Mt 26:17–22 [ edit ] 9a. Evangelist: Aber am ersten Tage der süßen Brot 9b. Chorus I: Wo willst du, daß wir dir bereiten das Osterlamm zu essen? 9c. Evangelist, Jesus: Er sprach: Gehet hin in die Stadt 9d. Evangelist: Und sie wurden sehr betrübt 9e. Chorus I: Herr, bin ich's? In the turba parts, the two choruses sometimes alternate in cori spezzati style (e.g. " Weissage uns, Christe") and sometimes sing together (" Herr, wir haben gedacht"). 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."

Mt 26:3–13 [ edit ] 4a. Evangelist: Da versammleten sich die Hohenpriester und Schriftgelehrten 4b. Chorus I & II: Ja nicht auf das Fest 4c. Evangelist: Da nun Jesus war zu Bethanien 4d. Chorus I: Wozu dienet dieser Unrat? 4e. Evangelist, Jesus: Da das Jesus merkete, sprach er zu ihnen 5–6. Du lieber Heiland du – Buß und Reu [ edit ] The following alto and tenor aria is based on one of the most dramatically conflicting text passages that Bach ever set: “I’ll walk, then, with emboldened paces, E’en when me God to grave shall lead”. Here, the determined and almost dance-like ascending string passages are countered by weighty pedal points and descending continuo passages which represent the grave and eternal sleep: without accepting the inevitability of death, heaven and eternity remain beyond reach. The fact that the alto and tenor voices are literally trapped between the trusting strides of the strings and the deathly pull of the continuo renders these dual extremes of human existence palpably audible. The virtuoso coloraturas of the first violin, too, seem to hover around a single note – the tension between stillness and movement, a yearning for death and worldly activity seem to permeate every nuance of the movement. While the fugue-like imitation in the middle section accentuates the aspect of time and its measured course (“As God my days has set in writing”), a sense of loving trust retains the upper hand with the recapitulation of the A section. Formally, the aria’s setting as an intense duet is symbolic of the companionship necessary to find the comfort and courage to take the final steps in life. Bach, who was sorely tested as both orphan and widower, has realised here a strong image of the kind-hearted guide, whose gentle power of persuasion cannot be resisted. 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 Picander. The arias are in da capo format ( ternary form). "Erbarme dich", for alto, and "Mache dich, mein Herze, rein", for bass, are examples of such arias in Part Two of the oratorio. In these movements the singers are accompanied by one or a few solo instruments and continuo, occasionally completed by other instrument groups of the orchestra. "O Haupt voll Blut und Wunden", vocal score O Haupt voll Blut und Wunden" by Paul Gerhardt, stanza 5: Erkenne mich, mein Hüter 16. Mt 26:33–35, with Vox Christi and Peter (bass) SWV 400 — Wo der Herr nicht das Haus bauet, 2 S, B, vn, cornettino/vn, compl. 4vv and insts ad lib, bcYeesh! [Am.] [coll.] [sheesh or my gosh] Oh mein Gott! Oh my God! so wahr Gott mein Zeuge ist as God is my witness Erforsche mich, Gott, und erfahre mein Herz [J. S. Bach, BWV 136] Examine me, God, and discover my heart mus. F Gelobet sei der Herr, mein Gott [J. S. Bach, BWV 129] Praised be the Lord, my God mus. F Gott ist mein König [J. S. Bach, BWV 71] God is my King mus. F Gott soll allein mein Herze haben [J. S. Bach, BWV 169] God alone shall have my heart mus. F Mein Gott, wie lang, ach lange? [J. S. Bach, BWV 155] My God, how long, ah, how long? mus. F Näher, mein Gott, zu Dir [Übs. Erhard Fr. Wunderlich] Nearer, My God, to Thee [Sarah Fuller Flower Adams] relig. lit. F Was mein Gott will, das g'scheh allzeit [J. S. Bach, BWV 111] May my God's will always be done mus. F 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. Herr Jesu Christ, Du höchstes Gut, BWV 113 : VIII. Stärk mich mit deinem Freudengeist (Choral) (1:13)

Choral movements come in two additional formats (apart from the turba and dialogue with soloist roles already mentioned above): The Bible text used for Part One is Matthew26:1–56. Part Two uses Matthew26:57–75 and Matthew27:1–66. Rifkin, Joshua. "The Chronology of Bach's Saint Matthew Passion". In The Musical Quarterly, lxi (1975). 360–387 Mt 26:23–29 [ edit ] 11. Evangelist, Jesus, Judas: Er antwortete und sprach 12–13. Wiewohl mein Herz in Tränen schwimmt – Ich will dir mein Herze schenken [ edit ]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. Bach then revised it again between 1743 and 1746. Matthew26:1–2 places the first scene two days before the Passover feast. 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. O Haupt voll Blut und Wunden" by Paul Gerhardt, stanza 9: Wenn ich einmal soll scheiden 63. Mt 27:51–59, with Turba on Wahrlich, dieser ist Gottes Sohn gewesen. (Chorus I & II) Recitative Nun ist der Herr zur Ruh gebracht – Mein Jesu, gute Nacht! (bass, tenor, alto, soprano – Chorus II)