Jesus is silent to this, but his answer to the question if he is the Son of God is considered a sacrilege calling for his death. Info for Bach: St. Matthew Passion. Let us know if you have suggestions to improve this article (requires login). Both include two transverse flutes (Choir 1 also includes 2 recorders for No. and Aria (with Chorus II: Ich will bei meinem Jesu wachen) for tenor, Aria for soprano and alto (with Chorus II: Laßt ihn, haltet, bindet nicht!) Other times only one chorus sings (chorus I always takes the parts of the disciples) or they alternate, for example when "some bystanders" say "He's calling for Elijah", and "others" say "Wait to see if Elijah comes to help him. "Weissage uns, Christe") and sometimes sing together ("Herr, wir haben gedacht"). Bach then revised it again between 1743 and 1746. Bach." The St Matthew Passion is the second of two Passion settings by Bach that have survived in their entirety, the first being the St John Passion, first performed in 1724. Bach worked together with his librettist, Christian Friedrich Henrici, known as Picander[4] who published the text of the libretto of the St Matthew Passion in 1729. [22], In 1824, Felix Mendelssohn's maternal grandmother Bella Salomon had given him a copy of the score of the Passion. ), he is supposed to have called Elijah. Upon Jesus' declaration that one of the twelve will betray him in 9d, they ask him "Lord, is it I?" ", "St Matthew Passion – German to English translation in interlinear format", "Fünftes Buch: Leipziger Jahre von 1723–1734" pp. The St. John, and especially the St. Matthew Passion, have been performed and recorded innumerable times. The opening of Part 1 of Johann Sebastian Bach's. Other libretto sections came from publications by Salomo Franck and Barthold Heinrich Brockes.[14]. https://www.classicfm.com/composers/bach/guides/bachs-passion-music-guide Outside in the courtyard (No. It includes portions of chapters XXVI and XXVII of the Gospel according to St Matthew. 37) where two witnesses report Jesus having spoken about destroying the Temple and building it again in three days. The St Matthew Passion is written in two parts, between which the sermon intervened in olden times. The other is the extensive use of chorales, which appear in standard four-part settings, as interpolations in arias, and as a cantus firmus in large polyphonic movements. About the St. Matthew Passion. The St Matthew Passion performed by the Netherlands Bach Society for All of Bach. by Johann Sebastian Bach suite for two pianos by Anderson & Roe. (Wreck, ruin, engulf, shatter with sudden force the false betrayer, the murderous blood!). It’s his second release of this Passion, the first being 20 years ago on BIS 1000/2 (or with the St … He is betrayed, tried, crucified and buried. Recorded before Sir Stephen Cleobury’s untimely passing in November 2019, King’s College presents a new accountof one of the greatest masterpieces in sacred music, Bach’sSt Matthew Passion. The work is for a choir, solo voices and orchestra. (‘Passion’ is derived from the Latin verb ‘patior’ meaning ‘to suffer’ or ‘endure’, from which we also get ‘patience’ and ‘patient’.) This theme is reinforced by the concluding chorale of the first part, O Mensch, bewein dein' Sünde groß (O man, bewail your great sin). The St Matthew Passion (German: Matthäus-Passion), BWV 244, is a Passion, a sacred oratorio written by Johann Sebastian Bach in 1727 for solo voices, double choir and double orchestra, with libretto by Picander. In 1730, Bach informed the Leipzig Town Council as to what he saw as the number of singers that should be available for the churches under his responsibility, including those for the St. Thomas Church: a choir of twelve singers, plus eight singers that would serve both St. Thomas and the Peterskirche. He is betrayed, tried, crucified and buried. The interpolated texts theologically and personally interpret the Gospel texts. The sopranos sing the cantus firmus, the other voices interpret aspects of the narration. The St. John Passion. For practical reasons the continuo organ is often shared and played with both orchestras. In the St Matthew Passion there are three such extended choral movements: the opening chorus ("Kommt, ihr Töchter, helft mir klagen", text by Picander and. 14) where Jesus predicts that Peter will deny him three times before the cock crows. Choral movements come in two additional formats (apart from the turba and dialogue with soloist roles already mentioned above): Cornerstone choral movements, or chorale fantasias: these are the extended movements, typically used to open or close both parts of the oratorio. [1][8], In Bach's time, St. Thomas Church had two organ lofts: the large organ loft that was used throughout the year for musicians performing in Sunday services, vespers, etc., and the small organ loft, situated at the opposite side of the former, that was used additionally in the grand services for Christmas and Easter. When the cantus firmus has died out, Chorus I and II return to the first three lines of the text, from measure 82 until the conclusion of the chorus in measure 90. 