St Matthew Passion structure

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St Matthew Passion
BWV 244
Passion by J. S. Bach
05-Cranach1.jpg
Schmerzensmann (Man of sorrows) by Lucas Cranach the Elder (1515)
Original Passio Domini Nostri J.C. Secundum Evangelistam Matthaeum
Related BWV 244a
Occasion Good Friday
Performed 11 April 1727 (1727-04-11): Leipzig
Movements 68 in two parts (29 + 39)
Text Picander
Bible text Matthew 26–27
Chorale <templatestyles src="Plainlist/styles.css"/>
Vocal <templatestyles src="Plainlist/styles.css"/>
Instrumental two orchestras, each of
  • 2 recorders
  • 2 flauti traversi
  • 2 oboes
  • 2 oboes da caccia
  • 2 oboes d'amore
  • bassoon
  • 2 violins
  • viola
  • viola da gamba
  • continuo

Johann Sebastian Bach's St Matthew Passion (Matthäuspassion), BWV 244, is structured on multiple levels: the composition is structured by three levels of text sources (Gospel, libretto and chorales) and by the different formats that are used for the musical expression.

Bach's large choral composition was written to present the Passion, as told in the Gospel of Matthew, in a vespers service on Good Friday. It is composed in two parts, that were to be performed before and after the sermon of that service. Part I covers the events until the arrest of Jesus and Part II concludes with his burial and the sealing of his grave.

Bach took the Gospel text for the composition from Martin Luther's German translation of Matthew 26 and 27. Contemporary poetry in Picander's libretto and chorales comment on the Bible text and open and close most scenes of the narration.[1][2][3]

Numbering of the movements

Bach did not number the sections of the St Matthew Passion but twentieth-century scholars have done so. The Bach-Werke-Verzeichnis (BWV, Bach Works Catalog) divides the work into 78 numbers (vocal movements), but the Neue Bach-Ausgabe (NBA, New Bach Edition) uses a 1 through 68 numbering system. Both use lettered subsections in some cases.[4][5] Movement numbers in this article follow the NBA scheme, except for the table with the movements that cross-references both numbering systems.

Text based structure

The text is composed on three levels, the biblical text, contemporary poetry by Picander and chorales.

Scene division based on the Gospel text

The St Matthew Passion can be divided in scenes or "stations" that follow the dramatic action of the Gospel account in different locations.[3] Whatever the chosen scene division (none of them indicated by the composer in the score), scenes end on an aria, a chorus, or in the midst of a Gospel text section. In the latter case the ending of the scene would usually be on a turba chorus, e.g. "Wahrlich, dieser ist Gottes Sohn gewesen" ending the scene where Jesus dies at the cross.

New scenes begin with Gospel text sung by the Evangelist, except the first scene of each of the two parts of the composition. In other words, except for the chorus and aria that open Part One and Part Two, chorales and arias are a meditation after the narration of the action in the sung Gospel text.

NBA 16 scenes[3] Archiv[6]
Part I
1–4b 1. "The chief priests seek to destroy Jesus" Anointing in Bethany
4b–6 2. "Jesus is anointed with precious ointment"
7–8 3. "Judas plans the betrayal of Christ" The Lord's Supper
9a–11 4. "The disciples prepare the Passover meal"
12–13 5. "The Last Supper"
14–17 6. "The Agony in the Garden"
18–25 In Gethsemane
26–29 7. "The arrest of Jesus"
Part II
30–35 8. "The hearing before high priest Caiaphas" False Witness
36–37 Interrogation by Caiaphas and Pilate
38–40 9. "Peter's denial of Christ, and his remorse"
41–44 10. "Judas' repentance and death"
45–52 11. "The trial before Pontius Pilate" Jesus' Delivery and Flagellation
53–54 12. "Soldiers crown Jesus with thorns, mocking him"
55–60 13. "Crucifixion" Crucifixion
61–63b 14. "Death of Jesus, followed by an earthquake"
63c–66a 15. "Descent from the Cross; Christ's burial" The Interment
66b–68 16. "Chief priests demand the tomb be sealed"

Libretto

Christian Friedrich Henrici (Picander), who collaborated with Bach, wrote text for recitatives and arias, and for the large scale choral movements that open and close the Passion. Other libretto sections came from publications by Salomo Franck and Barthold Heinrich Brockes.[6]

Scenes can be opened and closed by arias: No. 6 "Buß und Reu", an aria for alto, concludes the scene at Bethany. Part II opens with an aria, "Ach! nun ist mein Jesus hin!".

