St John Passion
BWV 245
Passion by J. S. Bach
First page of the autograph
Native namePassio secundum Joannem (Passion according to John)
OccasionGood Friday
Bible textJohn 18–19
ChoraleStanzas from 9 chorales (version 1)
Performed
  • 7 April 1724 (1724-04-07): Leipzig (version 1)
  • 30 March 1725 (1725-03-30): Leipzig (version 2)
  • 1728 (1728)/1732?: Leipzig (version 3)
  • 1739/1749? (1739/1749?): Leipzig (version 4)
Movements40 in two parts (14 and 26)
VocalSATB choir and solo
Instrumental
  • 2 flauti traversi
  • 2 oboes
  • 2 oboes da caccia
  • 2 violins
  • viola
  • viola d'amore
  • viola da gamba
  • lute
  • continuo

The structure of the St John Passion (German: Johannes-Passion), BWV 245, a sacred oratorio by Johann Sebastian Bach first performed in Leipzig on Good Friday 1724, is "carefully designed with a great deal of musico-theological intent".[1] Some main aspects of the structure are shown in tables below.

The original Latin title Passio secundum Joannem translates to "Passion according to John". Bach's large choral composition in two parts on German text, written to be performed in a Lutheran service on Good Friday, is based on the Passion, as told in two chapters from the Gospel of John (John 18 and John 19) in the translation by Martin Luther, with two short interpolations from the Gospel of Matthew (in the earliest version, one is from the Gospel of Matthew and one from the Gospel of Mark). During the vespers service, the two parts of the work were performed before and after the sermon. Part I covers the events until Peter's denial of Jesus, Part II concludes with the burial of Jesus. The Bible text is reflected in contemporary poetry and in chorales that often end a "scene" of the narration, similar to the way a chorale ends most Bach cantatas. An anonymous poet supplied a few texts himself, quoted from other Passion texts and inserted various stanzas of chorales by nine hymn writers. Bach led the first performance on 7 April 1724 in Leipzig's Nikolaikirche. He repeated it several times between 1724 and 1749, experimenting with different movements and changing others, which resulted in four versions (with a fifth one not performed in Bach's lifetime, but representing the standard version). The Passion, close to Bach's heart, has an "immediate dramatic quality".[2]

Structure

Text

Gospel

The gospel account by John narrates the story in five "scenes". The corresponding movement numbers are given from the Neue Bach-Ausgabe (NBA).

Part I

  1. Arrest (1–5), Kidron Valley (John 18:1–11)
  2. Denial (6–14), palace of the high priest Kaiphas (John 18:12–27)

Part II

  1. Court hearing with Pontius Pilate (15–26) (John 18:28–40 and John 19:1–22)
  2. Crucifixion and death (27–37), Golgotha (John 19:23–30)
  3. Burial (38–40), burial site (John 19:31–42)

Some musicologists regard movement 24 as the conclusion of scene 3, the aria "Eilt, ihr angefocht'nen Seelen" which locates the action from the courthouse to Golgotha, the calvary.[3] Others, including Alfred Dürr, regard the scene as ending with the last comment by Pilate.[4]

Bach incorporated two short interpolations from the Gospel of Matthew (in Version I, one from Matthew and one from the Gospel of Mark), Matthew 26:75 after John 18:27, describing the weeping of Peter, and Matthew 27:51–52 after John 19:30, describing the tearing of the temple curtain (in Version I, this was replaced by Mark 15:38). The narrator is the Evangelist, a tenor. Jesus and all other male characters are sung by a bass (including Peter and Pilate) or tenor (servant); female characters (such as the Maid) are sung by a soprano, while the people who are often summarily called die Jüden (the Jews), the servants of the High Priest, and the soldiers are sung by a four-part chorus (SATB) in dramatic turba movements. The "immediate, dramatic quality" of the "kind of musical equivalent of the Passion Play" relies on the setting of the interaction between the historical persons (Jesus, Pilate, Peter, Maid, Servant) and the crowd ("soldiers, priests, and populace").[2]

Chorales

At eleven moments in the Passion, stanzas from Lutheran chorales reflect the narration. Possibly Bach had an influence on their selection.[5] He set them all in common time for four parts, the instruments playing colla parte with the voices.

Five chorales conclude a scene (in movements 5, 14, 26, 37 and 40); while a chorale opens Part II (15). Five chorales comment within a scene (3, 11, 17, 22, 28), including the central movement (22). One chorale accompanies the bass soloist in an aria (32).

