St Matthew Passion structure

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

St Matthew Passion
BWV 244
Passion by J. S. Bach
Schmerzensmann (Man of sorrows) by Lucas Cranach the Elder (1515)
Native namePassio Domini Nostri J.C. Secundum Evangelistam Matthaeum
RelatedBWV 244a
OccasionGood Friday
TextPicander
Bible textMatthew 26–27
Chorale
Performed11 April 1727 (1727-04-11): Leipzig
Movements68 in two parts (29 + 39)
Vocal
InstrumentalTwo 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

Bach's large choral composition was written to present the Passion of Jesus, 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), while the Neue Bach-Ausgabe (NBA, New Bach Edition) divides the piece into 68 movements. 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 taken from three sources: the biblical texts, 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, such as 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
1–4a 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 are 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 Decius1541O Lamm Gottes, unschuldig1O Lamm Gottes, unschuldig1cantus firmus[lower-alpha 1] in choral movement
Johann Heermann1630Herzliebster Jesu1Herzliebster Jesu, was hast du verbrochen3four-part chorale
Paul Gerhardt1647O Welt, sieh hier dein Leben5Ich bin's, ich sollte büßen10four-part chorale
Paul Gerhardt1656O Haupt voll Blut und Wunden5Erkenne mich, mein Hüter15four-part chorale
Paul Gerhardt1656O Haupt voll Blut und Wunden7Es dient zu meinen Freuden17[lower-alpha 2]four-part chorale
Paul Gerhardt1656O Haupt voll Blut und Wunden6Ich will hier bei dir stehen17[lower-alpha 3]four-part chorale
Johann Heermann1630Herzliebster Jesu3Was ist doch wohl die Ursach19coro II in tenor recitative
Albert, Duke of Prussia1547Was mein Gott will, das g'scheh allzeit1Was mein Gott will, das g'scheh allzeit25four-part chorale
Christian Keymann1658Meinen Jesum laß ich nicht6Jesum laß' ich nicht von mir29[lower-alpha 2]four-part chorale
Sebald Heyden1525O Mensch, bewein dein Sünde groß1O Mensch, bewein dein Sünde groß29[lower-alpha 3]cantus firmus in choral movement
Adam Reusner1533In dich hab ich gehoffet, Herr5Mir hat die Welt trüglich gericht'32four-part chorale
Paul Gerhardt1647O Welt, sieh hier dein Leben3Wer hat dich so geschlagen37four-part chorale
Johann Rist1642Werde munter, mein Gemüte6Bin ich gleich von dir gewichen40four-part chorale
Paul Gerhardt1656Befiehl du deine Wege1Befiehl du deine Wege44four-part chorale
Johann Heermann1630Herzliebster Jesu4Wie wunderbarlich ist doch diese Strafe!46four-part chorale
Paul Gerhardt1656O Haupt voll Blut und Wunden1O Haupt voll Blut und Wunden54four-part chorale
Paul Gerhardt1656O Haupt voll Blut und Wunden2Du edles Angesichte54, cont.[lower-alpha 3]four-part chorale
Paul Gerhardt1656O Haupt voll Blut und Wunden9Wenn ich einmal soll scheiden62four-part chorale
Notes
  1. Without text (played by organ only) in older versions of the Passion
  2. Only in version BWV 244b
  3. Not in version BWV 244b

Musical structure

Beginning of recitative No. 61a (NBA), the Biblical quotation written in red

The work is composed for double choir, double orchestra, and vocal soloists. 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 recorders, 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), and viola da gamba (Vg). Continuo are violoncello, double bass, bassoon, and organ.

The Bible story is told 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 sequence of recitatives (rec) and arias, sometimes just the latter, 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 were performed by both groups combined, 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 the chorale "O Lamm Gottes, unschuldig" as the cantus firmus, 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 measures of each movement with text.