Chorales

The oldest chorale chosen for the Passion dates from 1525. Bach used the hymns in different ways, most are four-part setting, two as the cantus firmus of the two chorale fantasias framing Part I, one as a commenting element in a tenor recitative.

Three of the texts Bach used for chorale settings are written by Paul Gerhardt. Bach included five stanzas of his O Haupt voll Blut und Wunden in the Passion, and he uses the first two stanzas of the poem to conclude the Flagellation scene.

Chorales in St Matthew Passion
Author Date Hymn; Stanza Stanza incipit No. Set as...
Nikolaus Decius 1541 O Lamm Gottes, unschuldig 1 O Lamm Gottes, unschuldig 1 cantus firmus in choral movement
Johann Heermann 1630 Herzliebster Jesu 1 Herzliebster Jesu, was hast du verbrochen 3 four-part chorale
Paul Gerhardt 1647 O Welt, sieh hier dein Leben 5 Ich bin’s, ich sollte büßen 10 four-part chorale
Paul Gerhardt 1656 O Haupt voll Blut und Wunden 5 Erkenne mich, mein Hüter 15 four-part chorale
Paul Gerhardt 1656 O Haupt voll Blut und Wunden 6 Ich will hier bei dir stehen 17 four-part chorale
Johann Heermann 1630 Herzliebster Jesu 3 Was ist doch wohl die Ursach 19 coro II in tenor recitative
Albert, Duke in Prussia 1547 Was mein Gott will, das g'scheh allzeit 1 Was mein Gott will, das g'scheh allzeit 25 four-part chorale
Sebald Heyden 1525 O Mensch, bewein dein Sünde groß 1 O Mensch, bewein dein Sünde groß 29 cantus firmus in choral movement
Adam Reusner 1533 In dich hab ich gehoffet, Herr 5 Mir hat die Welt trüglich gericht' 32 four-part chorale
Paul Gerhardt 1647 O Welt, sieh hier dein Leben 3 Wer hat dich so geschlagen 37 four-part chorale
Johann von Rist 1642 Werde munter, mein Gemüte 6 Bin ich gleich von dir gewichen 40 four-part chorale
Paul Gerhardt 1656 de (Befiehl du deine Wege) 1 Befiehl du deine Wege 44 four-part chorale
Johann Heermann 1630 Herzliebster Jesu 4 Wie wunderbarlich ist doch diese Strafe! 46 four-part chorale
Paul Gerhardt 1656 O Haupt voll Blut und Wunden 1
2		 O Haupt voll Blut und Wunden
Du edles Angesichte		 54 four-part chorale
Paul Gerhardt 1656 O Haupt voll Blut und Wunden 9 Wenn ich einmal soll scheiden 62 four-part chorale

Musical structure

Beginning of recitative No. 61a (NBA), the Bible words written in red

The work is composed for double choir, double orchestra, and vocal soloists. The soloists and the organist usually perform for both groups. The choirs are abbreviated Ch I and Ch II, individual voice parts as S (soprano), A (alto), T (tenor) and B (bass). Both choirs are four-part, SATB. The orchestra consists of woodwinds, strings and basso continuo (Bc). Woodwinds are recorder, flauto traverso (transverse flute) (Ft), oboe (Ob), oboe d'amore (Oa) and oboe da caccia (Oc). Strings are violin (Vn), solo violin (Vs), viola (Va), lute (Lt), viola da gamba (Vg). Continuo are violoncello, double bass, bassoon and organ.

The Bible story is brought by the Evangelist (Ev) in secco recitative, and by the characters that have direct speech in the narrative. The speech of Jesus sings in accompagnato recitative, except at the beginning of No. 61a where Jesus utters his last words "Eli, Eli, lama, lama asabthani" [sic] in recitative secco (see facsimile image on the right). The speech of other persons, called soliloquents is also set as secco recitative. Soliloquents are Judas (B), Peter (B), two witnesses (A T), two high priests (B), two maids (S), Pilate (B) and his wife (S). The speech of groups such as the disciples and the crowd, are expressed in turba choruses.

