[61] |
| O Jesu steh mir an der Seite | 24. Rec. accomp. | — | Gläubige Seele[62] |
| Bei der Größe meiner Sünden | 25. Duetto; C;
|
— | Gläubige Seele (Aria)[63] |
| Erbarm dich mein in solcher Last[64] | 26. Choral; a;
|
— | Christliche Kirche[65] |
| Pilatus ist mit dem noch nicht vergnügt | 27. Rec. | — | Evangelist[65] |
| Verdammter Jude hör was hier ein Heide | 28. accomp. | — | Gläubige Seele[66] |
| Mein Jesus soll mein König sein | 29. Aria; A;
|
— | Gläubige Seele (Aria, D.C.)[67] |
| Ach großer König groß zu allen Zeiten[68] | 30. Choral; a;
|
— | Christliche Kirche[67] |
| Ach hört das Mordgeschrei der Feinde Jesu | 31. Rec. | — | Evangelist[69] |
| Kannst du o Mittler zwischen Gott und mir | 32. accomp. | Recit. accomp.: B•Str•Bc; [70]
|
Gläubige Seele[71] |
| Allerhöchster Gottessohn | 33. Aria; G; 3 4 |
Aria: B•Cr•Str•Bc; 6 8[72] |
Gläubige Seele (Aria, D.C.)[71] |
| O Jesu Christ Sohn eingeboren[73] | 34. Choral; G; 3 2 |
Chorale: SATB•Bc; 3 4[74] |
Christliche Kirche[71] |
| Pilatus spricht ich finde keine Schuld | 35. (Rec.) | — | Evangelist[75] |
| O unerhörte Wut o blutiges Verlangen | 36. accomp. | Recit.: A•Bc; [74]
|
Gläubige Seele[75] |
| Haltet ein ihr Mörderklauen | 37. Aria; g; 2 4 |
Aria: A•Str•Bc; 2 4[76] |
Gläubige Seele (Aria, D.C.)[75] |
| Wie wunderbarlich ist doch diese Strafe[77] | 38. Choral; c;
|
Chorale: SATB•Bc; [78]
|
[pp. 17ff. unavailable] |
| Die Geisel ist noch nicht genug | 39. Rec. | — | |
| Die Rose in dem Tal | 40. accomp. | — | |
| Ach welch ein Mensch bin ich | 41. Aria; F;
|
— | |
| Ich kann's mit meinen Sinnen nicht erreichen | 42. Choral; c;
|
— | |
| Das Volk läßt sich nichts desto minder | 43. Rec. | — | |
| So gehet dann der mörderische Wolf | 44. accomp. | — | |
| — | Recit. accomp.: B•Str•Bc; [79]
| ||
| Meine Sünden heißen dich Seelenfreund | 45. Aria; e;
|
Aria: B•Str•Bc; [80]
| |
| Nun ich danke dir von Herzen[81] | 46. Choral; C;
|
— | |
| Ich, ich und meine Sünden[82] | — | Chorale: SATB•Bc; [83]
| |
| Nun führen sie den Herrn nach Golgatha | 47. Rec. | Recit.: B•Bc; [84]
| |
| Mein Heiland sieh ich stell' mich willig ein | 48. accomp. | (accomp.): T•Str•Bc; [84]
| |
| Dein Kreuz o Bräutigam meiner Seelen | 49. Aria; G;
|
Aria: T•Ob•Vn•Bs•Bc; [85]
| |
| Drum will ich weil ich lebe noch[86] | 50. Choral; C; 3 2 |
Chorale: SATB•Bc; 3 4[87] | |
| Ein Haufe Volks folgt Jesu nach | 51. Rec. | — | |
| Ach Herr der du um meine Sünden | 52. accomp. | — | |
| Wenn der Wollust Lasterkerzen | 53. Aria; G;
|
— | |
| Kaum als der Herr auf seiner Todesbahn | 54. Rec. | — | |
| So treibet dein Erbarmen mein Jesu dich | 55. accomp. | Recit.: S•Bc; [88]
| |
| Hier an diesem Kreuzesstamm | 56. [Aria]; b; 3 4 |
Aria: S•Str•Bc; 3 4[89] | |
| O Lamm Gottes unschuldig[90] | 57. Choral; G; 3 2 |
— | |
| O Lamm Gottes, ohne Schuld[91] | — | Chorale: SATB•Bc; [92]
| |
| Pilatus will die Ursach' dieses Tods bekräften | 58. Rec. | — | |
| Auch mir mein Jesu bleibt durch deinen Tod | 59. accomp. | — | |
| Du hast in deinem Sterben | 60. [Aria]; b; 6 8 |
— | |
