St Matthew Passion structure

St Matthew Passion
BWV 244
Passion by J. S. Bach

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

Vocal
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...
Decius, NikolausNikolaus Decius 1541 O Lamm Gottes, unschuldig 1 O Lamm Gottes, unschuldig 1 cantus firmus[lower-alpha 1] in choral movement
Heermann, JohannJohann Heermann 1630 Herzliebster Jesu 1 Herzliebster Jesu, was hast du verbrochen 3 four-part chorale
Gerhardt, PaulPaul Gerhardt 1647 O Welt, sieh hier dein Leben 5 Ich bin’s, ich sollte büßen 10 four-part chorale
Gerhardt, PaulPaul Gerhardt 1656 O Haupt voll Blut und Wunden 5 Erkenne mich, mein Hüter 15 four-part chorale
Gerhardt, PaulPaul Gerhardt 1656 O Haupt voll Blut und Wunden 7 Es dient zu meinen Freuden 17[lower-alpha 2] four-part chorale
Gerhardt, PaulPaul Gerhardt 1656 O Haupt voll Blut und Wunden 6 Ich will hier bei dir stehen 17[lower-alpha 3] four-part chorale
Heermann, JohannJohann Heermann 1630 Herzliebster Jesu 3 Was ist doch wohl die Ursach 19 coro II in tenor recitative
Albert, Duke in Prussia, 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
Keymann, ChristianChristian Keymann 1658 Meinen Jesum laß' ich nicht 6 Jesum laß' ich nicht von mir 29[lower-alpha 2] four-part chorale
Heyden, SebaldSebald Heyden 1525 O Mensch, bewein dein Sünde groß 1 O Mensch, bewein dein Sünde groß 29[lower-alpha 3] cantus firmus in choral movement
Reusner, AdamAdam Reusner 1533 In dich hab ich gehoffet, Herr 5 Mir hat die Welt trüglich gericht' 32 four-part chorale
Gerhardt, PaulPaul Gerhardt 1647 O Welt, sieh hier dein Leben 3 Wer hat dich so geschlagen 37 four-part chorale
Rist, Johann vonJohann von Rist 1642 Werde munter, mein Gemüte 6 Bin ich gleich von dir gewichen 40 four-part chorale
Gerhardt, PaulPaul Gerhardt 1656 Befiehl du deine Wege 1 Befiehl du deine Wege 44 four-part chorale
Heermann, JohannJohann Heermann 1630 Herzliebster Jesu 4 Wie wunderbarlich ist doch diese Strafe! 46 four-part chorale
Gerhardt, PaulPaul Gerhardt 1656 O Haupt voll Blut und Wunden 1 O Haupt voll Blut und Wunden 54 four-part chorale
Gerhardt, PaulPaul Gerhardt 1656 O Haupt voll Blut und Wunden 2 Du edles Angesichte 54, cont.[lower-alpha 3] four-part chorale
Gerhardt, PaulPaul Gerhardt 1656 O Haupt voll Blut und Wunden 9 Wenn ich einmal soll scheiden 62 four-part chorale
Notes
  1. Without text (played by organ only) in older versions of the Passion
  2. 1 2 Only in version BWV 244b
  3. 1 2 3 Not in version BWV 244b

