Bach." — seht die Geduld (See it! 54 has one flat (D minor), and No. Johann Sebastian Bach, John Eliot Gardiner, Monteverdi Choir, English Baroque Soloists, London Oratory Junior Singers, Anthony Rolfe Johnson, Andreas Schmidt, Barbara Bonney, Ann Monoyios, Anne Sofie von Otter - Bach: St. Matthew Passion - Amazon.com Music Its earliest verified performance was April 11, 1727—Good Friday—at Thomaskirche in Leipzig. 26) that he is betrayed by Judas' kiss and arrested. — What? 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. Bach was Thomaskantor (i.e., Cantor, and responsible for the music in the church) since 1723. Helen Johnston (a student at Queen's College, London) translated the libretto of the Passion, and Bennett conducted the first English performance at the Hanover Square Rooms London on 6 April 1854 (the same year that it appeared in print by the Old Bach Society (Alte Bach-Gesellschaft). The first "O Lamm Gottes" chorale compares Jesus' crucifixion to the ritual sacrifice of an Old Testament lamb, as an offering for sin. Warner Classics: 7777630585. (Lord, is it I?) The presenter and explicator was Leonard Bernstein, who introduced the St Matthew Passion as "that glorious work that started me off on my own private passion for Bach."[33]. Appreciation, performance and study of Bach's composition have persisted into the present era. Get a Britannica Premium subscription and gain access to exclusive content. soloists sing arias, in most cases preceded by an accompagnato recitative, and occasionally in a dialogue with the choir. These sections are based nearly exclusively on texts by. The soloist’s parts are less solos than duets—not with each other but rather with performers drawn from the orchestra. 9) and the Passover meal itself, the Last Supper, foreshadowed by the announcement of betrayal. Where he cites Psalm 22, "Eli, Eli, lama asabthani?" (‘Passion’ is derived from the Latin verb ‘patior’ meaning ‘to suffer’ or ‘endure’, from which we also get ‘patience’ and ‘patient’.) St. Matthew describes the tearing of the Temple curtain and an earthquake – set to music by Bach. 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!) A number of passages for several speakers, called turba (crowd) parts, are sung by one of the two choirs or both. The St. Matthew Passion was performed several times during the composer’s life, and a copy of its original manuscript exists in Bach’s own handwriting. In "Blute nur", the line about the serpent is set with a twisting melody. The oldest chorale Bach used in the St Matthew Passion dates from 1525. 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. Saint Matthew's Passion. It is widely regarded as one of the greatest masterpieces of classical sacred music. "), choir I reflecting: "Your grave and headstone shall, for the anxious conscience, be a comfortable pillow and the resting place for the soul. [5], Klagt, Kinder, klagt es aller Welt, BWV 244a, a cantata of which only the text is extant, was performed 24 March 1729 in Köthen at a memorial service held some months after the death of Leopold, Prince of Anhalt-Köthen. 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]. He is betrayed, tried, crucified and buried. In the morning (No. 2), on the other hand the intention to get rid of him is expressed (No. Bach then revised it again between 1743 and 1746. The first two lines of the hymn are a rhetorical question: "My dearest Jesus, which crimes have you committed, that such dire judgement has been passed? The Evangelist, a tenor voice, sings the Gospel text in a declamatory style called secco recitative, that is, with only a continuo accompaniment. 10, "Ich bin's, ich sollte büßen" ("It is I who should suffer"), after eleven disciples asked "Herr, bin ich's?" It includes portions of chapters XXVI and XXVII of the Gospel according to St Matthew. J.S. https://www.britannica.com/topic/St-Matthew-Passion-BWV-244, The Kennedy Center - "St. Matthew Passion, BWV 244", AllMusic - "St. Matthew Passion (Matthäuspassion), for Soloists, Double Chorus and Double Orchestra, BWV 244 (BC D3b)". 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 work is for a choir, solo voices and orchestra. 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. [20] This also marks the completion of Bach's gradual emptying out of the key signature in subsequent settings of this tune: No. [10], Some parts were adjusted for a new performance on Good Friday 23 March 1742. ("Rest gently, gently rest! 