St Matthew Passion structure

St Matthew Passion
BWV 244
Passion by J. S. Bach
Schmerzensmann (Man of sorrows) by Lucas Cranach the Elder (1515)
Native name	Passio Domini Nostri J.C. Secundum Evangelistam Matthaeum
Related	BWV 244a
Occasion	Good Friday
Text	Picander
Bible text	Matthew 26–27
Chorale	Nikolaus Decius Johann Heermann Paul Gerhardt Albert, Duke in Prussia Sebald Heyden Adam Reusner Johann Rist
Performed	11 April 1727 (1727-04-11): Leipzig
Movements	68 in two parts (29 + 39)
Vocal	Two choirs SATB Evangelist Vox Christi Solo: soprano, alto, tenor, bass, soliloquents
Instrumental	Two 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

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).

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.

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. 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 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	Archiv
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 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

See also: List of chorale harmonisations by Johann Sebastian Bach § BWV 244–244b

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.

This table is an excerpt from St Matthew Passion § Chorales.[edit]

Chorales in St Matthew Passion

Author	Date	Hymn; Stanza		Stanza incipit	No.	Set as...
Nikolaus Decius	1541	O Lamm Gottes, unschuldig	1	O Lamm Gottes, unschuldig	1	cantus firmus in choral movement
Johann Heermann	1630	Herzliebster Jesu	1	Herzliebster Jesu, was hast du verbrochen	3	four-part chorale
Paul Gerhardt	1647	O Welt, sieh hier dein Leben	5	Ich bin's, ich sollte büßen	10	four-part chorale
Paul Gerhardt	1656	O Haupt voll Blut und Wunden	5	Erkenne mich, mein Hüter	15	four-part chorale
Paul Gerhardt	1656	O Haupt voll Blut und Wunden	7	Es dient zu meinen Freuden	17	four-part chorale
Paul Gerhardt	1656	O Haupt voll Blut und Wunden	6	Ich will hier bei dir stehen	17	four-part chorale
Johann Heermann	1630	Herzliebster Jesu	3	Was ist doch wohl die Ursach	19	coro II in tenor recitative
Albert, Duke of Prussia	1547	Was mein Gott will, das g'scheh allzeit	1	Was mein Gott will, das g'scheh allzeit	25	four-part chorale
Christian Keymann	1658	Meinen Jesum laß ich nicht	6	Jesum laß' ich nicht von mir	29	four-part chorale
Sebald Heyden	1525	O Mensch, bewein dein Sünde groß	1	O Mensch, bewein dein Sünde groß	29	cantus firmus in choral movement
Adam Reusner	1533	In dich hab ich gehoffet, Herr	5	Mir hat die Welt trüglich gericht'	32	four-part chorale
Paul Gerhardt	1647	O Welt, sieh hier dein Leben	3	Wer hat dich so geschlagen	37	four-part chorale
Johann Rist	1642	Werde munter, mein Gemüte	6	Bin ich gleich von dir gewichen	40	four-part chorale
Paul Gerhardt	1656	Befiehl du deine Wege	1	Befiehl du deine Wege	44	four-part chorale
Johann Heermann	1630	Herzliebster Jesu	4	Wie wunderbarlich ist doch diese Strafe!	46	four-part chorale
Paul Gerhardt	1656	O Haupt voll Blut und Wunden	1	O Haupt voll Blut und Wunden	54	four-part chorale
Paul Gerhardt	1656	O Haupt voll Blut und Wunden	2	Du edles Angesichte	54, cont.	four-part chorale
Paul Gerhardt	1656	O Haupt voll Blut und Wunden	9	Wenn ich einmal soll scheiden	62	four-part chorale
Notes

