St Matthew Passion

4631: 3726: 3458: 2148: 3654: 3591: 3503: 3496: 513: 72: 3599: 1579: 1765: 5059:, a baritone and since 1820 one of the principal singers at the Berlin Royal Opera. 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. Devrient was especially enthusiastic, hoping to sing the part of Jesus as he eventually did. Zelter was reluctant but eventually gave his approval; that of the Singakademie board followed. 5020: 6481: 553:

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 maximum of what could be fitted in the organ lofts.

4822:, occurring at the high point of intensity at the death of Jesus. This also marks the completion of Bach's gradual emptying out of the key signature in subsequent settings of this tune: No. 15 has four sharps (E major), No. 17 has three flats (E-flat major), No. 44 has two sharps (D major), No. 54 has one flat (D minor), and No. 62 has no accidentals (A minor). 297: 1909:; the emphasis is on the suffering of Jesus. The chorus sings, in the final chorale No. 62, "tear me from my fears / through your own fear and pain." The bass, referring to the "sweet cross" expresses in No. 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." 4985:, to great acclaim. Though most remained the same, Mendelssohn did edit parts of the passion to acquire the taste of the time. Due to the changes in addition with other circumstances the reception was a success. Mendelssohn's revival brought the music of Bach, particularly the large-scale works, to public and scholarly attention (although the 5074:. It took place on 11 March 1829 and was sold out quickly. There was a second performance on 21 March, also sold out. 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. 1818:(maids). These are not always sung by all different soloists. The "character" soloists are also often assigned arias and sing with the choirs, a practice not always followed by modern performances. Two duets are sung by a pair of soloists representing two simultaneous speakers. A number of passages for several speakers, called 1868:, are interspersed between sections of the Gospel text. They are sung by soloists with a variety of instrumental accompaniments, typical of the oratorio style. The interpolated texts theologically and personally interpret the Gospel texts. Many of them include the listener into the action, such as the chorale No. 10, " 5062:

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 20-year-old Felix himself conducted

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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), only a few of the chorales," which "emphasized the drama of the Passion story ... at the

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Cornerstone choral movements, or chorale fantasias: these are the extended movements, typically used to open or close both parts of the oratorio. 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

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has been presented in staged performances. 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.

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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. The size of the organ lofts limited the number of performers for each Choir. Large choruses, in

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and Good Friday"), containing free verse suitable for a Passion presentation in addition to the Gospel text. 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

4951:" ("Rest gently, gently rest!"), choir I reflecting: "Your grave and headstone shall, for the anxious conscience, be a comfortable pillow and the resting place for the soul. Highly contented, there the eyes fall asleep." These are the last words (before the recapitulation), marked by Bach himself: 4116:(O mankind, mourn your great sins), recapitulating that Jesus was born of the Virgin to "become the intercessor". The sopranos sing the cantus firmus, the other voices interpret aspects of the narration. In the 1742 and 1743–1746 versions, a ripieno soprano choir was added to the soprano line. 547:

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

2145:). "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. 565:, BWV 244. 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. The woodwinds are two traversos, oboes and oboes d'amore for each choir, and in addition for choir I two oboes da caccia. 534:. 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 3432:(No. 18) Jesus asks his followers several times to support him but they fall asleep while he is praying in agony. It is there (No. 26) that he is betrayed by Judas' kiss and arrested. While soprano and alto mourn (in duet, No. 27a) Jesus's arrest, the chorus makes angry interjections of " 4153:

while Judas is overcome by remorse and kills himself. Pilate interrogates Jesus (No. 43), is impressed and is inclined to release him, as it was customary to release one prisoner for the holiday, supported in this by his wife. But the crowd, given the choice to have Jesus released or

3587:(Look! — Where? — to our guilt), after which Chorus I and II sing the last lines of Picander's text in separate blocks. 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. 3467:(slaughtered at the stem of the cross), the second line of Decius' chorale, is shown twice in red ink, without the words, on this page of Bach's autograph score: in the middle of the page for the ripienists, and in the upper of the two staves for organ II at the bottom of the page. 1886:", portrays a desire to anoint Jesus with her tears out of remorse. The bass aria No. 65, "Mache dich, mein Herze, rein", offers to bury Jesus himself. Jesus is often referred to as "my Jesus". The chorus alternates between participating in the narrative and commenting on it. 4158:, a thief, insurrectionist and murderer, asks with one voice "Barrabam!". They vote to crucify Jesus, Pilate gives in, washing his hands claiming his innocence, and delivers Jesus to torture and crucifixion. On the way to the crucifixion site (No. 55) 1835:

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". Only his

6192: 4166:(No. 58) Jesus and two others are crucified and mocked by the crowd. Even his last words are misunderstood. Where he cites Psalm 22, "Eli, Eli, lama asabthani?" (My God, my God, why have you forsaken me?), he is supposed to have called 5010:

The Passion was performed under the Cantor of St. Thomas until about 1800. Specifically, in 1780, the Cantor, Doles, had three of Bach's Passions performed, assumed to include the St. John and St. Matthew, and "possibly the St. Luke".

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The narration follows Jesus' instructions for securing the upper room for Passover, and the beginning of the Last Supper. Upon Jesus' declaration that one of the twelve will betray him in 9d, they ask him "Lord, is it I?" The word

1776:(Bible words written in red) in Bach's autograph score: the recitative contains Christ's last words, and the only words by Christ sung without the characteristic string section accompaniment ("Eli, Eli lama asabthani?") 5623:, 3 vols., 1873–1880, transl. by Clara Bell and J. A. Fuller-Maitland, Novello, London, 1889; repr. Dover, New York, 1952, vol. 2, p. 568; the quote is "till the end of the 17th century" presumably a misprint for 18th. 1855:

In the revision of 1743–1746, it is also these words (the Vox Christi) that receive a sustained continuo part. In all prior versions (1727/1729, 1736, and 1742), the continuo part was sustained in all recitatives.

6185: 540:. The request was only partially granted by the Town Council, so possibly at least some of the Passion presentations in St. Thomas were with fewer than twenty singers, even for the large scale works, like the 6178: 337:. The available information derives from extant early manuscripts, contemporary publications of the libretto, and circumstantial data, for instance in documents archived by the Town Council of Leipzig. 4149:

calling for his death. Outside in the courtyard (No. 38) Peter is told three times that he belongs to Jesus and denies it three times – then the cock crows. In the morning (No. 41) Jesus is sent to

1690:. For practical reasons the continuo organ is often shared and played with both orchestras. In many arias a solo instrument or more create a specific mood, such as the central soprano aria No. 49, " 5002:'s one in 1830), the latest being by Neil Jenkins (1997) and Nicholas Fisher and John Russell (2008). Appreciation, performance and study of Bach's composition have persisted into the present era. 3628:

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.

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Some parts were adjusted for a new performance on Good Friday 23 March 1742. Bach finalized his autograph score in 1743–1746; however, this undertaking was not tied to any new performance.

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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.

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was first performed on Good Friday 11 April 1727, although its first performance may have been as late as Good Friday 1729, as older sources assert. The performance took place in the

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asks Pilate for the corpse for burial. The following day (No. 66) officials remind Pilate of the talk of resurrection and ask for guards and a seal for the grave to prevent fraud.

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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.

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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

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libretto, largely consisting of such paraphrasing, could not be done without replacing the paraphrases by actual Gospel text. That was the option chosen by Bach for his 1724

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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

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Bach revised the Passion by 1736, for a performance on Good Friday 30 March 1736. This is the version (with some possible later adjustments) that is generally known as the

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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.

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Picander 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

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London on 6 April 1854 (the same year that it appeared in print by the Old Bach Society (Alte Bach-Gesellschaft). The soloists included Charlotte Helen Sainton-Dolby.

7486: 7527: 1565:, 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". 6406: 2056:

accompaniment. Direct speech sections of the Gospel text are brought by other singers in the same "secco" format (e.g. a soprano voice sings the words spoken by

6396: 7481: 6766: 6105: 3649:". 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?" 5186: 3438:" (Leave him, stop, do not bind him!). In a dramatic highpoint of the Passion, the chorus (No. 27b) furiously demands against the Jews who arrested Jesus " 416:, and responsible for the music in the church) since 1723. In this version the Passion was written for two choruses and orchestras. Choir I consists of a 6421: 6401: 3412:

negotiating the price for handing Jesus over. In a great contrast of mood the preparation for the "Easter meal" (Osterlamm) is described (No. 9) and the

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Two distinctive aspects of Bach's setting spring from his other church endeavors. One is the double-choir format, which stems from his own double-choir

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The chorale melodies and their texts would have been known to those attending the services in the St Thomas church. The oldest chorale Bach used in the

1849: 1671: 1971:) 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." 5283: 2129:

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:

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Turba choruses: words spoken by a group of people (e.g. Jesus' disciples) are sung by the choir, usually accompanied by the complete orchestra.

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in 2022. The Los Angeles Opera presentation involved "42 dancers, six singers, two choruses, and two mighty-in-sound chamber orchestras."

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Part Two is opened by a dialog between the alto soloist deploring her lost Jesus and choir II offering help in searching for him, quoting

6513: 7303: 4661: 1054: 646: 4170:. He dies. St. Matthew describes the tearing of the Temple curtain and an earthquake – set to music by Bach. In the evening (No. 63c) 577: 7209: 6842: 6109: 5048:. 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. 7501: 6143: 6246: 6416: 6162: 6045:

Franklin, Don O. "The Role of the 'Actus Structure' in the Libretto of J. S. Bach's St. Matthew Passion." In Daniel Zager, ed.,

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had been head of the Sing-Akademie since 1800. He had been hired to teach music theory to both Felix Mendelssohn and his sister

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Choral movements come in two additional formats (apart from the turba and dialogue with soloist roles already mentioned above):

1728:", the conclusion of the first half – a movement which Bach also used as an opening chorus for the second version (1725) of his 7264: 6284: 5839: 3998: 7542: 7244: 6849: 5325:

was originally composed for Good Friday 1729, but modern research strongly suggests that it was performed two years earlier."

2165: 1723: 1138: 7506: 6436: 6256: 6148: 6545: 6261: 5596: 4634: 4243: 3729: 3572:. All sentences of the first stanza of Decius' hymn are used as cantus firmus throughout the movement by the ripienists. 1596: 31: 17: 4727: 3404:: Jesus announces his death (No. 2), on the other hand the intention to get rid of him is expressed (No. 4). A scene in 2025: 2021: 497: 120: 7259: 7496: 6170: 6698: 5800: 5788: 5532: 5178: 5084:

of London in 1849 with the intention of introducing Bach's works to the English public. Helen Johnston (a student at

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and those of many other composers with which he routinely started Sunday services. The other is the extensive use of

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in any of these texts (apart from indirect allusions at Matthew 26:32 and 27:53 and 63). Following the concept of

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Zertrümmre, verderbe, verschlinge, zerschelle / Mit plötzlicher Wut / Den falschen Verräter, das mördrische Blut!

5813: 3477:" (Come ye daughters, join my lament), on a text by Picander. After 16 measures of instrumental introduction in 1734:(later – ca. 1730 – he reverted to the originally composed "Herr, unser Herrscher" there). The opening chorus, " 6390: 6333: 4964: 2218:|→ Gospel parts (including Vox Christi and Turba sections) – Evangelist sings in each of these Gospel sections 1600: 1181: 1837: 525: 1097: 7295: 6328: 6154: 4568: 3392:

The work is divided into two parts to be performed before and after the sermon of the Good Friday service.

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and building it again in three days. Jesus is silent to this, but his answer to the question if he is the

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The opening chorus continues by taking up the questions and answers by Chorus I and II again, now adding:

1263: 6314: 6239: 4630: 3725: 3502: 3495: 2147: 590:, but twentieth-century scholars have done so. The two main schemes in use today are the scheme from the 4060: 1978:

instruments are equal partners with the voices, as was customary in late Baroque arias. Bach often uses

7547: 7537: 7234: 6936: 6864: 6499: 6471: 5679: 5085: 3405: 401: 345: 516:"Small" organ loft in the St. Thomas Church, that would have fitted Chorus II and Orchestra II of the 7327: 6837: 6309: 6234: 5321:, ed. Malcolm Boyd. Oxford: Oxford University Press (1999): 430. "Until 1975 it was thought that the 5154: 5088:) translated the libretto of the Passion, and Bennett conducted the first English performance at the 5077: 5055:

In 1827, Felix and a few friends began weekly sessions to rehearse the Passion. One of the group was

3559: 2002:", the relentless dotted rhythm of the diminished chords evoke the emotional shock of the scourging. 1751: 753: 666: 5987: 5549:

The Price of Assimilation : Felix Mendelssohn and the Nineteenth-Century Anti-Semitic Tradition

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lamb, as an offering for sin. This theme is reinforced by the concluding chorale of the first part,

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In the 1727/1729 version, this part is concluded by a four-part setting of verse 6 of the Chorale "

2114: 2057: 1968: 5994:, translated by Clara Bell and John Alexander Fuller-Maitland, In Three Volumes, Vol. II. London, 5971: 3952: 7532: 6229: 6100: 4982: 4637: 3853: 3732: 2630: 1589: 1041: 5977: 5452: 4973:

was not heard in more or less its entirety outside Leipzig until 1829, when the twenty-year-old

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of the two chorale fantasias framing Part I, one as a commenting element in a tenor recitative.