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 1Chorale SCh ICh IIE minor12/8Kommt, ihr Töchter, helft mir klagen
+ chorale O Lamm Gottes unschuldig like a motto
2Ft 2Ob 2Vn Va BcPicander + Nicolaus Decius
2 2Ev, JesusG major → B minorDa Jesus diese Rede vollendet hatte2Vn Va BcMt 26:1–2
3 3 ChoraleB minor4/4Herzliebster Jesu2Ft 2Ob 2Vn Va BcJohann Heermann
4a 4EvD major → C majorDa versammleten sich die HohenpriesterBcMt 26:3–4
4b 5Ch ICh IIC major4/4Ja nicht auf das Fest2Ft 2Ob 2Vn Va BcMt 26:5
4c 6EvC major → A minorDa nun Jesus war zu BethanienBcMt 26:6–8a
4d 7Ch I A minor → D minor4/4Wozu dienet dieser Unrat2Ft 2Ob 2Vn Va BcMt 26:8b–9
4e 8Ev, JesusB major → E minorDa das Jesus merkete2Vn Va BcMt 26:10–13
5 9 Rec AB minor → F minor4/4Du lieber Heiland du2Ft BcSalomo Franck
6 10 Aria AF minor3/8Buß und Reu2Ft BcPicander
7 11Ev, JudasD major → B minorDa ging hin der Zwölfen einerBcMt 26:14–16
8 12 Aria SB minor4/4Blute nur, du liebes Herz!2Ft 2Vn Va BcPicander
9a 13EvG majorAber am ersten Tage der süßen BrotBcMt 26:17a
9b 14Ch I G major3/4Wo willst du, daß wir dir bereiten2Ft 2Ob 2Vn Va BcMt 26:17b
9c 15Ev, JesusG major → C majorEr sprach: Gehet hin in die Stadt2Vn Va BcMt 26:18–21
9d EvB minor → F minorUnd sie wurden sehr betrübtBcMt 26:22a
9e Ch IF minor → C minor4/4Herr, bin ich’s?2Ft 2Ob 2Vn Va BcMt 26:22b
10 16 ChoraleA major4/4Ich bin’s, ich sollte büßen2Ob 2Vn Va BcPaul Gerhardt
11 17Ev, Jesus, JudasF minor → G major4/4–6/4Er antwortete und sprach2Vn Va BcMt 26:23–29
12 18 Rec SE minor → C major4/4Wiewohl mein Herz in Tränen schwimmt2Oa BcPicander
13 19 Aria SG major6/8Ich will dir mein Herze schenken2Oa BcPicander
14 20Ev, JesusB minor → E majorUnd da sie den Lobgesang gesprochen hatten2Vn Va BcMt 26:30–32
15 21 ChoraleE major4/4Erkenne mich, mein Hüter2Ft 2Ob 2Vn Va BcPaul Gerhardt
16 22Ev, Jesus, PeterA major → G minorPetrus aber antwortete2Vn Va BcMt 26:33–35
17 23 ChoraleE major4/4Ich will hier bei dir stehen2Ob 2Vn Va BcPaul Gerhardt
18 24Ev, JesusF major → A majorDa kam Jesus mit ihnen zu einem Hofe2Vn Va BcMt 26:36–38
19 25 Rec TCh II ChoraleF minor → G major4/4Hier zittert das gequälte Herz2Fl 2Oc 2Vn Va BcPicander + Johann Heermann
20 26 Aria TCh IIC minor4/4Ich will bei meinem Jesu wachen2Ft Ob 2Vn Va BcPicander
21 27Ev, JesusB major → G minorUnd ging hin ein wenig2Vn Va BcMt 26:39
22 28 Rec BD minor → B major4/4Der Heiland fällt vor seinem Vater nieder2Vn Va BcPicander
23 29 Aria BG minor3/8Gerne will ich mich bequemen2Vn BcPicander
24 30Ev, JesusF major → B minorUnd er kam zu seinen Jüngern2Vn Va BcMt 26:40–42
25 31 ChoraleB minor4/4Was mein Gott will, das g’scheh allzeit2Ft 2Ob 2Vn Va BcAlbert, Duke of Prussia
26 32Ev, JesusD major → G majorUnd er kam und fand sie aber schlafend2Vn Va BcMt 26:43–50
27a 33 Aria S ACh IIE minor4/4So ist mein Jesus nun gefangen2Ft 2Ob 2Vn Va Bc Picander
27b Ch ICh IIE minor3/8Sind Blitze, sind Donner in Wolken verschwunden?2Ft 2Ob 2Vn Va Bc Barthold Heinrich Brockes