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	1	Chorale S	Ch I	Ch II	E minor	12 8	2Ft 2Ob 2Vn Va Bc	Kommt, ihr Töchter, helft mir klagen + chorale O Lamm Gottes, unschuldig as cantus firmus	Picander + Nicolaus Decius
2	2	Ev, Jesus			G major → B minor		2Vn Va Bc	Da Jesus diese Rede vollendet hatte	Mt 26:1–2
3	3		Chorale		B minor		2Ft 2Ob 2Vn Va Bc	Herzliebster Jesu	Johann Heermann
4a	4	Ev			D major → C major		Bc	Da versammleten sich die Hohenpriester	Mt 26:3–4
4b	5	Ch I		Ch II	C major		2Ft 2Ob 2Vn Va Bc	Ja nicht auf das Fest	Mt 26:5
4c	6	Ev			C major → A minor		Bc	Da nun Jesus war zu Bethanien	Mt 26:6–8a
4d	7	Ch I			A minor → D minor		2Ft 2Ob 2Vn Va Bc	Wozu dienet dieser Unrat	Mt 26:8b–9
4e	8	Ev, Jesus			B♭ major → E minor		2Vn Va Bc	Da das Jesus merkete	Mt 26:10–13
5	9		Rec A		B minor → F♯ minor		2Ft Bc	Du lieber Heiland du	Salomo Franck
6	10		Aria A		F♯ minor	3 8	2Ft Bc	Buß und Reu	Picander
7	11	Ev, Judas			D major → B minor		Bc	Da ging hin der Zwölfen einer	Mt 26:14–16
8	12		Aria S		B minor		2Ft 2Vn Va Bc	Blute nur, du liebes Herz!	Picander
9a	13	Ev			G major		Bc	Aber am ersten Tage der süßen Brot	Mt 26:17a
9b	14	Ch I			G major	3 4	2Ft 2Ob 2Vn Va Bc	Wo willst du, daß wir dir bereiten	Mt 26:17b
9c	15	Ev, Jesus			G major → C major		2Vn Va Bc	Er sprach: Gehet hin in die Stadt	Mt 26:18–21
9d		Ev			B♭ minor → F minor		Bc	Und sie wurden sehr betrübt	Mt 26:22a
9e		Ch I			F minor → C minor		2Ft 2Ob 2Vn Va Bc	Herr, bin ich's?	Mt 26:22b
10	16		Chorale		A♭ major		2Ob 2Vn Va Bc	Ich bin's, ich sollte büßen	Paul Gerhardt
11	17	Ev, Jesus, Judas			F minor → G major	–6 4	2Vn Va Bc	Er antwortete und sprach	Mt 26:23–29
12	18		Rec S		E minor → C major		2Oa Bc	Wiewohl mein Herz in Tränen schwimmt	Picander
13	19		Aria S		G major	6 8	2Oa Bc	Ich will dir mein Herze schenken	Picander
14	20	Ev, Jesus			B minor → E major		2Vn Va Bc	Und da sie den Lobgesang gesprochen hatten	Mt 26:30–32
15	21		Chorale		E major		2Ft 2Ob 2Vn Va Bc	Erkenne mich, mein Hüter	Paul Gerhardt
16	22	Ev, Jesus, Peter			A major → G minor		2Vn Va Bc	Petrus aber antwortete	Mt 26:33–35
17	23		Chorale		E♭ major		2Ob 2Vn Va Bc	Ich will hier bei dir stehen	Paul Gerhardt
18	24	Ev, Jesus			F major → A♭ major		2Vn Va Bc	Da kam Jesus mit ihnen zu einem Hofe	Mt 26:36–38
19	25		Rec T	Ch II Chorale	F minor → G major		2Fl 2Oc 2Vn Va Bc	O Schmerz! Hier zittert das gequälte Herz	Picander + Johann Heermann
20	26		Aria T	Ch II	C minor		2Ft Ob 2Vn Va Bc	Ich will bei meinem Jesu wachen	Picander
21	27	Ev, Jesus			B major → G minor		2Vn Va Bc	Und ging hin ein wenig	Mt 26:39
22	28		Rec B		D minor → B♭ major		2Vn Va Bc	Der Heiland fällt vor seinem Vater nieder	Picander
23	29		Aria B		G minor	3 8	2Vn Bc	Gerne will ich mich bequemen	Picander
24	30	Ev, Jesus			F major → B minor		2Vn Va Bc	Und er kam zu seinen Jüngern	Mt 26:40–42
25	31		Chorale		B minor		2Ft 2Ob 2Vn Va Bc	Was mein Gott will, das g'scheh allzeit	Albert, Duke of Prussia
26	32	Ev, Jesus, Judas			D major → G major		2Vn Va Bc	Und er kam und fand sie aber schlafend	Mt 26:43–50