41) Jesus is sent to Pontius Pilate while Judas is overcome by remorse and kills himself. St. Matthew Passion, BWV 244, byname of The Passion According to St. Matthew, German byname Matthäus-Passion or Matthäuspassion, Passion music by Johann Sebastian Bach. Following the concept of Anselm of Canterbury, the crucifixion is the endpoint and the source of redemption; the emphasis is on the suffering of Jesus. The chorale melodies and their texts would have been known to those attending the services in the St Thomas church. "), choir I reflecting: "Your grave and headstone shall, for the anxious conscience, be a comfortable pillow and the resting place for the soul. 2), on the other hand the intention to get rid of him is expressed (No. Staged productions of the Passion include Lindy Hume's 2005 production for the Perth International Arts Festival, restaged in 2013 for Opera Queensland with Leif Aruhn-Solén [sv], Sara Macliver, Tobias Cole; and Peter Sellars' 2010 production with the Berlin Philharmonic under Simon Rattle with Mark Padmore, Camilla Tilling, Magdalena Kožená, Topi Lehtipuu, Christian Gerhaher and Thomas Quasthoff. 44 has two sharps (D major), No. Stream songs including "St. Matthew Passion, BWV 244: No. Despite their length, they are among Bach's most popular works. The following day (No. In the 1727/1729 version, the soloist is a bass. Part One is opened by the chorus "Kommt, ihr Töchter, helft mir klagen" (Come ye daughters, join my lament), on a text by Picander. 27a) Jesus's arrest, the chorus make angry interjections (Laßt ihn, haltet, bindet nicht!). In Leipzig it was not allowed to paraphrase the words of the Gospel in a Passion presentation on Good Friday. "[26], In 1827, Felix and a few friends began weekly sessions to rehearse the Passion. Every year for Good Friday Vespers, a Passion would be performed in one of Leipzig’s two principal (Lutheran) churches, St. Thomas and St. Nicholas. The St Matthew Passion (German: Matthäus-Passion), BWV 244, is a Passion, a sacred oratorio written by Johann Sebastian Bach in 1727 for solo voices, double choir and double orchestra, with libretto by Picander. There had already been a long history of Passion music – that is musical settings telling the story of the final, short period in the life of Jesus. soloists sing arias, in most cases preceded by an accompagnato recitative, and occasionally in a dialogue with the choir. It is a several-hours-long musical drama that depicts, expands and comments on Chapters 26 and 27 from Matthew’s Gospel, starting with Jesus’s foretelling of the crucifixion and ending with Pilate’s placement of guards at the tomb. Even his last words are misunderstood. — Where? Part Two uses Matthew 26:57–75 and Matthew 27:1–66. 10, "Ich bin's, ich sollte büßen" ("It is I who should suffer"), after eleven disciples asked "Herr, bin ich's?" 38) Peter is told three times that he belongs to Jesus and denies it three times – then the cock crows. The first scenes are in Jerusalem: Jesus announces his death (No. William Sterndale Bennett became a founder of the Bach Society of London in 1849 with the intention of introducing Bach's works to the English public. In a dramatic highpoint of the Passion,[17][18] the chorus (No. Bach finalized his autograph score in 1743–1746; however, this undertaking was not tied to any new performance.[10]. – meaning: Am I the one going to betray? Their first performance was effectively publicized in six consecutive issues of the Berliner Allgemeine Musikalische Zeitung, founded and edited by Adolf Bernhard Marx. Three chorales are written by Paul Gerhardt and Bach included five stanzas from his O Haupt voll Blut und Wunden. Bach often uses madrigalisms, as in "Buß und Reu", where the flutes start playing a raindrop-like staccato as the alto sings of drops of his tears falling. The music of the cantata consisted largely of music adapted from the St Matthew Passion. The St. Matthew Passion is divided into two parts, and its performance takes somewhat less than three hours. Recitative for bass, tenor, alto and soprano, with Chorus II singing Mein Jesu, gute Nacht!. The work is for a choir, solo voices and orchestra. Large choruses, in addition to the instrumentists indicated for Choir I and II, would have been impossible, so also here there is an indication that each part (including those of strings and singers) would have a limited number of performers, where, for the choruses, the numbers indicated by Bach in his 1730 request would appear to be (more than?) A number of passages for several speakers, called turba (crowd) parts, are sung by one of the two choirs or both. The alto aria No. [28] Around December 1828 – January 1829 Devrient persuaded Felix that the two of them should approach Zelter to get the Sing-Akademie to support their project. The soloists included Charlotte Helen Sainton-Dolby. and Chorus (I & II). a soprano voice sings the words spoken by Pontius Pilate's wife), except for: Apart from the Evangelist and the Vox Christi the dramatis personae of these Gospel sections of the St Matthew Passion consists of: In between the sections or scenes of the Gospel text, other texts are sung as a meditation or underlining the action, in a variety of formats: In the scheme below indentation indicates the type of movement: 1. 