7214: 6916: 6485: 1636: 603: 212: 50: 5191: 7219: 7042: 7007: 6971: 6911: 6206: 6067: 5291: 5225: 5041: 3444:" (Wreck, ruin, engulf, shatter with sudden force the false betrayer, the murderous blood!). 2973: 2175: 1906: 1894: 1306: 226: 63: 6120: 1831:(voice of Christ), usually receive special treatment. Bach created particularly distinctive 6956: 6859: 5153:

in 1981. The Hamburg Ballet production has been reproduced several times, including at the

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on 31 March 1957 in the episode "The Music of J.S. Bach." The presenter and explicator was

5089: 4995: 1898: 390: 6874: 4502: 3653: 1687: 8: 7057: 6879: 6795: 6790: 6781: 6776: 6771: 6761: 6756: 6751: 5254: 5209: 5150: 5071: 4171: 4138: 3408:(No. 4c) shows a woman anointing his head with valuable oils. The next scene (No. 7) has 2198:, is the one that returns most often throughout the Passion, in different harmonizations. 5040:'s maternal grandmother Bella Salomon had given him a copy of the score of the Passion. 4452:

Auf das Fest aber hatte der Landpfleger Gewohnheit, dem Volk einen Gefangenen loszugeben

3590: 2091: 1674:(Choir 1 also includes 2 recorders for No. 19), two oboes, in certain movements instead 7239: 7229: 7082: 7062: 6992: 6941: 6746: 6741: 6736: 6731: 6726: 6721: 6716: 6711: 6706: 6382: 6200: 6139: 6034: 5418: 5233: 3420:, foreshadowed by the announcement of betrayal. After the meal they go together to the 1941: 1937: 536: 5912:

Bach in Berlin: Nation and Culture in Mendelssohn's Revival of the St. Matthew Passion

1696:", where the absence of strings and basso continuo mark a desperate loss of security. 530:

At the time only men sang in church: high pitch vocal parts were usually performed by

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it was not allowed to paraphrase the words of the Gospel in a Passion presentation on

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Their first performance was effectively publicized in six consecutive issues of the

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the backbone of the structure is the narration of the Gospel, in this case chapters

1832: 1798:. Soloists sing the words of various characters, also in recitative; in addition to 1712:, which appear in standard four-part settings, as interpolations in arias, and as a 7465: 7027: 7022: 6976: 6946: 6931: 6889: 6854: 6296: 6026: 5984:, Zweiter Band. Dritte unveränderte Auflage, Leipzig: Breitkopf & Härtel, 1921. 5574: 5448: 5410: 5237: 5182: 2178:

movements: using traditional chorale texts and their melodies. The text is sung in

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As is typical of settings of the Passion (and originating in its liturgical use on

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in Bach's time (note: the organ in this photograph is a late 20th-century addition)

512: 4856: 1880:" (Lord, is it I?) – meaning: Am I the one going to betray? The alto aria No. 6, " 7319: 7052: 7002: 6961: 6428: 6303: 6274: 6224: 5995: 5907: 5506: 5221: 5131: 5056: 4987: 4945:(We sit down in tears), but in dialog in the middle section, choir II repeating " 4159: 3553: 3421: 2161: 1730: 1675: 1632: 1336: 997: 783: 740: 441: 413: 385: 366: 321: 316: 217: 204: 59: 6114: 5992:

Johann Sebastian Bach: his work and influence on the music of Germany, 1685–1750

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as "that glorious work that started me off on my own private passion for Bach."

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Recitative and Aria (bass) Lute instead of Viola da gamba in 1727/1729 version.

2228:|→ (Non-Gospel) Recitatives and Arias (with or without dialogue with the chorus) 697:. Bach used the hymns in different ways, most are four-part setting, two as the 614:

Bach worked together with his librettist, Christian Friedrich Henrici, known as

468:(at least organ). Choir II consists of SATB voices, violin I, violin II, viola, 7204: 7178: 7067: 7047: 7037: 6869: 6115:

Translation to many languages, commentary, musical examples, list of recordings

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Recitative and Aria for alto (from Chorus I), with a dialogue with Chorus II ("

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Des Morgens aber hielten alle Hohepriester und die Ältesten des Volks einen Rat

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Pompton Plains, New Jersey: Amadeus Press, Hal Leonard Corp., 2004 (reprint).

5791:. Bernstein's lecture on Bach was also published in 1959. Bernstein, Leonard. 4994:

Sterndale Bennett 1845 edition of the Passion was to be the first of many (as

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Part I is closed by a four-part Chorale Fantasia (both choirs) on the chorale

1967:"). Other times only one chorus sings (chorus I always takes the parts of the 7521: 6827: 6785: 6535: 6124: 6062: 5396: 5229: 5205: 5197: 5146: 4188: 4137:(No. 37) where two witnesses report Jesus having spoken about destroying the 3602:

Last measures of movement 1 and start of movement 2 in Bach's autograph score

3569: 2195: 2172:) and the final chorus ("Wir setzen uns mit Tränen nieder", text by Picander) 2169: 1952: 1919: 1713: 1648: 1468: 1424: 1379: 1293: 1207: 1125: 953: 912: 869: 826: 700: 688: 662: 492:, a cantata of which only the text is extant, was performed 24 March 1729 in 270: 7163: 7032: 5217: 5213: 5081: 5031: 2766: 2142: 2138: 2076: 2033: 1795: 1168: 679:

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

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This is by far the most unusually chromatic setting of this chorale tune (

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Die aber Jesum gegriffen hatten, führeten ihn zu dem Hohenpriester Kaiphas

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Desgleichen schmäheten ihn auch die Mörder, die mit ihm gekreuziget waren

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Autograph score in the Berlin State Library (Staatsbibliothek zu Berlin)

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Excerpts of the work were performed on the American television program

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Wahrlich, du bist auch einer von denen; denn deine Sprache verrät dich.

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Wahrlich, du bist auch einer von denen; denn deine Sprache verrät dich.

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Und von der sechsten Stunde an war eine Finsternis über das ganze Land

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Ja, freilich will in uns das Fleisch und Blut zum Kreuz gezwungen sein

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Und speieten ihn an und nahmen das Rohr und schlugen damit sein Haupt.

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Ja, freilich will in uns das Fleisch und Blut zum Kreuz gezwungen sein

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Recitative for bass, tenor, alto and soprano, with Chorus II singing

4146: 3401: 2179: 2048:, a tenor voice, sings the Gospel text in a declamatory style called 1975: 1740:" is also notable for the use of chorale cantus firmus, in which the 1717: 300: 234: 71: 6491: 5497:

Karl Richter, Münchener Bach-Orchester et al. Archiv Produktion 1980

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Und siehe, einer aus denen, die mit Jesu waren, reckete die Hand aus

1918:" chorale compares Jesus' crucifixion to the ritual sacrifice of an 1578: 1520:

Without text (played by organ only) in older versions of the Passion

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Und wiewohl viel falsche Zeugen herzutraten, funden sie doch keins.

4155: 4134: 4133:

The first scene of Part Two is an interrogation at the High Priest

3625: 2134: 1989: 1865: 1640: 615: 472:, cello, two traversos, two oboes (d'amore) and possibly continuo. 433: 375: 344:

was probably first performed on 11 April (Good Friday) 1727 in the

242: 238: 222: 125: 97: 5019: 3598: 3428:

will deny him three times before the cock crows. At the garden of

7173: 7153: 7128: 7087: 4936: 4163: 3992:

Und ging hin ein wenig, fiel nieder auf sein Angesicht und betete

3531:(the bridegroom – implying Christ). The next call by Chorus I is 1998:", the line about the serpent is set with a twisting melody. In " 1764: 1745: 1709: 421: 417: 357: 333:

Little is known with certainty about the creation process of the

262: 152: 6159:, Minnesota Public Radio, text and translation, commentary, 2001 3822:

appears 11 times, once for each disciple except Judas Iscariot.

2922:, with Judas (bass), High Priest I and II (basses) and Turba on 2209:

In the scheme below indentation indicates the type of movement:

507: 7097: 7072: 5063:

the rehearsals and first two performances by the Singakademie.

5023:

Performance part for Mendelssohn's 19th-century staging of the

4978: 4474: 4323:

Petrus aber saß draußen im Palast; und es trat zu ihm eine Magd

4167: 3631: 2109:(B), two witnesses (A T), two high priests (B), two maids (S), 2068: 1874:" ("It is I who should suffer"), after eleven disciples asked " 1660: 453: 374:. In 1725 Christian Friedrich Henrici, a Leipzig poet who used 4884:

Und Joseph nahm den Leib und wickelte ihn in ein rein Leinwand

4655:

Und da sie ihn verspottet hatten, zogen sie ihm den Mantel aus

4287:

Da speieten sie in sein Angesicht und schlugen ihn mit Fäusten

578:

St Matthew Passion structure § Numbering of the movements

7168: 7148: 7017: 6530: 5918: 4032: 2263:(Chorus I & II – Cantus firmus by ripieno soprano choir) 1799: 1781: 1705: 1644: 461: 457: 381:

Erbauliche Gedanken auf den Grünen Donnerstag und Charfreytag

351: 230: 5525:

Mystical Love in the German Baroque: Theology, Poetry, Music

2987:, with Pilate (bass), Pilate's wife (soprano), and Turba on 1951:

In the turba parts, the two choruses sometimes alternate in

557:

Later revisions and performances (BWV 244.2, previously 244)

328: 5301: 5299: 4737:

Sehet, Jesus hat die Hand uns zu fassen ausgespannt, kommt!

3668:

Da versammleten sich die Hohenpriester und Schriftgelehrten

3223:

Sehet, Jesus hat die Hand uns zu fassen ausgespannt, kommt!

2866:, with Maid I and II (sopranos), Peter (bass) and Turba on 2079:

recitative, that is: accompanied by strings, and in a more

1683: 1670:

is set for two choirs and two orchestras. Both include two

1656: 449: 437: 429: 425: 296: 266: 168: 5746: 5722: 4596:

Da nahmen die Kriegsknechte des Landpflegers Jesum zu sich

4215: 3787:

Wo willst du, daß wir dir bereiten das Osterlamm zu essen?

3706: 3447: 2387:

Wo willst du, daß wir dir bereiten das Osterlamm zu essen?

1822:(crowd) parts, are sung by one of the two choirs or both. 1038: 496:

at a memorial service held some months after the death of

319:

that have survived in their entirety, the first being the

5956:

Ernst-Scherzhaffte und Satyrische Gedichte: Anderer Theil

5527:. Contextual Bach Studies. Scarecrow Press. p. 106. 4939:

form, choir I and II mostly in unison for the first part

4906: 4636:

Audio playback is not supported in your browser. You can

4424:

Sie hielten aber einen Rat und kauften einen Töpfersacker

4008:

Gerne will ich mich bequemen, Kreuz und Becher anzunehmen

3946:

Da kam Jesus mit ihnen zu einem Hofe, der hieß Gethsemane

3731:

Audio playback is not supported in your browser. You can

2599:

Gerne will ich mich bequemen, Kreuz und Becher anzunehmen

87:

Passio Domini Nostri J.C. Secundum Evangelistam Matthaeum

5296: 5052:

expense of the reflective and Italianate solo singing."

4834:

Und siehe da, der Vorhang im Tempel zerriß in zwei Stück

4713:

Andern hat er geholfen und kann ihm selber nicht helfen.

4122:

Meinen Jesum laß ich nicht (Jesum laß ich nicht von mir)

3751:

Da ging hin der Zwölfen einer mit Namen Judas Ischarioth

3199:

Andern hat er geholfen und kann ihm selber nicht helfen.

280:

Passio Domini nostri J.C. secundum Evangelistam Matthæum

6065:. "The Chronology of Bach's Saint Matthew Passion". In 5978:"Fünftes Buch: Leipziger Jahre von 1723–1734" pp. 3–479 5758: 5734: 5710: 5698: 5686: 5659: 5647: 5635: 4925: 4100: 649:

is used in the opening aria (with chorus) of Part Two (

6285:

Jesus Christus ist um unsrer Missetat willen verwundet

6047:

Music and Theology: Essays in Honor of Robin A. Leaver

5130:

conducting. Other notable staged performances include

4358: 476:

Funeral cantata for Köthen (BWV 1143, previously 244a)

269:. It is widely regarded as one of the masterpieces of 188:

Two orchestras of woodwinds, strings and basso contiuo

6469: 5386:. New York: W. W. Norton & Company, 1966. p. 124. 4815:

Befiehl du deine Wege / O Haupt, voll Blut und Wunden

3594:

Opening chorus, measure 17–18, vocal part of Chorus I

3581:(See it! — What? – See the endurance) and ultimately 2825:, with Vox Christi, High Priest (bass), and Turba on 2785:, with Witnesses (alt, tenor) and High Priest (bass) 1992:

as the alto sings of drops of his tears falling. In "

169: 5840:"Ballet: Hamburg Gives Neumeier's 'Matthew Passion'" 5683:

had recently been "botched" despite long rehearsals.

4892:

Herr, wir haben gedacht, daß dieser Verführer sprach

4799: 4618: 4402: 4197:). In the 1727/1729 version, the soloist is a bass. 3336:

Herr, wir haben gedacht, daß dieser Verführer sprach

1081: 396:

Since 1975, it has usually been assumed that Bach's

6015:: Aspects of Planning, Structure, and Chronology". 5966:. "Fünftes Buch: Leipziger Jahre von 1723–1734" in 4777:

Und bald lief einer unter ihnen, nahm einen Schwamm

4572:

Erbarm es, Gott! Hier steht der Heiland angebunden.

4177: 4026:

Und er kam zu seinen Jüngern und fand sie schlafend

3915: 3091:

Erbarm es, Gott! Hier steht der Heiland angebunden.