27a	33		Aria S A	Ch II	E minor		2Ft 2Ob 2Vn Va Bc	So ist mein Jesus nun gefangen	Picander
27b			Ch I	Ch II	E minor	3 8	2Ft 2Ob 2Vn Va Bc	Sind Blitze, sind Donner in Wolken verschwunden?	Barthold Heinrich Brockes
28	34	Ev, Jesus			F♯ major → C♯ minor		2Vn Va Bc	Und siehe, einer aus denen	Mt 26:51–56
29	35		Chorale fantasia		E major		2Ft 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	36		Aria A	Ch II	B minor	3 8	Ft Oa 2Vn Va Bc	Ach! nun ist mein Jesus hin!	Picander
31	37	Ev			B major → D minor		Bc	Die aber Jesum gegriffen hatten	Mt 26:57–60a
32	38		Chorale		B♭ major		2Ft 2Ob 2Vn Va Bc	Mir hat die Welt trüglich gericht'	Adam Reusner
33	39	Ev, 2 witnesses, high priest			G minor		Bc	Und wiewohl viel falsche Zeugen herzutraten	Mt 26:60b–63a
34	40		Rec T		A major → A minor		2Ob Vg Bc	Mein Jesus schweigt	Picander
35	41		Aria T		A minor		Vg Bc	Geduld! Wenn mich falsche Zungen stechen	Picander
36a	42	Ev, Jesus, high priest			E minor		2Vn Va Bc	Und der Hohepriester antwortete	Mt 26:63b–66a
36b		Ch I		Ch II	G major		2Ft 2Ob 2Vn Va Bc	Er ist des Todes schuldig!	Mt 26:66b
36c	43	Ev			C major → D minor		Bc	Da speieten sie aus	Mt 26:67
36d		Ch I		Ch II	D minor → F major		2Ft 2Ob 2Vn Va Bc	Weissage uns, Christe	Mt 26:68
37	44		Chorale		F major		2Ft 2Ob 2Vn Va Bc	Wer hat dich so geschlagen	Paul Gerhardt
38a	45	Ev, Peter, 2 maids			A major → D major		Bc	Petrus aber saß draußen	Mt 26:69–73a
38b		Ch II			D major → A major		2Ft Ob 2Vn Va Bc	Wahrlich, du bist auch einer	Mt 26:73b
38c	46	Ev, Peter			C♯ major → F♯ minor		Bc	Da hub er an, sich zu verfluchen	Mt 26:74–75
39	47		Aria A		B minor	12 8	Vs 2Vn Va Bc	Erbarme dich	Picander
40	48		Chorale		F♯ minor → A major		2Ft 2Ob 2Vn Va Bc	Bin ich gleich von dir gewichen	Johann Rist
41a	49	Ev, Judas			F♯ minor → B major		Bc	Des Morgens aber hielten alle Hohepriester	Mt 27:1–4a
41b		Ch I		Ch II	B major → E minor	3 4	2Ft 2Ob 2Vn Va Bc	Was gehet uns das an?	Mt 27:4b
41c	50	Ev, 2 high priests			A minor → B minor		Bc	Und er warf die Silberlinge in den Tempel	Mt 27:5–6
42	51		Aria B		G major		Vs 2Vn Va Bc	Gebt mir meinen Jesum wieder!	Picander
43	52	Ev, Jesus, Pilate			E minor → D major		2Vn Va Bc	Sie hielten aber einen Rat	Mt 27:7–14
44	53		Chorale		D major		2Ft 2Ob 2Vn Va Bc	Befiehl du deine Wege	Paul Gerhardt
45a	54	Ev, Pilate, his wife	Ch I	Ch II	E major → A minor		Bc	Auf das Fest aber hatte der Landpfleger Gewohnheit	Mt 27:15–22a
45b		Ch I & II			A minor → B major		2Ft 2Ob 2Vn Va Bc	Laß ihn kreuzigen!	Mt 27:22b
46	55		Chorale		B minor		2Ft 2Ob 2Vn Va Bc	Wie wunderbarlich ist doch diese Strafe!	Johann Heermann
47	56	Ev, Pilate			B minor		Bc	Der Landpfleger sagte	Mt 27:23a
48	57		Rec S		E minor → C major		2Oc Bc	Er hat uns allen wohlgetan	Picander
49	58		Aria S		A minor	3 4	Ft 2Oc	Aus Liebe will mein Heiland sterben	Picander
50a	59	Ev			E minor		Bc	Sie schrieen aber noch mehr	Mt 27:23b
50b		Ch I & II			B minor → C♯ major		2Ft 2Ob 2Vn Va Bc	Laß ihn kreuzigen!	Mt 27:23c