Reflecting thoughts on contemporary poetry appear as a sequence of recitative (rec) and aria, sometimes just an aria, and in choral movements. Most chorales are four-part settings. Several movements use a combination of forms, such as an aria with chorale, a chorale fantasia, a chorus with a chorale as a cantus firmus. Chorales are performed by both groups combined to one, with each voice type in unison. Movement 63b, "Wahrlich, dieser ist Gottes Sohn gewesen" (Truly, this man was God's own Son most truly), is treated the same way. Part I ends with a chorale fantasia that is based on the opening chorus of the St John Passion in its second version, also performed by both choirs in unison, whereas the opening chorus is for double choir with an additional cantus firmus of the chorale "O Lamm Gottes, unschuldig", which was originally played, later sung. The closing chorus is in da capo form for two choirs.

Movements

Column 1 of the table is the movement number in the Neue Bach-Ausgabe; column 2 is this number in the Bach-Werke-Verzeichnis. The last column shows the incipit, the first words sung with the music.

Structure of St Matthew Passion Part I
NBA BWV Gospel Ch I Ch II Key Time Beginning of text Instrumentation Source Incipit
1 1 Chorale S Ch I Ch II E minor 12/8 Kommt, ihr Töchter, helft mir klagen
+ chorale O Lamm Gottes unschuldig like a motto		 2Ft 2Ob 2Vn Va Bc Picander + Nicolaus Decius BWV 244 Nr. 1 Kommt, ihr Töchter.svg
2 2 Ev, Jesus G major → B minor Da Jesus diese Rede vollendet hatte 2Vn Va Bc Mt 26:1–2 360px
3 3 Chorale B minor 4/4 Herzliebster Jesu 2Ft 2Ob 2Vn Va Bc Johann Heermann BWV 244 Incipit Nr. 3 Herzliebster Jesu.svg
4a 4 Ev D major → C major Da versammleten sich die Hohenpriester Bc Mt 26:3–4 360px
4b 5 Ch I Ch II C major 4/4 Ja nicht auf das Fest 2Ft 2Ob 2Vn Va Bc Mt 26:5 360px
4c 6 Ev C major → A minor Da nun Jesus war zu Bethanien Bc Mt 26:6–8a 360px
4d 7 Ch I A minor → D minor 4/4 Wozu dienet dieser Unrat 2Ft 2Ob 2Vn Va Bc Mt 26:8b–9 360px
4e 8 Ev, Jesus B♭ major → E minor Da das Jesus merkete 2Vn Va Bc Mt 26:10–13 360px
5 9 Rec A B minor → F♯ minor 4/4 Du lieber Heiland du 2Ft Bc Salomo Franck 360px
6 10 Aria A F♯ minor 3/8 Buß und Reu 2Ft Bc Picander 360px
7 11 Ev, Judas D major → B minor Da ging hin der Zwölfen einer Bc Mt 26:14–16 360px
8 12 Aria S B minor 4/4 Blute nur, du liebes Herz! 2Ft 2Vn Va Bc Picander 360px
9a 13 Ev G major Aber am ersten Tage der süßen Brot Bc Mt 26:17a 360px
9b 14 Ch I G major 3/4 Wo willst du, daß wir dir bereiten 2Ft 2Ob 2Vn Va Bc Mt 26:17b 360px
9c 15 Ev, Jesus G major → C major Er sprach: Gehet hin in die Stadt 2Vn Va Bc Mt 26:18–21 360px
9d Ev B♭ minor → F minor Und sie wurden sehr betrübt Bc Mt 26:22a 360px
9e Ch I F minor → C minor 4/4 Herr, bin ich’s? 2Ft 2Ob 2Vn Va Bc Mt 26:22b 360px
