Matthäuspassion
Encyclopedia
The St Matthew Passion, BWV 244, (), is a musical composition from the Passions
written by Johann Sebastian Bach
in 1727 for solo voices, double choir
and double orchestra
, with libretto
by Picander
(Christian Friedrich Henrici). It sets chapters 26 and 27 of the Gospel of Matthew
to music, with interspersed chorale
s and aria
s. It is widely regarded as one of the masterpieces of classical sacred music. The original Latin title Passio Domini Nostri J.C. Secundum Evangelistam Matthaeum translates to "The Passion of our Lord J[esus] C[hrist] according to the Evangelist Matthew." It is also rendered in English as St. Matthew Passion and in German as Matthäuspassion.
Although Bach wrote four (or five) settings of the Passions only two have survived; the other is the St John Passion. The St Matthew Passion was probably first performed on Good Friday
(11 April) 1727 in the Thomaskirche in Leipzig
, where Bach was the Kantor
of the School and Directoris Chori musici of Leipzig. He revised it by 1736, performing it again on 30 March 1736, this time including two organ
s in the instrumentation. He further revised and performed it again on 24 March 1742. Possibly due to the second organ being under repair, he switched the continuo instrument to harpsichord in Coro II, reinforced the continuo group in Coro II with a viola da gamba, and inserted a ripieno
soprano in both movements 1 and 29. There is evidence of a further revision in 1743-1746, when the score as we know it originated, but no performance.
in the late 17th century. Like other Baroque oratorio
passions, Bach's setting presents the Biblical
text of Matthew 26-27 in a relatively simple way, primarily using recitative
, while aria
and arioso
movements set newly written poetic texts which comment on the various events in the Biblical narrative and present the characters' states of mind in a lyrical, monologue-like manner.
Two distinctive aspects of Bach's setting spring from his other church endeavors. One is the double-choir format, which stems from his own double-choir motet
s and those of many other composers with which he routinely started Sunday services. The other is the extensive use of chorale
s, which appear in standard four-part settings, as interpolations in arias, and as a cantus firmus
in large polyphonic
movements. This is notable in "O Mensch, bewein dein’ Sünde groß", the conclusion of the first half – a movement which Bach also used as an opening chorus for the second version (1725) of his St John Passion (later – ca. 1730 – he reverted to the originally composed "Herr, unser Herrscher" there). The opening chorus, "Kommt, ihr Töchter, helft mir klagen" is also notable for the use of chorale cantus firmus, in which the soprano in ripieno crowns a colossal buildup of polyphonic and harmonic
tension, singing a verse of "O Lamm Gottes, unschuldig." This was sung in only in 1742 and 1743–1746 and had been played on the organ before.
The surviving manuscript
s consist of twelve concertato scores, used for eight soloists who also served in the two choirs, additional parts for one soprano and two basses who perform "bit parts" such as the Wife of Pilate, Peter, Judas, High Priests, etc., and a part for the soprano in ripieno (stemming from 1742 and 1743–1746). It is believed that Bach wrote and performed the St. Matthew Passion using one voice per part, rather than the two conventional choirs (plus ripienists and soloists) which is common for performances and recordings today. This concept is still being hotly debated. In 1730 (in response to his perceived harassment by the officials and out of concern for the deteriorating condition in religious music), Sebastian Bach wrote a treatise he entitled “Kurtzer, iedoch höchstnöthiger Entwurff einer wohlbestallten Kirchen Music; nebst einigem unvorgreiflichen Bedenkken von dem Verfall derselben." (“Short, but most Necessary Draft on a well-regulated Church Music, with some modest Thoughts on the Decline of the same”). In it, he outlines both what he thinks would be a well-regulated Church music and also the current circumstances he faced in Leipzig. For the vocal ensembles he states that in the main churches (Hauptkirchen) of St. Thomas, St. Nicholas, and the New Church (Neukirche), each would use three voices per part, meaning three sopranos, three altos, three tenors, and three basses, with the residual (2 per part) for the Petruskirche (University Church). This residual would also act as the Concertists (soloists) in the Cantatas and other Vocal works. So in this work, therefore, it would require two 12-16-voice Choirs with a 3-voice Ripieno Soprano Choir (for Movements 1 and 29 in versions 1742 and 1743–1746).
The narration of the Gospel texts are sung by the tenor
Evangelist
in secco recitative
accompanied only by continuo
. Soloists sing the words of various characters, also in recitative; in addition to Jesus
, there are named parts for Judas
, Peter
, two high priests, Pontius Pilate
, Pilate's wife, two witnesses and two ancillae (maids). These are not always sung by all different soloists. The "character" soloists are also often assigned arias and sing with the choirs, a practice not always followed by modern performances. Two duets are sung by a pair of soloists' representing two simultaneous speakers. A number of passages for several speakers, called turba
(crowd) parts, are sung by one of the two choirs or both.
The words of Jesus, also termed Vox Christi
(voice of Christ), usually receive special treatment. Bach created particularly distinctive accompagnato recitatives in this work: they are accompanied not only by continuo but by the entire string section of the first orchestra using long, sustained notes and "highlighting" certain words, thus creating an effect often referred to as Jesus's "halo". Only his final words
, written in Aramaic
, Eli, eli, lama sabachthani (My God, my God, why have you forsaken me?), are sung without this "halo". In the revision of 1743-1746, it is also these words (the Vox Christi) that receive a sustained continuo part. In all prior versions (1727/1729, 1736, and 1742), the continuo part was sustained in all recitatives.
Some arias and choruses of the St Matthew Passion have a parody
connection to the lost funeral cantata Klagt, Kinder, klagt es aller Welt, BWV 244a
, composed for the memorial service for Leopold, Prince of Anhalt-Köthen (1729).
or oboe da caccia
, 2 violins, viola, viola da gamba
, and basso continuo. For practical reasons the continuo organ is often shared and played with both orchestras. In many arias a solo instrument or more create a specific mood, such as the central soprano aria #49, "Aus Liebe will mein Heiland sterben", where the absence of strings and basso continuo mark a desperate loss of security.
s accompany Jesus's apocalyptic
prophecies.
In the turba parts, the two choruses sometimes alternate in cori spezzati style (e.g. "Weissage uns, Christe") and sometimes sing together ("Herr, wir haben gedacht"). Other times only one chorus sings (chorus I always takes the parts of the disciple
s) or they alternate, for example when "some bystanders" say "He’s calling for Elijah", and "others" say "Wait to see if Elijah comes to help him."
In the arias, obbligato
instruments are equal partners with the voices, as was customary in late Baroque arias. Bach often uses madrigalisms
, as in "Buß und Reu", where the flutes start playing a raindrop-like staccato
as the alto sings of drops of his tears falling. In "Blute nur", the line about the serpent is set with a twisting melody.
, are interspersed between sections of the Gospel text. They are sung by soloists with a variety of instrumental accompaniments, typical of the oratorio style. The interpolated texts theologically and personally interpret the Gospel texts. Many of them include the listener into the action, such as the chorale #10, "Ich bin’s, ich sollte büßen" ("It is I who should suffer"), after eleven disciples asked "Herr, bin ich's?" (Lord, is it I?) – meaning: Am I the one going to betray? The alto aria #6, "Buß und Reu", portrays a desire to anoint Jesus with her tears out of remorse. The bass aria #65, "Mache dich, mein Herze, rein", offers to bury Jesus himself. Jesus is often referred to as "my Jesus". The chorus alternates between participating in the narrative and commenting on it.