28 34Ev, JesusF major → C minorUnd siehe, einer aus denen2Vn Va BcMt 26:51–56
29 35 Chorale fantasiaE major4/4O Mensch, bewein dein Sünde groß2Ft 2Oa 2Vn Va BcSebald Heyden
Structure of St Matthew Passion Part II
NBA BWV Form Key Time Text Instrumentation Source Incipit
30 36 Aria ACh IIB minor3/8Ach! nun ist mein Jesus hin!Ft Oa 2Vn Va BcPicander
31 37EvB major → D minorDie aber Jesum gegriffen hattenBcMt 26:57–60a
32 38 ChoraleB major4/4Mir hat die Welt trüglich gericht'2Ft 2Ob 2Vn Va BcAdam Reusner
33 39Ev, 2 witnesses, high priestG minorUnd wiewohl viel falsche Zeugen herzutratenBcMt 26:60b–63a
34 40 Rec TA major → A minor4/4Mein Jesus schweigt2Ob Vg BcPicander
35 41 Aria TA minor4/4Geduld! Wenn mich falsche Zungen stechenVg BcPicander
36a 42Ev, Jesus, high priestE minorUnd der Hohepriester antwortete2Vn Va BcMt 26:63b–66a
36b Ch ICh IIG majorEr ist des Todes schuldig!2Ft 2Ob 2Vn Va BcMt 26:63b
36c 43EvC major → D minorDa speieten sie ausBcMt 26:67
36d Ch ICh IID minor → F majorWeissage uns, Christe2Ft 2Ob 2Vn Va BcMt 26:68
37 44 ChoraleF major4/4Wer hat dich so geschlagen2Ft 2Ob 2Vn Va BcPaul Gerhardt
38a 45Ev, Peter, 2 maidsA major → D majorPetrus aber saß draußenBcMt 26:69–73a
38b Ch IID major → A majorWahrlich, du bist auch einer2Ft Ob 2Vn Va BcMt 26:73b
38c 46Ev, PeterC major → F minorDa hub er an, sich zu verfluchenBcMt 26:74–75
39 47 Aria AB minor12/8Erbarme dichVs 2Vn Va BcPicander
40 48 ChoraleF minor → A major4/4Bin ich gleich von dir gewichen2Ft 2Ob 2Vn Va BcJohann Rist
41a 49Ev, Judas F minor → B majorDes Morgens aber hielten alle HohepriesterBcMt 27:1–4a
41b Ch ICh IIB major → E minorWas gehet uns das an?2Ft 2Ob 2Vn Va BcMt 27:4b
41c 50Ev, 2 high priestsA minor → B minorUnd er warf die Silberlinge in den TempelBcMt 27:5–6
42 51 Aria BG major4/4Gebt mir meinen Jesum wieder!Vs 2Vn Va BcPicander
43 52Ev, Jesus, Pilate E minor → D majorSie hielten aber einen Rat2Vn Va BcMt 27:7–14
44 53 ChoraleD major4/4Befiehl du deine Wege2Ft 2Ob 2Vn Va BcPaul Gerhardt
45a 54Ev, Pilate, his wifeCh ICh IIE major → A minorAuf das Fest aber hatte der Landpfleger GewohnheitBcMt 27:15–22a
45b Ch I & IIA minor → B majorLaß ihn kreuzigen!2Ft 2Ob 2Vn Va BcMt 27:22b
46 55 ChoraleB minor4/4Wie wunderbarlich ist doch diese Strafe!2Ft 2Ob 2Vn Va BcJohann Heermann
47 56Ev, PilateB minorDer Landpfleger sagteBcMt 27:23a
48 57 Rec SE minor → C major4/4Er hat uns allen wohlgetan2Oc BcPicander
49 58 Aria SA minor3/4Aus Liebe will mein Heiland sterbenFt 2OcPicander
50a 59EvE minorSie schrieen aber noch mehrBcMt 27:23b
50b Ch I & IIB minor → C majorLaß ihn kreuzigen!2Ft 2Ob 2Vn Va BcMt 27:23c
50c Ev, Pilate C major → B minorDa aber Pilatus saheBcMt 27:24–25a
50d Ch I & IIB minor → D majorSein Blut komme über uns2Ft 2Ob 2Vn Va BcMt 27:25b
50e EvD major → E minorDa gab er ihnen Barrabam losBcMt 27:26
51 60 Rec AF major → G minor4/4Erbarm es Gott!2Vn Va BcPicander