10 16 Chorale A♭ major 4/4 Ich bin’s, ich sollte büßen 2Ob 2Vn Va Bc Paul Gerhardt 360px
11 17 Ev, Jesus, Judas F minor → G major 4/4–6/4 Er antwortete und sprach 2Vn Va Bc Mt 26:23–29 360px
12 18 Rec S E minor → C major 4/4 Wiewohl mein Herz in Tränen schwimmt 2Oa Bc Picander 360px
13 19 Aria S G major 6/8 Ich will dir mein Herze schenken 2Oa Bc Picander 360px
14 20 Ev, Jesus B minor → E major Und da sie den Lobgesang gesprochen hatten 2Vn Va Bc Mt 26:30–32 360px
15 21 Chorale E major 4/4 Erkenne mich, mein Hüter 2Ft 2Ob 2Vn Va Bc Paul Gerhardt 360px
16 22 Ev, Jesus, Peter A major → G minor Petrus aber antwortete 2Vn Va Bc Mt 26:33–35 360px
17 23 Chorale E♭ major 4/4 Ich will hier bei dir stehen 2Ob 2Vn Va Bc Paul Gerhardt 360px
18 24 Ev, Jesus F major → A♭ major Da kam Jesus mit ihnen zu einem Hofe 2Vn Va Bc Mt 26:36–38 360px
19 25 Rec T Ch II Chorale F minor → G major 4/4 Hier zittert das gequälte Herz 2Fl 2Oc 2Vn Va Bc Picander + Johann Heermann 360px
20 26 Aria T Ch II C minor 4/4 Ich will bei meinem Jesu wachen 2Ft Ob 2Vn Va Bc Picander 360px
21 27 Ev, Jesus B major → G minor Und ging hin ein wenig 2Vn Va Bc Mt 26:39 360px
22 28 Rec B D minor → B♭ major 4/4 Der Heiland fällt vor seinem Vater nieder 2Vn Va Bc Picander 360px
23 29 Aria B G minor 3/8 Gerne will ich mich bequemen 2Vn Bc Picander 360px
24 30 Ev, Jesus F major → B minor Und er kam zu seinen Jüngern 2Vn Va Bc Mt 26:40–42 360px
25 31 Chorale B minor 4/4 Was mein Gott will, das g’scheh allzeit 2Ft 2Ob 2Vn Va Bc Albert, Duke of Prussia 360px
26 32 Ev, Jesus D major → G major Und er kam und fand sie aber schlafend 2Vn Va Bc Mt 26:43–50 360px
27a 33 Aria S A Ch II E minor 4/4 So ist mein Jesus nun gefangen 2Ft 2Ob 2Vn Va Bc Picander 360px
27b Ch I Ch II E minor 3/8 Sind Blitze, sind Donner in Wolken verschwunden? 2Ft 2Ob 2Vn Va Bc Barthold Heinrich Brockes 360px
28 34 Ev, Jesus F♯ major → C♯ minor Und siehe, einer aus denen 2Vn Va Bc Mt 26:51–56 360px
29 35 Chorale fantasia E major 4/4 O Mensch, bewein dein Sünde groß 2Ft 2Oa 2Vn Va Bc Sebald Heyden 360px
Structure of St Matthew Passion Part II
NBA BWV Form Key Time Text Instrumentation Source Incipit
30 36 Aria A Ch II B minor 3/8 Ach! nun ist mein Jesus hin! Ft Oa 2Vn Va Bc Picander 360px
31 37 Ev B major → D minor Die aber Jesum gegriffen hatten Bc Mt 26:57–60a 360px
32 38 Chorale B♭ major 4/4 Mir hat die Welt trüglich gericht' 2Ft 2Ob 2Vn Va Bc Adam Reusner 360px
33 39 Ev, 2 witnesses, high priest G minor Und wiewohl viel falsche Zeugen herzutraten Bc Mt 26:60b–63a 360px
34 40 Rec T A major → A minor 4/4 Mein Jesus schweigt 2Ob Vg Bc Picander 360px
35 41 Aria T A minor 4/4 Geduld! Wenn mich falsche Zungen stechen Vg Bc Picander 360px
36a 42 Ev, Jesus, high priest E minor Und der Hohepriester antwortete 2Vn Va Bc Mt 26:63b–66a 360px