As is typical of settings of the Passion (and originating in its liturgical use on Palm Sunday
), there is no mention of the Resurrection
in any of these texts. Following the concept of Anselm of Canterbury
, the crucifixion
is the endpoint and the source of redemption
; the emphasis is on the suffering of Jesus. The chorus sings, in the final chorale #62, "tear me from my fears / through your own fear and pain." The bass, referring to the "sweet cross" expresses in #56, "Yes, of course this flesh and blood in us / want to be forced to the cross; / the better it is for our soul, / the more bitter it feels."
The #1, "O Lamm Gottes" chorale compares Jesus' crucifixion to the ritual sacrifice of an Old Testament
lamb, as an offering for sin. This theme is reinforced by the concluding chorale of the first part, O Mensch, bewein dein’ Sünde groß (O man, bewail your great sin).
Part One is opened by the chorus Kommt, ihr Töchter, helft mir klagen. Choir I and II act separately, at times in question and answer, choir I Seht ihn (Behold Him), choir II interrupting Wie? (How?), choir I als wie ein Lamm. (as a Lamb). The image of the lamb slaughtered on the cross is prominent also in the cantus firmus of the third choir, like a heading of the whole work.
The first scenes are in Jerusalem: Jesus announces his death (#2), on the other hand the intention to get rid of him is expressed (#4). A scene in Bethany (#4c) shows a woman treating his head with valuable water. The next scene (#7) has Judas Iscariot
deal about the price for delivering Jesus. In a great contrast of mood the preparation for the "Easter meal" (Osterlamm) is described (#9) and the Passover meal
itself, the Last Supper
, foreshadowed by the announcement of betrayal. After the meal they go together to the Mount of Olives
(#14) where Jesus predicts that Peter
will deny him three times before the cock will crow. At the garden of Gethsemane
(#18) Jesus asks his followers several times to support him but they fall asleep while he is praying in agony. It is there (#26) that he his betrayed by Judas' kiss and arrested.
Part I is closed by a four-part Chorale Fantasia (both choirs) on the chorale O Mensch, bewein dein Sünde groß (O mankind, mourn your great sins), recapitulating that Jesus was born of the Virgin to "become the intercessor". The sopranos sing the cantus firmus, the other voices interpret aspects of the narration. In the 1727/1729 version, this part is concluded by a four-part setting of verse 6 of the Chorale "Meinen Jesum lass ich nicht" (Jesum lass ich nicht von mir").
Part Two is opened by a dialog between the alto soloist deploring her lost Jesus and choir II offering help in searching for him, quoting Song of Songs
6:1. In the 1727/1729 version, the soloist is a bass.
The first scene of Part Two is an interrogation at the High Priest Caiaphas
(#37) where two witnesses report Jesus having spoken about destroying the Temple
and building it again in three days. Jesus is silent to this, but his answer to the question if he is the Son of God
is considered a sacrilege
calling for his death. Outside in the court (#38) Peter is three times told that he belongs to Jesus and denies it three times – then the cock crows. In the morning (#41) Jesus is sent to Pontius Pilate
responsible for the jurisdiction, Judas regrets and kills himself. Pilate interrogates Jesus (#43), is impressed and tends to release him, as it was customary to release one prisoner for the holiday, supported in this by his wife. But the crowd, given the choice to have Jesus released or Barabbas
, a thief, insurrectionist, and murderer, asks with one voice "Barrabam!". They vote to crucify Jesus, Pilate gives in, washing his hands claiming his innocence, and delivers Jesus to torture and crucifixion. On the way to the crucifixion site (#55) Simon of Cyrene
is forced to carry the cross. At Golgatha
(#58) Jesus and two others are crucified and mocked by the crowd. Even his last words are misunderstood. Where he cites Psalm 22, "Eli, Eli" (My God, my God, why have you forsaken me?), he is supposed to have called Elijah. – He dies. St. Matthew describes the tearing of the Temple curtain and an earthquake – set to music by Bach. In the evening (#63c) Joseph of Arimathea
asks Pilate for the corpse for burial. The following day (#66) officials remind Pilate of the talk of resurrection and ask for guards and a seal for the grave to prevent fraud.
The work is closed by a grand scale chorus in da capo form, choir I and II mostly in unison for the first part Wir setzen uns mit Tränen nieder (We sit down in tears), but in dialog in the middle section, choir II repeating "Ruhe sanfte, sanfte ruh!" ("Rest gently, gently rest!"), choir I reflecting: "Your grave and headstone shall, for the anxious conscience, be a comfortable pillow and the resting place for the soul. Highly contented, there the eyes fall asleep." These are the last words (before the recapitulation), marked by Bach himself: p pp ppp (soft, very soft, extremely soft).
(New Bach Edition). The traditional BWV numbering uses a different scheme of 78 numbers. Obviously, neither sets of numbers are explicit in the autograph. See the comparison table
.
3. Chorale: Herzliebster Jesu, was hast du verbrochen
10. Chorale: Ich bin's, ich sollte büßen
15. Chorale: Erkenne mich, mein Hüter
17. Chorale: Ich will hier bei dir stehen (1727/1729 version without music and text "Es dient zu meinem Freude")
25. Chorale: Was mein Gott will, das gscheh allzeit
29. Chorale: O Mensch, bewein dein Sünde groß (1727/1729 version: "Jesum lass ich nicht von mir"; 1742 and 1743–1746 versions: Ripieno Soprano choir added to Soprano line)
32. Chorale: Mir hat die Welt trüglich gericht'
37. Chorale: Wer hat dich so geschlagen
40. Chorale: Bin ich gleich von dir gewichen
44. Chorale: Befiehl du deine Wege
46. Chorale: Wie wunderbarlich ist doch diese Strafe!
54. Chorale: O Haupt, voll Blut und Wunden
62. Chorale: Wenn ich einmal soll scheiden
68. Coro I & II: Wir setzen uns mit Tränen nieder
performed an abbreviated and modified version in Berlin
to great acclaim. Mendelssohn's revival brought the music of Bach, particularly the large-scale works, to public and scholarly attention (although the St John Passion had been performed in 1822). Appreciation, performance and study of Bach's composition have persisted into the present era. Notably, in the Netherlands
a tradition has grown where many professional and amateur orchestras perform the St. Matthew Passion every year on Palm Sunday
.
Meanwhile William Sterndale Bennett
formed the Bach Society
in 1849 with the intention of introducing the work to the English public. Helen Johnston (a student at Queen's College London) translated the libretto, and Bennett conducted the first performance at the Hanover Square Rooms
London on 6 April 1854 (the same year that it appeared in print by the Old Bach Society (Alte Bach-Gesellschaft). The soloists included Charlotte Helen Sainton-Dolby. The Sterndale Bennett edition was to be the first of many, the latest being by Neil Jenkins (1997) and Nicholas Fisher and John Russell (2008). The Bach Society was reformed in 1876 as The Bach Choir in London.
Excerpts of the work were performed on the American television program Omnibus on 31 March 1957 in the episode "The Music of J.S. Bach." The presenter and explicator was Leonard Bernstein
, who introduced the St Matthew Passion as "that glorious work that started me off on my own private passion for Bach."