50c		Ev, Pilate			C♯ major → B minor		Bc	Da aber Pilatus sahe	Mt 27:24–25a
50d		Ch I & II			B minor → D major		2Ft 2Ob 2Vn Va Bc	Sein Blut komme über uns	Mt 27:25b
50e		Ev			D major → E minor		Bc	Da gab er ihnen Barrabam los	Mt 27:26
51	60		Rec A		F major → G minor		2Vn Va Bc	Erbarm es Gott!	Picander
52	61		Aria A		G minor	3 4	2Vn Bc	Können Tränen meiner Wangen	Picander
53a	62	Ev			F major → D minor		Bc	Da nahmen die Kriegsknechte	Mt 27:27–29a
53b		Ch I		Ch II	D minor → A major		2Ft 2Ob 2Vn Va Bc	Gegrüßet seist du, Jüdenkönig!	Mt 27:29b
53c		Ev			D minor		Bc	Und speieten ihn an	Mt 27:30
54	63		Chorale		D minor → F major		2Ft 2Ob 2Vn Va Bc	O Haupt voll Blut und Wunden	Paul Gerhardt
55	64	Ev			A minor		Bc	Und da sie ihn verspottet hatten	Mt 27:31–32
56	65		Rec B		F major → D minor		2Ft Vg Bc	Ja freilich will in uns	Picander
57	66		Aria B		D minor		Vg Bc	Komm, süßes Kreuz	Picander
58a	67	Ev			C major → F♯ major		Bc	Und da sie an die Stätte kamen	Mt 27:33–39
58b		Ch I		Ch II	F♯ major → B minor		2Ft 2Ob 2Vn Va Bc	Der du den Tempel Gottes zerbrichst	Mt 27:40
58c		Ev			F♯ major → E minor		Bc	Desgleichen auch die Hohenpriester	Mt 27:41
58d		Ch I		Ch II	E minor		2Ft 2Ob 2Vn Va Bc	Andern hat er geholfen	Mt 27:42–43
58e	68	Ev			G major → C minor		Bc	Desgleichen schmäheten ihn	Mt 27:44
59	69		Rec A		A♭ major		2Oc Bc	Ach Golgatha	Picander
60	70		Aria A	Ch II	E♭ major		2Ob 2Oc 2Vn Va Bc	Sehet, Jesus hat die Hand	Picander
61a	71	Ev, Jesus			E♭ major → C minor		Bc	Und von der sechsten Stunde an	Mt 27:45–47a
61b		Ch I			C minor → F major		2Ob 2Vn Va Bc	Der rufet dem Elias!	Mt 27:47b
61c		Ev			F major → G minor		Bc	Und bald lief einer unter ihnen	Mt 27:48–49a
61d		Ch II			G minor → D minor		2Ft Ob 2Vn Va Bc	Halt! laß sehen	Mt 27:49b
61e		Ev			D minor → A minor		Bc	Aber Jesus schriee abermal laut	Mt 27:50
62	72		Chorale		A minor		2Ft 2Ob 2Vn Va Bc	Wenn ich einmal soll scheiden	Paul Gerhardt
63a	73	Ev			C major → A♭ major		Bc	Und siehe da, der Vorhang im Tempel zerriß	Mt 27:51–54a
63b		Ch I & II			A♭ major		2Ft Ob 2Vn Va Bc	Wahrlich, dieser ist Gottes Sohn gewesen	Mt 27:54b
63c		Ev			E♭ major → B♭ major		Bc	Und es waren viel Weiber da	Mt 27:55–59
64	74		Rec B		G minor		2Vn Va Bc	Am Abend, da es kühle war	Salomo Franck
65	75		Aria B		B♭ major	12 8	2Oc 2Vn Va Bc	Mache dich, mein Herze, rein	Picander
66a	76	Ev			G minor → E♭ major		Bc	Und Joseph nahm den Leib	Mt 27:59–62
66b		Ch I		Ch II	E♭ major → D major		2Ft 2Ob 2Vn Va Bc	Herr, wir haben gedacht	Mt 27:63–64
66c		Ev, Pilate			G minor → E♭ major		Bc	Pilatus sprach zu ihnen	Mt 27:65–66
67	77		Rec S A T B	Ch II	E♭ major → C minor		2Ft 2Ob 2Vn Va Bc	Nun ist der Herr zur Ruh gebracht	Picander
68	78		Ch I	Ch II	C minor	3 4	2Ft 2Ob 2Vn Va Bc	Wir setzen uns mit Tränen nieder	Picander

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 (in 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 Archived 2015-04-06 at the Wayback Machine 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