52 61 Aria AG minor3/4Können Tränen meiner Wangen2Vn BcPicander
53a 62EvF major → D minorDa nahmen die KriegsknechteBcMt 27:27–29a
53b Ch ICh IID minor → A majorGegrüßet seist du, Jüdenkönig!2Ft 2Ob 2Vn Va BcMt 27:29b
53c EvD minorUnd speieten ihn anBcMt 27:30
54 63 ChoraleD minor→F major4/4O Haupt voll Blut und Wunden2Ft 2Ob 2Vn Va BcPaul Gerhardt
55 64EvA minorUnd da sie ihn verspottet hattenBcMt 27:31–32
56 65 Rec BF major → D minor4/4Ja freilich will in uns2Ft Vg BcPicander
57 66 Aria BD minor4/4Komm, süßes KreuzVg BcPicander
58a 67EvC major → F majorUnd da sie an die Stätte kamenBcMt 27:33–39
58b Ch ICh IIF major → B minorDer du den Tempel Gottes zerbrichst2Ft 2Ob 2Vn Va BcMt 27:40
58c EvF major → E minorDesgleichen auch die HohenpriesterBcMt 27:41
58d Ch ICh IIE minorAndern hat er geholfen2Ft 2Ob 2Vn Va BcMt 27:42–44
58e 68EvG major → C minorDesgleichen schmäheten ihnBcMt 27:44
59 69 Rec AA major4/4Ach Golgatha2Oc BcPicander
60 70 Aria A Ch IIE major4/4Sehet, Jesus hat die Hand2Ob 2Oc 2Vn Va BcPicander
61a 71Ev, JesusE major → C minorUnd von der sechsten Stunde anBcMt 27:45–47a
61b Ch IC minor → F majorDer rufet dem Elias!2Ob 2Vn Va BcMt 27:47b
61c EvF major → G minorUnd bald lief einer unter ihnenBcMt 27:48–49a
61d Ch IIG minor → D minorHalt! laß sehen2Ft Ob 2Vn Va BcMt 27:49b
61e EvD minor → A minorAber Jesus schriee abermal lautBcMt 27:50
62 72 ChoraleA minor4/4Wenn ich einmal soll scheiden2Ft 2Ob 2Vn Va BcPaul Gerhardt
63a 73EvC major → A majorUnd siehe da, der Vorhang im Tempel zerriß0BcMt 27:51–54a
63b Ch I & IIA majorWahrlich, dieser ist Gottes Sohn gewesen2Ft Ob 2Vn Va BcMt 27:54b
63c EvE major → B majorUnd es waren viel Weiber daBcMt 27:55–59
64 74 Rec BG minor4/4Am Abend, da es kühle war2Vn Va BcSalomo Franck
65 75 Aria BB major12/8Mache dich, mein Herze, rein2Oc 2Vn Va BcPicander
66a 76EvG minor → E majorUnd Joseph nahm den Leib0BcMt 27:59–62
66b Ch ICh IIE major → D majorHerr, wir haben gedacht2Ft 2Ob 2Vn Va BcMt 27:63–64
66c Ev, Pilate G minor → E majorPilatus sprach zu ihnenBcMt 27:65–66
67 77 Rec S A T BCh IIE major → C minor4/4Nun ist der Herr zur Ruh gebracht2Ft 2Ob 2Vn Va BcPicander
68 78 Ch ICh IIC minor3/4Wir setzen uns mit Tränen nieder2Ft 2Ob 2Vn Va BcPicander

References

  1. Huizenga, Tom (2012). "A Visitor's Guide to the St. Matthew Passion". National Public Radio. Retrieved 26 March 2012.
  2. Harbison, John (2012). "J.S. Bach: St. Matthew Passion". Emmanuel Music. Retrieved 26 March 2012.
  3. 1 2 3 Traupman-Carr, Carol (2003). "St. Matthew Passion, BWV 244". Bach Choir of Bethlehem. Retrieved 26 March 2012.
  4. Robert Greenberg. Bach and the High Baroque: Course Guidebook. pp. 214–243.
  5. "St Matthew Passion – German to English translation in interlinear format". (uses NBA numbering)
  6. 1 2 Booklet of Johann Sebastian Bach: Matthäus-Passion Karl Richter, Münchener Bach-Orchester et. al. Archiv Produktion 1980

Sources

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