Passions (Bach)
According to his obituary, Johann Sebastian Bach wrote "five passions, of which one is for double chorus". Two works have survived: the St John Passion and the St Matthew Passion , this last using double chorus...
written by Johann Sebastian Bach
Johann Sebastian Bach
Johann Sebastian Bach was a German composer, organist, harpsichordist, violist, and violinist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity...
in 1727 for solo voices, double choir
Choir
A choir, chorale or chorus is a musical ensemble of singers. Choral music, in turn, is the music written specifically for such an ensemble to perform.A body of singers who perform together as a group is called a choir or chorus...
and double orchestra
Orchestra
An orchestra is a sizable instrumental ensemble that contains sections of string, brass, woodwind, and percussion instruments. The term orchestra derives from the Greek ορχήστρα, the name for the area in front of an ancient Greek stage reserved for the Greek chorus...
, with libretto
Libretto
A libretto is the text used in an extended musical work such as an opera, operetta, masque, oratorio, cantata, or musical. The term "libretto" is also sometimes used to refer to the text of major liturgical works, such as mass, requiem, and sacred cantata, or even the story line of a...
by Picander
Picander
Picander was the pseudonym of Christian Friedrich Henrici , a German poet and librettist for many of Johann Sebastian Bach's Leipzig cantatas...
(Christian Friedrich Henrici). It sets chapters 26 and 27 of the Gospel of Matthew
Gospel of Matthew
The Gospel According to Matthew is one of the four canonical gospels, one of the three synoptic gospels, and the first book of the New Testament. It tells of the life, ministry, death, and resurrection of Jesus of Nazareth...
to music, with interspersed chorale
Chorale
A chorale was originally a hymn sung by a Christian congregation. In certain modern usage, this term may also include classical settings of such hymns and works of a similar character....
s and aria
Aria
An aria in music was originally any expressive melody, usually, but not always, performed by a singer. The term is now used almost exclusively to describe a self-contained piece for one voice usually with orchestral accompaniment...
s. It is widely regarded as one of the masterpieces of classical sacred music. The original Latin title Passio Domini Nostri J.C. Secundum Evangelistam Matthaeum translates to "The Passion of our Lord J[esus] C[hrist] according to the Evangelist Matthew." It is also rendered in English as St. Matthew Passion and in German as Matthäuspassion.
Although Bach wrote four (or five) settings of the Passions only two have survived; the other is the St John Passion. The St Matthew Passion was probably first performed on Good Friday
Good Friday
Good Friday , is a religious holiday observed primarily by Christians commemorating the crucifixion of Jesus Christ and his death at Calvary. The holiday is observed during Holy Week as part of the Paschal Triduum on the Friday preceding Easter Sunday, and may coincide with the Jewish observance of...
(11 April) 1727 in the Thomaskirche in Leipzig
Leipzig
Leipzig Leipzig has always been a trade city, situated during the time of the Holy Roman Empire at the intersection of the Via Regia and Via Imperii, two important trade routes. At one time, Leipzig was one of the major European centres of learning and culture in fields such as music and publishing...
, where Bach was the Kantor
Cantor (church)
A cantor is the chief singer employed in a church with responsibilities for the ecclesiastical choir; also called the precentor....
of the School and Directoris Chori musici of Leipzig. He revised it by 1736, performing it again on 30 March 1736, this time including two organ
Organ (music)
The organ , is a keyboard instrument of one or more divisions, each played with its own keyboard operated either with the hands or with the feet. The organ is a relatively old musical instrument in the Western musical tradition, dating from the time of Ctesibius of Alexandria who is credited with...
s in the instrumentation. He further revised and performed it again on 24 March 1742. Possibly due to the second organ being under repair, he switched the continuo instrument to harpsichord in Coro II, reinforced the continuo group in Coro II with a viola da gamba, and inserted a ripieno
Ripieno
Ripieno or tutti can refer to:*the larger of the two ensembles in the concerto grosso. This is opposed to the concertino which are the soloists.*the notes added when realizing the figured bass of a basso continuo....
soprano in both movements 1 and 29. There is evidence of a further revision in 1743-1746, when the score as we know it originated, but no performance.
Composition
Many composers wrote musical settings of the PassionPassion (Christianity)
The Passion is the Christian theological term used for the events and suffering – physical, spiritual, and mental – of Jesus in the hours before and including his trial and execution by crucifixion...
in the late 17th century. Like other Baroque oratorio
Oratorio
An oratorio is a large musical composition including an orchestra, a choir, and soloists. Like an opera, an oratorio includes the use of a choir, soloists, an ensemble, various distinguishable characters, and arias...
passions, Bach's setting presents the Biblical
Bible
The Bible refers to any one of the collections of the primary religious texts of Judaism and Christianity. There is no common version of the Bible, as the individual books , their contents and their order vary among denominations...
text of Matthew 26-27 in a relatively simple way, primarily using recitative
Recitative
Recitative , also known by its Italian name "recitativo" , is a style of delivery in which a singer is allowed to adopt the rhythms of ordinary speech...
, while aria
Aria
An aria in music was originally any expressive melody, usually, but not always, performed by a singer. The term is now used almost exclusively to describe a self-contained piece for one voice usually with orchestral accompaniment...
and arioso
Arioso
In classical music, arioso is a style of solo opera singing between recitative and aria. Literally, arioso means airy. The term arose in the 16th century along with the aforementioned styles and monody. It is commonly confused with recitativo accompagnato....
movements set newly written poetic texts which comment on the various events in the Biblical narrative and present the characters' states of mind in a lyrical, monologue-like manner.
Two distinctive aspects of Bach's setting spring from his other church endeavors. One is the double-choir format, which stems from his own double-choir motet
Motet
In classical music, motet is a word that is applied to a number of highly varied choral musical compositions.-Etymology:The name comes either from the Latin movere, or a Latinized version of Old French mot, "word" or "verbal utterance." The Medieval Latin for "motet" is motectum, and the Italian...
s and those of many other composers with which he routinely started Sunday services. The other is the extensive use of chorale
Chorale
A chorale was originally a hymn sung by a Christian congregation. In certain modern usage, this term may also include classical settings of such hymns and works of a similar character....
s, which appear in standard four-part settings, as interpolations in arias, and as a cantus firmus
Cantus firmus
In music, a cantus firmus is a pre-existing melody forming the basis of a polyphonic composition.The plural of this Latin term is , though the corrupt form canti firmi is also attested...
in large polyphonic
Polyphony
In music, polyphony is a texture consisting of two or more independent melodic voices, as opposed to music with just one voice or music with one dominant melodic voice accompanied by chords ....
movements. This is notable in "O Mensch, bewein dein’ Sünde groß", the conclusion of the first half – a movement which Bach also used as an opening chorus for the second version (1725) of his St John Passion (later – ca. 1730 – he reverted to the originally composed "Herr, unser Herrscher" there). The opening chorus, "Kommt, ihr Töchter, helft mir klagen" is also notable for the use of chorale cantus firmus, in which the soprano in ripieno crowns a colossal buildup of polyphonic and harmonic
Harmony
In music, harmony is the use of simultaneous pitches , or chords. The study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is often said to refer to the "vertical" aspect of music, as distinguished from melodic...
tension, singing a verse of "O Lamm Gottes, unschuldig." This was sung in only in 1742 and 1743–1746 and had been played on the organ before.