1507: 307:

BWV 244 that is generally dated to the year 1743–46

5866:"A Transformative St. Matthew Passion at LA Opera" 5005: 4850:Und es waren viel Weiber da, die von ferne zusahen 3825: 3549:(just like a lamb – another reference to Christ). 2090:Apart from the Evangelist and the Vox Christi the 1988:", where the flutes start playing a raindrop-like 1651:26–27 in a relatively simple way, primarily using 1333: 994: 780: 737: 6049:. Lanham, MD: The Scarecrow Press, 2007. 121–141. 4991:had been rehearsed by the Singakademie in 1822). 4705:Desgleichen auch die Hohenpriester spotteten sein 4689:Und da sie an die Stätte kamen mit Namen Golgatha 4349:Erbarme dich, mein Gott, um meiner Zähren Willen! 4301: 4295:Weissage uns, Christe, wer ists, der dich schlug? 3928:In the 1727/1729 version without music and text " 2885:Erbarme dich, mein Gott, um meiner Zähren Willen! 2834:Weissage uns, Christe, wer ists, der dich schlug? 1780:The narration of the Gospel texts is sung by the 303:in Bach's own hand of the revised version of the 7519: 5814:"Ballet by John Neumeier: Saint Matthew Passion" 5333: 5331: 4253:Geduld, Geduld! Wenn mich falsche Zungen stechen 4070:Sind Blitze, sind Donner in Wolken verschwunden? 3757: 2806:Geduld, Geduld! Wenn mich falsche Zungen stechen 2675:Sind Blitze, sind Donner in Wolken verschwunden? 1465: 1421: 1376: 1290: 1204: 1122: 950: 909: 866: 823: 7528:Passions and oratorios by Johann Sebastian Bach 5803:. The "glorious work" quotation is on page 254. 5399:(1982). "Bach's Chorus: A Preliminary Report". 5288:Bach's Major Vocal Works. Music, Drama, Liturgy 4339:Da hub er an sich zu verfluchen und zu schwören 3887: 3543:(How?) by Chorus II, to which Chorus I answers 1165: 687:dates from 1525. Three chorales are written by 6121:The Passion according to Saint Matthew BWV 244 6057:Die Matthäus-Passion von Johann Sebastian Bach 5781:Omnibus: The Historic TV Broadcasts on 4 DVDs. 5257:in 1925, as part of the set of 6 pieces named 4935:The work is closed by a grand scale chorus in 4793:Aber Jesus schriee abermal laut und verschied. 4785:Halt! Laß sehen, ob Elias komme und ihm helfe. 3257:Halt! Laß sehen, ob Elias komme und ihm helfe. 1247: 618:who published the text of the libretto of the 185:Solo: soprano, alto, tenor, bass, soliloquents 6507: 6459:List of compositions by Johann Sebastian Bach 6186: 6018:Journal of the American Musicological Society 5893: 5328: 5305: 4546:Da aber Pilatus sahe, daß er nichts schaffete 1639:in the late 17th century. Like other Baroque 571: 508:Passion performances in the St. Thomas Church 27:1727 sacred oratorio by Johann Sebastian Bach 5476: 5447: 4946: 4940: 4927: 4917: 4908: 4898: 4890: 4882: 4864: 4858: 4848: 4840: 4832: 4813: 4801: 4791: 4783: 4775: 4767: 4759: 4744: 4735: 4729: 4719: 4711: 4703: 4695: 4687: 4669: 4663: 4653: 4620: 4610: 4602: 4594: 4576: 4570: 4560: 4552: 4544: 4536: 4528: 4510: 4504: 4494: 4476: 4466: 4458: 4450: 4432: 4430: 4422: 4404: 4394: 4386: 4378: 4360: 4347: 4337: 4329: 4321: 4303: 4293: 4285: 4277: 4269: 4251: 4247:Mein Jesus schweigt zu falschen Lügen stille 4245: 4235: 4217: 4207: 4192: 4179: 4120: 4111: 4102: 4092: 4077: 4068: 4062: 4052: 4034: 4024: 4006: 4000: 3990: 3975: 3969: 3960: 3954: 3944: 3929: 3917: 3907: 3889: 3879: 3861: 3855: 3845: 3827: 3809: 3801: 3793: 3785: 3777: 3759: 3749: 3714: 3708: 3698: 3690: 3682: 3674: 3666: 3642: 3641:Chorale: first stanza of Johann Heermann's " 3633: 3613: 3582: 3576: 3557: 3544: 3538: 3532: 3526: 3520: 3514: 3508: 3472: 3462: 3449: 3439: 3433: 3378: 3357: 3350: 3334: 3312: 3304: 3288: 3272: 3266: 3255: 3249: 3228: 3221: 3213: 3197: 3191: 3169: 3161: 3136: 3130: 3119: 3097: 3089: 3073: 3067: 3045: 3037: 3011: 3005: 2994: 2988: 2966: 2939: 2923: 2907: 2897: 2883: 2867: 2851: 2843: 2832: 2826: 2804: 2798:Mein Jesus schweigt zu falschen Lügen stille 2796: 2770: 2760: 2735: 2728: 2701: 2673: 2667: 2660: 2634: 2624: 2597: 2589: 2559: 2552: 2545: 2539: 2532: 2506: 2500: 2479: 2471: 2444: 2436: 2410: 2402: 2391: 2385: 2363: 2331: 2323: 2307: 2301: 2285: 2258: 2251: 1993: 1983: 1962: 1956: 1923: 1913: 1881: 1875: 1869: 1749: 1744:crowns a colossal buildup of polyphonic and 1735: 1721: 1691: 1491: 1479: 1447: 1435: 1402: 1390: 1359: 1347: 1316: 1304: 1273: 1261: 1230: 1218: 1179: 1148: 1136: 1107: 1095: 1064: 1052: 1021: 1009: 976: 964: 935: 923: 892: 880: 849: 837: 806: 794: 763: 751: 482:Klagt, Kinder, klagt es aller Welt, BWV 244a 379: 5914:. Ithaca, London: Cornell University Press. 5522: 5511:Johann Sebastian Bach: The Learned Musician 5487: 5454:Bach and the High Baroque: Course Guidebook 4076:Aria for soprano and alto (with Chorus II: 3624:places the first scene two days before the 2151:"O Haupt voll Blut und Wunden", vocal score 698: 278: 85: 6514: 6500: 6202:Masses, magnificat, passions and oratorios 6193: 6179: 5898:. San Francisco Bach Choir. Archived from 5837: 4554:Sein Blut komme über uns und unsre Kinder. 3881:Und da sie den Lobgesang gesprochen hatten 3075:Sein Blut komme über uns und unsre Kinder. 2707:(Chorale fatasie, text by Sebald Heyden) 1810:, two high priests (Pontifex I & II), 1557:In the early version BWV 244b the chorale 1528: 1526: 352:First version (BWV 244.1, previously 244b) 70: 6110:International Music Score Library Project 6011:Chafe, Eric (Spring 1982). "J. S. Bach's 5906: 5863: 5764: 5752: 5740: 5728: 5716: 5704: 5692: 5665: 5653: 5641: 4842:Wahrlich, dieser ist Gottes Sohn gewesen. 4396:Und er warf die Silberlinge in den Tempel 4002:Der Heiland fällt vor seinem Vater nieder 3956:O Schmerz! Hier zittert das gequälte Herz 3635:Herzliebster Jesu, was hast du verbrochen 3290:Wahrlich, dieser ist Gottes Sohn gewesen. 2591:Der Heiland fällt vor seinem Vater nieder 2534:O Schmerz! Hier zittert das gequälte Herz 2287:Herzliebster Jesu, was hast du verbrochen 1850:My God, my God, why have you forsaken me? 1619:Learn how and when to remove this message 808:Herzliebster Jesu, was hast du verbrochen 329:Versions and contemporaneous performances 6138:39 (April 2006), pp. 48–59. On the 5988:"Book V: Leipzig, 1723–1734" pp. 181–648 5950: 5482: 5434: 5432: 5348: 5346: 5279: 5277: 5275: 5068:Berliner Allgemeine Musikalische Zeitung 5018: 4530:Sie schrieen aber noch mehr und sprachen 4478:Wie wunderbarlich ist doch diese Strafe! 4449:45a. Evangelist, Pilate, Pilate's wife: 4234:33. Evangelist, Witnesses, High Priest: 3971:Was ist die Ursach aller solcher Plagen? 3909:Petrus aber antwortete und sprach zu ihm 3700:Da das Jesus merkete, sprach er zu ihnen 3597: 3589: 3456: 3362:(bass, tenor, alto, soprano – Chorus II) 3013:Wie wunderbarlich ist doch diese Strafe! 2547:Was ist die Ursach aller solcher Plagen? 2146: 1763: 1542: 1540: 1538: 1514: 1361:Wie wunderbarlich ist doch diese Strafe! 691:and Bach included five stanzas from his 582:Bach did not number the sections of the 511: 295: 5894:Amati-Camperi, Alexandra (March 2008). 5495:Johann Sebastian Bach: Matthäus-Passion 4320:38a. Evangelist, Maid, Peter, Maid II: 3507:rhythm in the basses, Chorus I intones 2636:Was mein Gott will, das g'scheh allzeit 2626:Was mein Gott will, das g'scheh allzeit 1523: 1066:Was mein Gott will, das g'scheh allzeit 1055:Was mein Gott will, das g'scheh allzeit 284:translates to "The Passion of our Lord 14: 7520: 5954:(Christian Friedrich Henrici) (1729). 5864:Looseleaf, Victoria (March 15, 2022). 5395: 5319:Oxford Composer Companions: J. S. Bach 5317:Robin A. Leaver, "St Matthew Passion" 4054:Und er kam und fand sie aber schlafend 4036:Was mein Gott will, das gscheh allzeit 1931: 1643:passions, Bach's setting presents the 544:, that were written for double choir. 288:according to the Evangelist Matthew". 6521: 6495: 6174: 6010: 5591: 5589: 5429: 5343: 5272: 4388:Was gehet uns das an? Da siehe du zu! 4268:36a. Evangelist, High Priest, Jesus: 3537:(See him!), followed by the question 2960:, with Vox Christi and Pilate (bass) 2925:Was gehet uns das an? Da siehe du zu! 1859: 1535: 722: 594:(NBA, New Bach Edition) which uses a 5562:A Musical Life: Writings and Letters 4671:Komm, süßes Kreuz, so will ich sagen 4228: 3857:Wiewohl mein Herz in Tränen schwimmt 3519:(Hark!) and Chorus II promptly asks 3510:Kommt, ihr Töchter, helft mir klagen 3474:Kommt, ihr Töchter, helft mir klagen 3451:Kommt, ihr Töchter, helft mir klagen 3171:Komm, süßes Kreuz, so will ich sagen 3135:" by Paul Gerhardt, stanza 1 and 2: 2649:, with Vox Christi and Judas (bass) 2494:, with Vox Christi and Peter (bass) 2438:Wiewohl mein Herz in Tränen schwimmt 2425:, with Vox Christi and Judas (bass) 2253:Kommt, ihr Töchter, helft mir klagen 2124: 1737:Kommt, ihr Töchter, helft mir klagen 1601:adding citations to reliable sources 1572: 1561:appears to be missing, and movement 630:The Bible text used for Part One is 76:Title page of Bach's autograph score 7304:The Gospel According to St. Matthew 5838:Kisselgoff, Anna (March 29, 1983). 5551:Oxford University Press, 2005:p. 51 5513:, 294. New York: W. W. Norton. 2000 4955:(soft, very soft, extremely soft). 4697:Der du den Tempel Gottes zerbrichst 4521: 4512:Aus Liebe will mein Heiland sterben 4262: 4219:Mir hat die Welt trüglich gericht't 4200: 4194:Wo ist denn dein Freund hingegangen 3615:Da Jesus diese Rede vollendet hatte 3424:(No. 14) where Jesus predicts that 3333:, with Pilate (bass), and Turba on 3193:Der du den Tempel Gottes zerbrichst 3066:, with Pilate (bass), and Turba on 3047:Aus Liebe will mein Heiland sterben 2772:Mir hat die Welt trüglich gericht't 2737:Wo ist denn dein Freund hingegangen 1693:Aus Liebe will mein Heiland sterben 32:St Matthew Passion (disambiguation) 24: 6097:(video and background information) 6004: 5934:Klagt, Kinder, klagt es aller Welt 5586: 5382:David, Hans T. and Arthur Mendel. 5253:was transcribed for solo organ by 4910:Nun ist der Herr zur Ruh gebracht. 4875: 4825: 4752: 4680: 4646: 4587: 4443: 4314: 4085: 4045: 4017: 3937: 3900: 3872: 3838: 3779:Aber am ersten Tage der süßen Brot 3471:Part One is opened by the chorus " 1905:is the endpoint and the source of 1772:, and beginning of the recitative 1191:Mir hat die Welt trüglich gericht' 488:Klagt, Kinder, klagt es aller Welt 25: 7559: 6082: 5243: 5179:Perth International Arts Festival 4415: 4162:is forced to carry the cross. At 3795:Er sprach: Gehet hin in die Stadt 3770: 3742: 3464:Am Stamm des Kreuzes geschlachtet 3352:Nun ist der Herr zur Ruh gebracht 3248:, with Vox Christi, and Turba on 2384:, with Vox Christi, and Turba on 2300:, with Vox Christi, and Turba on 2190:accompaniment by the orchestra. " 2083:style than the secco recitatives. 