Most chorale texts were written in the 16th and 17th century,[6] by authors of the Reformation such as Martin Luther, Martin Schalling and Michael Weiße, and by hymn writers including Paul Gerhardt and Johann Heermann. The central chorale is not part of a common hymn, its text being taken from a libretto by Christian Heinrich Postel.[7]

Contemporary text

The third source for the text is contemporary poetry that reflects the biblical narration. It was compiled by an unknown author, who partly used existing text: from the Brockes Passion (Der für die Sünde der Welt Gemarterte und Sterbende Jesus, aus den IV Evangelisten, Hamburg, 1712 and 1715) by Barthold Heinrich Brockes, he copied the text for movements 7, 19, 20, 24, 32, 34, 35 (partly) and 39; he found movement 13 in Christian Weise's Der Grünen Jugend Nothwendige Gedanken (Leipzig, 1675) and took from Postel's Johannes-Passion (c. 1700) movements 19 (partly), 22 and 30.[8]

Scoring

The work is scored for vocal soloists (soprano, alto, tenor and bass), a four-part choir SATB, and an orchestra of two flauto traverso (Ft) (except for Version I, since all evidence of Bach's use of traverse flutes point to the 2nd Cantata Cycle as when he first used them), two oboes (Ob), two oboes da caccia (Oc), two oboes d'amore (Oa), two violins, viola (Va), and basso continuo. Bach added some instruments which were already old-fashioned at the time in arias for special effects, such as the archlute (Version I and 1739-1749 revision only, replaced by Organ and/or Harpsichord), the viola d'amore and the viola da gamba (Vg). Bach did not differentiate the vox Christi (voice of Christ), singing the words of Jesus, from the other bass recitatives and arias, nor the evangelist from the tenor arias.

Symmetry

The work displays a thoughtful symmetry. In the center of the five parts is the court hearing which confronts Jesus, Pilate, and the people. In the middle of the hearing, a chorale (22) interrupts the argument, which is a discussion about freedom and captivity. It is surrounded by two choral movements, which not only both ask for the crucifixion of Jesus, but also use the same musical motifs, the second time intensified. Again, in a repetition of similar musical material, a preceding turba choir explains the law, while a corresponding movement reminds Pilate of the Emperor whose authority is challenged by someone calling himself a king. Preceding this, Jesus is greeted in mockery as a king, corresponding in motif to the later request that Pilate should change the inscription saying he is "the King of the Jews" to "He said: I am the King of the Jews".[9]

Versions

Nikolaikirche, c. 1850
Sebald Heyden

Bach led the first performance on 7 April 1724[10] at the Nikolaikirche (St. Nicholas)[11] as part of a Vesper service for Good Friday. Part I was performed before the sermon, Part II after the sermon.[11] Bach performed a second version on Good Friday a year later, 30 March 1725.[12] Other versions were performed between 1728 and 1732 (version 3),[10] and in 1749 (version 4).[13] A final, fifth version, revised between 1739 and 1749, was never performed in Bach's lifetime.

In version 2, Bach opened with a chorale fantasia on "O Mensch, bewein dein Sünde groß" (O man, bewail thy sins so great), the first stanza of a 1525 hymn by Sebald Heyden,[8] a movement which he ultimately used to conclude Part I of his St Matthew Passion, returning to the previous chorus Herr, unser Herrscher in later versions of the St John Passion. He used three alternative arias, one of them with a chorale sung by the choir, and replaced the two closing movements, the chorus Ruht wohl and the chorale Ach Herr, laß dein lieb Engelein with the chorale fantasia on "Christe, du Lamm Gottes" (Christ, you Lamb of God),[11] the German Agnus Dei, published in Braunschweig in 1528.[8] Bach took this movement from his cantata Du wahrer Gott und Davids Sohn, BWV 23, which had been an audition piece for his post in Leipzig.[11] Before, it had been part of his Weimarer Passion of 1717.

In version 3, after Bach wrote his St Matthew Passion, he returned the opening chorus Herr, unser Herrscher and the final chorus Ruht wohl to their initial position, but removed the Gospel passages from Matthew and the closing chorale.[11]

In version 5 (never performed), possibly dating from as early 1739, Bach returned to the first version, but revised it thoroughly. He began a new score which covers 12 movements. As Christoph Wolff observes: "The fragmentary revised score constitutes an extensive stylistic overhaul with painstaking improvements to the part-writing and a partial restructuring of the instrumentation; particular attention was paid to the word-setting in the recitatives and the continuo accompaniment."[14] In 1749, Bach performed the St John Passion once more, in an expanded and altered form from the 1724 version, in what would be his last performance of a Passion.[14]

Wolff writes: "Bach experimented with the St John Passion as he did with no other large-scale composition",[11] possible by the work's structure with the Gospel text as its backbone and interspersed features that could be exchanged.[11] Wolff concludes: "the work accompanied Bach right from his first year as Kantor of St Thomas's to the penultimate year of his life and thus, for that reason alone, how close it must have been to his heart.[15]

Overview

In the following, the movement numbers are those of the NBA, version I, unless otherwise noted.

