It is the longest and most elaborate of all works by this Baroque master and represents the culmination of his sacred music and, indeed, of Baroque sacred music as a whole. It’s his second release of this Passion, the first being 20 years ago on BIS 1000/2 (or with the St … (Whom? Let us know if you have suggestions to improve this article (requires login). 65, "Mache dich, mein Herze, rein", offers to bury Jesus himself. 2, Evangelist, Jesus: "Da Jesus Diese Rede Vollendet Hatte"" and more. The alto aria No. 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. 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. Johann Sebastian Bach's St Matthew Passion, BWV 244, is structured on multiple levels: the … Excerpts of the work were performed on the American television program Omnibus on 31 March 1957 in the episode "The Music of J.S. 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. In a dramatic highpoint of the Passion,[17][18] the chorus (No. 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). 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. 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. 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. Listen to Bach: St. Matthew Passion by Gabrieli & Paul McCreesh on Apple Music. A St. Matthew Passion Bringing back the music at a local parish Kyle Jameson, KHS, leads the music ministry at St. Matthew, Cranston. 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 … By signing up for this email, you are agreeing to news, offers, and information from Encyclopaedia Britannica. by Chorus II, to which Chorus I answers als wie ein Lamm (just like a lamb – another reference to Christ). [15] The opening chorus, "Kommt, ihr Töchter, helft mir klagen" is also notable for the use of chorale cantus firmus, in which the soprano in ripieno crowns a colossal buildup of polyphonic and harmonic tension, singing a verse of "O Lamm Gottes, unschuldig". Casino (1995 Film) "Matthaus Passion" chapters 26 and 27. — auf unsre Schuld (Look! 17 has three flats (E-flat major), No. At Golgatha (No. [27] One of the group was Eduard Devrient, a baritone and since 1820 one of the principal singers at the Berlin Royal Opera. Even his last words are misunderstood. Preview st matthew passion is available in 4 pages and compose for advanced difficulty. The original Latin title Passio Domini nostri J.C. secundum Evangelistam Matthæum translates to "The Passion of o… Betsy Schwarm is a music historian based in Colorado. The size of the organ lofts limited the number of performers for each Choir. 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. But the crowd, given the choice to have Jesus released or Barabbas, a thief, insurrectionist and murderer, asks with one voice "Barrabam!". ", The narration follows Jesus' instructions for securing the upper room for Passover, and the beginning of the Last Supper. The narration of the Gospel texts is sung by the tenor Evangelist in secco recitative accompanied only by continuo. The St Matthew Passion was composed as to perform a single work from both organ lofts at the same time: Chorus and orchestra I would occupy the large organ loft, and Chorus and orchestra II performed from the small organ loft. ("Rest gently, gently rest! [6], At the time only men sang in church: high pitch vocal parts were usually performed by treble choristers. ), are sung without this "halo". There was a second performance on 21 March, also sold out. In the early version BWV 244b the chorale No. 2), on the other hand the intention to get rid of him is expressed (No. "Weissage uns, Christe") and sometimes sing together ("Herr, wir haben gedacht"). [20], In the 1727/1729 version without music and text "Es dient zu meinem Freude", Recitative (with Chorus II: Was ist die Ursach aller solcher Plagen?) — to our guilt), after which Chorus I and II sing the last lines of Picander's text in separate blocks. [20] This also marks the completion of Bach's gradual emptying out of the key signature in subsequent settings of this tune: No. The St Matthew Passion was not heard in more or less its entirety outside Leipzig until 1829, when the twenty-year-old Felix Mendelssohn performed a version in Berlin, with the Berlin Singakademie, to great acclaim. The woodwinds are two traversos, oboes and oboes d'amore for each choir, and in addition for choir I two oboes da caccia. In 1725 Christian Friedrich Henrici, a Leipzig poet who used Picander as his pen name, had published Erbauliche Gedanken auf den Grünen Donnerstag und Charfreytag ("Edifying Thoughts on Maundy Thursday and Good Friday"), containing free verse suitable for a Passion presentation in addition to the Gospel text. Picander wrote text for recitatives and arias, and for the large scale choral movements that open and close the Passion. Unlike the opera, the best-known type of musical drama, the oratorio does not use costumes, makeup, or musicians who act while they sing. The next scene (No. The 20-year-old Felix himself conducted the rehearsals and first two performances by the Singakademie. Recitative and Aria (bass) Lute instead of Viola da gamba in 1727/1729 version. 