1961:") and sometimes sing together (" 1925:O Mensch, bewein dein' Sünde groß 1852:), are sung without this "halo". 1160:cantus firmus in choral movement 775:cantus firmus in choral movement 6479: 6247:Kyrie–Gloria masses, BWV 233–236 5251:Wir setzen uns mit Tränen nieder 4942:Wir setzen uns mit Tränen nieder 4929:Wir setzen uns mit Tränen nieder 4731:Ach Golgatha, unselges Golgatha! 4487: 4371: 4271:Und der Hohenpriester antwortete 4113:O Mensch, bewein dein Sünde groß 4104:O Mensch, bewein dein Sünde groß 3863:Ich will dir mein Herze schenken 3659: 3652: 3584:Seht — Wohin? — auf unsre Schuld 3525:(Whom?), Chorus I replying with 3513:, until in measure 26 they sing 3501: 3494: 3380:Wir setzen uns mit Tränen nieder 3215:Ach Golgatha, unselges Golgatha! 3010:" by Johann Heermann, stanza 4: 2703:O Mensch, bewein dein Sünde groß 2672:(soprano, alto – Chorus II) and 2544:" by Johann Heermann, stanza 3: 2446:Ich will dir mein Herze schenken 2212:|→ Cornerstone choral movements 2166:O Mensch, bewein dein Sünde groß 2164:), the conclusion of Part One (" 2094:of these Gospel sections of the 1928:(O man, bewail your great sin). 1825:The words of Jesus, also termed 1724:O Mensch, bewein dein Sünde groß 1577: 1150:O Mensch, bewein dein Sünde groß 1139:O Mensch, bewein dein Sünde groß 602:numbering system, and the older 498:Leopold, Prince of Anhalt-Köthen 364:. A setting of the then-popular 229:in 1727 for solo voices, double 6149:Text and translation to English 5857: 5831: 5806: 5770: 5671: 5626: 5613: 5567: 5554: 5541: 5516: 5500: 5461: 5441: 5164: 5145:, created and choreographed by 5134:'s 1997 production in English. 5095: 5014: 5006:Second half of the 18th century 4421:43. Evangelist, Pilate, Jesus: 4393:41c. Evangelist, High Priests: 4362:Bin ich gleich von dir gewichen 4079:Laßt ihn, haltet, bindet nicht! 3983: 3977:Ich will bei meinem Jesu wachen 3606: 3435:Laßt ihn, haltet, bindet nicht! 2909:Bin ich gleich von dir gewichen 2669:Laßt ihn, haltet, bindet nicht! 2554:Ich will bei meinem Jesu wachen 1759: 1720:movements. This is notable in " 1588:needs additional citations for 1275:Bin ich gleich von dir gewichen 378:as his pen name, had published 6356:Wer ist der, so von Edom kömmt 6127:, on the bach-cantatas website 5896:"J. S. Bach: Johannes-Passion" 5677:An attempt to put on Handel's 5523:van Elferen, Isabella (2009). 5389: 5376: 5364: 5355: 5311: 4965:St Matthew Passion discography 4604:Gegrüßet seist du, Jüdenkönig! 4518:Recitative and Aria (soprano) 4064:So ist mein Jesus nun gefangen 4051:26. Evangelist, Jesus, Judas: 3906:16. Evangelist, Peter, Jesus: 3869:Recitative and Aria (soprano) 3844:11. Evangelist, Jesus, Judas: 3722:Recitative and Aria for alto. 3578:Sehet — Was? — seht die Geduld 3271:" by Paul Gerhardt, stanza 9: 3121:Gegrüßet seist du, Jüdenkönig! 2971:" by Paul Gerhardt, stanza 1: 2850:" by Paul Gerhardt, stanza 3: 2762:In dich hab ich gehoffet, Herr 2662:So ist mein Jesus nun gefangen 2505:" by Paul Gerhardt, stanza 6: 2478:" by Paul Gerhardt, stanza 5: 2409:" by Paul Gerhardt, stanza 5: 2039: 1893:), there is no mention of the 1699: 1568: 1182:In dich hab ich gehoffet, Herr 261:) to music, with interspersed 13: 1: 6136:Goldberg Early Music Magazine 5564:Pendragon Press, 2001: p. 460 5265: 4803:Wenn ich einmal soll scheiden 4622:O Haupt, voll Blut und Wunden 4406:Gebt mir meinen Jesum wieder! 4128: 3684:Da nun Jesus war zu Bethanien 3395: 3274:Wenn ich einmal soll scheiden 3138:O Haupt, voll Blut und Wunden 2941:Gebt mir meinen Jesum wieder! 1748:tension, singing a verse of " 1493:Wenn ich einmal soll scheiden 656: 625: 7543:Oratorios based on the Bible 6130:"Liturgical drama in Bach's 6117:on the bach-cantatas website 6059:. Kassel: Bärenreiter, 1991. 5597:"Bach's St. Matthew Passion" 5157:in New York in 1983 and the 4958: 4866:Mache dich, mein Herze, rein 4633: 4562:Da gab er ihnen Barrabam los 4259:Recitative and Aria (tenor) 4181:Ach, nun ist mein Jesus hin! 3974:) and Aria (with Chorus II: 3968:Recitative (with Chorus II: 3962:So schlafen unsre Sünden ein 3919:Ich will hier bei dir stehen 3728: 3492:time, driven by an ostinato 3387: 3314:Mache dich, mein Herze, rein 3268:O Haupt voll Blut und Wunden 3196:(Chorus I & II), and on 3132:O Haupt voll Blut und Wunden 3072:(Chorus I & II), and on 2993:(Chorus I & II), and on 2846:O Welt, sieh hier dein Leben 2831:(Chorus I & II), and on 2730:Ach, nun ist mein Jesus hin! 2561:So schlafen unsre Sünden ein 2508:Ich will hier bei dir stehen 2502:O Haupt voll Blut und Wunden 2474:O Haupt voll Blut und Wunden 2405:O Welt, sieh hier dein Leben 2192:O Haupt voll Blut und Wunden 2012:St Matthew Passion structure 2005: 1802:, there are named parts for 1768:End of the aria with chorus 1482:O Haupt voll Blut und Wunden 1438:O Haupt voll Blut und Wunden 1405:O Haupt voll Blut und Wunden 1393:O Haupt voll Blut und Wunden 1221:O Welt, sieh hier dein Leben 1109:Jesum laß' ich nicht von mir 1033:coro II in tenor recitative 1023:Was ist doch wohl die Ursach 978:Ich will hier bei dir stehen 967:O Haupt voll Blut und Wunden 926:O Haupt voll Blut und Wunden 883:O Haupt voll Blut und Wunden 840:O Welt, sieh hier dein Leben 694:O Haupt voll Blut und Wunden 408:) in Leipzig. Bach had been 7: 6361:includes BWV 1088 and 5208:' 2010 production with the 5177:'s 2005 production for the 4872:Recitative and Aria (bass) 4584:Recitative and Aria (alto) 4578:Können Tränen meiner Wangen 4014:Recitative and Aria (bass) 3829:Ich bin's, ich sollte büßen 3803:Und sie wurden sehr betrübt 3099:Können Tränen meiner Wangen 2710: 2412:Ich bin's, ich sollte büßen 2306:(Chorus I & II) and on 2242: 2204: 1871:Ich bin's, ich sollte büßen 1864:The arias, set to texts by 851:Ich bin's, ich sollte büßen 672: 325:, first performed in 1724. 276:. The original Latin title 10: 7564: 7235:Five Discourses of Matthew 5887: 5169:Staged productions of the 5029: 4962: 4506:Er hat uns allen wohlgetan 4305:Wer hat dich so geschlagen 4279:Er ist des Todes schuldig! 4082:) and Chorus (I & II) 3761:Blute nur, du liebes Herz! 3039:Er hat uns allen wohlgetan 2853:Wer hat dich so geschlagen 2828:Er ist des Todes schuldig! 2365:Blute nur, du liebes Herz! 2223:|→ Chorale harmonizations 2009: 1232:Wer hat dich so geschlagen 1098:Meinen Jesum laß ich nicht 937:Es dient zu meinen Freuden 676: 575: 572:Numbering of the movements 548:Christmas and Easter. The 526:Bach's choir and orchestra 523: 479: 424:voice, a soprano solo, an 291: 29: 7502:American Standard Version 7474: 7338: 7328:The Visual Bible: Matthew 7280: 7187: 7121: 6985: 6838:Massacre of the Innocents 6808: 6697: 6544: 6529: 6449: 6374: 6273: 6214: 5575:"In weiter Ferne, so nah" 5155:Brooklyn Academy of Music 5078:William Sterndale Bennett 4897:66c. Evangelist, Pilate: 4860:Am Abend, da es kühle war 4543:50c. Evangelist, Pilate: 3931:Es dient zu meinem Freude 3692:Wozu dienet dieser Unrat? 3560:O Lamm Gottes, unschuldig 3306:Am Abend, da es kühle war 2899:Werde munter, mein Gemüte 2309:Wozu dienet dieser Unrat? 1752:O Lamm Gottes, unschuldig 1492: 1480: 1448: 1436: 1403: 1391: 1360: 1348: 1317: 1305: 1274: 1264:Werde munter, mein Gemüte 1262: 1231: 1219: 1180: 1149: 1137: 1108: 1096: 1065: 1053: 1022: 1010: 977: 965: 936: 924: 893: 881: 850: 838: 807: 795: 765:O Lamm Gottes, unschuldig 764: 754:O Lamm Gottes, unschuldig 752: 731: 728: 725: 719: 716: 667:Barthold Heinrich Brockes 160: 137: 113: 103: 93: 81: 69: 58: 48: 41: 7255:Gospel of Pseudo-Matthew 6902:Jesus preaches in a ship 6106:Matthäuspassion, BWV 244 6095:Netherlands Bach Society 5944:(early version) BWV 244b 5783:E1 Entertainment, 2010. 5080:became a founder of the 5070:, founded and edited by 5000:Adolf Martin Schlesinger 4948:Ruhe sanfte, sanfte ruh! 4889:66b. Chorus I & II: 4839:63b. Chorus I & II: 4758:61a. Evangelist, Jesus: 4710:58d. Chorus I & II: 4694:58b. Chorus I & II: 4601:53b. Chorus I & II: 4551:50d. Chorus I & II: 4535:50b. Chorus I & II: 4493:47. Evangelist, Pilate: 4465:45b. Chorus I & II: 4412:Aria (bass) with violin 4385:41b. Chorus I & II: 4377:41a. Evangelist, Judas: 4336:38c. Evangelist, Peter: 4292:36d. Chorus I & II: 4276:36b. Chorus I & II: 3891:Erkenne mich, mein Hüter 3847:Er antwortete und sprach 3400:The first scenes are in 2481:Erkenne mich, mein Hüter 2260:O Lamm Gottes unschuldig 1846:Eli, Eli lama asabthani? 1833:accompagnato recitatives 1532:Only in version BWV 244b 894:Erkenne mich, mein Hüter 636:Matthew 26:57–75 317:Passion settings by Bach 7260:Rabbinical translations 6438:Ascension Oratorio 6384:Christmas Oratorio 6167:(Flash) Helmuth Rilling 6156:The St. Matthew Passion 5181:, restaged in 2013 for 5126:staged it in 1943 with 5086:Queen's College, London 4977:performed a version in 4900:Pilatus sprach zu ihnen 4638:download the audio file 4091:28. Evangelist, Jesus: 4023:24. Evangelist, Jesus: 3943:18. Evangelist, Jesus: 3878:14. Evangelist, Jesus: 3792:9c. Evangelist, Jesus: 3733:download the audio file 3697:4e. Evangelist, Jesus: 3673:4b. Chorus I & II: 2631:Albert, Duke in Prussia 2052:, that is, with only a 1964:Herr, wir haben gedacht 1773: 1769: 1562: 1558: 1546:Not in version BWV 244b 1498: 1454: 1411: 1366: 1323: 1280: 1237: 1194: 1155: 1071: 1042:Albert, Duke of Prussia 1028: 983: 899: 856: 650: 640:Matthew 27:1–66 632:Matthew 26:1–56 609: 599: 384:("Edifying Thoughts on 142:11 April 1727 7215:Augustinian hypothesis 7053:Mary, sister of Martha 6290:includes BWV 1084 5972:Breitkopf & Härtel 5361:Bach-digital, BWV 244a 5352:Bach-digital, BWV 244b 5027: 4947: 4941: 4928: 4919:Mein Jesu, gute Nacht! 4918: 4909: 4899: 4891: 4883: 4865: 4859: 4849: 4841: 4833: 4814: 4802: 4792: 4784: 4776: 4768: 4760: 4745: 4736: 4730: 4720: 4712: 4704: 4696: 4688: 4670: 4664: 4654: 4621: 4611: 4603: 4595: 4577: 4571: 4561: 4553: 4545: 4537: 4529: 4511: 4505: 4495: 4477: 4467: 4459: 4451: 4433: 4423: 4405: 4395: 4387: 4379: 4361: 4348: 4338: 4330: 4322: 4304: 4294: 4286: 4278: 4270: 4252: 4246: 4236: 4218: 4208: 4193: 4180: 4121: 4112: 4103: 4093: 4078: 4069: 4063: 4053: 4035: 4025: 4007: 4001: 3991: 3976: 3970: 3961: 3955: 3945: 3930: 3918: 3908: 3890: 3880: 3862: 3856: 3846: 3828: 3810: 3802: 3794: 3786: 3778: 3760: 3750: 3748:7. Evangelist, Judas: 3715: 3709: 3699: 3691: 3683: 3675: 3667: 3643: 3634: 3622:Matthew 26:1–2 3614: 3612:2. Evangelist, Jesus: 3603: 3595: 3583: 3577: 3558: 3545: 3539: 3533: 3527: 3521: 3515: 3509: 3473: 3468: 3463: 3450: 3440: 3434: 3379: 3359:Mein Jesu, gute Nacht! 