The chorales in detail

Johann Heermann, 1669

The first chorale, movement 3, is inserted after Jesus tells the crowd to arrest him, but let his disciples go. "O große Lieb, o Lieb ohn alle Maße" (O mighty love, O love beyond all measure)[8] is stanza 7 of Johann Heermann's 1630 hymn "Herzliebster Jesu, was hast du verbrochen".[16] In personal reflection, the speaker sees the contrast of his pleasure in the world and the suffering of Jesus, ending in a short "Und du mußt leiden" (And you must suffer).[8]

Martin Luther, 1528

The second chorale, movement 5, ends the first scene, after Jesus remarks that he has to be obedient. "Dein Will gescheh, Herr Gott, zugleich" (Your will be done, Lord God, alike)[8] is stanza 4 of Luther's 1539 hymn "Vater unser im Himmelreich,[8] a paraphrase of the Lord's Prayer.[17]

Paul Gerhardt

The third chorale, movement 11, is inserted after Jesus asks those who are beating him for justification. Two stanzas from Paul Gerhardt's 1647 hymn "O Welt, sieh hier dein Leben" comment the scene, stanza 3, "Wer hat dich so geschlagen" (Who has you now so stricken),[8] and stanza 4, "Ich, ich und meine Sünden" (I, I and my transgressions),[8][18] highlighting the personal responsibility of the speaking sinner for the suffering of Jesus.

The fourth chorale, movement 14, ends the second scene and Part I. After Peter's denial, "Petrus, der nicht denkt zurück" (Peter, when he fails to think)[8] summarizes the scene with stanza 10 of Paul Stockmann's 1633 hymn "Jesu Leiden, Pein und Tod".[19][8]

The fifth chorale, movement 15, opens Part II and the third scene. "Christus, der uns selig macht" (Christ, who has made us blessed),[8] stanza 1 of Michael Weiße's 1531 hymn, summarizes what Jesus has to endure, even though he is innocent ("made captive, ... falsely indicted, and mocked and scorned and bespat").[8][20]

The sixth chorale, movement 17, comments in two more stanzas from "Herzliebster Jesu" (3), after Jesus addresses the different people of his kingdom. Stanza 8, "Ach großer König, groß zu allen Zeiten" (Ah King so mighty, mighty in all ages)[8] reflects the need for thanksgiving and stanza 9 the inability to grasp it, "Ich kanns mit meinen Sinnen nicht erreichen" (I cannot with my reason ever fathom).[8][21]

The seventh chorale, movement 22, is the central movement of the whole Passion, which interrupts the conversation of Pilate and the crowd by a general statement of the importance of the passion for salvation: "Durch dein Gefängnis, Gottes Sohn, ist uns die Freiheit kommen" (Through your prison, Son of God, must come to us our freedom)[8][22] is not part of a known hymn, but the text of an aria from a St John Passion by Postel from around 1700.[8][23][24]

The eighth chorale, movement 26, ends the scene of the court hearing, after Pilate refuses to change the inscription. "In meines Herzens Grunde" (Within my heart's foundation)[8] is stanza 3 of Valerius Herberger's 1613 hymn "Valet will ich dir geben".[8][25]

The ninth chorale, movement 28, is related to Jesus telling his mother and John to take care of each other. "Er nahm alles wohl in acht" (He of all did well take heed)[8] is stanza 20 of Stockmann's hymn (14).[26][8]

The tenth chorale, movement 32, is part of the bass aria which follows immediately after the report of the death of Jesus. "Jesu, der du warest tot, lebest nun ohn' Ende" (Jesus, you who suffered death, now live forever)[8] is the final stanza of Stockmann's hymn (14).[27][8]

The eleventh chorale, movement 37, ends the scene of the crucifixion. "O hilf, Christe, Gottes Sohn" (O help, Christ, Son of God)[8] is stanza 8 of Weiße's hymn (15).[8][28]

The twelfth chorale, movement 40, ends the Passion. "Ach Herr, laß dein lieb Engelein" (Ah Lord, let your own angels dear)[8] is stanza 3 of Martin Schalling's 1569 hymn "Herzlich lieb hab ich dich, o Herr".[8][29]

Tables of movements

The following tables give an overview of all versions of the Passion, first performed in 1724. Two variants of movement numbering are given, first that of the Neue Bach-Ausgabe (NBA), then that of the Bach-Werke-Verzeichnis (BWV). Voices appear in one of three columns, depending on the text source: Bible, contemporary poetic reflection, or chorale. The instrumentation is added, using abbreviations for instruments,[30] followed by key and time signature, and the NBA number of a corresponding movement within the work's symmetry.

