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 : Leipzig |
Movements | 68 in two parts (29 + 39) |
Text | Picander |
Bible text | Matthew 26–27 |
Chorale | |
Vocal |
|
Instrumental |
two orchestras, each of
|
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.
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 |
Musical structure
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.
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 | |
2 | 2 | Ev, Jesus | G major → B minor | Da Jesus diese Rede vollendet hatte | 2Vn Va Bc | Mt 26:1–2 | ||||
3 | 3 | Chorale | B minor | 4/4 | Herzliebster Jesu | 2Ft 2Ob 2Vn Va Bc | Johann Heermann | |||
4a | 4 | Ev | D major → C major | Da versammleten sich die Hohenpriester | Bc | Mt 26:3–4 | ||||
4b | 5 | Ch I | Ch II | C major | 4/4 | Ja nicht auf das Fest | 2Ft 2Ob 2Vn Va Bc | Mt 26:5 | ||
4c | 6 | Ev | C major → A minor | Da nun Jesus war zu Bethanien | Bc | Mt 26:6–8a | ||||
4d | 7 | Ch I | A minor → D minor | 4/4 | Wozu dienet dieser Unrat | 2Ft 2Ob 2Vn Va Bc | Mt 26:8b–9 | |||
4e | 8 | Ev, Jesus | B♭ major → E minor | Da das Jesus merkete | 2Vn Va Bc | Mt 26:10–13 | ||||
5 | 9 | Rec A | B minor → F♯ minor | 4/4 | Du lieber Heiland du | 2Ft Bc | Salomo Franck | |||
6 | 10 | Aria A | F♯ minor | 3/8 | Buß und Reu | 2Ft Bc | Picander | |||
7 | 11 | Ev, Judas | D major → B minor | Da ging hin der Zwölfen einer | Bc | Mt 26:14–16 | ||||
8 | 12 | Aria S | B minor | 4/4 | Blute nur, du liebes Herz! | 2Ft 2Vn Va Bc | Picander | |||
9a | 13 | Ev | G major | Aber am ersten Tage der süßen Brot | Bc | Mt 26:17a | ||||
9b | 14 | Ch I | G major | 3/4 | Wo willst du, daß wir dir bereiten | 2Ft 2Ob 2Vn Va Bc | Mt 26:17b | |||
9c | 15 | Ev, Jesus | G major → C major | Er sprach: Gehet hin in die Stadt | 2Vn Va Bc | Mt 26:18–21 | ||||
9d | Ev | B♭ minor → F minor | Und sie wurden sehr betrübt | Bc | Mt 26:22a | |||||
9e | Ch I | F minor → C minor | 4/4 | Herr, bin ich’s? | 2Ft 2Ob 2Vn Va Bc | Mt 26:22b | ||||
10 | 16 | Chorale | A♭ major | 4/4 | Ich bin’s, ich sollte büßen | 2Ob 2Vn Va Bc | Paul Gerhardt | |||
11 | 17 | Ev, Jesus, Judas | F minor → G major | 4/4–6/4 | Er antwortete und sprach | 2Vn Va Bc | Mt 26:23–29 | |||
12 | 18 | Rec S | E minor → C major | 4/4 | Wiewohl mein Herz in Tränen schwimmt | 2Oa Bc | Picander | |||
13 | 19 | Aria S | G major | 6/8 | Ich will dir mein Herze schenken | 2Oa Bc | Picander | |||
14 | 20 | Ev, Jesus | B minor → E major | Und da sie den Lobgesang gesprochen hatten | 2Vn Va Bc | Mt 26:30–32 | ||||
15 | 21 | Chorale | E major | 4/4 | Erkenne mich, mein Hüter | 2Ft 2Ob 2Vn Va Bc | Paul Gerhardt | |||
16 | 22 | Ev, Jesus, Peter | A major → G minor | Petrus aber antwortete | 2Vn Va Bc | Mt 26:33–35 | ||||
17 | 23 | Chorale | E♭ major | 4/4 | Ich will hier bei dir stehen | 2Ob 2Vn Va Bc | Paul Gerhardt | |||
18 | 24 | Ev, Jesus | F major → A♭ major | Da kam Jesus mit ihnen zu einem Hofe | 2Vn Va Bc | Mt 26:36–38 | ||||
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 | ||