3358: 3351: 3335: 3313: 3305: 3289: 3273: 3267: 3256: 3250: 3229: 3222: 3214: 3198: 3192: 3170: 3162: 3137: 3131: 3120: 3098: 3090: 3074: 3068: 3046: 3038: 3012: 3006: 2995: 2989: 2967: 2940: 2924: 2908: 2898: 2884: 2868: 2852: 2844: 2833: 2827: 2805: 2797: 2771: 2761: 2736: 2729: 2702: 2674: 2668: 2661: 2635: 2625: 2598: 2590: 2560: 2553: 2546: 2540: 2533: 2507: 2501: 2480: 2472: 2445: 2437: 2411: 2403: 2392: 2386: 2364: 2332: 2324: 2308: 2302: 2286: 2282: 2266: 2259: 2252: 2247: 2152: 2067:: the words spoken by 1994: 1984: 1963: 1957: 1924: 1914: 1882: 1876: 1870: 1777: 1750: 1736: 1722: 1692: 1682:, two violins, viola, 813: 770: 699: 604:Bach-Werke-Verzeichnis 595: 521: 380: 308: 279: 208: 86: 7507:World English Version 7225:Matthean Posteriority 7220:Two-gospel hypothesis 6912:Feeding the multitude 6875:Behold the bridegroom 6207:Johann Sebastian Bach 6140:Bach-Cantatas website 6093:: performance by the 6071:, lxi (1975). 360–387 6068:The Musical Quarterly 5982:Johann Sebastian Bach 5968:Johann Sebastian Bach 5960:Second edition: 1734. 5621:Johann Sebastian Bach 5438:Bach-digital, BWV 244 5292:Yale University Press 5143:Saint Matthew Passion 5110:, who introduced the 5042:Carl Friedrich Zelter 5022: 4496:Der Landpfleger sagte 4434:Befiehl du deine Wege 3676:Ja nicht auf das Fest 3601: 3593: 3460: 3026:, with Pilate (bass) 2974:Befiehl du deine Wege 2968:Befiehl du deine Wege 2303:Ja nicht auf das Fest 2176:Chorale harmonization 2150: 2058:Pontius Pilate's wife 2010:Further information: 1958:Weissage uns, Christe 1767: 1631:Many composers wrote 1318:Befiehl du deine Wege 1307:Befiehl du deine Wege 515: 480:Further information: 315:is the second of two 299: 227:Johann Sebastian Bach 7272:Joseph Smith–Matthew 6957:Crucifixion of Jesus 6430:Easter Oratorio 6076:Die Matthäus-Passion 5547:Sposato, Jeffrey S. 5473:(uses NBA numbering) 5090:Hanover Square Rooms 4996:Adolph Bernhard Marx 4769:Der rufet dem Elias! 3710:Du lieber Heiland du 3384:(Chorus I & II) 3339:(Chorus I & II) 3293:(Chorus I & II) 3251:Der rufet dem Elias! 3202:(Chorus I & II) 3124:(Chorus I & II) 3078:(Chorus I & II) 2999:(Chorus I & II) 2928:(Chorus I & II) 2837:(Chorus I & II) 2352:, with Judas (bass) 2325:Du lieber Heiland du 1899:Anselm of Canterbury 1794:accompanied only by 1597:improve this article 586:, all of them vocal 428:solo, a tenor solo, 391:Gospel of St Matthew 30:For other uses, see 6880:Sermon on the Mount 6164:St. Matthew Passion 6132:St. Matthew Passion 6013:St. Matthew Passion 5926:St. Matthew passion 5573:Koch, Juan Martin. 5457:. pp. 214–243. 5255:Charles-Marie Widor 5210:Berlin Philharmonic 5151:Hamburg State Opera 5122:On the other hand, 5072:Adolf Bernhard Marx 4983:Berlin Singakademie 4457:Chorus I & II: 4172:Joseph of Arimathea 3568:, innocent) as the 3254:(Chorus I), and on 2740:(alto – Chorus II) 2678:(Chorus I & II) 2618:, with Vox Christi 2564:(tenor – Chorus II) 2521:, with Vox Christi 2465:, with Vox Christi 2272:, with Vox Christi 2137:. The arias are in 1932:Compositional style 1449:Du edles Angesichte 713: 18:St. Matthew Passion 7497:King James Version 7289:St Matthew Passion 7240:Calling of Matthew 7230:Genealogy of Jesus 6843:Return to Nazareth 6323:St Matthew Passion 6216:Latin church music 6090:St Matthew Passion 5942:St Matthew Passion 5844:The New York Times 5777:Bernstein, Leonard 5323:St Matthew Passion 5306:Amati-Camperi 2008 5234:Christian Gerhaher 5119:St Matthew Passion 5112:St Matthew Passion 5028: 5025:St Matthew Passion 4971:St Matthew Passion 4538:Laß ihn kreuzigen! 4468:Laß ihn kreuzigen! 3604: 3596: 3469: 3302:64–65. Recitative 3233:(alto – Chorus II) 3211:59–60. Recitative 3159:56–57. Recitative 3087:51–52. Recitative 3069:Laß ihn kreuzigen! 3035:48–49. Recitative 2996:Laß ihn kreuzigen! 2794:34–35. Recitative 2693:, with Vox Christi 2587:22–23. Recitative 2530:19–20. Recitative 2434:12–13. Recitative 2390:(Chorus I) and on 2153: 2096:St Matthew Passion 1944:accompany Jesus's 1940:chords and sudden 1938:Diminished seventh 1860:Interpolated texts 1778: 1742:soprano in ripieno 1668:St Matthew Passion 1503:four-part chorale 1460:four-part chorale 1416:four-part chorale 1371:four-part chorale 1328:four-part chorale 1285:four-part chorale 1242:four-part chorale 1199:four-part chorale 1117:four-part chorale 1076:four-part chorale 988:four-part chorale 945:four-part chorale 904:four-part chorale 861:four-part chorale 818:four-part chorale 711:St Matthew Passion 708: 685:St Matthew Passion 620:St Matthew Passion 584:St Matthew Passion 563:St Matthew Passion 550:St Matthew Passion 542:St Matthew Passion 522: 518:St Matthew Passion 502:St Matthew Passion 398:St Matthew Passion 342:St Matthew Passion 335:St Matthew Passion 313:St Matthew Passion 309: 305:St Matthew Passion 200:St Matthew Passion 43:St Matthew Passion 7548:Felix Mendelssohn 7538:Gospel of Matthew 7515: 7514: 7245:Kingdom of heaven 6927:Great Commandment 6907:Calming the storm 6865:Galilean ministry 6850:Kingdom of heaven 6833:Flight into Egypt 6823:Star of Bethlehem 6804: 6803: 6523:Gospel of Matthew 6467: 6466: 6134:" by Uri Golomb. 5818:Staatoper Hamburg 5793:The Joy of Music. 5755:, pp. 36–37. 5731:, pp. 30–33. 5619:Spitta, Philipp, 5580:Neue Musikzeitung 5402:The Musical Times 5337:Spitta 1884, pp. 5249:The final chorus 5159:Los Angeles Opera 5124:George Balanchine 5108:Leonard Bernstein 5038:Felix Mendelssohn 4975:Felix Mendelssohn 4881:66a. Evangelist: 4847:63c. Evangelist: 4831:63a. Evangelist: 4790:61e. Evangelist: 4774:61c. Evangelist: 4718:58e. Evangelist: 4702:58c. Evangelist: 4686:58a. Evangelist: 4642: 4609:53c. Evangelist: 4593:53a. Evangelist: 4559:50e. Evangelist: 4527:50a. Evangelist: 4284:36c. Evangelist: 4229:33. Mt 26:60b–63a 3737: 3645:Herzliebster Jesu 3007:Herzliebster Jesu 2541:Herzliebster Jesu 2125:Interpolated text 2092:dramatis personae 2030:Gospel of Matthew 2018:Passion oratorios 1672:transverse flutes 1629: 1628: 1621: 1555: 1554: 1350:Herzliebster Jesu 1085:Christian Keymann 1012:Herzliebster Jesu 797:Herzliebster Jesu 647:Song of Songs 6:1 592:Neue Bach-Ausgabe 532:treble choristers 402:St. Thomas Church 346:St. Thomas Church 255:Gospel of Matthew 195: 194: 121:Matthew 26–27 16:(Redirected from 7555: 7492:Wycliffe Version 7466:Magdalen papyrus 7292:(Bach, 1727/29) 7210:Textual variants 7028:John the Baptist 6977:Great Commission 6947:Passion of Jesus 6932:Olivet Discourse 6917:Walking on water 6542: 6541: 6516: 6509: 6502: 6493: 6492: 6484: 6483: 6482: 6475: 6297:Weimarer Passion 6209: 6195: 6188: 6181: 6172: 6171: 6151:, Emmanuel music 6108:: Scores at the 6078:. Leipzig, 1923. 6042: 5996:Novello & Co 5970:, Zweiter Band. 5959: 5915: 5908:Applegate, Celia 5903: 5881: 5880: 5878: 5876: 5861: 5855: 5854: 5852: 5850: 5835: 5829: 5828: 5826: 5824: 5810: 5804: 5774: 5768: 5762: 5756: 5750: 5744: 5738: 5732: 5726: 5720: 5714: 5708: 5702: 5696: 5690: 5684: 5675: 5669: 5663: 5657: 5651: 5645: 5639: 5633: 5630: 5624: 5617: 5611: 5610: 5608: 5607: 5593: 5584: 5583:, No. 3 of 2014. 5571: 5565: 5558: 5552: 5545: 5539: 5538: 5520: 5514: 5507:Wolff, Christoph 5504: 5498: 5491: 5485: 5480: 5474: 5472: 5465: 5459: 5458: 5449:Robert Greenberg 5445: 5439: 5436: 5427: 5426: 5409:(377): 747–754. 5393: 5387: 5380: 5374: 5368: 5362: 5359: 5353: 5350: 5341: 5335: 5326: 5315: 5309: 5303: 5294: 5281: 5238:Thomas Quasthoff 5226:Magdalena Kožená 5195: 5187:Leif Aruhn-Solén 5183:Opera Queensland 4950: 4944: 4931: 4921: 4912: 4902: 4894: 4886: 4868: 4862: 4852: 4844: 4836: 4817: 4805: 4795: 4787: 4782:61d. Chorus II: 4779: 4771: 4763: 4748: 4739: 4733: 4723: 4715: 4707: 4699: 4691: 4673: 4667: 4657: 4652:55. Evangelist: 4624: 4614: 4606: 4598: 4580: 4574: 4564: 4556: 4548: 4540: 4532: 4522:50. Mt 27:23b–26 4514: 4508: 4498: 4480: 4470: 4462: 4454: 4436: 4426: 4408: 4398: 4390: 4382: 4364: 4351: 4341: 4333: 4328:38b. Chorus II: 4325: 4307: 4297: 4289: 4281: 4273: 4263:36. Mt 26:63b–68 4255: 4249: 4239: 4221: 4211: 4206:31. Evangelist: 4201:31. Mt 26:57–60a 4196: 4183: 4145:is considered a 4124: 4115: 4106: 4096: 4081: 4072: 4066: 4056: 4038: 4028: 4010: 4004: 3994: 3989:21. Evangelist: 3979: 3973: 3964: 3958: 3948: 3933: 3921: 3911: 3893: 3883: 3865: 3859: 3849: 3831: 3813: 3811:Herr, bin ich's? 3805: 3800:9d. Evangelist: 3797: 3789: 3781: 3776:9a. Evangelist: 3763: 3753: 3718: 3712: 3702: 3694: 3686: 3681:4c. Evangelist: 3678: 3670: 3665:4a. Evangelist: 3656: 3648: 3637: 3617: 3586: 3580: 3563: 3548: 3546:als wie ein Lamm 3542: 3536: 3530: 3524: 3518: 3512: 3506: 3505: 3499: 3498: 3491: 3490: 3489: 3488: 3476: 3466: 3453: 3443: 3437: 3382: 3361: 3354: 3338: 3316: 3308: 3292: 3287:, with Turba on 3276: 3270: 3259: 3253: 3232: 3225: 3217: 3201: 3195: 3190:, with Turba on 3173: 3165: 3140: 3134: 3123: 3118:, with Turba on 3101: 3093: 3077: 3071: 3049: 3041: 3015: 3009: 2998: 2992: 2970: 2943: 2927: 2911: 2901: 2887: 2871: 2855: 2849: 2836: 2830: 2808: 2800: 2774: 2764: 2739: 2732: 2705: 2677: 2671: 2664: 2638: 2628: 2601: 2593: 2563: 2556: 2549: 2543: 2536: 2510: 2504: 2483: 2477: 2448: 2440: 2414: 2408: 2395: 2393:Herr, bin ich's? 2389: 2367: 2335: 2327: 2321:5–6. Recitative 2311: 2305: 2289: 2262: 2255: 2194:", on a text by 2050:secco recitative 1997: 1987: 1966: 1960: 1927: 1917: 1885: 1879: 1877:Herr, bin ich's? 1873: 1755: 1739: 1727: 1695: 1633:musical settings 1624: 1617: 1613: 1610: 1604: 1581: 1573: 1547: 1544: 1533: 1530: 1521: 1518: 1495: 1494: 1485: 1484: 1473: 1472: 1471: 1451: 1450: 1441: 1440: 1429: 1428: 1427: 1408: 1407: 1406: 1396: 1395: 1384: 1383: 1382: 1363: 1362: 1353: 1352: 1341: 1340: 1339: 1320: 1319: 1310: 1309: 1298: 1297: 1296: 1277: 1276: 1267: 1266: 1255: 1254: 1253: 1234: 1233: 1224: 1223: 1212: 1211: 1210: 1185: 1184: 1173: 1172: 1171: 1152: 1151: 1142: 1141: 1130: 1129: 1128: 1111: 1110: 1101: 1100: 1089: 1088: 1087: 1068: 1067: 1058: 1057: 1046: 1045: 1044: 1025: 1024: 1015: 1014: 1003: 1002: 1001: 1000: 980: 979: 970: 969: 958: 957: 956: 939: 938: 929: 928: 917: 916: 915: 896: 895: 