Version I

There are no extant Flute parts for this version, so the movements that normally require them have violins instead. This was performed in 1724. The Bach Compendium lists it as BC D 2a

Part I
NBA BWV Bible Reflection Chorale Beginning of text Source Instruments Key Time Symmetry
11ChorusHerr, unser Herrscheranonymous2Ob 2Vn Va BcG minorcommon time39
2a2Ev (T),
Jesus (B)		Jesus ging mit seinen JüngernJohn 18:1–8BcC Dorian modecommon time
b3ChorusJesum von Nazareth2Ob 2Vn Va BcG minorcommon time
c4Ev, JesusJesus spricht zu ihnenBcG minorcommon time
d5ChorusJesum von Nazareth2Ob 2Vn Va BcC Dorian modecommon time
e6Ev, JesusJesus antworteteBcC Dorian modecommon time
37ChorusO große LiebJohann Heermann2Ob 2Vn Va BcG minorcommon time
48Ev, JesusAuf daß das Wort erfüllet würdeJohn 18:9–11BcF Mixolydian modecommon time
59ChorusDein Will geschehMartin Luther2Ob 2Vn Va BcD minorcommon time
610EvDie Schar aber und der OberhauptmannJohn 18:12–14BcF majorcommon time
711Aria AltoVon den Stricken meiner SündenBrockes2Ob BcD minor3/4
812EvSimon Petrus aber folgete Jesu nachJohn 18:15aBcB-flat Lydian modecommon time
913Aria SopranoIch folge dir gleichfallsanonymous2Vn BcB-flat major3/8
1014Ev,
Magd (S),
Petrus (B),
Jesus,
Knecht (T)		Derselbige Jünger war dem Hohenpriester bekanntJohn 18:15b–23BcG minor
A minor		common time
1115ChorusWer hat dich so geschlagenPaul Gerhardt2Ob 2Vn Va BcA majorcommon time
12a16EvUnd Hannas sandte ihn gebundenJohn 18:24–27
Matthew 26:75		BcA Mixolydian mode common time
b17ChorusBist du nicht seiner Jünger einer2Ob 2Vn Va BcA Mixolydian mode common time
c18Ev,
Petrus,
Knecht		Er leugnete aber und sprachBcA Mixolydian mode
B minor		common time
1319Aria TenorAch, mein SinnChristian Weise2Vn Va BcF-sharp minorcommon time
1420ChorusPetrus, der nicht denkt zurückPaul Stockmann2Ft 2Ob 2Vn Va BcA majorcommon time15
Part II
NBA BWV Bible Reflection Chorale Beginning of text Source Instruments Key Time Symmetry
1521ChorusChristus, der uns selig machtMichael Weiße2Ob 2Vn Va BcE Phrygian modecommon time14
16a22Ev,
Pilate (B)		Da führeten sie JesumJohn 18:28–36BcA minorcommon time
b23ChorusWäre dieser nicht ein Übeltäter2Ob 2Vn Va BcD Dorian modecommon time
c24Ev,
Pilate		Da sprach Pilatus zu ihnenBcD Dorian modecommon time
d25ChorusWir dürfen niemand töten2Ob 2Vn Va BcA minorcommon time
e26Ev,
Pilate,
Jesus		Auf daß erfüllet würde das WortBcA minorcommon time
1727ChorusAch großer KönigJohann Heermann2Ob 2Vn Va BcA minorcommon time
18a28Ev,
Pilate,
Jesus		Da sprach Pilatus zu ihmJohn 18:37–40; John 19:1BcC majorcommon time
b29ChorusNicht diesen, sondern Barrabam2Ob 2Vn Va BcD Dorian modecommon time
c30EvBarrabas aber war ein MörderBcD Dorian modecommon time
1931Arioso BassBetrachte, meine Seel'Brockes
Christian Heinrich Postel		2 violas d'amore Archlute BcE-flat majorcommon time
2032Aria TenorErwäge, wie sein blutgefärbter RückenBrockes2 violas d'amore Bc (most likely only Cello or Vg and Keyboard)C minor12/8