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. The St Matthew Passion is written in two parts, between which the sermon intervened in olden times. In the 1727/1729 version, the soloist is a bass. The "character" soloists are also often assigned arias and sing with the choirs, a practice not always followed by modern performances. Like operas, though, oratorios do have casts. — to our guilt), after which Chorus I and II sing the last lines of Picander's text in separate blocks. The chorus alternates between participating in the narrative and commenting on it. ", In the arias, obbligato instruments are equal partners with the voices, as was customary in late Baroque arias. 4). The next scene (No. Part I is closed by a four-part Chorale Fantasia (both choirs) on the chorale O Mensch, bewein dein Sünde groß (O mankind, mourn your great sins), recapitulating that Jesus was born of the Virgin to "become the intercessor". ", The narration follows Jesus' instructions for securing the upper room for Passover, and the beginning of the Last Supper. Buy download online. For practical reasons the continuo organ is often shared and played with both orchestras. 30). The St. Matthew Passion setting of Thomas Selle (1599–1663) uses a double chorus extensively, while his setting of the St. John Passion incorporates instruments and a “distant choir.” Contrast between the interlocutors is achieved by assigning particular instruments or groups to different characters. in the Aria. At the garden of Gethsemane (No. 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]. Part One is opened by the chorus "Kommt, ihr Töchter, helft mir klagen" (Come ye daughters, join my lament), on a text by Picander. This monumental St Matthew Passion is hailed as the greatest setting of the Passion story in western music, but surprisingly it was not until almost 100 years after its premiere that Bach’s music got the recognition it deserved. 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. 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. – See the endurance) and ultimately Seht — Wohin? The first part concerns Jesus Christ’s betrayal, the Last Supper, and his prayers and arrest in Gethsemane. After the meal they go together to the Mount of Olives (No. 14) where Jesus predicts that Peter will deny him three times before the cock crows. 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. Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. The 20-year-old Felix himself conducted the rehearsals and first two performances by the Singakademie. 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. St. Matthew Passion, BWV 244: No. 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. 1730 – he reverted to the originally composed "Herr, unser Herrscher" there). (Whom? Updates? They vote to crucify Jesus, Pilate gives in, washing his hands claiming his innocence, and delivers Jesus to torture and crucifixion. 41) Jesus is sent to Pontius Pilate while Judas is overcome by remorse and kills himself. The words tell the story of Jesus’s death on the crossas told in chapters 26 and 27 of the Book of St Matthewin the Bible. In many arias a solo instrument or more create a specific mood, such as the central soprano aria No. 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?) This is the version (with some possible later adjustments) that is generally known as the St Matthew Passion, BWV 244. (My God, my God, why have you forsaken me? "[30] 45, Recitative, 'Petrus aber sass draussen im Palast' and Chorus, 'Wahrlich, du bist auch einer von denen' [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. 27b) furiously demands against the Jews who arrested Jesus "Zertrümmre, verderbe, verschlinge, zerschelle/ Mit plötzlicher Wut/Den falschen Verräter, das mördrische Blut!" The second part presents the rest of the biblical story, including the Crucifixion, death, and burial of Christ. In St. M… [22], In 1824, Felix Mendelssohn's maternal grandmother Bella Salomon had given him a copy of the score of the Passion. 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. 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). Let us know if you have suggestions to improve this article (requires login). Recitative and Aria (bass) Lute instead of Viola da gamba in 1727/1729 version. However, at his death in 1750, the St. Matthew Passion, along with most Bach compositions, was forgotten. Two distinctive aspects of Bach's setting spring from his other church endeavors. In the turba parts, the two choruses sometimes alternate in cori spezzati style (e.g. A smaller piece than the 1727 St. Matthew, Bach’s St. John Passion was first performed in 1724. Bach's recitatives often set the mood for the particular passages by highlighting emotionally charged words such as "crucify", "kill", or "mourn" with chromatic melodies. 