886: 885: 874: 873: 872: 853: 852: 843: 842: 831: 830: 829: 810: 809: 800: 799: 788: 787: 786: 767: 766: 757: 756: 745: 744: 743: 714: 707: 704: 634:. Part Two uses 383: 282: 253:chapters of the 215: 244, is a 209:Matthäus-Passion 171: 156: 155: 149: 147: 89: 74: 39: 38: 21: 7563: 7562: 7558: 7557: 7556: 7554: 7553: 7552: 7518: 7517: 7516: 7511: 7470: 7334: 7276: 7183: 7117: 6981: 6922:Transfiguration 6810: 6800: 6693: 6533: 6525: 6520: 6490: 6486:Classical music 6480: 6478: 6470: 6468: 6463: 6445: 6444: 6370: 6369: 6349:St Mark Passion 6342:St Luke Passion 6304:St John Passion 6269: 6268: 6225:Mass in B minor 6210: 6205: 6199: 6085: 6007: 6005:Further reading 5964:Spitta, Philipp 5890: 5885: 5884: 5874: 5872: 5862: 5858: 5848: 5846: 5836: 5832: 5822: 5820: 5812: 5811: 5807: 5775: 5771: 5763: 5759: 5751: 5747: 5739: 5735: 5727: 5723: 5715: 5711: 5703: 5699: 5691: 5687: 5680:Judas Maccabeus 5676: 5672: 5664: 5660: 5652: 5648: 5640: 5636: 5631: 5627: 5618: 5614: 5605: 5603: 5595: 5594: 5587: 5572: 5568: 5559: 5555: 5546: 5542: 5535: 5521: 5517: 5505: 5501: 5492: 5488: 5481: 5477: 5467: 5466: 5462: 5446: 5442: 5437: 5430: 5394: 5390: 5384:The Bach Reader 5381: 5377: 5369: 5365: 5360: 5356: 5351: 5344: 5336: 5329: 5316: 5312: 5304: 5297: 5282: 5273: 5268: 5246: 5222:Camilla Tilling 5189: 5167: 5132:Jonathan Miller 5098: 5057:Eduard Devrient 5034: 5017: 5008: 4988:St John Passion 4967: 4961: 4933: 4914: 4878: 4876:66. Mt 27:59–66 4870: 4828: 4826:63. Mt 27:51–59 4818:) found in the 4807: 4766:61b. Chorus I: 4755: 4753:61. Mt 27:45–50 4749:") in the Aria 4741: 4683: 4681:58. Mt 27:33–44 4675: 4649: 4647:55. Mt 27:31–32 4644: 4643: 4641: 4626: 4590: 4588:53. Mt 27:27–30 4582: 4524: 4516: 4490: 4482: 4446: 4444:45. Mt 27:15–22 4438: 4418: 4410: 4374: 4366: 4353: 4317: 4315:38. Mt 26:69–75 4309: 4265: 4257: 4231: 4223: 4203: 4185: 4160:Simon of Cyrene 4131: 4108: 4088: 4086:28. Mt 26:51–56 4074: 4048: 4046:26. Mt 26:43–50 4040: 4020: 4018:24. Mt 26:40–42 4012: 3986: 3966: 3940: 3938:18. Mt 26:36–38 3923: 3903: 3901:16. Mt 26:33–35 3895: 3875: 3873:14. Mt 26:30–32 3867: 3841: 3839:11. Mt 26:23–29 3833: 3773: 3767:Aria (soprano) 3765: 3745: 3740: 3739: 3738: 3736: 3720: 3662: 3639: 3609: 3554:Nikolaus Decius 3500: 3493: 3487: 3482: 3481: 3480: 3479: 3478: 3455: 3422:Mount of Olives 3398: 3390: 3348:67. Recitative 2713: 2245: 2207: 2162:Nicolaus Decius 2127: 2060:), except for: 2042: 2014: 2008: 2000:Erbarm es, Gott 1934: 1862: 1762: 1731:St John Passion 1702: 1625: 1614: 1608: 1605: 1594: 1582: 1571: 1551: 1550: 1545: 1536: 1531: 1524: 1519: 1515: 1467: 1466: 1423: 1422: 1404: 1378: 1377: 1337:Johann Heermann 1335: 1334: 1292: 1291: 1249: 1248: 1206: 1205: 1167: 1166: 1124: 1123: 1083: 1082: 1040: 1039: 998:Johann Heermann 996: 995: 993: 952: 951: 911: 910: 868: 867: 825: 824: 784:Johann Heermann 782: 781: 741:Nikolaus Decius 739: 738: 726:Stanza incipit 681: 675: 659: 628: 612: 580: 574: 559: 528: 510: 484: 478: 452:, strings (two 446:oboes da caccia 386:Maundy Thursday 372:St John Passion 367:Brockes Passion 354: 331: 322:St John Passion 294: 191: 151: 145: 143: 141: 133: 77: 54: 35: 28: 23: 22: 15: 12: 11: 5: 7561: 7551: 7550: 7545: 7540: 7535: 7533:1727 oratorios 7530: 7513: 7512: 7510: 7509: 7504: 7499: 7494: 7489: 7484: 7478: 7476: 7472: 7471: 7469: 7468: 7463: 7458: 7453: 7448: 7443: 7438: 7433: 7428: 7423: 7418: 7413: 7408: 7403: 7398: 7393: 7388: 7383: 7378: 7373: 7368: 7363: 7358: 7353: 7348: 7342: 7340: 7336: 7335: 7333: 7332: 7324: 7316: 7315:(1971 musical) 7308: 7300: 7299: 7298: 7284: 7282: 7278: 7277: 7275: 7274: 7269: 7268: 7267: 7257: 7252: 7247: 7242: 7237: 7232: 7227: 7222: 7217: 7212: 7207: 7205:Gospel of Mark 7202: 7197: 7191: 7189: 7185: 7184: 7182: 7181: 7179:Sea of Galilee 7176: 7171: 7166: 7161: 7156: 7151: 7146: 7141: 7136: 7131: 7125: 7123: 7119: 7118: 7116: 7115: 7110: 7105: 7100: 7095: 7091: 7090: 7085: 7080: 7075: 7070: 7068:Pontius Pilate 7065: 7060: 7055: 7050: 7048:Mary Magdalene 7045: 7040: 7038:Judas Iscariot 7035: 7030: 7025: 7020: 7015: 7010: 7005: 7000: 6995: 6989: 6987: 6983: 6982: 6980: 6979: 6974: 6969: 6964: 6959: 6954: 6949: 6944: 6939: 6934: 6929: 6924: 6919: 6914: 6909: 6904: 6899: 6898: 6897: 6892: 6887: 6877: 6872: 6870:Fishers of men 6867: 6862: 6857: 6852: 6847: 6846: 6845: 6840: 6835: 6830: 6825: 6814: 6812: 6806: 6805: 6802: 6801: 6799: 6798: 6793: 6791:27:1–12; 52–66 6788: 6779: 6774: 6769: 6764: 6759: 6754: 6749: 6744: 6739: 6734: 6729: 6724: 6719: 6714: 6709: 6703: 6701: 6695: 6694: 6692: 6691: 6686: 6681: 6676: 6671: 6666: 6661: 6656: 6651: 6646: 6641: 6636: 6631: 6626: 6621: 6616: 6611: 6606: 6601: 6596: 6591: 6586: 6581: 6576: 6571: 6566: 6561: 6556: 6550: 6548: 6539: 6527: 6526: 6519: 6518: 6511: 6504: 6496: 6489: 6488: 6465: 6464: 6462: 6461: 6456: 6450: 6447: 6446: 6443: 6442: 6434: 6432:, BWV 249 6426: 6425: 6424: 6419: 6414: 6409: 6404: 6399: 6393: 6386:, BWV 248 6379: 6378: 6376: 6372: 6371: 6368: 6367: 6366: 6365: 6352: 6345: 6338: 6337: 6336: 6331: 6319: 6318: 6317: 6312: 6300: 6293: 6292: 6291: 6280: 6279: 6277: 6271: 6270: 6267: 6266: 6265: 6264: 6259: 6249: 6244: 6243: 6242: 6237: 6232: 6221: 6220: 6218: 6212: 6211: 6198: 6197: 6190: 6183: 6175: 6169: 6168: 6160: 6152: 6146: 6128: 6118: 6112: 6103: 6098: 6084: 6083:External links 6081: 6080: 6079: 6072: 6063:Rifkin, Joshua 6060: 6050: 6043: 6031:10.2307/831287 6006: 6003: 6002: 6001: 6000: 5999: 5985: 5961: 5948: 5947: 5946: 5938: 5930: 5916: 5904: 5902:on 2015-07-12. 5889: 5886: 5883: 5882: 5856: 5830: 5805: 5769: 5765:Applegate 2005 5757: 5753:Applegate 2005 5745: 5741:Applegate 2005 5733: 5729:Applegate 2005 5721: 5717:Applegate 2005 5709: 5705:Applegate 2005 5697: 5693:Applegate 2005 5685: 5670: 5666:Applegate 2005 5658: 5654:Applegate 2005 5646: 5642:Applegate 2005 5634: 5632:Spitta, p. 518 5625: 5612: 5585: 5566: 5553: 5540: 5533: 5515: 5499: 5486: 5475: 5460: 5440: 5428: 5415:10.2307/961592 5397:Rifkin, Joshua 5388: 5375: 5363: 5354: 5342: 5327: 5310: 5295: 5270: 5269: 5267: 5264: 5263: 5262: 5259:Bach's Memento 5245: 5244:Transcriptions 5242: 5166: 5163: 5139:Hamburg Ballet 5097: 5094: 5016: 5013: 5007: 5004: 4960: 4957: 4932: 4924: 4913: 4905: 4904: 4903: 4895: 4887: 4877: 4874: 4869: 4855: 4854: 4853: 4845: 4837: 4827: 4824: 4806: 4798: 4797: 4796: 4788: 4780: 4772: 4764: 4754: 4751: 4740: 4726: 4725: 4724: 4716: 4708: 4700: 4692: 4682: 4679: 4674: 4660: 4659: 4658: 4648: 4645: 4635: 4632: 4625: 4617: 4616: 4615: 4607: 4599: 4589: 4586: 4581: 4567: 4566: 4565: 4557: 4549: 4541: 4533: 4523: 4520: 4515: 4501: 4500: 4499: 4489: 4486: 4481: 4473: 4472: 4471: 4463: 4455: 4445: 4442: 4437: 4429: 4428: 4427: 4417: 4416:43. Mt 27:7–14 4414: 4409: 4401: 4400: 4399: 4391: 4383: 4373: 4370: 4365: 4357: 4352: 4344: 4343: 4342: 4334: 4326: 4316: 4313: 4308: 4300: 4299: 4298: 4290: 4282: 4274: 4264: 4261: 4256: 4242: 4241: 4240: 4230: 4227: 4222: 4214: 4213: 4212: 4202: 4199: 4184: 4176: 4151:Pontius Pilate 4130: 4127: 4107: 4099: 4098: 4097: 4087: 4084: 4073: 4059: 4058: 4057: 4047: 4044: 4039: 4031: 4030: 4029: 4019: 4016: 4011: 3997: 3996: 3995: 3985: 3982: 3965: 3951: 3950: 3949: 3939: 3936: 3922: 3914: 3913: 3912: 3902: 3899: 3894: 3886: 3885: 3884: 3874: 3871: 3866: 3852: 3851: 3850: 3840: 3837: 3832: 3824: 3815: 3814: 3808:9e. Chorus I: 3806: 3798: 3790: 3784:9b. Chorus I: 3782: 3772: 3771:9. Mt 26:17–22 3769: 3764: 3756: 3755: 3754: 3744: 3743:7. Mt 26:14–16 3741: 3730: 3727: 3724: 3719: 3705: 3704: 3703: 3695: 3689:4d. Chorus I: 3687: 3679: 3671: 3661: 3658: 3638: 3630: 3619: 3618: 3608: 3605: 3483: 3461:The melody of 3454: 3446: 3410:Judas Iscariot 3397: 3394: 3389: 3386: 3374: 3373: 3372: 3371: 3370: 3369: 3368: 3367: 3366: 3365: 3364: 3363: 3327: 3326: 3325: 3324: 3323: 3322: 3321: 3320: 3319: 3281: 3280: 3279: 3278: 3277: 3242: 3241: 3240: 3239: 3238: 3237: 3236: 3235: 3234: 3184: 3183: 3182: 3181: 3180: 3179: 3178: 3177: 3176: 3145: 3144: 3143: 3142: 3141: 3112: 3111: 3110: 3109: 3108: 3107: 3106: 3105: 3104: 3060: 3059: 3058: 3057: 3056: 3055: 3054: 3053: 3052: 3020: 3019: 3018: 3017: 3016: 2981: 2980: 2979: 2978: 2977: 2954: 2953: 2952: 2951: 2950: 2949: 2948: 2947: 2946: 2916: 2915: 2914: 2913: 2912: 2894: 2893: 2892: 2891: 2890: 2860: 2859: 2858: 2857: 2856: 2819: 2818: 2817: 2816: 2815: 2814: 2813: 2812: 2811: 2779: 2778: 2777: 2776: 2775: 2749: 2748: 2747: 2746: 2745: 2744: 2743: 2742: 2741: 2712: 2709: 2697: 2696: 2695: 2694: 2687: 2686: 2685: 2684: 2683: 2682: 2681: 2680: 2679: 2643: 2642: 2641: 2640: 2639: 2612: 2611: 2610: 2609: 2608: 2607: 2606: 2605: 2604: 2573: 2572: 2571: 2570: 2569: 2568: 2567: 2566: 2565: 2515: 2514: 2513: 2512: 2511: 2488: 2487: 2486: 2485: 2484: 2459: 2458: 2457: 2456: 2455: 2454: 2453: 2452: 2451: 2419: 2418: 2417: 2416: 2415: 2378: 2377: 2376: 2375: 2374: 2373: 2372: 2371: 2370: 2346: 2345: 2344: 2343: 2342: 2341: 2340: 2339: 2338: 2294: 2293: 2292: 2291: 2290: 2244: 2241: 2240: 2239: 2238: 2237: 2236: 2235: 2234: 2233: 2232: 2231: 2230: 2229: 2206: 2203: 2202: 2201: 2200: 2199: 2173: 2154: 2139:da capo format 2126: 2123: 2122: 2121: 2118: 2088: 2087: 2084: 2071:are sung by a 2041: 2038: 2007: 2004: 1974:In the arias, 1933: 1930: 1861: 1858: 1812:Pontius Pilate 1761: 1758: 1701: 1698: 1688:basso continuo 1684:viola da gamba 1680:oboe da caccia 1627: 1626: 1585: 1583: 1576: 1570: 1567: 1553: 1552: 1549: 1548: 1534: 1522: 1512: 1511: 1505: 1504: 1501: 1496: 1489: 1486: 1477: 1474: 1462: 1461: 1458: 1452: 1445: 1442: 1433: 1430: 1418: 1417: 1414: 1409: 1400: 1397: 1388: 1385: 1373: 1372: 1369: 1364: 1357: 1354: 1345: 1342: 1330: 1329: 1326: 1321: 1314: 1311: 1302: 1299: 1287: 1286: 1283: 1278: 1271: 1268: 1259: 1256: 1244: 1243: 1240: 1235: 1228: 1225: 1216: 1213: 1201: 1200: 1197: 1192: 1189: 1186: 1177: 1174: 1162: 1161: 1158: 1153: 1146: 1143: 1134: 1131: 1119: 1118: 1115: 1112: 1105: 1102: 1093: 1090: 1078: 1077: 1074: 1069: 1062: 1059: 1050: 1047: 1035: 1034: 1031: 1026: 1019: 1016: 1007: 1004: 990: 989: 986: 981: 974: 971: 962: 959: 947: 946: 943: 940: 933: 930: 921: 918: 906: 905: 902: 897: 890: 887: 878: 875: 863: 862: 859: 854: 847: 844: 835: 832: 820: 819: 816: 811: 804: 801: 792: 789: 777: 776: 773: 768: 761: 758: 749: 746: 734: 733: 730: 727: 724: 721: 718: 674: 671: 658: 655: 645:Additionally, 627: 624: 611: 608: 573: 570: 558: 555: 509: 506: 477: 474: 470:viola