54 has one flat (D minor), and No. In "Erbarm es, Gott", the relentless dotted rhythm of the diminished chords evoke the emotional shock of the scourging.[16]. ), followed by the question Wie? (My God, my God, why have you forsaken me? (Whom? Bach seems to have stimulated the poet to write more of such verse in order to come to a full-fledged libretto for a Passion presentation combined with the Passion text chapters 26 and 27 in the Gospel of St Matthew. The St. Matthew Passion was first performed in 1727 at the St. Thomas Church in Leipzig.Considering it his most significant work, Bach revised the … His principal contributor was Christian Friedrich Henrici, a poet who wrote under the name of Picander and also supplied the text for Bach’s secular Peasant Cantata (1742). The first part concerns Jesus Christ’s betrayal, the Last Supper, and his prayers and arrest in Gethsemane. At Golgatha (No. Appreciation, performance and study of Bach's composition have persisted into the present era. The St. Matthew Passion is one of hundreds of sacred pieces Bach wrote during his long tenure as director of church music and cantor of the school at Thomaskirche. Choir I consists of a soprano in ripieno voice, a soprano solo, an alto solo, a tenor solo, SATB chorus, two traversos, two oboes, two oboes d'amore, two oboes da caccia, lute, strings (two violin sections, violas and cellos), and continuo (at least organ). Sterndale Bennett 1845 edition of the Passion was to be the first of many (as Adolph Bernhard Marx and Adolf Martin Schlesinger's one in 1830), the latest being by Neil Jenkins (1997) and Nicholas Fisher and John Russell (2008). ), are sung without this "halo". Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. In the 1742 and 1743–1746 versions, a ripieno soprano choir was added to the soprano line. In the 1727/1729 version, this part is concluded by a four-part setting of verse 6 of the Chorale "Meinen Jesum laß ich nicht (Jesum laß ich nicht von mir)". Here is Suzuki’s St Matthew Passion, which joyfully exhibits a similar combination of qualities - also with the Bach Collegium and some of the same soloists as those with whom Suzuki worked for the cantatas. Warner Classics: 7777630585. The St. Matthew Passion is impressive even by Bach’s standards. It is there (No. ", The narration follows Jesus' instructions for securing the upper room for Passover, and the beginning of the Last Supper. By signing up for this email, you are agreeing to news, offers, and information from Encyclopaedia Britannica. The dialogue with these questions is repeated, and then, from measure 30, Chorus I sings the text of the incipit again while in ripieno sopranos sing the first two lines of Nikolaus Decius' chorale "O Lamm Gottes, unschuldig" (O Lamb of God, innocent) as the cantus firmus. Mendelssohn's revival brought the music of Bach, particularly the large-scale works, to public and scholarly attention (although the St John Passion had been rehearsed by the Singakademie in 1822). St Matthew Passion - Bach. [13], The Bible text used for Part One is Matthew 26:1–56. A small group is represented by Chorus I or Chorus II separately (Chorus I always for the disciples); High priests and larger groups of people are sung by Chorus I and II together. The original Latin title Passio Domini nostri J.C. secundum Evangelistam Matthæum translates to "The Passion of our Lord J[esus] C[hrist] according to the Evangelist Matthew".[1]. The narration of the Gospel texts is sung by the tenor Evangelist in secco recitative accompanied only by continuo. [citation needed] In all prior versions (1727/1729, 1736, and 1742), the continuo part was sustained in all recitatives. 