Structure of St Matthew Passion, Part I
NBA BWV Gospel Ch 1 Ch II Key Time Instr. Beginning
of text
Source Incipit
1 1Chorale SCh ICh IIE minor12
8
2Ft 2Ob
2Vn Va
Bc
Kommt, ihr Töchter, helft mir klagen
+ chorale O Lamm Gottes, unschuldig as cantus firmus
Picander + Nicolaus Decius
2 2Ev, JesusG major
→ B minor
common time2Vn Va
Bc
Da Jesus diese Rede vollendet hatte Mt 26:1–2
3 3ChoraleB minorcommon time2Ft 2Ob
2Vn Va
Bc
Herzliebster Jesu Johann Heermann
4a 4EvD major
→ C major
common timeBc Da versammleten sich die HohenpriesterMt 26:3–4
4b 5Ch ICh IIC majorcommon time2Ft 2Ob
2Vn Va
Bc
Ja nicht auf das Fest Mt 26:5
4c 6EvC major
→ A minor
common timeBc Da nun Jesus war zu BethanienMt 26:6–8a
4d 7Ch IA minor
→ D minor
common time2Ft 2Ob
2Vn Va
Bc
Wozu dienet dieser Unrat Mt 26:8b–9
4e 8Ev, JesusB major
→ E minor
common time2Vn Va
Bc
Da das Jesus merkete Mt 26:10–13
5 9Rec AB minor
→ F minor
common time2Ft
Bc
Du lieber Heiland du Salomo Franck
6 10Aria AF minor3
8
2Ft
Bc
Buß und Reu Picander
7 11Ev, JudasD major
→ B minor
common timeBc Da ging hin der Zwölfen einerMt 26:14–16
8 12Aria SB minorcommon time2Ft
2Vn Va
Bc
Blute nur, du liebes Herz! Picander
9a 13EvG major common timeBc Aber am ersten Tage der süßen BrotMt 26:17a
9b 14Ch IG major3
4
2Ft 2Ob
2Vn Va
Bc
Wo willst du, daß wir dir bereiten Mt 26:17b
9c 15Ev, JesusG major
→ C major
common time2Vn Va
Bc
Er sprach: Gehet hin in die Stadt Mt 26:18–21
9d EvB minor
→ F minor
common timeBc Und sie wurden sehr betrübtMt 26:22a
9e Ch IF minor
→ C minor
common time2Ft 2Ob
2Vn Va
Bc
Herr, bin ich's? Mt 26:22b
10 16ChoraleA majorcommon time2Ob
2Vn Va
Bc
Ich bin's, ich sollte büßen Paul Gerhardt
11 17Ev, Jesus, JudasF minor
→ G major
common time6
4
2Vn Va
Bc
Er antwortete und sprach Mt 26:23–29
12 18Rec SE minor
→ C major
common time2Oa
Bc
Wiewohl mein Herz in Tränen schwimmt Picander
13 19Aria SG major6
8
2Oa
Bc
Ich will dir mein Herze schenken Picander
14 20Ev, JesusB minor
→ E major
common time2Vn Va
Bc
Und da sie den Lobgesang gesprochen hatten Mt 26:30–32
15 21ChoraleE majorcommon time2Ft 2Ob
2Vn Va
Bc
Erkenne mich, mein Hüter Paul Gerhardt
16 22Ev, Jesus, PeterA major
→ G minor
common time2Vn Va
Bc
Petrus aber antwortete Mt 26:33–35
17 23ChoraleE majorcommon time2Ob
2Vn Va
Bc
Ich will hier bei dir stehen Paul Gerhardt
18 24Ev, JesusF major
→ A major
common time2Vn Va
Bc
Da kam Jesus mit ihnen zu einem Hofe Mt 26:36–38
19 25Rec TCh II ChoraleF minor
→ G major
common time2Fl 2Oc
2Vn Va
Bc
O Schmerz! Hier zittert das gequälte Herz Picander + Johann Heermann
20 26Aria TCh IIC minorcommon time2Ft Ob
2Vn Va
Bc
Ich will bei meinem Jesu wachen Picander
21 27Ev, JesusB major
→ G minor
common time2Vn Va
Bc
Und ging hin ein wenig Mt 26:39
22 28Rec BD minor
→ B major
common time2Vn Va
Bc
Der Heiland fällt vor seinem Vater nieder Picander
23 29Aria BG minor3
8
2Vn
Bc
Gerne will ich mich bequemen Picander
24 30Ev, JesusF major
→ B minor
common time2Vn Va
Bc
Und er kam zu seinen Jüngern Mt 26:40–42
25 31ChoraleB minorcommon time2Ft 2Ob
2Vn Va
Bc
Was mein Gott will, das g'scheh allzeit Albert, Duke of Prussia
26 32Ev, Jesus, JudasD major
→ G major
common time2Vn Va
Bc
Und er kam und fand sie aber schlafend Mt 26:43–50