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). [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 two main schemes in use today are the scheme from the Neue Bach-Ausgabe (NBA, New Bach Edition) which uses a 1 through 68 numbering system, and the older Bach-Werke-Verzeichnis (BWV, Bach Works Catalog) scheme which divides the work into 78 numbers. Our editors will review what you’ve submitted and determine whether to revise the article. After a few words of introduction by the Evangelist, the first words of Christ, set as an accompagnato recitative with slow strings, contain an ominous prediction of his imminent fate. [25], When Felix Mendelssohn was preparing his revival performance of the Passion in 1829 in Berlin (the first performance outside Leipzig), he cut out "ten arias (about a third of them), seven choruses (about half), [but] only a few of the chorales," which "emphasized the drama of the Passion story ... at the expense of the reflective and Italianate solo singing. Photos from Christmas 2018 concert. Ring in the new year with a Britannica Membership. They are sung by soloists with a variety of instrumental accompaniments, typical of the oratorio style. Listen to Bach: St. Matthew Passion by Gabrieli & Paul McCreesh on Apple Music. Many of them include the listener into the action, such as the chorale No. 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. New St. Matthew Passion by Suzuki The final scenes of the Passion, that somehow lost tension in the 1999 rendition, is more poignant here, the evangelist and crowed, added by the more prominent orchestra and organ, deliver the text more persuasively and manage to retain tension without losing any of the spirituality. Betsy Schwarm is a music historian based in Colorado. Soloists sing the words of various characters, also in recitative; in addition to Jesus, there are named parts for Judas, Peter, two high priests (Pontifex I & II), Pontius Pilate, Pilate's wife (Uxor Pilati), two witnesses (Testis I & II) and two ancillae (maids). Unlike the opera, the best-known type of musical drama, the oratorio does not use costumes, makeup, or musicians who act while they sing. Once the fuller group of singers and the orchestra were brought in, Devrient recalled, participants were amazed at "the abundance of melodies, the rich expression of emotion, the passion, the singular style of declamation, and the force of the dramatic action. The St. Matthew Passion is impressive even by Bach’s standards. Johann Sebastian Bach's St Matthew Passion, BWV 244, is structured on multiple levels: the … (My God, my God, why have you forsaken me? (Wreck, ruin, engulf, shatter with sudden force the false betrayer, the murderous blood!). In "Erbarm es, Gott", the relentless dotted rhythm of the diminished chords evoke the emotional shock of the scourging.[16]. — auf unsre Schuld (Look! Info for Bach: St. Matthew Passion. The St Matthew Passion has been presented in staged performances. Recitative for bass, tenor, alto and soprano, with Chorus II singing Mein Jesu, gute Nacht!. He is betrayed, tried, crucified and buried. “The St Matthew Passion could, like so much of Bach’s music, have become 18th-century fish-and-chip wrapping paper,” says the conductor Jonathan Willcocks 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]. St Matthew Passion - Bach. Luke". The bass, referring to the "sweet cross" expresses in No. The St. Matthew Passion(German: Matthäuspassion) is a musical composition written by Johann Sebastian Bach. Often the chorus is called upon to present Bach’s new settings of existing chorales. [31] It took place on 11 March 1829 and was sold out quickly. This page was last edited on 5 January 2021, at 20:55. The alto air “Buss und Reu” (“Guilt and Pain”; section 6) opens with a gently flowing flute line, and, even after the alto joins in, the flute remains prominent. It sets chapters 26 and 27 of the Gospel of Matthew to music, with interspersed chorales and arias. Typically, these are done with all performers in street clothes or neutral costumes, the orchestras on stage, at least the soloists singing without scores from memory, and the words acted out in a solemn, melodramatic fashion with only a minimal stage set. "Weissage uns, Christe") and sometimes sing together ("Herr, wir haben gedacht"). The St. Matthew Passion (German: Matthäuspassion) is a musical composition written by Johann Sebastian Bach. Rifkin, Joshua (1982). 4c) shows a woman anointing his head with valuable oils. Two duets are sung by a pair of soloists representing two simultaneous speakers. 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). 18) Jesus asks his followers several times to support him but they fall asleep while he is praying in agony. 