1730 – he reverted to the originally composed "Herr, unser Herrscher" there). St. Matthew describes the tearing of the Temple curtain and an earthquake – set to music by Bach. 26) that he is betrayed by Judas' kiss and arrested. These performances would … 1, Chorus I/II: "Kommt, Ihr Töchter, Helft Mir Klagen"", "St. Matthew Passion, BWV 244: No. These are not always sung by all different soloists. The St Matthew Passion has been presented in staged performances. It is widely regarded as one of the greatest masterpieces of classical sacred music. Additionally, Song of Songs 6:1 is used in the opening aria (with chorus) of Part Two (No. All sentences of the first stanza of Decius' hymn are used as cantus firmus throughout the movement by the ripienists. [11][12] This article is written using the NBA numbering system. As in other Passion oratorios the backbone of the structure is the narration of the Gospel, in this case chapters 26 and 27 of the Gospel of Matthew in the German translation of the Luther Bible. The words of Jesus, also termed Vox Christi (voice of Christ), usually receive special treatment. While soprano and alto mourn (in duet, No. Only his final words, in Aramaic, Eli, Eli lama asabthani? [2] A setting of the then-popular Brockes Passion libretto, largely consisting of such paraphrasing, could not be done without replacing the paraphrases by actual Gospel text. The chorus sings, in the final chorale No. Two distinctive aspects of Bach's setting spring from his other church endeavors. But the crowd, given the choice to have Jesus released or Barabbas, a thief, insurrectionist and murderer, asks with one voice "Barrabam!". Listen to Bach: St. Matthew Passion by Gabrieli & Paul McCreesh on Apple Music. Our editors will review what you’ve submitted and determine whether to revise the article. 29, concluding Part One, is a four-part setting of the chorale "Jesum lass ich nicht von mir" instead of the chorale fantasia on "O Mensch, bewein dein Sünde groß".[5]. 2, Evangelist, Jesus: "Da Jesus Diese Rede Vollendet Hatte"" and more. 62, "tear me from my fears / through your own fear and pain." It sets chapters 26 and 27 of the Gospel of Matthew (in the Luther Bible) to music, with interspersed chorales and arias. The bass aria No. St. Matthew Passion is an oratorio, which is a musical drama. The St Matthew Passion is set for two choirs and two orchestras. Bach revised the piece considerably several times, but the final performance during his lifetime, in 1749, was similar in form to the first version. The first "O Lamm Gottes" chorale compares Jesus' crucifixion to the ritual sacrifice of an Old Testament lamb, as an offering for sin. The St. Matthew Passion is one of hundreds of sacred pieces Bach wrote during his long tenure as director of church music and cantor of the school at Thomaskirche. Bach's St. Matthew Passion is one of the highest achievements of western composition but also of humanity as a whole. Little is known with certainty about the creation process of the St Matthew Passion. On the other hand, George Balanchine staged it in 1943 with Stokowski conducting, and the Hamburg Ballet presented a Saint Matthew Passion under John Neumeier with Peter Schreier in 1981. Notable staged performances include Jonathan Miller's 1997 production in English. "Bach's Chorus: A Preliminary Report. Since 1975, it is usually assumed that Bach's St Matthew Passion was first performed on Good Friday 11 April 1727,[3] although its first performance may have been as late as Good Friday 1729, as older sources assert. Ring in the new year with a Britannica Membership. Like other Baroque oratorio passions, Bach's setting presents the Biblical text of Matthew 26–27 in a relatively simple way, primarily using recitative, while aria and arioso movements set newly written poetic texts which comment on the various events in the Biblical narrative and present the characters' states of mind in a lyrical, monologue-like manner. 58) Jesus and two others are crucified and mocked by the crowd. Rather, the composer restricts himself to creating a drama whose full force comes to expression through the musical delivery. Like operas, though, oratorios do have casts. In a third, on 18 April, Zelter conducted, and soon there were performances in Frankfurt (where a previously projected performance of the Passion had been upstaged by those in Berlin) and in Breslau and Stettin.[32]. Zelter had a supply of J. S. Bach scores and was an admirer of Bach's music but he was reluctant to undertake public performances. In the early version BWV 244b the chorale No. Its earliest verified performance was April 11, 1727—Good Friday—at Thomaskirche in Leipzig. In the evening (No. Bach created particularly distinctive accompagnato recitatives in this work: they are accompanied not by continuo alone, but also by the entire string section of the first orchestra using long, sustained notes and "highlighting" certain words, thus creating an effect often referred to as Jesus's "halo". The St. Matthew Passion (German: Matthäuspassion) is a musical composition written by Johann Sebastian Bach. This particular Matthew Passion, the earliest one by a known composer, is incomplete; its sole source (Eton Choirbook) is missing its first two folios. However, at his death in 1750, the St. Matthew Passion, along with most Bach compositions, was forgotten.

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