The surviving manuscript
Manuscript
A manuscript or handwrite is written information that has been manually created by someone or some people, such as a hand-written letter, as opposed to being printed or reproduced some other way...
s consist of twelve concertato scores, used for eight soloists who also served in the two choirs, additional parts for one soprano and two basses who perform "bit parts" such as the Wife of Pilate, Peter, Judas, High Priests, etc., and a part for the soprano in ripieno (stemming from 1742 and 1743–1746). It is believed that Bach wrote and performed the St. Matthew Passion using one voice per part, rather than the two conventional choirs (plus ripienists and soloists) which is common for performances and recordings today. This concept is still being hotly debated. In 1730 (in response to his perceived harassment by the officials and out of concern for the deteriorating condition in religious music), Sebastian Bach wrote a treatise he entitled “Kurtzer, iedoch höchstnöthiger Entwurff einer wohlbestallten Kirchen Music; nebst einigem unvorgreiflichen Bedenkken von dem Verfall derselben." (“Short, but most Necessary Draft on a well-regulated Church Music, with some modest Thoughts on the Decline of the same”). In it, he outlines both what he thinks would be a well-regulated Church music and also the current circumstances he faced in Leipzig. For the vocal ensembles he states that in the main churches (Hauptkirchen) of St. Thomas, St. Nicholas, and the New Church (Neukirche), each would use three voices per part, meaning three sopranos, three altos, three tenors, and three basses, with the residual (2 per part) for the Petruskirche (University Church). This residual would also act as the Concertists (soloists) in the Cantatas and other Vocal works. So in this work, therefore, it would require two 12-16-voice Choirs with a 3-voice Ripieno Soprano Choir (for Movements 1 and 29 in versions 1742 and 1743–1746).
The narration of the Gospel texts are sung by the tenor
Tenor
The tenor is a type of male singing voice and is the highest male voice within the modal register. The typical tenor voice lies between C3, the C one octave below middle C, to the A above middle C in choral music, and up to high C in solo work. The low extreme for tenors is roughly B2...
Evangelist
Evangelist (Bach)
The Evangelist in the music of Johann Sebastian Bach is the tenor part in his oratorios and Passions who narrates the exact words of the Bible, translated by Martin Luther, in recitative, namely in the works St John Passion, St Matthew Passion, and the Christmas Oratorio, also in the St Mark...
in secco recitative
Recitative
Recitative , also known by its Italian name "recitativo" , is a style of delivery in which a singer is allowed to adopt the rhythms of ordinary speech...
accompanied only by continuo
Figured bass
Figured bass, or thoroughbass, is a kind of integer musical notation used to indicate intervals, chords, and non-chord tones, in relation to a bass note...
. Soloists sing the words of various characters, also in recitative; in addition to Jesus
Jesus
Jesus of Nazareth , commonly referred to as Jesus Christ or simply as Jesus or Christ, is the central figure of Christianity...
, there are named parts for Judas
Judas Iscariot
Judas Iscariot was, according to the New Testament, one of the twelve disciples of Jesus. He is best known for his betrayal of Jesus to the hands of the chief priests for 30 pieces of silver.-Etymology:...
, Peter
Saint Peter
Saint Peter or Simon Peter was an early Christian leader, who is featured prominently in the New Testament Gospels and the Acts of the Apostles. The son of John or of Jonah and from the village of Bethsaida in the province of Galilee, his brother Andrew was also an apostle...
, two high priests, Pontius Pilate
Pontius Pilate
Pontius Pilatus , known in the English-speaking world as Pontius Pilate , was the fifth Prefect of the Roman province of Judaea, from AD 26–36. He is best known as the judge at Jesus' trial and the man who authorized the crucifixion of Jesus...
, Pilate's wife, two witnesses and two ancillae (maids). These are not always sung by all different soloists. The "character" soloists are also often assigned arias and sing with the choirs, a practice not always followed by modern performances. Two duets are sung by a pair of soloists' representing two simultaneous speakers. A number of passages for several speakers, called turba
Turba
' literally means crowd in Latin. It may refer more specifically to any text in the biblical Passion of Jesus which is spoken by any group of people, including the disciples, the Jews, or the soldiers...
(crowd) parts, are sung by one of the two choirs or both.
The words of Jesus, also termed Vox Christi
Vox Christi
Vox Christi, Latin for Voice of Christ, is a term for the bass voice representing Jesus in the music of Johann Sebastian Bach and others. This part appears prominently in Bach's Passions...
(voice of Christ), usually receive special treatment. Bach created particularly distinctive accompagnato recitatives in this work: they are accompanied not only by continuo but by the entire string section of the first orchestra using long, sustained notes and "highlighting" certain words, thus creating an effect often referred to as Jesus's "halo". Only his final words
Sayings of Jesus on the cross
There are seven expressions traditionally attributed to Jesus during his crucifixion, gathered from the four Canonical Gospels. Three of the sayings appear exclusively in the Gospel of Luke and three appear exclusively in the Gospel of John. The other saying appears both in the Gospel of Mark and...
, written in Aramaic
Aramaic language
Aramaic is a group of languages belonging to the Afroasiatic language phylum. The name of the language is based on the name of Aram, an ancient region in central Syria. Within this family, Aramaic belongs to the Semitic family, and more specifically, is a part of the Northwest Semitic subfamily,...
, Eli, eli, lama sabachthani (My God, my God, why have you forsaken me?), are sung without this "halo". In the revision of 1743-1746, it is also these words (the Vox Christi) that receive a sustained continuo part. In all prior versions (1727/1729, 1736, and 1742), the continuo part was sustained in all recitatives.
Some arias and choruses of the St Matthew Passion have a parody
Parody music
Parody music, or musical parody, involves changing or recycling existing musical ideas or lyrics — or copying the peculiar style of a composer or artist, or even a general style of music. Although the result is often funny, and this is the usual intent — the term "parody" in musical terms also...
connection to the lost funeral cantata Klagt, Kinder, klagt es aller Welt, BWV 244a
Klagt, Kinder, klagt es aller Welt, BWV 244a
The funeral cantata Klagt, Kinder, klagt es aller Welt, BWV 244a, also called Köthener Trauermusik, is a lost composition of Johann Sebastian Bach. The Trauermusik was composed for the memorial service for Leopold, Prince of Anhalt-Köthen on 24 March 1729 in the St. Jakob church in Köthen, one day...
, composed for the memorial service for Leopold, Prince of Anhalt-Köthen (1729).
Instrumentation
The St Matthew Passion is set for two choirs and two orchestras. Both include 2 flutes dolce, 2 transverse flutes, 2 oboes, in certain movements instead oboe d'amoreOboe d'amore
The oboe d'amore , less commonly oboe d'amour, is a double reed woodwind musical instrument in the oboe family. Slightly larger than the oboe, it has a less assertive and more tranquil and serene tone, and is considered the mezzo-soprano of the oboe family, between the oboe itself and the cor...
or oboe da caccia
Oboe da caccia
The oboe da caccia is a double reed woodwind instrument in the oboe family, pitched a fifth below the oboe and used primarily in the Baroque period of European classical music...
, 2 violins, viola, viola da gamba
Viol
The viol is any one of a family of bowed, fretted and stringed musical instruments developed in the mid-late 15th century and used primarily in the Renaissance and Baroque periods. The family is related to and descends primarily from the Renaissance vihuela, a plucked instrument that preceded the...
, and basso continuo. For practical reasons the continuo organ is often shared and played with both orchestras. In many arias a solo instrument or more create a specific mood, such as the central soprano aria #49, "Aus Liebe will mein Heiland sterben", where the absence of strings and basso continuo mark a desperate loss of security.