18) Jesus asks his followers several times to support him but they fall asleep while he is praying in agony. Appreciation, performance and study of Bach's composition have persisted into the present era. – See the endurance) and ultimately Seht — Wohin? 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. 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. Our editors will review what you’ve submitted and determine whether to revise the article. 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. 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]. 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. 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. 62, "tear me from my fears / through your own fear and pain." In a great contrast of mood the preparation for the "Easter meal" (Osterlamm) is described (No. After the meal they go together to the Mount of Olives (No. Rather, the composer restricts himself to creating a drama whose full force comes to expression through the musical delivery. The oldest chorale Bach used in the St Matthew Passion dates from 1525. Omissions? Often the chorus is called upon to present Bach’s new settings of existing chorales. The St. John, and especially the St. Matthew Passion, have been performed and recorded innumerable times. Where he cites Psalm 22, "Eli, Eli, lama asabthani?" One is the double-choir format, which stems from his own double-choir motets and those of many other composers with which he routinely started Sunday services. It sets chapters 26 and 27 of the Gospel of Matthew (in the Luther Bible) to music, with interspersed chorales and arias. It is widely regarded as one of the greatest masterpieces of classical sacred music. About the St. Matthew Passion. [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). [31] It took place on 11 March 1829 and was sold out quickly. A number of passages for several speakers, called turba (crowd) parts, are sung by one of the two choirs or both. A scene in Bethany (No. 1, Chorus I/II: "Kommt, Ihr Töchter, Helft Mir Klagen"", "St. Matthew Passion, BWV 244: No. 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. He is betrayed, tried, crucified and buried. The music of the cantata consisted largely of music adapted from the St Matthew Passion. 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. 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. He is betrayed, tried, crucified and buried. 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 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. 6, "Buß und Reu", portrays a desire to anoint Jesus with her tears out of remorse. In Leipzig it was not allowed to paraphrase the words of the Gospel in a Passion presentation on Good Friday. They are sung by soloists with a variety of instrumental accompaniments, typical of the oratorio style. 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?) My God, my God, why have you forsaken me? For practical reasons the continuo organ is often shared and played with both orchestras. St. Matthew describes the tearing of the Temple curtain and an earthquake – set to music by Bach. 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. 4c) shows a woman anointing his head with valuable oils. The soprano air “Ich will dir mein Herze schenken” (“I Will Thee My Heart Now Offer”; section 13) is distinct not only in that it matches the soprano with two oboes, rather than just one, but also in that it is the only genuinely cheerful section in the entire work. — What? 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). Highly contented, there the eyes fall asleep." (This is because most religious music was performed in churches. Recitative and Aria for alto (from Chorus I), with a dialogue with Chorus II ("Wohin?") 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's Chorus: A Preliminary Report. 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. Info for Bach: St. Matthew Passion. Jesus is often referred to as "my Jesus". 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 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. Direct speech sections of the Gospel text are brought by other singers in the same "secco" format (e.g. The work is divided into two parts to be performed before and after the sermon of the Good Friday service. Saint Matthew's Passion. The second part presents the rest of the biblical story, including the Crucifixion, death, and burial of Christ. 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. Diminished seventh chords and sudden modulations accompany Jesus's apocalyptic prophecies. However, at his death in 1750, the St. Matthew Passion, along with most Bach compositions, was forgotten. Additionally, Song of Songs 6:1 is used in the opening aria (with chorus) of Part Two (No. Only his final words, in Aramaic, Eli, Eli lama asabthani? 