20 | 26 | Aria T | Ch II | C minor | 4/4 | Ich will bei meinem Jesu wachen | 2Ft Ob 2Vn Va Bc | Picander | ||
21 | 27 | Ev, Jesus | B major → G minor | Und ging hin ein wenig | 2Vn Va Bc | Mt 26:39 | ||||
22 | 28 | Rec B | D minor → B♭ major | 4/4 | Der Heiland fällt vor seinem Vater nieder | 2Vn Va Bc | Picander | |||
23 | 29 | Aria B | G minor | 3/8 | Gerne will ich mich bequemen | 2Vn Bc | Picander | |||
24 | 30 | Ev, Jesus | F major → B minor | Und er kam zu seinen Jüngern | 2Vn Va Bc | Mt 26:40–42 | ||||
25 | 31 | Chorale | B minor | 4/4 | Was mein Gott will, das g’scheh allzeit | 2Ft 2Ob 2Vn Va Bc | Albert, Duke of Prussia | |||
26 | 32 | Ev, Jesus | D major → G major | Und er kam und fand sie aber schlafend | 2Vn Va Bc | Mt 26:43–50 | ||||
27a | 33 | Aria S A | Ch II | E minor | 4/4 | So ist mein Jesus nun gefangen | 2Ft 2Ob 2Vn Va Bc | Picander | ||
27b | Ch I | Ch II | E minor | 3/8 | Sind Blitze, sind Donner in Wolken verschwunden? | 2Ft 2Ob 2Vn Va Bc | Barthold Heinrich Brockes | |||
28 | 34 | Ev, Jesus | F♯ major → C♯ minor | Und siehe, einer aus denen | 2Vn Va Bc | Mt 26:51–56 | ||||
29 | 35 | Chorale fantasia | E major | 4/4 | O Mensch, bewein dein Sünde groß | 2Ft 2Oa 2Vn Va Bc | Sebald Heyden |
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 | ||
31 | 37 | Ev | B major → D minor | Die aber Jesum gegriffen hatten | Bc | Mt 26:57–60a | ||||
32 | 38 | Chorale | B♭ major | 4/4 | Mir hat die Welt trüglich gericht' | 2Ft 2Ob 2Vn Va Bc | Adam Reusner | |||
33 | 39 | Ev, 2 witnesses, high priest | G minor | Und wiewohl viel falsche Zeugen herzutraten | Bc | Mt 26:60b–63a | ||||
34 | 40 | Rec T | A major → A minor | 4/4 | Mein Jesus schweigt | 2Ob Vg Bc | Picander | |||
35 | 41 | Aria T | A minor | 4/4 | Geduld! Wenn mich falsche Zungen stechen | Vg Bc | Picander | |||
36a | 42 | Ev, Jesus, high priest | E minor | Und der Hohepriester antwortete | 2Vn Va Bc | Mt 26:63b–66a | ||||
36b | Ch I | Ch II | G major | Er ist des Todes schuldig! | 2Ft 2Ob 2Vn Va Bc | Mt 26:63b | ||||
36c | 43 | Ev | C major → D minor | Da speieten sie aus | Bc | Mt 26:67 | ||||
36d | Ch I | Ch II | D minor → F major | Weissage uns, Christe | 2Ft 2Ob 2Vn Va Bc | Mt 26:68 | ||||
37 | 44 | Chorale | F major | 4/4 | Wer hat dich so geschlagen | 2Ft 2Ob 2Vn Va Bc | Paul Gerhardt | |||
38a | 45 | Ev, Peter, 2 maids | A major → D major | Petrus aber saß draußen | Bc | Mt 26:69–73a | ||||
38b | Ch II | D major → A major | Wahrlich, du bist auch einer | 2Ft Ob 2Vn Va Bc | Mt 26:73b | |||||
38c | 46 | Ev, Peter | C♯ major → F♯ minor | Da hub er an, sich zu verfluchen | Bc | Mt 26:74–75 | ||||
39 | 47 | Aria A | B minor | 12/8 | Erbarme dich | Vs 2Vn Va Bc | Picander | |||
40 | 48 | Chorale | F♯ minor → A major | 4/4 | Bin ich gleich von dir gewichen | 2Ft 2Ob 2Vn Va Bc | Johann Rist | |||
41a | 49 | Ev, Judas | F♯ minor → B major | Des Morgens aber hielten alle Hohepriester | Bc | Mt 27:1–4a | ||||
41b | Ch I | Ch II | B major → E minor | Was gehet uns das an? | 2Ft 2Ob 2Vn Va Bc | Mt 27:4b | ||||