da gamba 353: 350: 330: 327: 293: 290: 245:. It sets the 193: 192: 190: 189: 186: 183: 178: 173: 164: 162: 158: 157: 139: 135: 134: 132: 131: 128: 123: 117: 115: 111: 110: 105: 101: 100: 95: 91: 90: 83: 79: 78: 75: 67: 66: 56: 55: 49: 46: 45: 26: 9: 6: 4: 3: 2: 7560: 7549: 7546: 7544: 7541: 7539: 7536: 7534: 7531: 7529: 7526: 7525: 7523: 7508: 7505: 7503: 7500: 7498: 7495: 7493: 7490: 7488: 7487:Latin Vulgate 7485: 7483: 7480: 7479: 7477: 7473: 7467: 7464: 7462: 7459: 7457: 7454: 7452: 7449: 7447: 7444: 7442: 7439: 7437: 7434: 7432: 7429: 7427: 7424: 7422: 7419: 7417: 7414: 7412: 7409: 7407: 7404: 7402: 7399: 7397: 7394: 7392: 7389: 7387: 7384: 7382: 7379: 7377: 7374: 7372: 7369: 7367: 7364: 7362: 7359: 7357: 7354: 7352: 7349: 7347: 7344: 7343: 7341: 7337: 7330: 7329: 7325: 7322: 7321: 7317: 7314: 7313: 7309: 7306: 7305: 7301: 7297: 7294: 7293: 7291: 7290: 7286: 7285: 7283: 7279: 7273: 7270: 7266: 7263: 7262: 7261: 7258: 7256: 7253: 7251: 7248: 7246: 7243: 7241: 7238: 7236: 7233: 7231: 7228: 7226: 7223: 7221: 7218: 7216: 7213: 7211: 7208: 7206: 7203: 7201: 7198: 7196: 7193: 7192: 7190: 7186: 7180: 7177: 7175: 7172: 7170: 7167: 7165: 7162: 7160: 7157: 7155: 7152: 7150: 7147: 7145: 7142: 7140: 7137: 7135: 7132: 7130: 7127: 7126: 7124: 7120: 7114: 7111: 7109: 7106: 7104: 7101: 7099: 7096: 7093: 7092: 7089: 7086: 7084: 7081: 7079: 7076: 7074: 7071: 7069: 7066: 7064: 7061: 7059: 7056: 7054: 7051: 7049: 7046: 7044: 7041: 7039: 7036: 7034: 7031: 7029: 7026: 7024: 7021: 7019: 7016: 7014: 7011: 7009: 7006: 7004: 7001: 6999: 6996: 6994: 6991: 6990: 6988: 6984: 6978: 6975: 6973: 6970: 6968: 6965: 6963: 6960: 6958: 6955: 6953: 6950: 6948: 6945: 6943: 6940: 6938: 6935: 6933: 6930: 6928: 6925: 6923: 6920: 6918: 6915: 6913: 6910: 6908: 6905: 6903: 6900: 6896: 6893: 6891: 6890:Lord's Prayer 6888: 6886: 6883: 6882: 6881: 6878: 6876: 6873: 6871: 6868: 6866: 6863: 6861: 6858: 6856: 6853: 6851: 6848: 6844: 6841: 6839: 6836: 6834: 6831: 6829: 6826: 6824: 6821: 6820: 6819: 6816: 6815: 6813: 6807: 6797: 6794: 6792: 6789: 6787: 6783: 6780: 6778: 6775: 6773: 6770: 6768: 6765: 6763: 6760: 6758: 6755: 6753: 6750: 6748: 6745: 6743: 6740: 6738: 6735: 6733: 6730: 6728: 6725: 6723: 6720: 6718: 6715: 6713: 6710: 6708: 6705: 6704: 6702: 6700: 6696: 6690: 6687: 6685: 6682: 6680: 6677: 6675: 6672: 6670: 6667: 6665: 6662: 6660: 6657: 6655: 6652: 6650: 6647: 6645: 6642: 6640: 6637: 6635: 6632: 6630: 6627: 6625: 6622: 6620: 6617: 6615: 6612: 6610: 6607: 6605: 6602: 6600: 6597: 6595: 6592: 6590: 6587: 6585: 6582: 6580: 6577: 6575: 6572: 6570: 6567: 6565: 6562: 6560: 6557: 6555: 6552: 6551: 6549: 6547: 6543: 6540: 6537: 6536:New Testament 6532: 6528: 6524: 6517: 6512: 6510: 6505: 6503: 6498: 6497: 6494: 6487: 6477: 6476: 6473: 6460: 6457: 6455: 6452: 6451: 6448: 6441: 6440:, BWV 11 6439: 6435: 6433: 6431: 6427: 6423: 6420: 6418: 6415: 6413: 6410: 6408: 6405: 6403: 6400: 6398: 6394: 6392: 6389: 6388: 6387: 6385: 6381: 6380: 6377: 6373: 6364: 6360: 6359: 6358: 6357: 6353: 6351: 6350: 6346: 6344: 6343: 6339: 6335: 6332: 6330: 6327: 6326: 6325: 6324: 6320: 6316: 6313: 6311: 6308: 6307: 6306: 6305: 6301: 6299: 6298: 6294: 6289: 6288: 6287: 6286: 6282: 6281: 6278: 6276: 6272: 6263: 6260: 6258: 6257:early version 6255: 6254: 6253: 6250: 6248: 6245: 6241: 6238: 6236: 6233: 6231: 6230:early version 6228: 6227: 6226: 6223: 6222: 6219: 6217: 6213: 6208: 6203: 6196: 6191: 6189: 6184: 6182: 6177: 6176: 6173: 6166: 6165: 6161: 6158: 6157: 6153: 6150: 6147: 6145: 6141: 6137: 6133: 6129: 6126: 6125:Joshua Rifkin 6122: 6119: 6116: 6113: 6111: 6107: 6104: 6102: 6099: 6096: 6092: 6091: 6087: 6086: 6077: 6073: 6070: 6069: 6064: 6061: 6058: 6054: 6051: 6048: 6044: 6040: 6036: 6032: 6028: 6025:(1): 49–114. 6024: 6020: 6019: 6014: 6009: 6008: 5997: 5993: 5989: 5986: 5983: 5979: 5976: 5975: 5973: 5969: 5965: 5962: 5957: 5953: 5949: 5945: 5943: 5939: 5937: 5935: 5931: 5929: 5927: 5923: 5922: 5920: 5917: 5913: 5909: 5905: 5901: 5897: 5892: 5891: 5871: 5867: 5860: 5845: 5841: 5834: 5819: 5815: 5809: 5802: 5801:1-57467-104-9 5798: 5794: 5790: 5789:1-4172-3265-X 5786: 5782: 5778: 5773: 5767:, p. 43. 5766: 5761: 5754: 5749: 5743:, p. 34. 5742: 5737: 5730: 5725: 5719:, p. 28. 5718: 5713: 5707:, p. 24. 5706: 5701: 5695:, p. 39. 5694: 5689: 5682: 5681: 5674: 5668:, p. 32. 5667: 5662: 5656:, p. 16. 5655: 5650: 5644:, p. 17. 5643: 5638: 5629: 5622: 5616: 5602: 5598: 5592: 5590: 5582: 5581: 5576: 5570: 5563: 5560:Rudolf, Max. 5557: 5550: 5544: 5536: 5534:9780810861367 5530: 5526: 5519: 5512: 5508: 5503: 5496: 5490: 5484: 5483:Picander 1729 5479: 5470: 5464: 5456: 5455: 5450: 5444: 5435: 5433: 5424: 5420: 5416: 5412: 5408: 5404: 5403: 5398: 5392: 5385: 5379: 5373: 5370:Spitta 1884, 5367: 5358: 5349: 5347: 5340: 5334: 5332: 5324: 5320: 5314: 5307: 5302: 5300: 5293: 5289: 5285: 5284:Markus Rathey 5280: 5278: 5276: 5271: 5260: 5256: 5252: 5248: 5247: 5241: 5239: 5235: 5231: 5230:Topi Lehtipuu 5227: 5223: 5219: 5215: 5211: 5207: 5206:Peter Sellars 5203: 5199: 5198:Sara Macliver 5193: 5188: 5184: 5180: 5176: 5172: 5162: 5160: 5156: 5152: 5148: 5147:John Neumeier 5144: 5140: 5135: 5133: 5129: 5125: 5120: 5115: 5113: 5109: 5105: 5104: 5093: 5091: 5087: 5083: 5079: 5075: 5073: 5069: 5064: 5060: 5058: 5053: 5049: 5047: 5043: 5039: 5033: 5026: 5021: 5012: 5003: 5001: 4997: 4992: 4990: 4989: 4984: 4980: 4976: 4972: 4966: 4956: 4954: 4949: 4943: 4938: 4930: 4923: 4920: 4911: 4901: 4896: 4893: 4888: 4885: 4880: 4879: 4873: 4867: 4861: 4851: 4846: 4843: 4838: 4835: 4830: 4829: 4823: 4821: 4816: 4810: 4804: 4794: 4789: 4786: 4781: 4778: 4773: 4770: 4765: 4762: 4757: 4756: 4750: 4747: 4738: 4732: 4722: 4717: 4714: 4709: 4706: 4701: 4698: 4693: 4690: 4685: 4684: 4678: 4672: 4666: 4656: 4651: 4650: 4639: 4629: 4623: 4613: 4608: 4605: 4600: 4597: 4592: 4591: 4585: 4579: 4573: 4563: 4558: 4555: 4550: 4547: 4542: 4539: 4534: 4531: 4526: 4525: 4519: 4513: 4507: 4497: 4492: 4491: 4488:47. Mt 27:23a 4485: 4479: 4469: 4464: 4461: 4456: 4453: 4448: 4447: 4441: 4435: 4425: 4420: 4419: 4413: 4407: 4397: 4392: 4389: 4384: 4381: 4376: 4375: 4372:41. Mt 27:1–6 4369: 4363: 4356: 4350: 4340: 4335: 4332: 4327: 4324: 4319: 4318: 4312: 4306: 4296: 4291: 4288: 4283: 4280: 4275: 4272: 4267: 4266: 4260: 4254: 4248: 4238: 4233: 4232: 4226: 4220: 4210: 4205: 4204: 4198: 4195: 4190: 4189:Song of Songs 4182: 4175: 4173: 4169: 4165: 4161: 4157: 4152: 4148: 4144: 4140: 4136: 4126: 4123: 4117: 4114: 4105: 4095: 4090: 4089: 4083: 4080: 4071: 4065: 4055: 4050: 4049: 4043: 4037: 4027: 4022: 4021: 4015: 4009: 4003: 3993: 3988: 3987: 3981: 3978: 3972: 3963: 3957: 3947: 3942: 3941: 3935: 3932: 3926: 3920: 3910: 3905: 3904: 3898: 3892: 3882: 3877: 3876: 3870: 3864: 3858: 3848: 3843: 3842: 3836: 3830: 3823: 3821: 3812: 3807: 3804: 3799: 3796: 3791: 3788: 3783: 3780: 3775: 3774: 3768: 3762: 3752: 3747: 3746: 3734: 3723: 3717: 3711: 3701: 3696: 3693: 3688: 3685: 3680: 3677: 3672: 3669: 3664: 3663: 3660:4. Mt 26:3–13 3657: 3655: 3650: 3647: 3646: 3636: 3629: 3627: 3623: 3616: 3611: 3610: 3600: 3592: 3588: 3585: 3579: 3573: 3571: 3570:cantus firmus 3567: 3562: 3561: 3555: 3550: 3547: 3541: 3535: 3529: 3528:den Bräutigam 3523: 3517: 3511: 3504: 3497: 3486: 3475: 3465: 3459: 3452: 3445: 3442: 3436: 3431: 3427: 3423: 3419: 3415: 3414:Passover meal 3411: 3407: 3403: 3393: 3385: 3383: 3381: 3360: 3355: 3353: 3347: 3346: 3345: 3344: 3343: 3342: 3341: 3340: 3337: 3332: 3328: 3317: 3315: 3309: 3307: 3301: 3300: 3299: 3298: 3297: 3296: 3295: 3294: 3291: 3286: 3282: 3275: 3269: 3264: 3263: 3262: 3261: 3258: 3252: 3247: 3243: 3231: 3226: 3224: 3218: 3216: 3210: 3209: 3208: 3207: 3206: 3205: 3204: 3203: 3200: 3194: 3189: 3185: 3174: 3172: 3166: 3164: 3158: 3157: 3156: 3155: 3154: 3153: 3152: 3151: 3150: 3146: 3139: 3133: 3128: 3127: 3126: 3125: 3122: 3117: 3113: 3102: 3100: 3094: 3092: 3086: 3085: 3084: 3083: 3082: 3081: 3080: 3079: 3076: 3070: 3065: 3061: 3050: 3048: 3042: 3040: 3034: 3033: 3032: 3031: 3030: 3029: 3028: 3027: 3025: 3021: 3014: 3008: 3003: 3002: 3001: 3000: 2997: 2991: 2986: 2982: 2976: 2975: 2969: 2964: 2963: 2962: 2961: 2959: 2955: 2944: 2942: 2936: 2935: 2934: 2933: 2932: 2931: 2930: 2929: 2926: 2921: 2917: 2910: 2905: 2900: 2895: 2888: 2886: 2880: 2879: 2878: 2877: 2876: 2875: 2874: 2873: 2870: 2865: 2861: 2854: 2848: 2847: 2841: 2840: 2839: 2838: 2835: 2829: 2824: 2820: 2809: 2807: 2801: 2799: 2793: 2792: 2791: 2790: 2789: 2788: 2787: 2786: 2784: 2783:Mt 26:60b–63a 2780: 2773: 2768: 2763: 2758: 2757: 2756: 2755: 2754: 2750: 2738: 2733: 2731: 2725: 2724: 2723: 2722: 2721: 2720: 2719: 2718: 2717: 2716: 2715: 2714: 2708: 2706: 2704: 2692: 2688: 2676: 2670: 2665: 2663: 2657: 2656: 2655: 2654: 2653: 2652: 2651: 2650: 2648: 2644: 2637: 2632: 2627: 2622: 2621: 2620: 2619: 2617: 2613: 2602: 2600: 2594: 2592: 2586: 2585: 2584: 2583: 2582: 2581: 2580: 2579: 2578: 2574: 2562: 2557: 2555: 2548: 2542: 2537: 2535: 2529: 2528: 2527: 2526: 2525: 2524: 2523: 2522: 2520: 2516: 2509: 2503: 2498: 2497: 2496: 2495: 2493: 2489: 2482: 2476: 2475: 2469: 2468: 2467: 2466: 2464: 2460: 2449: 2447: 2441: 2439: 2433: 2432: 2431: 2430: 2429: 2428: 2427: 2426: 2424: 2420: 2413: 2407: 2406: 2400: 2399: 2398: 2397: 2394: 2388: 2383: 2379: 2368: 2366: 2360: 2359: 2358: 2357: 2356: 2355: 2354: 2353: 2351: 2347: 2336: 2334: 2328: 2326: 2320: 2319: 2318: 2317: 2316: 2315: 2314: 2313: 2310: 2304: 2299: 2295: 2288: 2284: 2281: 2280: 2279: 2278: 2277: 2276: 2275: 2274: 2273: 2271: 2268: 2264: 2261: 2256: 2254: 2249: 2227: 2226: 2225: 2224: 2222: 2221: 2220: 2219: 2217: 2216: 2215: 2214: 2213: 2210: 2197: 2196:Paul Gerhardt 2193: 2189: 2185: 2181: 2177: 2174: 2171: 2170:Sebald Heyden 2167: 2163: 2158: 2157: 2155: 2149: 2144: 2140: 2136: 2132: 2131: 2130: 2119: 2116: 2112: 2108: 2104: 2101: 2100: 2099: 2098:consists of: 2097: 2093: 2085: 2082: 2078: 2074: 2070: 2066: 2063: 2062: 2061: 2059: 2055: 2051: 2047: 2037: 2035: 2031: 2027: 2023: 2019: 2013: 2003: 2001: 1996: 1991: 1986: 1981: 1977: 1972: 1970: 1965: 1959: 1955:style (e.g. " 1954: 1953:cori spezzati 1949: 1947: 1943: 1939: 1929: 1926: 1921: 1920:Old Testament 1916: 1915:O Lamm Gottes 1910: 1908: 1904: 1900: 1896: 1892: 1887: 1884: 1878: 1872: 1867: 1857: 1853: 1851: 1847: 1843: 1839: 1834: 1830: 1829: 1823: 1821: 1817: 1813: 1809: 1805: 1801: 1797: 1793: 1790: 1786: 1783: 1775: 1771: 1766: 1757: 1754: 1753: 1747: 1743: 1738: 