21a33EvUnd die Kriegsknechte flochten eine KroneJohn 19:2–12aBcG minorcommon time
b34ChorusSei gegrüßet, lieber Jüdenkönig2Ob 2Vn Va BcB-flat major6/425 b
c35Ev,
Pilate		Und gaben ihm BackenstreicheBcG minorcommon time
d36ChorusKreuzige, kreuzige2Ob 2Vn Va BcG minorcommon time23 d
e37Ev,
Pilate		Pilatus sprach zu ihnenBcG minorcommon time
f38ChorusWir haben ein Gesetz2Ob 2Vn Va BcF majorcommon time23 b
g39Ev,
Pilate,
Jesus		Da Pilatus das Wort höreteBcE Phrygian modecommon time23 a
2240ChorusDurch dein Gefängnis, Gottes SohnChristian Heinrich Postel
Melody Johann Hermann Schein		2Ob 2Vn Va BcE majorcommon timecenter
23a41EvDie Jüden aber schrieen und sprachenJohn 19:12b–17BcE majorcommon time21 g
b42ChorusLässest du diesen los1Ob 1 Oboe d'amore 2Vn Va BcE majorcommon time21 f
c43Ev,
Pilate		Da Pilatus das Wort höreteBcE majorcommon time
d44ChorusWeg, weg mit dem1Ob 1Oa 2Vn Va BcF-sharp minorcommon time21 d
e45Ev,
Pilate		Spricht Pilatus zu ihnenBcF-sharp minor
B minor		common time
f46ChorusWir haben keinen König1Ob 1Oa 2Vn Va BcB minorcommon time
g47EvDa überantwortete er ihnBcB minorcommon time
2448Aria BassSoprano
Alto
Tenor		Eilt, ihr angefochtnen SeelenBrockes2Vn Va BcG minor3/8
25a49EvAllda kreuzigten sie ihnJohn 19:18–22BcF Mixolydian modecommon time
b50ChorusSchreibe nicht: der Jüden König2Ob 2Vn Va BcB-flat major6/421 b
c51Ev,
Pilate		Pilatus antwortetBcB-flat majorcommon time
2652ChorusIn meines Herzens GrundeValerius Herberger2Ob 2Vn Va BcE-flat majorcommon time
27a53EvDie Kriegsknechte aberJohn 19:23–27aBcF Mixolydian modecommon time
b54ChorusLasset uns den nicht zerteilen1Ob 1Oba 2Vn Va BcC major3/4
c55Ev,
Jesus		Auf daß erfüllet würde die SchriftBcA minorcommon timeAdagio for "Sie haben meine Kleider"
2856ChorusEr nahm alles wohl in achtPaul Stockmann2Ob 2Vn Va BcA majorcommon time
2957Ev,
Jesus		Und von Stund an nahm sie der JüngerJohn 19:27b–30aBcD majorcommon time
3058Aria AltoEs ist vollbrachtChristian Heinrich PostelVg 2Vn Va BcB minor
D major		common time
3/4		Vg in middle section doubles Continuo.
3159EvUnd neiget das HauptJohn 19:30bBcF-sharp Phrygian modecommon time
3260Aria BassChorusMein teurer Heiland, laß dich fragenBrockes
Paul Stockmann		BcD major12/8
3361EvUnd der Vorhang im Tempel zerrißMark 15:38BcE Dorian modecommon timeOnly 3 measures long
3462Arioso TenorMein Herz, in dem die ganze WeltBrockes2Vn 2Oa 2Vn Va BcG majorcommon time
3563Aria SopranoZerfließe, mein HerzeBrockesOc Vn BcF Dorian mode3/8
3664EvDie Jüden aber, dieweil es der Rüsttag warJohn 19:31–37BcC Dorian modecommon time
3765ChorusO hilf, Christe, Gottes SohnMichael Weiße2Ob 2Vn Va BcB-flat Dorian modecommon time
3866EvDarnach bat Pilatum Joseph von ArimathiaJohn 19:38–42BcC Dorian modecommon time23 measures
3967ChorusRuht wohl, ihr heiligen GebeineBrockes2Ob 2Vn Va BcC Dorian mode3/4
4068ChorusAch Herr, laß dein lieb EngeleinMartin Schalling2Ob 2Vn Va BcE-flat majorcommon time