27a 33Aria S ACh IIE minorcommon time2Ft 2Ob
2Vn Va
Bc
So ist mein Jesus nun gefangen Picander
27b Ch ICh IIE minor3
8
2Ft 2Ob
2Vn Va
Bc
Sind Blitze, sind Donner in Wolken verschwunden? Barthold Heinrich Brockes
28 34Ev, JesusF major
→ C minor
common time2Vn Va
Bc
Und siehe, einer aus denen Mt 26:51–56
29 35Chorale fantasiaE majorcommon time2Ft 2Oa
2Vn Va
Bc
O Mensch, bewein dein Sünde groß Sebald Heyden
Structure of St Matthew Passion, Part II
NBA BWV Form Key Time Instr. Beginning
of Text
Source Incipit
30 36Aria ACh IIB minor3
8
Ft Oa
2Vn Va
Bc
Ach! nun ist mein Jesus hin! Picander
31 37EvB major
→ D minor
common timeBc Die aber Jesum gegriffen hattenMt 26:57–60a
32 38ChoraleB majorcommon time2Ft 2Ob
2Vn Va
Bc
Mir hat die Welt trüglich gericht' Adam Reusner
33 39Ev, 2 witnesses, high priestG minor common timeBc Und wiewohl viel falsche Zeugen herzutratenMt 26:60b–63a
34 40Rec TA major
→ A minor
common time2Ob
Vg
Bc
Mein Jesus schweigt Picander
35 41Aria TA minorcommon timeVg
Bc
Geduld! Wenn mich falsche Zungen stechen Picander
36a 42Ev, Jesus, high priestE minor common time2Vn Va
Bc
Und der Hohepriester antwortete Mt 26:63b–66a
36b Ch ICh IIG major common time2Ft 2Ob
2Vn Va
Bc
Er ist des Todes schuldig! Mt 26:66b
36c 43EvC major
→ D minor
common timeBc Da speieten sie ausMt 26:67
36d Ch ICh IID minor
→ F major
common time2Ft 2Ob
2Vn Va
Bc
Weissage uns, Christe Mt 26:68
37 44ChoraleF majorcommon time2Ft 2Ob
2Vn Va
Bc
Wer hat dich so geschlagen Paul Gerhardt
38a 45Ev, Peter, 2 maidsA major
→ D major
common timeBc Petrus aber saß draußenMt 26:69–73a
38b Ch IID major
→ A major
common time2Ft Ob
2Vn Va
Bc
Wahrlich, du bist auch einer Mt 26:73b
38c 46Ev, PeterC major
→ F minor
common timeBc Da hub er an, sich zu verfluchenMt 26:74–75
39 47Aria AB minor12
8
Vs 2Vn Va
Bc
Erbarme dich Picander
40 48ChoraleF minor
→ A major
common time2Ft 2Ob
2Vn Va
Bc
Bin ich gleich von dir gewichen Johann Rist
41a 49Ev, JudasF minor
→ B major
common timeBc Des Morgens aber hielten alle HohepriesterMt 27:1–4a
41b Ch ICh IIB major
→ E minor
3
4
2Ft 2Ob
2Vn Va
Bc
Was gehet uns das an? Mt 27:4b
41c 50Ev, 2 high priestsA minor
→ B minor
common timeBc Und er warf die Silberlinge in den TempelMt 27:5–6
42 51Aria BG majorcommon timeVs 2Vn Va
Bc
Gebt mir meinen Jesum wieder! Picander
43 52Ev, Jesus, PilateE minor
→ D major
common time2Vn Va
Bc
Sie hielten aber einen Rat Mt 27:7–14
44 53ChoraleD majorcommon time2Ft 2Ob
2Vn Va
Bc
Befiehl du deine Wege Paul Gerhardt
45a 54Ev, Pilate, his wifeCh ICh IIE major
→ A minor
common timeBc Auf das Fest aber hatte der Landpfleger GewohnheitMt 27:15–22a
45b Ch I & IIA minor
→ B major
common time2Ft 2Ob
2Vn Va
Bc
Laß ihn kreuzigen! Mt 27:22b
46 55ChoraleB minorcommon time2Ft 2Ob
2Vn Va
Bc
Wie wunderbarlich ist doch diese Strafe! Johann Heermann
47 56Ev, PilateB minor common timeBc Der Landpfleger sagteMt 27:23a
48 57Rec SE minor
→ C major
common time2Oc
Bc
Er hat uns allen wohlgetan Picander
49 58Aria SA minor3
4
Ft 2OcAus Liebe will mein Heiland sterbenPicander
50a 59EvE minor common timeBc Sie schrieen aber noch mehrMt 27:23b
50b Ch I & IIB minor
→ C major
common time2Ft 2Ob
2Vn Va
Bc
Laß ihn kreuzigen! Mt 27:23c