Compositional style
Bach’s recitatives often set the mood for the particular passages by highlighting emotionally charged words such as "crucify", "kill", or "mourn" with chromatic melodies. Diminished seventh chords and sudden modulationModulation (music)
In music, modulation is most commonly the act or process of changing from one key to another. This may or may not be accompanied by a change in key signature. Modulations articulate or create the structure or form of many pieces, as well as add interest...
s accompany Jesus's apocalyptic
Apocalypse
An Apocalypse is a disclosure of something hidden from the majority of mankind in an era dominated by falsehood and misconception, i.e. the veil to be lifted. The Apocalypse of John is the Book of Revelation, the last book of the New Testament...
prophecies.
In the turba parts, the two choruses sometimes alternate in cori spezzati style (e.g. "Weissage uns, Christe") and sometimes sing together ("Herr, wir haben gedacht"). Other times only one chorus sings (chorus I always takes the parts of the disciple
Apostle (Christian)
The term apostle is derived from Classical Greek ἀπόστολος , meaning one who is sent away, from στέλλω + από . The literal meaning in English is therefore an "emissary", from the Latin mitto + ex...
s) or they alternate, for example when "some bystanders" say "He’s calling for Elijah", and "others" say "Wait to see if Elijah comes to help him."
In the arias, obbligato
Obbligato
In classical music obbligato usually describes a musical line that is in some way indispensable in performance. Its opposite is the marking ad libitum. It can also be used, more specifically, to indicate that a passage of music was to be played exactly as written, or only by the specified...
instruments are equal partners with the voices, as was customary in late Baroque arias. Bach often uses madrigalisms
Madrigal (music)
A madrigal is a secular vocal music composition, usually a partsong, of the Renaissance and early Baroque eras. Traditionally, polyphonic madrigals are unaccompanied; the number of voices varies from two to eight, and most frequently from three to six....
, as in "Buß und Reu", where the flutes start playing a raindrop-like staccato
Staccato
Staccato is a form of musical articulation. In modern notation it signifies a note of shortened duration and separated from the note that may follow by silence...
as the alto sings of drops of his tears falling. In "Blute nur", the line about the serpent is set with a twisting melody.
Interpolated texts
The arias, set to texts by PicanderPicander
Picander was the pseudonym of Christian Friedrich Henrici , a German poet and librettist for many of Johann Sebastian Bach's Leipzig cantatas...
, are interspersed between sections of the Gospel text. They are sung by soloists with a variety of instrumental accompaniments, typical of the oratorio style. The interpolated texts theologically and personally interpret the Gospel texts. Many of them include the listener into the action, such as the chorale #10, "Ich bin’s, ich sollte büßen" ("It is I who should suffer"), after eleven disciples asked "Herr, bin ich's?" (Lord, is it I?) – meaning: Am I the one going to betray? The alto aria #6, "Buß und Reu", portrays a desire to anoint Jesus with her tears out of remorse. The bass aria #65, "Mache dich, mein Herze, rein", offers to bury Jesus himself. Jesus is often referred to as "my Jesus". The chorus alternates between participating in the narrative and commenting on it.
As is typical of settings of the Passion (and originating in its liturgical use on Palm Sunday
Palm Sunday
Palm Sunday is a Christian moveable feast that falls on the Sunday before Easter. The feast commemorates Jesus' triumphal entry into Jerusalem, an event mentioned in all four Canonical Gospels. ....
), there is no mention of the Resurrection
Resurrection of Jesus
The Christian belief in the resurrection of Jesus states that Jesus returned to bodily life on the third day following his death by crucifixion. It is a key element of Christian faith and theology and part of the Nicene Creed: "On the third day he rose again in fulfillment of the Scriptures"...
in any of these texts. Following the concept of Anselm of Canterbury
Anselm of Canterbury
Anselm of Canterbury , also called of Aosta for his birthplace, and of Bec for his home monastery, was a Benedictine monk, a philosopher, and a prelate of the church who held the office of Archbishop of Canterbury from 1093 to 1109...
, the crucifixion
Crucifixion
Crucifixion is an ancient method of painful execution in which the condemned person is tied or nailed to a large wooden cross and left to hang until dead...
is the endpoint and the source of redemption
Redemption (theology)
Redemption is a concept common to several theologies. It is generally associated with the efforts of people within a faith to overcome their shortcomings and achieve the moral positions exemplified in their faith.- In Buddhism :...
; the emphasis is on the suffering of Jesus. The chorus sings, in the final chorale #62, "tear me from my fears / through your own fear and pain." The bass, referring to the "sweet cross" expresses in #56, "Yes, of course this flesh and blood in us / want to be forced to the cross; / the better it is for our soul, / the more bitter it feels."
The #1, "O Lamm Gottes" chorale compares Jesus' crucifixion to the ritual sacrifice of an Old Testament
Old Testament
The Old Testament, of which Christians hold different views, is a Christian term for the religious writings of ancient Israel held sacred and inspired by Christians which overlaps with the 24-book canon of the Masoretic Text of Judaism...
lamb, as an offering for sin. This theme is reinforced by the concluding chorale of the first part, O Mensch, bewein dein’ Sünde groß (O man, bewail your great sin).
Structure
The work is divided in two parts to be performed before and after the sermon of the Good Friday service.Part One is opened by the chorus Kommt, ihr Töchter, helft mir klagen. Choir I and II act separately, at times in question and answer, choir I Seht ihn (Behold Him), choir II interrupting Wie? (How?), choir I als wie ein Lamm. (as a Lamb). The image of the lamb slaughtered on the cross is prominent also in the cantus firmus of the third choir, like a heading of the whole work.
The first scenes are in Jerusalem: Jesus announces his death (#2), on the other hand the intention to get rid of him is expressed (#4). A scene in Bethany (#4c) shows a woman treating his head with valuable water. The next scene (#7) has Judas Iscariot
Judas Iscariot
Judas Iscariot was, according to the New Testament, one of the twelve disciples of Jesus. He is best known for his betrayal of Jesus to the hands of the chief priests for 30 pieces of silver.-Etymology:...
deal about the price for delivering Jesus. In a great contrast of mood the preparation for the "Easter meal" (Osterlamm) is described (#9) and the Passover meal
Passover Seder
The Passover Seder is a Jewish ritual feast that marks the beginning of the Jewish holiday of Passover. It is conducted on the evenings of the 14th day of Nisan in the Hebrew calendar, and on the 15th by traditionally observant Jews living outside Israel. This corresponds to late March or April in...
itself, the Last Supper
Last Supper
The Last Supper is the final meal that, according to Christian belief, Jesus shared with his Twelve Apostles in Jerusalem before his crucifixion. The Last Supper provides the scriptural basis for the Eucharist, also known as "communion" or "the Lord's Supper".The First Epistle to the Corinthians is...
, foreshadowed by the announcement of betrayal. After the meal they go together to the Mount of Olives
Mount of Olives
The Mount of Olives is a mountain ridge in East Jerusalem with three peaks running from north to south. The highest, at-Tur, rises to 818 meters . It is named for the olive groves that once covered its slopes...
(#14) where Jesus predicts that Peter
Saint Peter
Saint Peter or Simon Peter was an early Christian leader, who is featured prominently in the New Testament Gospels and the Acts of the Apostles. The son of John or of Jonah and from the village of Bethsaida in the province of Galilee, his brother Andrew was also an apostle...
will deny him three times before the cock will crow. At the garden of Gethsemane
Gethsemane
Gethsemane is a garden at the foot of the Mount of Olives in Jerusalem most famous as the place where, according to Biblical texts, Jesus and his disciples are said to have prayed the night before Jesus' crucifixion.- Etymology :...