Version II

For this version (of 1725), in addition to the Flute parts (which were first used in late 1724 (after 1. Sunday after Trinity), Bach heavily revised both text and music. He added five movements from his Weimarer Passion, with three texts now thought to be by Christoph Birkmann. This is listed as BC 2b.

Part I
NBA BWV Bible Reflection Chorale Beginning of text Source Instruments Key Time Symmetry
1II
(BWV 244/29)		244/35ChorusO Mensch, bewein dein Sünde großSebald Heyden2Ft 2Ob 2Vn Va BcE-flat majorcommon time
2a2Ev, JesusJesus ging mit seinen JüngernJohn 18:1–8BcC Dorian mode common time
b3ChorusJesum von Nazareth2Ft 2Ob 2Vn Va BcG minorcommon time
c4Ev, JesusJesus spricht zu ihnenBcG minorcommon time
d5ChorusJesum von Nazareth2Ob 2Vn Va BcC Dorian mode common time
e6Ev, JesusJesus antworteteBcC Dorian modecommon time
37ChorusO große LiebJohann Heermann2Ft 2Ob 2Vn Va BcG minorcommon time
48Ev, JesusAuf daß das Wort erfüllet würdeJohn 18:9–11BcB-flat majorcommon time
59ChorusDein Will geschehMartin Luther2Ft 2Ob 2Vn Va BcD minorcommon time
610EvDie Schar aber und der OberhauptmannJohn 18:12–14BcF majorcommon time
711AltoVon den Stricken meiner SündenBrockes2Ob BcD minor3/4
812EvSimon Petrus aber folgete Jesu nachJohn 18:15aBcB-flat Lydian mode common time
913SopranoIch folge dir gleichfallsanonymous2Ft BcB-flat major3/8
1014Ev,
Magd (S),
Petrus (B), Jesus, Knecht (T)		Derselbige Jünger war dem Hohenpriester bekanntJohn 18:15b–23BcG minor
A minor		common time
1115ChorusWer hat dich so geschlagenPaul Gerhardt2Ft 2Ob 2Vn Va BcA majorcommon time
11+ (12)245aAria BassSopranoHimmel, reiße, Welt, erbebeChristoph Birkmann
Paul Stockmann		2Ft BcF-sharp minorcommon time
12 (13)a16EvUnd Hannas sandte ihn gebundenJohn 18:24–27 Matthew 26:75BcA Mixolydian mode common time
b17ChorusBist du nicht seiner Jünger einer2Ft 2Ob 2Vn Va BcA Mixolydian mode common time
c18Ev,
Petrus,
Knecht		Er leugnete aber und sprachBcA Mixolydian mode common time
13II (14)245bAria TenorZerschmettert mich, ihr Felsen und ihr HügelChristoph Birkmann2Vn Va BcA majorcommon time
14 (15)20ChorusPetrus, der nicht denkt zurückPaul Stockmann2Ft 2Ob 2Vn Va BcA majorcommon time15
Part II
NBA BWV Bible Reflection Chorale Beginning of text Source Instruments Key Time Symmetry
15 (16)21ChorusChristus, der uns selig machtMichael Weiße2Ob 2Vn Va BcE Phrygian modecommon time14
16 (17)a22Ev,
Pilate (B)		Da führeten sie JesumJohn 18:28–36BcA minorcommon time
b23ChorusWäre dieser nicht ein Übeltäter2Ft 2Ob 2Vn Va BcD Dorian modecommon time
c24Ev,
Pilate		Da sprach Pilatus zu ihnenBcD Dorian modecommon time
d25ChorusWir dürfen niemand töten2Ft 2Ob 2Vn Va BcA minorcommon time
e26Ev,
Pilate,
Jesus		Auf daß erfüllet würde das WortBcA minorcommon time
17 (18)27ChorusAch großer KönigJohann Heermann2Ft 2Ob 2Vn Va BcA minorcommon time
18 (19)a28Ev,
Pilate,
Jesus		Da sprach Pilatus zu ihmJohn 18:37–40; John 19:1BcC majorcommon time
b29ChorusNicht diesen, sondern Barrabam2Ft 2Ob 2Vn Va BcD Dorian modecommon time
c30EvBarrabas aber war ein MörderBcD Dorian modecommon time
