Johann Sebastian Bach's St Matthew Passion (), , 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).

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 and . Contemporary poetry in Picander's libretto and chorales comment on the Bible text and open and close most scenes of the narration.

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. (uses NBA numbering) 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. 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 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 ArchivBooklet of Johann Sebastian Bach: Matthäus-Passion Karl Richter, Münchener Bach-Orchester et al. Archiv Produktion 1980 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.

Scenes can be opened and closed by arias: No. 6 , an aria for alto, concludes the scene at Bethany. Part II opens with an aria, .

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 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 "" in the Passion, and he uses the first two stanzas of the poem to conclude the Flagellation scene.

Musical structure

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" 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, (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 "" 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 Key Time Beginningof text Source Incipit 1 1Chorale SCh ICh IIE minor 2Vn VaBc+ chorale as cantus firmusPicander + Nicolaus Decius 2 2Ev, JesusG major→ B minor 2Vn VaBcMt 26:1–23 3 ChoraleB minor 2Ft 2Ob2Vn VaBcJohann Heermann4a 4EvD major→ C major BcMt 26:3–44b 5Ch ICh IIC major 2Ft 2Ob2Vn VaBcMt 26:54c 6EvC major→ A minor BcMt 26:6–8a4d 7Ch I A minor→ D minor 2Ft 2Ob2Vn VaBcMt 26:8b–94e 8Ev, JesusB major→ E minor 2Vn VaBcMt 26:10–135 9 Rec AB minor→ F minor 2FtBcSalomo Franck6 10 Aria AF minor 2FtBcPicander 7 11Ev, JudasD major→ B minor BcMt 26:14–168 12 Aria SB minor 2Ft2Vn VaBcPicander 9a 13EvG major BcMt 26:17a9b 14Ch I G major 2Ft 2Ob2Vn VaBcMt 26:17b9c 15Ev, JesusG major→ C major 2Vn VaBcMt 26:18–219dEvB minor→ F minor BcMt 26:22a9eCh IF minor→ C minor 2Ft 2Ob2Vn VaBcMt 26:22b10 16 ChoraleA major 2Ob2Vn VaBcPaul Gerhardt11 17Ev, Jesus, JudasF minor→ G major –2Vn VaBcMt 26:23–2912 18 Rec SE minor→ C major 2OaBcPicander 13 19 Aria SG major 2OaBcPicander 14 20Ev, JesusB minor→ E major 2Vn VaBcMt 26:30–3215 21 ChoraleE major 2Ft 2Ob2Vn VaBcPaul Gerhardt16 22Ev, Jesus, PeterA major→ G minor 2Vn VaBcMt 26:33–3517 23 ChoraleE major 2Ob2Vn VaBcPaul Gerhardt18 24Ev, JesusF major 2Vn VaBcMt 26:36–3819 25 Rec TCh II ChoraleF minor→ G major 2Fl 2Oc2Vn VaBcPicander + Johann Heermann20 26 Aria TCh IIC minor 2Ft Ob2Vn VaBcPicander 21 27Ev, JesusB major→ G minor 2Vn VaBcMt 26:3922 28 Rec BD minor→ B major 2Vn VaBcPicander 23 29 Aria BG minor 2VnBcPicander 24 30Ev, JesusF major→ B minor 2Vn VaBcMt 26:40–4225 31 ChoraleB minor 2Ft 2Ob2Vn VaBcAlbert, Duke of Prussia26 32Ev, Jesus, JudasD major→ G major 2Vn VaBcMt 26:43–5027a 33 Aria S ACh IIE minor 2Ft 2Ob2Vn VaBc Picander 27b Ch ICh IIE minor 2Ft 2Ob2Vn VaBc Barthold Heinrich Brockes 28 34Ev, JesusF major→ C minor 2Vn VaBcMt 26:51–5629 35 Chorale fantasiaE major 2Ft 2Oa2Vn VaBcSebald Heyden