36b Ch I Ch II G major Er ist des Todes schuldig! 2Ft 2Ob 2Vn Va Bc Mt 26:63b 360px
36c 43 Ev C major → D minor Da speieten sie aus Bc Mt 26:67 360px
36d Ch I Ch II D minor → F major Weissage uns, Christe 2Ft 2Ob 2Vn Va Bc Mt 26:68 360px
37 44 Chorale F major 4/4 Wer hat dich so geschlagen 2Ft 2Ob 2Vn Va Bc Paul Gerhardt 360px
38a 45 Ev, Peter, 2 maids A major → D major Petrus aber saß draußen Bc Mt 26:69–73a 360px
38b Ch II D major → A major Wahrlich, du bist auch einer 2Ft Ob 2Vn Va Bc Mt 26:73b 360px
38c 46 Ev, Peter C♯ major → F♯ minor Da hub er an, sich zu verfluchen Bc Mt 26:74–75 360px
39 47 Aria A B minor 12/8 Erbarme dich Vs 2Vn Va Bc Picander 360px
40 48 Chorale F♯ minor → A major 4/4 Bin ich gleich von dir gewichen 2Ft 2Ob 2Vn Va Bc Johann Rist 360px
41a 49 Ev, Judas F♯ minor → B major Des Morgens aber hielten alle Hohepriester Bc Mt 27:1–4a 360px
41b Ch I Ch II B major → E minor Was gehet uns das an? 2Ft 2Ob 2Vn Va Bc Mt 27:4b 360px
41c 50 Ev, 2 high priests A minor → B minor Und er warf die Silberlinge in den Tempel Bc Mt 27:5–6 360px
42 51 Aria B G major 4/4 Gebt mir meinen Jesum wieder! Vs 2Vn Va Bc Picander 360px
43 52 Ev, Jesus, Pilate E minor → D major Sie hielten aber einen Rat 2Vn Va Bc Mt 27:7–14 360px
44 53 Chorale D major 4/4 Befiehl du deine Wege 2Ft 2Ob 2Vn Va Bc Paul Gerhardt 360px
45a 54 Ev, Pilate, his wife Ch I Ch II E major → A minor Auf das Fest aber hatte der Landpfleger Gewohnheit Bc Mt 27:15–22a 360px
45b Ch I & II A minor → B major Laß ihn kreuzigen! 2Ft 2Ob 2Vn Va Bc Mt 27:22b 360px
46 55 Chorale B minor 4/4 Wie wunderbarlich ist doch diese Strafe! 2Ft 2Ob 2Vn Va Bc Johann Heermann 360px
47 56 Ev, Pilate B minor Der Landpfleger sagte Bc Mt 27:23a 360px
48 57 Rec S E minor → C major 4/4 Er hat uns allen wohlgetan 2Oc Bc Picander 360px
49 58 Aria S A minor 3/4 Aus Liebe will mein Heiland sterben Ft 2Oc Picander 360px
50a 59 Ev E minor Sie schrieen aber noch mehr Bc Mt 27:23b 360px
50b Ch I & II B minor → C♯ major Laß ihn kreuzigen! 2Ft 2Ob 2Vn Va Bc Mt 27:23c 360px
50c Ev, Pilate C♯ major → B minor Da aber Pilatus sahe Bc Mt 27:24–25a 360px
50d Ch I & II B minor → D major Sein Blut komme über uns 2Ft 2Ob 2Vn Va Bc Mt 27:25b 360px
50e Ev D major → E minor Da gab er ihnen Barrabam los Bc Mt 27:26 360px
51 60 Rec A F major → G minor 4/4 Erbarm es Gott! 2Vn Va Bc Picander 360px
52 61 Aria A G minor 3/4 Können Tränen meiner Wangen 2Vn Bc Picander 360px
53a 62 Ev F major → D minor Da nahmen die Kriegsknechte Bc Mt 27:27–29a 360px
53b Ch I Ch II D minor → A major Gegrüßet seist du, Jüdenkönig! 2Ft 2Ob 2Vn Va Bc Mt 27:29b 360px
53c Ev D minor Und speieten ihn an Bc Mt 27:30 360px
54 63 Chorale D minor→F major 4/4 O Haupt voll Blut und Wunden 2Ft 2Ob 2Vn Va Bc Paul Gerhardt 360px