19II (20)245cAria TenorAch windet euch nicht so, geplagte SeelenChristoph Birkmann2Ob BcC Dorian modecut time
20Discarded
21a33EvUnd die Kriegsknechte flochten eine KroneJohn 19:2–12aBcG minorcommon time
b34ChorusSei gegrüßet, lieber Jüdenkönig2Ft 2Ob 2Vn Va BcB-flat major6/425 b
c35Ev,
Pilate		Und gaben ihm BackenstreicheBcG minorcommon time
d36ChorusKreuzige, kreuzige2Ft 2Ob 2Vn Va BcG minorcommon time23 d
e37Ev,
Pilate		Pilatus sprach zu ihnenBcG minorcommon time
f38ChorusWir haben ein Gesetz2Ft 2Ob 2Vn Va BcF majorcommon time23 b
g39Ev,
Pilate,
Jesus		Da Pilatus das Wort höreteBcE Phrygian modecommon time23 a
2240ChorusDurch dein Gefängnis, Gottes SohnChristian Heinrich Postel
Melody Johann Hermann Schein		2Ft 2Ob 2Vn Va BcE majorcommon timecenter
23a41EvDie Jüden aber schrieen und sprachenJohn 19:12b–17BcE majorcommon time21 g
b42ChorusLässest du diesen los2Ft 1Ob 1 Oboe d'amore 2Vn Va BcE majorcommon time21 f
c43Ev,
Pilate		Da Pilatus das Wort höreteBcE majorcommon time
d44ChorusWeg, weg mit dem2Ft 1Ob 1Oa 2Vn Va BcF-sharp minorcommon time21 d
e45Ev,
Pilate		Spricht Pilatus zu ihnenBcF-sharp minor
B minor		common time
f46ChorusWir haben keinen König2Ft 1Ob 1Oa 2Vn Va BcB minorcommon time
g47EvDa überantwortete er ihnBcB minorcommon time
2448Aria BassSoprano Alto TenorEilt, ihr angefochtnen SeelenBrockes2Vn Va BcG minor3/8
25a49EvAllda kreuzigten sie ihnJohn 19:18–22BcF Mixolydian modecommon time
b50ChorusSchreibe nicht: der Jüden König2Ft 2Ob 2Vn Va BcB-flat major6/421 b
c51Ev,
Pilate		Pilatus antwortetBcB-flat majorcommon time
2652ChorusIn meines Herzens GrundeValerius Herberger2Ft 2Ob 2Vn Va BcE-flat majorcommon time
27a53EvDie Kriegsknechte aberJohn 19:23–27aBcF Mixolydian modecommon time
b54ChorusLasset uns den nicht zerteilen2Ft 1Ob 1Oba 2Vn Va BcC major3/4
c55Ev,
Jesus		Auf daß erfüllet würde die SchriftBcA minorcommon timeAdagio for "Sie haben meine Kleider"
2856ChorusEr nahm alles wohl in achtPaul Stockmann2Ft 2Ob 2Vn Va BcA majorcommon time
2957Ev,
Jesus		Und von Stund an nahm sie der JüngerJohn 19:27b–30aBcD majorcommon time
3058Aria AltoEs ist vollbrachtChristian Heinrich PostelVg 2Vn Va BcB minor
D major		common time
3/4
3159EvUnd neiget das HauptJohn 19:30bBcF-sharp Phrygian modecommon time
3260Aria BassChorusMein teurer Heiland, laß dich fragenBrockes
Paul Stockmann		2Vn Va BcD major12/8
3361EvUnd siehe da, der Vorhang im Tempel zerrißMatthew 27:51–52BcE Dorian modecommon timeNow 7 measures long
3462Arioso TenorMein Herz, in dem die ganze WeltBrockes2Ft 2Oc 2Vn Va BcG majorcommon time
3563Aria SopranoZerfließe, mein HerzeBrockesFt Oc BcF Dorian mode3/8
3664EvDie Jüden aber, dieweil es der Rüsttag warJohn 19:31–37BcC Dorian modecommon time
3765ChorusO hilf, Christe, Gottes SohnMichael Weiße2Ft 2Ob 2Vn Va BcB-flat Dorian modecommon time
3866EvDarnach bat Pilatum Joseph von ArimathiaJohn 19:38–42BcC Dorian modecommon time
3967ChorusRuht wohl, ihr heiligen GebeineBrockes2Ft 2Ob 2Vn Va BcC Dorian mode3/4
40II23/4ChorusChriste, du Lamm GottesMartin Luther2Ft 2Ob 2Vn Va BcG minorcommon timeAdagio
Andante