41c | 50 | Ev, 2 high priests | A minor → B minor | Und er warf die Silberlinge in den Tempel | Bc | Mt 27:5–6 | ||||
42 | 51 | Aria B | G major | 4/4 | Gebt mir meinen Jesum wieder! | Vs 2Vn Va Bc | Picander | |||
43 | 52 | Ev, Jesus, Pilate | E minor → D major | Sie hielten aber einen Rat | 2Vn Va Bc | Mt 27:7–14 | ||||
44 | 53 | Chorale | D major | 4/4 | Befiehl du deine Wege | 2Ft 2Ob 2Vn Va Bc | Paul Gerhardt | |||
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 | ||
45b | Ch I & II | A minor → B major | Laß ihn kreuzigen! | 2Ft 2Ob 2Vn Va Bc | Mt 27:22b | |||||
46 | 55 | Chorale | B minor | 4/4 | Wie wunderbarlich ist doch diese Strafe! | 2Ft 2Ob 2Vn Va Bc | Johann Heermann | |||
47 | 56 | Ev, Pilate | B minor | Der Landpfleger sagte | Bc | Mt 27:23a | ||||
48 | 57 | Rec S | E minor → C major | 4/4 | Er hat uns allen wohlgetan | 2Oc Bc | Picander | |||
49 | 58 | Aria S | A minor | 3/4 | Aus Liebe will mein Heiland sterben | Ft 2Oc | Picander | |||
50a | 59 | Ev | E minor | Sie schrieen aber noch mehr | Bc | Mt 27:23b | ||||
50b | Ch I & II | B minor → C♯ major | Laß ihn kreuzigen! | 2Ft 2Ob 2Vn Va Bc | Mt 27:23c | |||||
50c | Ev, Pilate | C♯ major → B minor | Da aber Pilatus sahe | Bc | Mt 27:24–25a | |||||
50d | Ch I & II | B minor → D major | Sein Blut komme über uns | 2Ft 2Ob 2Vn Va Bc | Mt 27:25b | |||||
50e | Ev | D major → E minor | Da gab er ihnen Barrabam los | Bc | Mt 27:26 | |||||
51 | 60 | Rec A | F major → G minor | 4/4 | Erbarm es Gott! | 2Vn Va Bc | Picander | |||
52 | 61 | Aria A | G minor | 3/4 | Können Tränen meiner Wangen | 2Vn Bc | Picander | |||
53a | 62 | Ev | F major → D minor | Da nahmen die Kriegsknechte | Bc | Mt 27:27–29a | ||||
53b | Ch I | Ch II | D minor → A major | Gegrüßet seist du, Jüdenkönig! | 2Ft 2Ob 2Vn Va Bc | Mt 27:29b | ||||
53c | Ev | D minor | Und speieten ihn an | Bc | Mt 27:30 | |||||
54 | 63 | Chorale | D minor→F major | 4/4 | O Haupt voll Blut und Wunden | 2Ft 2Ob 2Vn Va Bc | Paul Gerhardt | |||
55 | 64 | Ev | A minor | Und da sie ihn verspottet hatten | Bc | Mt 27:31–32 | ||||
56 | 65 | Rec B | F major → D minor | 4/4 | Ja freilich will in uns | 2Ft Vg Bc | Picander | |||
57 | 66 | Aria B | D minor | 4/4 | Komm, süßes Kreuz | Vg Bc | Picander | |||
58a | 67 | Ev | C major → F♯ major | Und da sie an die Stätte kamen | Bc | Mt 27:33–39 | ||||
58b | Ch I | Ch II | F♯ major → B minor | Der du den Tempel Gottes zerbrichst | 2Ft 2Ob 2Vn Va Bc | Mt 27:40 | ||||
58c | Ev | F♯ major → E minor | Desgleichen auch die Hohenpriester | Bc | Mt 27:41 | |||||
58d | Ch I | Ch II | E minor | Andern hat er geholfen | 2Ft 2Ob 2Vn Va Bc | Mt 27:42–44 | ||||
58e | 68 | Ev | G major → C minor | Desgleichen schmäheten ihn | Bc | Mt 27:44 | ||||
59 | 69 | Rec A | A♭ major | 4/4 | Ach Golgatha | 2Oc Bc | Picander | |||
60 | 70 | Aria A | Ch II | E♭ major | 4/4 | Sehet, Jesus hat die Hand | 2Ob 2Oc 2Vn Va Bc | Picander | ||
61a | 71 | Ev, Jesus | E♭ major → C minor | Und von der sechsten Stunde an | Bc | Mt 27:45–47a | ||||