(#18) Jesus asks his followers several times to support him but they fall asleep while he is praying in agony. It is there (#26) that he his betrayed by Judas' kiss and arrested.
Part I is closed by a four-part Chorale Fantasia (both choirs) on the chorale O Mensch, bewein dein Sünde groß (O mankind, mourn your great sins), recapitulating that Jesus was born of the Virgin to "become the intercessor". The sopranos sing the cantus firmus, the other voices interpret aspects of the narration. In the 1727/1729 version, this part is concluded by a four-part setting of verse 6 of the Chorale "Meinen Jesum lass ich nicht" (Jesum lass ich nicht von mir").
Part Two is opened by a dialog between the alto soloist deploring her lost Jesus and choir II offering help in searching for him, quoting Song of Songs
Song of songs
Song of Songs, also known as the Song of Solomon, is a book of the Hebrew Bible or Old Testament. It may also refer to:In music:* Song of songs , the debut album by David and the Giants* A generic term for medleysPlays...
6:1. In the 1727/1729 version, the soloist is a bass.
The first scene of Part Two is an interrogation at the High Priest Caiaphas
Caiaphas
Joseph, son of Caiaphas, Hebrew יוסף בַּר קַיָּפָא or Yosef Bar Kayafa, commonly known simply as Caiaphas in the New Testament, was the Roman-appointed Jewish high priest who is said to have organized the plot to kill Jesus...
(#37) where two witnesses report Jesus having spoken about destroying the Temple
Temple in Jerusalem
The Temple in Jerusalem or Holy Temple , refers to one of a series of structures which were historically located on the Temple Mount in the Old City of Jerusalem, the current site of the Dome of the Rock. Historically, these successive temples stood at this location and functioned as the centre of...
and building it again in three days. Jesus is silent to this, but his answer to the question if he is the Son of God
Son of God
"Son of God" is a phrase which according to most Christian denominations, Trinitarian in belief, refers to the relationship between Jesus and God, specifically as "God the Son"...
is considered a sacrilege
Sacrilege
Sacrilege is the violation or injurious treatment of a sacred object. In a less proper sense, any transgression against the virtue of religion would be a sacrilege. It can come in the form of irreverence to sacred persons, places, and things...
calling for his death. Outside in the court (#38) Peter is three times told that he belongs to Jesus and denies it three times – then the cock crows. In the morning (#41) Jesus is sent to Pontius Pilate
Pontius Pilate
Pontius Pilatus , known in the English-speaking world as Pontius Pilate , was the fifth Prefect of the Roman province of Judaea, from AD 26–36. He is best known as the judge at Jesus' trial and the man who authorized the crucifixion of Jesus...
responsible for the jurisdiction, Judas regrets and kills himself. Pilate interrogates Jesus (#43), is impressed and tends to release him, as it was customary to release one prisoner for the holiday, supported in this by his wife. But the crowd, given the choice to have Jesus released or Barabbas
Barabbas
Barabbas or Jesus Barabbas is a figure in the Christian narrative of the Passion of Jesus, in which he is the insurrectionary whom Pontius Pilate freed at the Passover feast in Jerusalem.The penalty for Barabbas' crime was death by crucifixion, but according to the four canonical gospels and the...
, a thief, insurrectionist, and murderer, asks with one voice "Barrabam!". They vote to crucify Jesus, Pilate gives in, washing his hands claiming his innocence, and delivers Jesus to torture and crucifixion. On the way to the crucifixion site (#55) Simon of Cyrene
Simon of Cyrene
Simon of Cyrene was the man compelled by the Romans to carry the cross of Jesus as Jesus was taken to his crucifixion, according to all three Synoptic Gospels...
is forced to carry the cross. At Golgatha
Calvary
Calvary or Golgotha was the site, outside of ancient Jerusalem’s early first century walls, at which the crucifixion of Jesus is said to have occurred. Calvary and Golgotha are the English names for the site used in Western Christianity...
(#58) Jesus and two others are crucified and mocked by the crowd. Even his last words are misunderstood. Where he cites Psalm 22, "Eli, Eli" (My God, my God, why have you forsaken me?), he is supposed to have called Elijah. – He dies. St. Matthew describes the tearing of the Temple curtain and an earthquake – set to music by Bach. In the evening (#63c) Joseph of Arimathea
Joseph of Arimathea
Joseph of Arimathea was, according to the Gospels, the man who donated his own prepared tomb for the burial of Jesus after Jesus' Crucifixion. He is mentioned in all four Gospels.-Gospel references:...
asks Pilate for the corpse for burial. The following day (#66) officials remind Pilate of the talk of resurrection and ask for guards and a seal for the grave to prevent fraud.
The work is closed by a grand scale chorus in da capo form, choir I and II mostly in unison for the first part Wir setzen uns mit Tränen nieder (We sit down in tears), but in dialog in the middle section, choir II repeating "Ruhe sanfte, sanfte ruh!" ("Rest gently, gently rest!"), choir I reflecting: "Your grave and headstone shall, for the anxious conscience, be a comfortable pillow and the resting place for the soul. Highly contented, there the eyes fall asleep." These are the last words (before the recapitulation), marked by Bach himself: p pp ppp (soft, very soft, extremely soft).
Movements
Note: The numbering system, 1 through 68, used here is from the Neue Bach-AusgabeNeue Bach-Ausgabe
The Neue Bach-Ausgabe is the second complete edition of the music of Johann Sebastian Bach, published by Bärenreiter. The name is short for Johann Sebastian Bach: Neue Ausgabe sämtlicher Werke...
(New Bach Edition). The traditional BWV numbering uses a different scheme of 78 numbers. Obviously, neither sets of numbers are explicit in the autograph. See the comparison table
Matthew Passion/NBA BWV table
-Numbering schemes for the St Matthew Passion:Bach did not number the sections of the St Matthew Passion but twentieth century scholars have done so. The following table cross references the two main schemes in use today...
.
Part One
1. Coro I & II & Chorale: Kommt, ihr Töchter, helft mir klagen – O Lamm Gottes unschuldig (Chorale sung only in 1742 and 1743–1746 versions)- 2a. Evangelist, Jesus: Da Jesus diese Rede vollendet hatte
3. Chorale: Herzliebster Jesu, was hast du verbrochen
- 4a. Evangelist: Da versammleten sich die Hohenpriester und Schriftgelehrten
- 4b. Coro I & II: Ja nicht auf das Fest
- 4c. Evangelist: Da nun Jesus war zu Bethanien
- 4d. Coro I: Wozu dienet dieser Unrat?
- 4e. Evangelist, Jesus: Da das Jesus merkete, sprach er zu ihnen
-
- 5. Recitativo (alto, flutes): Du lieber Heiland du
- 6. Aria (alto, flutes): Buß und Reu
- 7. Evangelist, Judas: Da ging hin der Zwölfen einer mit Namen Judas Ischarioth
-
- 8. Aria (soprano, flutes): Blute nur, du liebes Herz!
- 9a. Evangelist: Aber am ersten Tage der süßen Brot
- 9b. Coro I: Wo willst du, daß wir dir bereiten das Osterlamm zu essen?
- 9c. Evangelist, Jesus: Er sprach
- 9d. Evangelist: Und sie wurden sehr betrübt
- 9e. Coro I: Herr, bin ich's?