| Du führest mich durch deinen Tod | 61. Choral; D; 3 2 |
— | |
| Mariam der ein Schwert durch ihre Seele | 62. Rec. | — | |
| Mein Jesu laß auch mich | 63. accomp. | — | |
| Kann mein Jesus in dem Tod | 64. Aria; a; 6 8 |
— | |
| Gott ist mein Trost mein Zuversicht | 65. Choral; a; 3 2 |
— | |
| Am Kreuz wird Jesu noch verspottet | 66. Rec. | — | |
| Mitleid'ger Jesu ach kann denn das Erbarmen | 67. accomp. | — | |
| Ich finde mich beizeit mit Glauben Reu' | 68. Aria; D; 2 4 |
— | |
| In dein Seite will ich fliehen | 69. Choral; A;
|
— | |
| Die Sonne hüllet ihre Strahlen | 70. Rec. | — | |
| Du helles Sonnenlicht verstecke deine Pracht | 71. accomp. | — | |
| Ich will mit mir selber ringen | 72. Aria; A;
|
— | |
| Weils aber nicht besteht aus eignen Kräften | 73. Choral; a;
|
— | |
| Der Heiland spricht hierauf | 74. Rec. | — | |
| Der Vorhang in dem Tempel reißt | 75. accomp. | — | |
| Mein Heiland | — | Recit.: T•Bc; [92]
| |
| Mein Jesus stirbt Schmerz Jammer Ach | 76. Chorus; c;
|
Tutti: [93]
| |
| Ein Kriegsknecht kömmt daher | 77. Recit. | — | |
| Des Tempels Vorhang ist entzwei | 78. Recit. | — | |
| Kommt | — | Recit. (acc.): T•Ob•Str•Bc; [94]
| |
| Jesu wahrer Mensch und Gott | 79. Choro; B♭; 2 4 |
— | |
| O Jesu, du mein Hülff und Ruh[95] | — | Chorale: SATB•Bc; [96]
|
Reception
Johann Sebastian Bach not only performed Stölzel's Passion oratorio in 1734: he reworked one of its arias, "Dein Kreuz, o Bräutigam meiner Seelen", into Bekennen will ich seinen Namen, BWV 200, which he completed in 1742.[97]
In the 21st century Stölzel's Passion oratorio was programmed in public concerts:
- 25 March 2016: performed in Berlin, by the Lautten Compagney, and singers including the chamber choir of the Sing-Akademie zu Berlin, conducted by Kai-Uwe Jirka.[98]
- 31 March 2018: performed in Cheltenham, by the Corelli Orchestra and Ensemble, conducted by Warwick Cole.[11]
- 20 April 2019: performed in Gotha, by the Rheinische Kantorei, conducted by Hermann Max.[99]
References
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- Stölzel, Gottfried Heinrich (1741). Die leidende und am Creutz sterbende Liebe Jesu, in denen Kirchen der Stadt Göttingen zur Fasten-Zeit vorgestellt (in German). Göttingen: Hager.
- Winterfeld, Carl von [in German] (1847). Der Evangelische Kirchengesang im achtzehnten Jahrhunderte. Der evangelische Kirchengesang und sein Verhältniss zur Kunst des Tonsatzes (in German). Vol. III. Leipzig: Breitkopf & Härtel.
- Wollny, Peter (2008). "Bekennen will ich seinen Namen: Authentizität, Bestimmung und Kontext der Arie BWV 200. Anmerkungen zu Johann Sebastian Bachs Rezeption von Werken Gottfried Heinrich Stölzels" [Bekennen will ich seinen Namen: authenticity, purpose and context of the aria BWV 200. Annotations regarding Johann Sebastian Bach's reception of Gottfried Heinrich Stölzel's works]. Bach-Jahrbuch 2008 [Bach Yearbook 2008]. Bach-Jahrbuch (in German). Vol. 94. Neue Bachgesellschaft. Leipzig: Evangelische Verlagsanstalt. pp. 123–158. doi:10.13141/bjb.v2008. ISBN 978-3-374-02668-5. ISSN 0084-7682.