+ Structure of St Matthew Passion, Part II NBA BWV Form Key Time Beginningof Text Source Incipit30 36 B minor Ft Oa2Vn VaBcPicander 31 37EvB major→ D minor BcMt 26:57–60a32 38 ChoraleB major 2Ft 2Ob2Vn VaBcAdam Reusner33 39Ev, 2 witnesses, high priestG minor BcMt 26:60b–63a34 40 Rec TA major→ A minor 2ObVgBcPicander 35 41 Aria TA minor VgBcPicander 36a 42Ev, Jesus, high priestE minor 2Vn VaBcMt 26:63b–66a36bCh ICh IIG major 2Ft 2Ob2Vn VaBcMt 26:66b36c 43EvC major→ D minor BcMt 26:6736dCh ICh IID minor→ F major 2Ft 2Ob2Vn VaBcMt 26:6837 44 ChoraleF major 2Ft 2Ob2Vn VaBcPaul Gerhardt38a 45Ev, Peter, 2 maidsA major→ D major BcMt 26:69–73a38bCh IID major→ A major 2Ft Ob2Vn VaBcMt 26:73b38c 46Ev, PeterC major→ F minor BcMt 26:74–7539 47 Aria AB minor BcPicander 40 48 ChoraleF minor→ A major 2Ft 2Ob2Vn VaBcJohann Rist41a 49Ev, Judas F minor→ B major BcMt 27:1–4a41bCh ICh IIB major→ E minor 2Ft 2Ob2Vn VaBcMt 27:4b41c 50Ev, 2 high priestsA minor→ B minor BcMt 27:5–642 51 Aria BG major Vs 2Vn VaBcPicander 43 52Ev, Jesus, Pilate E minor→ D major 2Vn VaBcMt 27:7–1444 53 ChoraleD major 2Ft 2Ob2Vn VaBcPaul Gerhardt45a 54Ev, Pilate, his wifeCh ICh IIE major→ A minor BcMt 27:15–22a45bCh I & IIA minor→ B major 2Ft 2Ob2Vn VaBcMt 27:22b46 55 ChoraleB minor 2Ft 2Ob2Vn VaBcJohann Heermann47 56Ev, PilateB minor BcMt 27:23a48 57 Rec SE minor→ C major 2OcBcPicander 49 58 Aria SA minor Ft 2OcPicander 50a 59EvE minor BcMt 27:23b50bCh I & IIB minor→ C major 2Ft 2Ob2Vn VaBcMt 27:23c50cEv, Pilate C major→ B minor BcMt 27:24–25a50dCh I & IIB minor→ D major 2Ft 2Ob2Vn VaBcMt 27:25b50eEvD major→ E minor BcMt 27:2651 60 Rec AF major→ G minor 2Vn VaBcPicander 52 61 Aria AG minor 2VnBcPicander 53a 62EvF major→ D minor BcMt 27:27–29a53bCh ICh IID minor→ A major 2Ft 2Ob2Vn VaBcMt 27:29b53cEvD minor BcMt 27:3054 63 ChoraleD minor→ F major 2Ft 2Ob2Vn VaBcPaul Gerhardt55 64EvA minor BcMt 27:31–3256 65 Rec BF major→ D minor 2FtVgBcPicander 57 66 Aria BD minor VgBcPicander 58a 67EvC major→ F major BcMt 27:33–3958bCh ICh IIF major→ B minor 2Ft 2Ob2Vn VaBcMt 27:4058cEvF major→ E minor BcMt 27:4158dCh ICh IIE minor 2Ft 2Ob2Vn VaBcMt 27:42–4358e 68EvG major→ C minor BcMt 27:4459 69 Rec AA major 2OcBcPicander 60 70 Aria A Ch IIE major 2Ob 2Oc2Vn VaBcPicander 61a 71Ev, JesusE major→ C minor BcMt 27:45–47a61bCh IC minor→ F major 2Ob2Vn VaBcMt 27:47b61cEvF major→ G minor BcMt 27:48–49a61dCh IIG minor→ D minor 2Ft Ob2Vn VaBcMt 27:49b61eEvD minor→ A minor BcMt 27:5062 72 ChoraleA minor 2Ft 2Ob2Vn VaBcPaul Gerhardt63a 73EvC major→ A major BcMt 27:51–54a63bCh I & IIA major 2Ft Ob2Vn VaBcMt 27:54b63cEvE major BcMt 27:55–5964 74 Rec BG minor 2Vn VaBcSalomo Franck 65 75 Aria BB major 2Oc2Vn VaBcPicander 66a 76EvG minor→ E major BcMt 27:59–6266bCh ICh IIE major→ D major 2Ft 2Ob2Vn VaBcMt 27:63–6466cEv, Pilate G minor→ E major BcMt 27:65–6667 77 Rec S A T BCh IIE major→ C minor 2Ft 2Ob2Vn VaBcPicander 68 78 Ch ICh IIC minor 2Ft 2Ob2Vn VaBcPicander

References

Sources

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 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