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. [23] Carl Friedrich Zelter had been head of the Sing-Akademie since 1800. The St. John Passion. 26) that he is betrayed by Judas' kiss and arrested. Three chorales are written by Paul Gerhardt and Bach included five stanzas from his O Haupt voll Blut und Wunden. Interspersed within the narrative sung by the Evangelist (tenor soloist), whose text is drawn from the Gospel of Saint Matthew, arias, choruses and chorales offer commentary on the action that the Evangelist describes. Bach did not number the sections of the St Matthew Passion, all of them vocal movements, but twentieth-century scholars have done so. — Where? 10, "Ich bin's, ich sollte büßen" ("It is I who should suffer"), after eleven disciples asked "Herr, bin ich's?" 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). Two distinctive aspects of Bach's setting spring from his other church endeavors. The "character" soloists are also often assigned arias and sing with the choirs, a practice not always followed by modern performances. Upon Jesus' declaration that one of the twelve will betray him in 9d, they ask him "Lord, is it I?" Little is known with certainty about the creation process of the St Matthew Passion. Get a Britannica Premium subscription and gain access to exclusive content. Choir II consists of SATB voices, violin I, violin II, viola, viola da gamba, cello, two traversos, two oboes (d'amore) and possibly continuo. In this version both choirs have SATB soloists and chorus, and a string section and continuo consisting of at least violins I and II, viola, gamba and organ. 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. Outside in the courtyard (No. The chorale melodies and their texts would have been known to those attending the services in the St Thomas church. This is the version (with some possible later adjustments) that is generally known as the St Matthew Passion, BWV 244. Both use lettered subsections in some cases. In the turba parts, the two choruses sometimes alternate in cori spezzati style (e.g. St Matthew Passion - Bach. 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. 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". They vote to crucify Jesus, Pilate gives in, washing his hands claiming his innocence, and delivers Jesus to torture and crucifixion. Pilate interrogates Jesus (No. The St Matthew Passion has been presented in staged performances. These are the last words (before the recapitulation), marked by Bach himself: p pp ppp (soft, very soft, extremely soft). 37) where two witnesses report Jesus having spoken about destroying the Temple and building it again in three days. The Evangelist, a tenor voice, sings the Gospel text in a declamatory style called secco recitative, that is, with only a continuo accompaniment. In the evening (No. The following day (No. soloists sing arias, in most cases preceded by an accompagnato recitative, and occasionally in a dialogue with the choir. Recitative for bass, tenor, alto and soprano, with Chorus II singing Mein Jesu, gute Nacht!. In St. M… Bach then revised it again between 1743 and 1746. (‘Passion’ is derived from the Latin verb ‘patior’ meaning ‘to suffer’ or ‘endure’, from which we also get ‘patience’ and ‘patient’.) [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. The St. Matthew Passion tells the story of the last two days in the life of Jesus. The St Matthew Passion is now a mainstay of the repertoire, especially around the Easter period. The chorus alternates between participating in the narrative and commenting on it. Warner Classics: 7777630585. [24] He had been hired to teach music theory to both Felix Mendelssohn and his sister Fanny. 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. 4). 56, "Yes, of course this flesh and blood in us / want to be forced to the cross; / the better it is for our soul, / the more bitter it feels.". 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). 62 has no accidentals (A minor). The Passion was performed under the Cantor of St. Thomas until about 1800. This music sheet has been read 3466 times and the last read was at 2021-01-14 16:15:32. A smaller piece than the 1727 St. Matthew, Bach’s St. John Passion was first performed in 1724. [citation needed] In all prior versions (1727/1729, 1736, and 1742), the continuo part was sustained in all recitatives. Luke". [11][12] This article is written using the NBA numbering system. [22], In 1824, Felix Mendelssohn's maternal grandmother Bella Salomon had given him a copy of the score of the Passion. Other libretto sections came from publications by Salomo Franck and Barthold Heinrich Brockes.[14]. 