61b | Ch I | C minor → F major | Der rufet dem Elias! | 2Ob 2Vn Va Bc | Mt 27:47b | |||||
61c | Ev | F major → G minor | Und bald lief einer unter ihnen | Bc | Mt 27:48–49a | |||||
61d | Ch II | G minor → D minor | Halt! laß sehen | 2Ft Ob 2Vn Va Bc | Mt 27:49b | |||||
61e | Ev | D minor → A minor | Aber Jesus schriee abermal laut | Bc | Mt 27:50 | |||||
62 | 72 | Chorale | A minor | 4/4 | Wenn ich einmal soll scheiden | 2Ft 2Ob 2Vn Va Bc | Paul Gerhardt | |||
63a | 73 | Ev | C major → A♭ major | Und siehe da, der Vorhang im Tempel zerriß0 | Bc | Mt 27:51–54a | ||||
63b | Ch I & II | A♭ major | Wahrlich, dieser ist Gottes Sohn gewesen | 2Ft Ob 2Vn Va Bc | Mt 27:54b | |||||
63c | Ev | E♭ major → B♭ major | Und es waren viel Weiber da | Bc | Mt 27:55–59 | |||||
64 | 74 | Rec B | G minor | 4/4 | Am Abend, da es kühle war | 2Vn Va Bc | Salomo Franck | |||
65 | 75 | Aria B | B♭ major | 12/8 | Mache dich, mein Herze, rein | 2Oc 2Vn Va Bc | Picander | |||
66a | 76 | Ev | G minor → E♭ major | Und Joseph nahm den Leib0 | Bc | Mt 27:59–62 | ||||
66b | Ch I | Ch II | E♭ major → D major | Herr, wir haben gedacht | 2Ft 2Ob 2Vn Va Bc | Mt 27:63–64 | ||||
66c | Ev, Pilate | G minor → E♭ major | Pilatus sprach zu ihnen | Bc | Mt 27:65–66 | |||||
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 | ||
68 | 78 | Ch I | Ch II | C minor | 3/4 | Wir setzen uns mit Tränen nieder | 2Ft 2Ob 2Vn Va Bc | Picander |
References
- ↑ Huizenga, Tom (2012). "A Visitor's Guide to the St. Matthew Passion". National Public Radio. Retrieved 26 March 2012.
- ↑ Harbison, John (2012). "J.S. Bach: St. Matthew Passion". Emmanuel Music. Retrieved 26 March 2012.
- 1 2 3 Traupman-Carr, Carol (2003). "St. Matthew Passion, BWV 244". Bach Choir of Bethlehem. Retrieved 26 March 2012.
- ↑ Robert Greenberg. Bach and the High Baroque: Course Guidebook. pp. 214–243.
- ↑ "St Matthew Passion – German to English translation in interlinear format". (uses NBA numbering)
- 1 2 Booklet of Johann Sebastian Bach: Matthäus-Passion Karl Richter, Münchener Bach-Orchester et. al. Archiv Produktion 1980
Sources
- Matthäuspassion: Scores at the International Music Score Library Project
- Matthäuspassion, early edition (BWV 244b): Scores at the International Music Score Library Project
- St. Matthew passion BWV 244; BC D 3b / Passion Leipzig University
- Matthäus-Passion BWV 244 history, scoring, sources for text and music, translations to various languages, discography, discussion, bach-cantatas website
- Matthäuspassion history, scoring, Bach website (German)
- BWV 244 Matthäus-Passion Sources, English translation, University of Vermont
- BWV 244 Matthäuspassion text, scoring, University of Alberta
- Tim Smith and Ben Kammin: The Chorales of Bach's St. Matthew Passion: their Sources and Dramatic Roles bach.nau.edu
External links
- Uri Golomb: Academia.Edu Liturgical drama in Bach’s St. Matthew Passion Goldberg Early Music Magazine 39 (April 2006), pp. 48–59
- Rex Levang: The St. Matthew Passion Minnesota Public Radio, text and translation, commentary, 2001