10. Chorale: Ich bin's, ich sollte büßen
- 11. Evangelist, Jesus: Er antwortete und sprach
-
- 12. Recitativo (soprano, oboe d'amore): Wiewohl mein Herz in Tränen schwimmt
- 13. Aria (soprano, oboe d'amore): Ich will dir mein Herze schenken
- 14. Evangelist, Jesus: Und da sie den Lobgesang gesprochen hatten
15. Chorale: Erkenne mich, mein Hüter
- 16. Evangelist, Peter, Jesus: Petrus aber antwortete und sprach zu ihm
17. Chorale: Ich will hier bei dir stehen (1727/1729 version without music and text "Es dient zu meinem Freude")
- 18. Evangelist, Jesus: Da kam Jesus mit ihnen zu einem Hofe, der hieß Gethsemane
-
- 19. Recitativo (tenor, flauti dolci, oboe da caccia, [1727/1729 version: flutes instead of flauti dolci]) and Coro II: O Schmerz! Hier zittert das gequälte Herz – Was ist die Ursach aller solcher Plagen?
- 20. Aria (tenor, solo oboe, flutes) and Coro II: Ich will bei meinem Jesu wachen – So schlafen unsre Sünden ein
- 21. Evangelist: Und ging hin ein wenig, fiel nieder auf sein Angesicht und betete
-
- 22. Recitativo (basso): Der Heiland fällt vor seinem Vater nieder
- 23. Aria (basso): Gerne will ich mich bequemen, Kreuz und Becher anzunehmen
- 24. Evangelist, Jesus: Und er kam zu seinen Jüngern und fand sie schlafend
25. Chorale: Was mein Gott will, das gscheh allzeit
- 26. Evangelist, Jesus, Judas: Und er kam und fand sie aber schlafend
-
- 27a. Aria (soprano, alto, flutes, oboes) and Coro II: So ist mein Jesus nun gefangen – Laßt ihn, haltet, bindet nicht!
- 27b. Coro I & II: Sind Blitze, sind Donner in Wolken verschwunden?
- 28. Evangelist, Jesus: Und siehe, einer aus denen, die mit Jesu waren, reckete die Hand aus
29. Chorale: O Mensch, bewein dein Sünde groß (1727/1729 version: "Jesum lass ich nicht von mir"; 1742 and 1743–1746 versions: Ripieno Soprano choir added to Soprano line)
Part Two
-
- 30. Aria (alto (1727/1729: bass), flute) and Coro II: Ach, nun ist mein Jesus hin! – Wo ist denn dein Freund hingegangen
- 31. Evangelist: Die aber Jesum gegriffen hatten, führeten ihn zu dem Hohenpriester Kaiphas
32. Chorale: Mir hat die Welt trüglich gericht'
- 33. Evangelist, Witnesses, High Priest: Und wiewohl viel falsche Zeugen herzutraten, funden sie doch keins.
-
- 34. Recitativo (tenor, oboes, viola da gamba): Mein Jesus schweigt zu falschen Lügen stille (Viola da gamba only in 1742 version [due to repair of 2nd organ, Harpsichord substituted as Keyboard Continuo instrument in Coro II, hence the Viola da gamba as further reinforcement)
- 35. Aria (tenor, viola da gamba): Geduld, Geduld! Wenn mich falsche Zungen stechen (see #34)
- 36a. Evangelist, High Priest, Jesus: Und der Hohenpriester antwortete
- 36b. Coro I & II: Er ist des Todes schuldig!
- 36c. Evangelist: Da speieten sie in sein Angesicht und schlugen ihn mit Fäusten
- 36d. Coro I & II: Weissage uns, Christe, wer ists, der dich schlug?
37. Chorale: Wer hat dich so geschlagen
- 38a. Evangelist, Maid, Peter, Maid II: Petrus aber saß draußen im Palast; und es trat zu ihm eine Magd
- 38b. Coro II: Wahrlich, du bist auch einer von denen; denn deine Sprache verrät dich.
- 38c. Evangelist, Peter: Da hub er an sich zu verfluchen und zu schwören
-
- 39. Aria (alto, violin solo I): Erbarme dich, mein Gott, um meiner Zähren Willen!
40. Chorale: Bin ich gleich von dir gewichen
- 41a. Evangelist, Judas: Des Morgens aber hielten alle Hohepriester und die Ältesten des Volks einen Rat
- 41b. Coro I & II: Was gehet uns das an? Da siehe du zu!
- 41c. Evangelist, High Priests: Und er warf die Silberlinge in den Tempel
-
- 42. Aria (basso, violin solo II): Gebt mir meinen Jesum wieder!
- 43. Evangelist, Pilate, Jesus: Sie hielten aber einen Rat und kauften einen Töpfersacker
44. Chorale: Befiehl du deine Wege
- 45a. Evangelist, Pilate, Pilate's wife: Auf das Fest aber hatte der Landpfleger Gewohnheit, dem Volk einen Gefangenen loszugeben
- Coro I & II: Barrabam!
- 45b. Coro I & II: Laß ihn kreuzigen!
46. Chorale: Wie wunderbarlich ist doch diese Strafe!
- 47. Evangelist, Pilate: Der Landpfleger sagte
-
- 48. Recitativo (soprano, oboe da caccia): Er hat uns allen wohlgetan
- 49. Aria (soprano, flute, oboe da caccia, no strings, no basso continuo): Aus Liebe will mein Heiland sterben
- 50a. Evangelist: Sie schrieen aber noch mehr und sprachen
- 50b. Coro I & II: Laß ihn kreuzigen!
- 50c. Evangelist, Pilate: Da aber Pilatus sahe, daß er nichts schaffete
- 50d. Coro I & II: Sein Blut komme über uns und unsre Kinder.
- 50e. Evangelist: Da gab er ihnen Barrabam los
-
- 51. Recitativo (alto): Erbarm es, Gott! Hier steht der Heiland angebunden.
- 52. Aria (alto): Können Tränen meiner Wangen
- 53a. Evangelist: Da nahmen die Kriegsknechte des Landpflegers Jesum zu sich
- 53b. Coro I & II: Gegrüßet seist du, Jüdenkönig!
- 53c. Evangelist: Und speieten ihn an und nahmen das Rohr und schlugen damit sein Haupt.
54. Chorale: O Haupt, voll Blut und Wunden
- 55. Evangelist: Und da sie ihn verspottet hatten, zogen sie ihm den Mantel aus
-
- 56. Recitativo (basso, flutes, viola da gamba): Ja, freilich will in uns das Fleisch und Blut zum Kreuz gezwungen sein (1727/1729 version: Lute instead of Viola da gamba)
- 57. Aria (basso, viola da gamba): Komm, süßes Kreuz, so will ich sagen (see #56)
- 58a. Evangelist: Und da sie an die Stätte kamen mit Namen Golgatha
- 58b. Coro I & II: Der du den Tempel Gottes zerbrichst
- 58c. Evangelist: Desgleichen auch die Hohenpriester spotteten sein
- 58d. Coro I & II: Andern hat er geholfen und kann ihm selber nicht helfen.
- 58e. Evangelist: Desgleichen schmäheten ihn auch die Mörder, die mit ihm gekreuziget waren.
-
- 59. Recitativo (alto, oboe da caccia): Ach Golgatha, unselges Golgatha!
- 60. Aria (alto, oboe da caccia) and Coro II: Sehet, Jesus hat die Hand uns zu fassen ausgespannt, kommt! – Wohin?