1733: 1732: 1726: 1725: 1719: 1715: 1714:cantus firmus 1711: 1707: 1697: 1694: 1689: 1685: 1681: 1677: 1673: 1669: 1664: 1662: 1658: 1654: 1650: 1646: 1642: 1638: 1634: 1623: 1620: 1612: 1602: 1598: 1592: 1591: 1586:This section 1584: 1580: 1575: 1574: 1566: 1564: 1560: 1543: 1541: 1539: 1529: 1527: 1517: 1513: 1510: 1506: 1502: 1500: 1497: 1490: 1487: 1483: 1478: 1475: 1470: 1469:Paul Gerhardt 1464: 1463: 1459: 1456: 1453: 1446: 1443: 1439: 1434: 1431: 1426: 1425:Paul Gerhardt 1420: 1419: 1415: 1413: 1410: 1401: 1398: 1394: 1389: 1386: 1381: 1380:Paul Gerhardt 1375: 1374: 1370: 1368: 1365: 1358: 1355: 1351: 1346: 1343: 1338: 1332: 1331: 1327: 1325: 1322: 1315: 1312: 1308: 1303: 1300: 1295: 1294:Paul Gerhardt 1289: 1288: 1284: 1282: 1279: 1272: 1269: 1265: 1260: 1257: 1252: 1246: 1245: 1241: 1239: 1236: 1229: 1226: 1222: 1217: 1214: 1209: 1208:Paul Gerhardt 1203: 1202: 1198: 1196: 1193: 1190: 1187: 1183: 1178: 1175: 1170: 1164: 1163: 1159: 1157: 1154: 1147: 1144: 1140: 1135: 1132: 1127: 1126:Sebald Heyden 1121: 1120: 1116: 1113: 1106: 1103: 1099: 1094: 1091: 1086: 1080: 1079: 1075: 1073: 1070: 1063: 1060: 1056: 1051: 1048: 1043: 1037: 1036: 1032: 1030: 1027: 1020: 1017: 1013: 1008: 1005: 999: 992: 991: 987: 985: 982: 975: 972: 968: 963: 960: 955: 954:Paul Gerhardt 949: 948: 944: 941: 934: 931: 927: 922: 919: 914: 913:Paul Gerhardt 908: 907: 903: 901: 898: 891: 888: 884: 879: 876: 871: 870:Paul Gerhardt 865: 864: 860: 858: 855: 848: 845: 841: 836: 833: 828: 827:Paul Gerhardt 822: 821: 817: 815: 812: 805: 802: 798: 793: 790: 785: 779: 778: 774: 772: 769: 762: 759: 755: 750: 747: 742: 736: 735: 723:Hymn; Stanza 715: 712: 706: 703: 702: 701:cantus firmus 696: 695: 690: 689:Paul Gerhardt 686: 680: 670: 668: 664: 663:Salomo Franck 654: 652: 648: 643: 641: 637: 633: 623: 621: 617: 607: 605: 601: 597: 593: 589: 585: 579: 569: 566: 564: 554: 551: 545: 543: 539: 538: 533: 527: 519: 514: 505: 503: 499: 495: 491: 489: 483: 473: 471: 467: 463: 459: 455: 451: 447: 443: 442:oboes d'amore 439: 435: 431: 427: 423: 419: 415: 411: 407: 403: 399: 394: 392: 387: 382: 377: 373: 369: 368: 363: 359: 349: 347: 343: 338: 336: 326: 324: 323: 318: 314: 306: 302: 298: 289: 287: 283: 281: 275: 272: 268: 264: 260: 256: 252: 248: 244: 240: 236: 232: 228: 224: 220: 219: 214: 210: 206: 202: 201: 187: 184: 182: 179: 177: 174: 172: 166: 165: 163: 159: 154: 140: 136: 129: 127: 124: 122: 119: 118: 116: 112: 109: 106: 102: 99: 96: 92: 88: 84: 80: 73: 68: 65: 61: 57: 52: 47: 44: 40: 37: 33: 19: 7326: 7318: 7310: 7302: 7288: 7287: 7164:Jordan River 7018:Jesus Christ 6972:Resurrection 6818:Jesus' birth 6437: 6429: 6383: 6354: 6347: 6340: 6322: 6321: 6302: 6295: 6283: 6163: 6155: 6144:Academia.Edu 6135: 6131: 6089: 6075: 6066: 6056: 6053:Platen, Emil 6046: 6022: 6016: 6012: 5991: 5981: 5967: 5955: 5941: 5933: 5925: 5919:Bach-digital 5911: 5900:the original 5873:. Retrieved 5869: 5859: 5847:. Retrieved 5843: 5833: 5821:. Retrieved 5817: 5808: 5792: 5780: 5772: 5760: 5748: 5736: 5724: 5712: 5700: 5688: 5678: 5673: 5661: 5649: 5637: 5628: 5620: 5615: 5604:. Retrieved 5600: 5578: 5569: 5561: 5556: 5548: 5543: 5524: 5518: 5510: 5502: 5494: 5489: 5478: 5463: 5453: 5443: 5406: 5400: 5391: 5383: 5378: 5366: 5357: 5322: 5318: 5313: 5287: 5258: 5250: 5218:Mark Padmore 5214:Simon Rattle 5170: 5168: 5165:21st century 5142: 5141:presented a 5136: 5118: 5116: 5111: 5102: 5099: 5096:20th century 5082:Bach Society 5076: 5067: 5065: 5061: 5054: 5050: 5035: 5032:Bach Revival 5024: 5015:19th century 5009: 4993: 4986: 4970: 4968: 4952: 4934: 4915: 4871: 4819: 4811: 4808: 4742: 4676: 4627: 4583: 4517: 4483: 4439: 4411: 4367: 4355:Aria (alto) 4354: 4310: 4258: 4224: 4186: 4132: 4118: 4109: 4075: 4041: 4013: 3984:21. Mt 26:39 3980:) for tenor 3967: 3927: 3924: 3896: 3868: 3834: 3819: 3816: 3766: 3721: 3651: 3640: 3620: 3607:2. Mt 26:1–2 3574: 3551: 3484: 3470: 3416:itself, the 3399: 3391: 3377: 3375: 3349: 3330: 3311: 3303: 3284: 3260:(Chorus II) 3245: 3220: 3212: 3187: 3168: 3160: 3148: 3115: 3096: 3088: 3064:Mt 27:23b–26 3063: 3044: 3036: 3023: 2984: 2972: 2957: 2938: 2919: 2906:, stanza 6: 2882: 2872:(Chorus II) 2863: 2823:Mt 26:63b–68 2822: 2803: 2795: 2782: 2769:, stanza 5: 2767:Adam Reusner 2753:Mt 26:57–60a 2752: 2727: 2700: 2698: 2690: 2659: 2646: 2633:, stanza 1: 2615: 2596: 2588: 2576: 2551: 2531: 2518: 2491: 2462: 2443: 2435: 2422: 2381: 2362: 2349: 2330: 2322: 2297: 2269: 2265: 2250: 2246: 2211: 2208: 2186:chorus with 2143:ternary form 2128: 2095: 2089: 2080: 2077:accompagnato 2043: 2034:Luther Bible 2016:As in other 2015: 1999: 1980:madrigalisms 1973: 1950: 1948:prophecies. 1935: 1911: 1895:Resurrection 1888: 1863: 1854: 1845: 1826: 1824: 1819: 1815: 1788: 1779: 1760:Gospel parts 1741: 1729: 1703: 1676:oboe d'amore 1667: 1665: 1630: 1615: 1606: 1595:Please help 1590:verification 1587: 1556: 1516: 1508: 1169:Adam Reusner 710: 709:Chorales in 692: 684: 682: 660: 644: 629: 619: 613: 583: 581: 567: 562: 560: 549: 546: 541: 537:Peterskirche 535: 529: 517: 501: 487: 485: 432:chorus, two 410:Thomaskantor 406:Thomaskirche 405: 397: 395: 371: 365: 355: 341: 339: 334: 332: 320: 312: 310: 304: 286:Jesus Christ 277: 274:sacred music 259:Luther Bible 216: 199: 198: 196: 42: 36: 7339:Manuscripts 7331:(1993 film) 7323:(1973 film) 7307:(1964 film) 7078:Simon Peter 6952:Last Supper 6937:Ten Virgins 6895:Golden Rule 6811:and phrases 6391:discography 6334:discography 6315:discography 6262:discography 6240:discography 6074:Werker, W. 5493:Booklet of 5202:Tobias Cole 5190: [ 4981:, with the 3716:Buß und Reu 3566:Lamb of God 3556:' chorale " 3418:Last Supper 3331:Mt 27:59–66 3285:Mt 27:51–59 3246:Mt 27:45–50 3188:Mt 27:33–44 3149:Mt 27:31–32 3116:Mt 27:27–30 2985:Mt 27:15–22 2904:Johann Rist 2864:Mt 26:69–75 2691:Mt 26:51–56 2647:Mt 26:43–50 2616:Mt 26:40–42 2519:Mt 26:36–38 2492:Mt 26:33–35 2463:Mt 26:30–32 2423:Mt 26:23–29 2396:(Chorus I) 2382:Mt 26:17–22 2350:Mt 26:14–16 2333:Buß und Reu 2312:(Chorus I) 2188:colla parte 2168:", text by 2065:Vox Christi 2040:Gospel text 1985:Buß und Reu 1946:apocalyptic 1942:modulations 1912:The first " 1903:crucifixion 1891:Palm Sunday 1883:Buß und Reu 1838:final words 1828:Vox Christi 1700:Vocal parts 1569:Composition 1251:Johann Rist 362:Good Friday 233:and double 225:written by 221:, a sacred 181:Vox Christi 167:Two choirs 108:Good Friday 82:Native name 7522:Categories 7482:Greek Text 7281:In culture 6967:Empty tomb 6885:Beatitudes 6860:Temptation 6454:Evangelist 6252:Magnificat 5958:. Leipzig. 5606:2019-03-21 5372:p. 239 ff. 5266:References 5175:Lindy Hume 5030:See also: 4963:See also: 4143:Son of God 3430:Gethsemane 2958:Mt 27:7–14 2298:Mt 26:3–13 2046:Evangelist 1907:redemption 1792:recitative 1785:Evangelist 1718:polyphonic 1653:recitative 1609:April 2017 732:Set as... 677:See also: 657:Free verse 626:Bible text 576:See also: 524:See also: 490:, BWV 244a 456:sections, 176:Evangelist 146:1727-04-11 64:J. S. Bach 7346:Papyrus 1 7296:Structure 7159:Jerusalem 7144:Capernaum 7139:Bethsaida 7134:Bethlehem 7113:Sanhedrin 7108:Sadducees 7103:Pharisees 6942:Anointing 6707:Matthew 1 6554:Matthew 1 6375:Oratorios 6329:structure 6310:structure 6235:structure 5601:Bruderhof 5149:, at the 5128:Stokowski 5036:In 1824, 4959:Reception 4460:Barrabam! 4147:sacrilege 3402:Jerusalem 3388:Movements 3310:and Aria 3219:and Aria 3167:and Aria 3095:and Aria 3051:(soprano) 3043:and Aria 3024:Mt 27:23a 2990:Barrabam! 2937:42. Aria 2920:Mt 27:1–6 2881:39. Aria 2802:and Aria 2726:30. Aria 2658:27. Aria 2595:and Aria 2550:and Aria 2450:(soprano) 2442:and Aria 2369:(soprano) 2329:and Aria 2270:Mt 26:1–2 2184:four-part 2180:homophony 2006:Structure 1995:Blute nur 1982:, as in " 1976:obbligato 1969:disciples 1716:in large 622:in 1729. 588:movements 434:traversos 301:Fair copy 235:orchestra 138:Performed 7320:Godspell 7312:Godspell 7265:Shem Tob 7250:Immanuel 7200:M source 7195:Q source 7013:Jeremiah 6998:Caiaphas 6546:Chapters 6275:Passions 5974:, 1880. 5952:Picander 5936:BWV 244a 5910:(2005). 5875:16 March 5849:16 March 5823:16 March 5286:. 2016. 5173:include 4953:p pp ppp 4809:Chorale 4628:Chorale 4484:Chorale 4440:Chorale 4368:Chorale 4311:Chorale 4225:Chorale 4164:Golgatha 4156:Barabbas 4135:Caiaphas 4129:Part Two 4042:Chorale 3925:Chorale 3897:Chorale 3835:Chorale 3626:Passover 3534:Seht ihn 3396:Part One 2711:Part Two 2577:Mt 26:39 2361:8. Aria 2243:Part One 2205:Overview 2135:Picander 2115:his wife 2113:(B) and 2054:continuo 1990:staccato 1866:Picander 1816:ancillae 1796:continuo 1746:harmonic 1710:chorales 1655:, while 1647:text of 1645:Biblical 1641:oratorio 673:Chorales 616:Picander 598:through 466:continuo 376:Picander 263:chorales 257:(in the 243:Picander 239:libretto 223:oratorio 130:chorales 126:Picander 104:Occasion 98:BWV 244a 7475:Sources 7188:Related 7174:Samaria 7154:Galilee 7129:Bethany 7088:Zebedee 7058:Matthew 6855:Baptism 6782:16:2b–3 6395:Parts: 6142:and on 5998:, 1884. 5928:BWV 244 5888:Sources 5339:477–569 5171:Passion 5103:Omnibus 4937:da capo 4857:64–65. 4820:Passion 4728:59–60. 4662:56–57. 4569:51–52. 4503:48–49. 4244:34–35. 3999:22–23. 3953:19–20. 3854:12–13. 3406:Bethany 2810:(tenor) 2032:in the 2028:of the 1842:Aramaic 1774:No. 61a 1649:Matthew 1637:Passion 1635:of the 1457:, cont. 717:Author 464:), and 422:ripieno 418:soprano 412:(i.e., 358:Leipzig 292:History 271:Baroque 237:, with 218:Passion 161:Scoring 153:Leipzig 144: ( 94:Related 60:Passion 7122:Places 7098:Angels 7094:Groups 7083:Thomas 7073:Rachel 7063:Philip 7033:Joseph 6993:Andrew 6986:People 6962:Burial 6809:Events 6767:13:1–3 6699:Verses 6472:Portal 6039:831287 6037: 5799: 5787: 5531: 5423:961592 5421: 5212:under 5204:; and 4979:Berlin 4746:Wohin? 4168:Elijah 4139:Temple 3318:(bass) 3230:Wohin? 3175:(bass) 3103:(alto) 2945:(bass) 2889:(alto) 2603:(bass) 2337:(alto) 2111:Pilate 2081:arioso 2075:as an 2069:Christ 1901:, the 1770:No. 60 1706:motets 1686:, and 1661:arioso 1563:No. 29 1559:No. 17 651:No. 30 494:Köthen 462:cellos 458:violas 454:violin 444:, two 440:, two 436:, two 414:Cantor 205:German 7169:Judea 7149:Egypt 7008:James 7003:Herod 6531:Bible 6035:JSTOR 5419:JSTOR 5216:with 5194:] 5185:with 5046:Fanny 4191:6:1 ( 3707:5–6. 3564:" (O 3516:Sehet 3426:Peter 3265:62. 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St Matthew Passion

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