55 64 Ev A minor Und da sie ihn verspottet hatten Bc Mt 27:31–32 360px
56 65 Rec B F major → D minor 4/4 Ja freilich will in uns 2Ft Vg Bc Picander 360px
57 66 Aria B D minor 4/4 Komm, süßes Kreuz Vg Bc Picander 360px
58a 67 Ev C major → F♯ major Und da sie an die Stätte kamen Bc Mt 27:33–39 360px
58b Ch I Ch II F♯ major → B minor Der du den Tempel Gottes zerbrichst 2Ft 2Ob 2Vn Va Bc Mt 27:40 360px
58c Ev F♯ major → E minor Desgleichen auch die Hohenpriester Bc Mt 27:41 360px
58d Ch I Ch II E minor Andern hat er geholfen 2Ft 2Ob 2Vn Va Bc Mt 27:42–44 360px
58e 68 Ev G major → C minor Desgleichen schmäheten ihn Bc Mt 27:44 360px
59 69 Rec A A♭ major 4/4 Ach Golgatha 2Oc Bc Picander 360px
60 70 Aria A Ch II E♭ major 4/4 Sehet, Jesus hat die Hand 2Ob 2Oc 2Vn Va Bc Picander 360px
61a 71 Ev, Jesus E♭ major → C minor Und von der sechsten Stunde an Bc Mt 27:45–47a 360px
61b Ch I C minor → F major Der rufet dem Elias! 2Ob 2Vn Va Bc Mt 27:47b 360px
61c Ev F major → G minor Und bald lief einer unter ihnen Bc Mt 27:48–49a 360px
61d Ch II G minor → D minor Halt! laß sehen 2Ft Ob 2Vn Va Bc Mt 27:49b 360px
61e Ev D minor → A minor Aber Jesus schriee abermal laut Bc Mt 27:50 360px
62 72 Chorale A minor 4/4 Wenn ich einmal soll scheiden 2Ft 2Ob 2Vn Va Bc Paul Gerhardt 360px
63a 73 Ev C major → A♭ major Und siehe da, der Vorhang im Tempel zerriß0 Bc Mt 27:51–54a 360px
63b Ch I & II A♭ major Wahrlich, dieser ist Gottes Sohn gewesen 2Ft Ob 2Vn Va Bc Mt 27:54b 360px
63c Ev E♭ major → B♭ major Und es waren viel Weiber da Bc Mt 27:55–59 360px
64 74 Rec B G minor 4/4 Am Abend, da es kühle war 2Vn Va Bc Salomo Franck 360px
65 75 Aria B B♭ major 12/8 Mache dich, mein Herze, rein 2Oc 2Vn Va Bc Picander 360px
66a 76 Ev G minor → E♭ major Und Joseph nahm den Leib0 Bc Mt 27:59–62 360px
66b Ch I Ch II E♭ major → D major Herr, wir haben gedacht 2Ft 2Ob 2Vn Va Bc Mt 27:63–64 360px
66c Ev, Pilate G minor → E♭ major Pilatus sprach zu ihnen Bc Mt 27:65–66 360px
67 77 Rec S A T B Ch II E♭ major → C minor 4/4 Nun ist der Herr zur Ruh gebracht 2Ft 2Ob 2Vn Va Bc Picander 360px
68 78 Ch I Ch II C minor 3/4 Wir setzen uns mit Tränen nieder 2Ft 2Ob 2Vn Va Bc Picander 360px

References

  1. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  2. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  3. ↑ 3.0 3.1 3.2 Lua error in package.lua at line 80: module 'strict' not found.
  4. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  5. ↑ Lua error in package.lua at line 80: module 'strict' not found. (uses NBA numbering)
  6. ↑ 6.0 6.1 Booklet of Johann Sebastian Bach: Matthäus-Passion Karl Richter, Münchener Bach-Orchester et. al. Archiv Produktion 1980

Sources

External links

de:Matthäus-Passion (J. S. Bach)#Werkübersicht

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