3–479, Autograph score in the Berlin State Library (Staatsbibliothek zu Berlin), International Music Score Library Project, Translation to many languages, commentary, musical examples, list of recordings, The Passion according to Saint Matthew BWV 244, Masses, magnificat, passions and oratorios, List of compositions by Johann Sebastian Bach, https://en.wikipedia.org/w/index.php?title=St_Matthew_Passion&oldid=998536685, Passions and oratorios by Johann Sebastian Bach, Articles needing additional references from April 2017, All articles needing additional references, Articles with unsourced statements from July 2015, Articles with International Music Score Library Project links, Wikipedia articles with MusicBrainz work identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License. The St Matthew Passion performed by the Netherlands Bach Society for All of Bach. This monumental composition seems to have been close to Bach's heart, as he took care to perform it several times in his lifetime (which was somewhat unusual at the time). This music sheet has been read 3466 times and the last read was at 2021-01-14 16:15:32. [13], The Bible text used for Part One is Matthew 26:1–56. This is by far the most unusually chromatic setting of this chorale tune (Befiehl du deine Wege/O Haupt, voll Blut und Wunden) found in the Passion, occurring at the high point of intensity at the death of Jesus. It sets chapters 26 and 27 of the Gospel of Matthew (in the Luther Bible) to music, with interspersed chorales and arias. The story for the work was taken mostly from the Gospel According to Matthew , but the actual verses that Bach set to music were provided by several contemporary poets. It is an essential component of any classical collection (or any collection for that matter). Nearly eight decades later the 20-year-old Felix Mendelssohn reintroduced the work when he conducted a 400-member chorus and a full orchestra in a 19th-century premiere at the Berlin Sing-Akadamie on March 11, 1829. Corrections? and Chorus II promptly asks Wen? While soprano and alto mourn (in duet, No. 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. Three chorales are written by Paul Gerhardt and Bach included five stanzas from his O Haupt voll Blut und Wunden. 44 has two sharps (D major), No. 6, "Buß und Reu", portrays a desire to anoint Jesus with her tears out of remorse. and Chorus (I & II). Kommt, ihr Töchter, helft mir klagen – O Lamm Gottes unschuldig (Chorus I & II – Cantus firmus by ripieno soprano choir), 29. 37) where two witnesses report Jesus having spoken about destroying the Temple and building it again in three days. This is notable in "O Mensch, bewein dein Sünde groß", the conclusion of the first half – a movement which Bach also used as an opening chorus for the second version (1725) of his St John Passion (later – ca. 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. There was a second performance on 21 March, also sold out. 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. Rather, the composer restricts himself to creating a drama whose full force comes to expression through the musical delivery. 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. Bach's St. Matthew Passion is one of the highest achievements of western composition but also of humanity as a whole. ), followed by the question Wie? 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. Devrient was especially enthusiastic, hoping to sing the part of Jesus as he eventually did. The St Matthew Passion (German: Matthäuspassion), BWV 244, is a musical composition written by Johann Sebastian Bach for solo voices, double choir and double orchestra, with libretto by Picander (Christian Friedrich Henrici). "Bach's Chorus: A Preliminary Report. "[26], In 1827, Felix and a few friends began weekly sessions to rehearse the Passion. [6], At the time only men sang in church: high pitch vocal parts were usually performed by treble choristers. Folkoperan’s St Matthew Passion looks back towards Bach’s original intentions at the same time as moving meaning forward to have relevance to contemporary secular society, as well as those with religious belief. [1], As is typical of settings of the Passion (and originating in its liturgical use on Palm Sunday), there is no mention of the Resurrection in any of these texts (apart from indirect allusions at Matthew 26:32 and 27:53 and 63). Most prominent of those is the chorus “O Haupt voll Blut und Wunden” (“O Sacred Head Now Wounded”), which stands as 54th of the 68 sections. In this version the Passion was written for two choruses and orchestras. The work is for a choir, solo voices and orchestra. Preview st matthew passion is available in 4 pages and compose for advanced difficulty. 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