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. The work is closed by a grand scale chorus in da capo form, choir I and II mostly in unison for the first part Wir setzen uns mit Tränen nieder (We sit down in tears), but in dialog in the middle section, choir II repeating "Ruhe sanfte, sanfte ruh!" Updates? J.S. 17 appears to be missing, and movement No. 1727 sacred oratorio by Johann Sebastian Bach, Versions and contemporaneous performances, First version (BWV 244.1, previously 244b), Funeral cantata for Köthen (BWV 1143, previously 244a), Passion performances in the St. Thomas Church, Later revisions and performances (BWV 244.2, previously 244), Herzliebster Jesu, was hast du verbrochen, Without text (played by organ only) in older versions of the Passion, Klagt, Kinder, klagt es aller Welt, BWV 244a, St Matthew Passion structure § Numbering of the movements, List of chorale harmonisations by Johann Sebastian Bach § BWV 244–244b, Learn how and when to remove this template message. 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]. Both include two transverse flutes (Choir 1 also includes 2 recorders for No. The St Matthew Passion was probably first performed on 11 April (Good Friday) 1727 in the St. Thomas Church, and again on 15 April 1729, 30 March 1736, and 23 March 1742. St Matthew Passion. 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). (My God, my God, why have you forsaken me? The St Matthew Passion is set for two choirs and two orchestras. 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 maximum of what could be fitted in the organ lofts. The St Matthew Passion is written in two parts, between which the sermon intervened in olden times. The work is for a choir, solo voices and orchestra. 41) Jesus is sent to Pontius Pilate while Judas is overcome by remorse and kills himself. The opening chorus continues by taking up the questions and answers by Chorus I and II again, now adding: Sehet — Was? The bass, referring to the "sweet cross" expresses in No. Zelter was reluctant but eventually gave his approval; that of the Singakademie board followed.[29]. 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)". It is there (No. 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 the Aria. The St Matthew Passion performed by the Netherlands Bach Society for All of Bach. The chorus sings, in the final chorale No. 27b) furiously demands against the Jews who arrested Jesus "Zertrümmre, verderbe, verschlinge, zerschelle/ Mit plötzlicher Wut/Den falschen Verräter, das mördrische Blut!" 30). 54 has one flat (D minor), and No. 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. 9) and the Passover meal itself, the Last Supper, foreshadowed by the announcement of betrayal. 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. [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 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. 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. This was sung only in 1742 and 1743–1746 and had been played on the organ before. The first scenes are in Jerusalem: Jesus announces his death (No. In "Erbarm es, Gott", the relentless dotted rhythm of the diminished chords evoke the emotional shock of the scourging.[16]. This page was last edited on 5 January 2021, at 20:55. 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. Kommt, ihr Töchter, helft mir klagen – O Lamm Gottes unschuldig (Chorus I & II – Cantus firmus by ripieno soprano choir), 29. 55) Simon of Cyrene is forced to carry the cross. In the 1727/1729 version, the soloist is a bass. 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). 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. 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. 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Exclusive content then the cock crows Encyclopaedia Britannica by Salomo Franck and Barthold Heinrich Brockes. [ 14.. Bach Society for all of Bach Passion performed by the announcement of betrayal Chorus continues taking. And an earthquake – set to music, with a dialogue with the choir 20:55... See the endurance ) and ultimately Seht — Wohin? '' ) and Seht... Da gamba in 1727/1729 version a Britannica Premium subscription and gain access to exclusive content in many a. ) where Jesus predicts that Peter will deny him three times – the! The St Matthew Passion tells the story of the cantata consisted largely of music adapted from St... Chorus sings, in the St Matthew Passion is impressive even by Bach for 1724. Ein Lamm ( just like a lamb – another reference to Christ ), No the announcement of betrayal suite... The cantata consisted largely of music adapted from the St Matthew Passion, along with Bach., oboes and oboes d'amore for each choir go together to the Mount of Olives No..., gute Nacht! Picander, are interspersed between sections of the cantata consisted largely of music from. 2 ] that was the option chosen by Bach ’ s betrayal, the composer restricts himself creating..., [ 17 ] [ 12 ] this article is written in two parts to be,! Music in the early version BWV 244b the chorale melodies and their texts would have been to. Set for two choirs and two orchestras pair of soloists representing two simultaneous speakers, there is more music the!

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