- 61a. Evangelist, Jesus: Und von der sechsten Stunde an war eine Finsternis über das ganze Land
- 61b. Coro I: Der rufet dem Elias!
- 61c. Evangelist: Und bald lief einer unter ihnen, nahm einen Schwamm
- 61d. Coro II: Halt! Laß sehen, ob Elias komme und ihm helfe.
- 61e. Evangelist: Aber Jesus schriee abermal laut und verschied.
62. Chorale: Wenn ich einmal soll scheiden
- 63a. Evangelist: Und siehe da, der Vorhang im Tempel zerriß in zwei Stück
- 63b. Coro I & II: Wahrlich, dieser ist Gottes Sohn gewesen.
- 63c. Evangelist: Und es waren viel Weiber da, die von ferne zusahen
-
- 64. Recitativo (basso): Am Abend, da es kühle war
- 65. Aria (basso, oboe da caccia): Mache dich, mein Herze, rein
- 66a. Evangelist: Und Joseph nahm den Leib und wickelte ihn in ein rein Leinwand
- 66b. Coro I & II: Herr, wir haben gedacht, daß dieser Verführer sprach
- 66c. Evangelist, Pilate: Pilatus sprach zu ihnen
-
- 67. Recitativo (basso, tenor, alto, soprano) and Coro II: Nun ist der Herr zur Ruh gebracht. – Mein Jesu, gute Nacht!
68. Coro I & II: Wir setzen uns mit Tränen nieder
Sources for the text
- Matthew 26 (Part One) and 27 (Part Two)
- Texts for recitatives and arias by Christian Friedrich Henrici (Picander)
- Song of Songs 6:1 #30
- Chorales
- O Lamm Gottes unschuldig, N. Decius (1541), verse 1 for #1 cantus firmus
- Herzliebster Jesu, Johann HeermannJohann HeermannJohann Heermann was a German poet and hymn-writer. He is commemorated in the Calendar of Saints of the Lutheran Church on 26 October with Philipp Nicolai and Paul Gerhardt.- Life :...
(1630), verse 1 for #3, 3 for #19 coro II in tenor rec., 4 for #46 - O Welt, sieh hier dein Leben, Paul GerhardtPaul GerhardtPaul Gerhardt was a German hymn writer.-Biography:Gerhardt was born into a middle-class family at Gräfenhainichen, a small town between Halle and Wittenberg. At the age of fifteen, he entered the Fürstenschule in Grimma. The school was known for its pious atmosphere and stern discipline...
(1647), verse 5 for #10, 3 for #37 - O Haupt voll Blut und Wunden, Paul Gerhardt (1656), verse 5 for #15, 6 for #17, 1 & 2 for #54, 9 for #62
- Was mein Gott will, das g'scheh allzeit, Markgraf Albrecht von Brandenburg (1547), verse 1 for #25
- O Mensch, bewein dein Sünde groß, Sebald Heyden (1525), verse 1 for #29 cantus firmus
- In dich hab ich gehoffet, Herr, Adam Reusner (1533), verse 5 for #32
- Werde munter, mein Gemüte, Johann von RistJohann von RistJohann von Rist was a German poet and dramatist best known for the hymns he wrote.-Life:He was born at Ottensen in Holstein on 8 March 1607; the son of the Lutheran pastor of that place, Caspar Rist...
(1642), verse 6 for #40 - Befiehl du deine Wege, Paul Gerhardt 1656, verse 1 for #44
Performance history
The St Matthew Passion was probably first performed on 11 April 1727 in the St. Thomas Church, and again on 15 April 1729, 30 March 1736, and 23 March 1742. He then again revised it between 1743 and 1746 (the version most commonly performed is this version). The work was not heard in more or less its entirety outside of Leipzig until 1829, when Felix MendelssohnFelix Mendelssohn
Jakob Ludwig Felix Mendelssohn Barthóldy , use the form 'Mendelssohn' and not 'Mendelssohn Bartholdy'. The Grove Dictionary of Music and Musicians gives ' Felix Mendelssohn' as the entry, with 'Mendelssohn' used in the body text...
performed an abbreviated and modified version in Berlin
Berlin
Berlin is the capital city of Germany and is one of the 16 states of Germany. With a population of 3.45 million people, Berlin is Germany's largest city. It is the second most populous city proper and the seventh most populous urban area in the European Union...
to great acclaim. Mendelssohn's revival brought the music of Bach, particularly the large-scale works, to public and scholarly attention (although the St John Passion had been performed in 1822). Appreciation, performance and study of Bach's composition have persisted into the present era. Notably, in the Netherlands
Netherlands
The Netherlands is a constituent country of the Kingdom of the Netherlands, located mainly in North-West Europe and with several islands in the Caribbean. Mainland Netherlands borders the North Sea to the north and west, Belgium to the south, and Germany to the east, and shares maritime borders...
a tradition has grown where many professional and amateur orchestras perform the St. Matthew Passion every year on Palm Sunday
Palm Sunday
Palm Sunday is a Christian moveable feast that falls on the Sunday before Easter. The feast commemorates Jesus' triumphal entry into Jerusalem, an event mentioned in all four Canonical Gospels. ....
.
Meanwhile William Sterndale Bennett
William Sterndale Bennett
Sir William Sterndale Bennett was an English composer. He ranks as the most distinguished English composer of the Romantic school-Biography:...
formed the Bach Society
The Bach Choir
The Bach Choir is a large chorus, based in London, England. It has around 220 active members. The choir's musical director is David Hill and previous musical directors have included Sir Charles Villiers Stanford, Ralph Vaughan Williams, Reginald Jacques and Sir David Willcocks.The Bach Choir is an...
in 1849 with the intention of introducing the work to the English public. Helen Johnston (a student at Queen's College London) translated the libretto, and Bennett conducted the first performance at the Hanover Square Rooms
Hanover Square Rooms
The Hanover Square Rooms or the Queen's Concert Rooms were assembly rooms established, principally for musical performances, on the corner of Hanover Square, London, by Sir John Gallini in partnership with Johann Christian Bach and Carl Friedrich Abel in 1774. For exactly one century this was the...
London on 6 April 1854 (the same year that it appeared in print by the Old Bach Society (Alte Bach-Gesellschaft). The soloists included Charlotte Helen Sainton-Dolby. The Sterndale Bennett edition was to be the first of many, the latest being by Neil Jenkins (1997) and Nicholas Fisher and John Russell (2008). The Bach Society was reformed in 1876 as The Bach Choir in London.
Excerpts of the work were performed on the American television program Omnibus on 31 March 1957 in the episode "The Music of J.S. Bach." The presenter and explicator was Leonard Bernstein
Leonard Bernstein
Leonard Bernstein August 25, 1918 – October 14, 1990) was an American conductor, composer, author, music lecturer and pianist. He was among the first conductors born and educated in the United States of America to receive worldwide acclaim...
, who introduced the St Matthew Passion as "that glorious work that started me off on my own private passion for Bach."
External links
- The Passion according to Saint Matthew BWV 244 by Joshua RifkinJoshua RifkinJoshua Rifkin is an American conductor, keyboard player, and musicologist. He is best known by the general public for having played a central role in the ragtime revival in the 1970s with the three albums he recorded of Scott Joplin's works for Nonesuch Records, and to classical musicians for his...
, on the bach-cantatas website - Translation to many languages, commentary, musical examples, list of recordings on the bach-cantatas website
- Emmanuel music Text and translation to English
- The St. Matthew Passion Minnesota Public Radio, text and translation, commentary, 2001