50c Ev, PilateC major
→ B minor
common timeBc Da aber Pilatus saheMt 27:24–25a
50d Ch I & IIB minor
→ D major
common time2Ft 2Ob
2Vn Va
Bc
Sein Blut komme über uns Mt 27:25b
50e EvD major
→ E minor
common timeBc Da gab er ihnen Barrabam losMt 27:26
51 60Rec AF major
→ G minor
common time2Vn Va
Bc
Erbarm es Gott! Picander
52 61Aria AG minor3
4
2Vn
Bc
Können Tränen meiner Wangen Picander
53a 62EvF major
→ D minor
common timeBc Da nahmen die KriegsknechteMt 27:27–29a
53b Ch ICh IID minor
→ A major
common time2Ft 2Ob
2Vn Va
Bc
Gegrüßet seist du, Jüdenkönig! Mt 27:29b
53c EvD minor common timeBc Und speieten ihn anMt 27:30
54 63ChoraleD minor
→ F major
common time2Ft 2Ob
2Vn Va
Bc
O Haupt voll Blut und Wunden Paul Gerhardt
55 64EvA minor common timeBcUnd da sie ihn verspottet hattenMt 27:31–32
56 65Rec BF major
→ D minor
common time2Ft
Vg
Bc
Ja freilich will in uns Picander
57 66Aria BD minorcommon timeVg
Bc
Komm, süßes Kreuz Picander
58a 67EvC major
→ F major
common timeBc Und da sie an die Stätte kamenMt 27:33–39
58b Ch ICh IIF major
→ B minor
common time2Ft 2Ob
2Vn Va
Bc
Der du den Tempel Gottes zerbrichst Mt 27:40
58c EvF major
→ E minor
common timeBc Desgleichen auch die HohenpriesterMt 27:41
58d Ch ICh IIE minor common time2Ft 2Ob
2Vn Va
Bc
Andern hat er geholfen Mt 27:42–43
58e 68EvG major
→ C minor
common timeBc Desgleichen schmäheten ihnMt 27:44
59 69Rec AA majorcommon time2Oc
Bc
Ach Golgatha Picander
60 70Aria ACh IIE majorcommon time2Ob 2Oc
2Vn Va
Bc
Sehet, Jesus hat die Hand Picander
61a 71Ev, JesusE major
→ C minor
common timeBc Und von der sechsten Stunde anMt 27:45–47a
61b Ch IC minor
→ F major
common time2Ob
2Vn Va
Bc
Der rufet dem Elias! Mt 27:47b
61c EvF major
→ G minor
common timeBc Und bald lief einer unter ihnenMt 27:48–49a
61d Ch IIG minor
→ D minor
common time2Ft Ob
2Vn Va
Bc
Halt! laß sehen Mt 27:49b
61e EvD minor
→ A minor
common timeBc Aber Jesus schriee abermal lautMt 27:50
62 72ChoraleA minorcommon time2Ft 2Ob
2Vn Va
Bc
Wenn ich einmal soll scheiden Paul Gerhardt
63a 73EvC major
→ A major
common timeBc Und siehe da, der Vorhang im Tempel zerrißMt 27:51–54a
63b Ch I & IIA major common time2Ft Ob
2Vn Va
Bc
Wahrlich, dieser ist Gottes Sohn gewesen Mt 27:54b
63c EvE major
→ B major
common timeBc Und es waren viel Weiber daMt 27:55–59
64 74Rec BG minorcommon time2Vn Va
Bc
Am Abend, da es kühle war Salomo Franck
65 75Aria BB major12
8
2Oc
2Vn Va
Bc
Mache dich, mein Herze, rein Picander
66a 76EvG minor
→ E major
common timeBc Und Joseph nahm den LeibMt 27:59–62
66b Ch ICh IIE major
→ D major
common time2Ft 2Ob
2Vn Va
Bc
Herr, wir haben gedacht Mt 27:63–64
66c Ev, PilateG minor
→ E major
common timeBc Pilatus sprach zu ihnenMt 27:65–66
67 77Rec S A T BCh IIE major
→ C minor
common time2Ft 2Ob
2Vn Va
Bc
Nun ist der Herr zur Ruh gebracht Picander
68 78Ch ICh IIC minor3
4
2Ft 2Ob
2Vn Va
Bc
Wir setzen uns mit Tränen nieder Picander

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. 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. Booklet of Johann Sebastian Bach: Matthäus-Passion Karl Richter, Münchener Bach-Orchester et al. Archiv Produktion 1980

Sources

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