Version III

In this version, Bach reverted to the original layout (thus discarding the previous revisions and additions). However, he decided to compose a true St John Passion, and thus eliminated the material inserted from the Gospel of Matthew. Now 12c ends in Measure 31 and Movement 33 is eliminated altogether (replaced by a lost Sinfonia). He also dispensed with the Lute and the Viola d'amore, replacing them with an Organ and Violini con sordino. It was probably performed in 1730.[31] This is listed as BC D 2c.

Part I
NBA BWV Bible Reflection Chorale Beginning of text Source Instruments Key Time Symmetry
11ChorusHerr, unser Herrscheranonymous2Ft 2Ob 2Vn Va BcG minorcommon time39
2a2Ev (T),
Jesus (B)		Jesus ging mit seinen JüngernJohn 18:1–8BcC Dorian modecommon time
b3ChorusJesum von Nazareth2Ft 2Ob 2Vn Va BcG minorcommon time
c4Ev, JesusJesus spricht zu ihnenBcG minorcommon time
d5ChorusJesum von Nazareth2Ob 2Vn Va BcC Dorian modecommon time
e6Ev, JesusJesus antworteteBcC Dorian modecommon time
37ChorusO große LiebJohann Heermann2Ft 2Ob 2Vn Va BcG minorcommon time
48Ev, JesusAuf daß das Wort erfüllet würdeJohn 18:9–11BcB-flat majorcommon time
59ChorusDein Will geschehMartin Luther2Ft 2Ob 2Vn Va BcD minorcommon time
610Ev, JesusDie Schar aber und der OberhauptmannJohn 18:12–14BcF majorcommon time
711Aria AltoVon den Stricken meiner SündenBrockes2Ob BcD minor3/4
812EvSimon Petrus aber folgete Jesu nachJohn 18:15aBcB-flat Lydian modecommon time
913Aria SopranoIch folge dir gleichfallsanonymous2Ft BcB-flat major3/8
1014Ev,
Magd (S),
Petrus (B),
Jesus,
Knecht (T)		Derselbige Jünger war dem Hohenpriester bekanntJohn 18:15b–23BcG minor
A minor		common time
1115ChorusWer hat dich so geschlagenPaul Gerhardt2Ft 2Ob 2Vn Va BcA majorcommon time
12a16EvUnd Hannas sandte ihn gebundenJohn 18:24–27BcA Mixolydian modecommon time
b17ChorusBist du nicht seiner Jünger einer2Ft 2Ob 2Vn Va BcA Mixolydian modecommon time
c18Ev,
Petrus,
Knecht		Er leugnete aber und sprachBcA Mixolydian mode
B minor		common time12c ends with "und alsobald krähete der Hahn" in B minor.
13IIITenor?E minor
G major		 ?Aria lost.
1420ChorusPetrus, der nicht denkt zurückPaul Stockmann2Ft 2Ob 2Vn Va BcG majorcommon time15
Part II
NBA BWV Bible Reflection Chorale Beginning of text Source Instruments Key Time Symmetry
1521ChorusChristus, der uns selig machtMichael Weiße2Ob 2Vn Va BcE Phrygian modecommon time14
16a22Ev,
Pilate (B)		Da führeten sie JesumJohn 18:28–36BcA minorcommon time
b23ChorusWäre dieser nicht ein Übeltäter2Ft 2Ob 2Vn Va BcD Dorian modecommon time
c24Ev,
Pilate		Da sprach Pilatus zu ihnenBcD Dorian modecommon time
d25ChorusWir dürfen niemand töten2Ft 2Ob 2Vn Va BcA minorcommon time
e26Ev,
Pilate,
Jesus		Auf daß erfüllet würde das WortBcA minorcommon time
1727ChorusAch großer KönigJohann Heermann2Ob 2Vn Va BcA minorcommon time
18a28Ev,
Pilate,
Jesus		Da sprach Pilatus zu ihmJohn 18:37–40; John 19:1BcC majorcommon time
b29ChorusNicht diesen, sondern Barrabam2Ft 2Ob 2Vn Va BcD Dorian modecommon time
c30EvBarrabas aber war ein MörderBcD Dorian modecommon time
1931Arioso BassBetrachte, meine SeelBrockes
Christian Heinrich Postel		2Vn con sordinis Bc with organE-flat majorcommon time
2032Aria TenorErwäge, wie sein blutgefärbter RückenBrockes2Vn con sordini Bc (most likely only Cello or Vg and Keyboard)C minor12/8
21a33EvUnd die Kriegsknechte flochten eine KroneJohn 19:2–12aBcG minorcommon time
b34ChorusSei gegrüßet, lieber Jüdenkönig2Ft 2Ob 2Vn Va Bc (violins double the winds)B-flat major6/425 b
c35Ev,
Pilate		Und gaben ihm BackenstreicheBcG minorcommon time
d36ChorusKreuzige, kreuzige2Ft 2Ob 2Vn Va BcG minorcommon time23 d
e37Ev,
Pilate		Pilatus sprach zu ihnenBcG minorcommon time
f38ChorusWir haben ein Gesetz2Ob 2Vn Va BcF majorcommon time23 b
g39Ev,
Pilate,
Jesus		Da Pilatus das Wort höreteBcE Phrygian modecommon time23 a
2240ChorusDurch dein Gefängnis, Gottes SohnChristian Heinrich Postel
Melody Johann Hermann Schein		2Ft 2Ob 2Vn Va BcE majorcommon timecenter
23a41EvDie Jüden aber schrieen und sprachenJohn 19:12b–17BcE majorcommon time21 g
b42ChorusLässest du diesen los2Ft 1Ob 1 Oboe d'amore 2Vn Va BcE majorcommon time21 f
c43Ev,
Pilate		Da Pilatus das Wort höreteBcE majorcommon time
d44ChorusWeg, weg mit dem2Ft 1Ob 1Oa 2Vn Va BcF-sharp minorcommon time21 d
e45Ev,
Pilate		Spricht Pilatus zu ihnenBcF-sharp minor
B minor		common time
f46ChorusWir haben keinen König2Ft 1Ob 1Oa 2Vn Va BcB minorcommon time
g47EvDa überantwortete er ihnBcB minorcommon time
2448Aria bassSoprano Alto TenorEilt, ihr angefochtnen SeelenBrockes2Vn Va BcG minor3/8
25a49EvAllda kreuzigten sie ihnJohn 19:18–22BcF Mixolydian modecommon time
b50ChorusSchreibe nicht: der Jüden König2Ft 2Ob 2Vn Va BcB-flat major6/421 b1Vn each doubles winds
c51Ev,
Pilate		Pilatus antwortetBcB-flat majorcommon time
2652ChorusIn meines Herzens GrundeValerius Herberger2Ft 2Ob 2Vn Va BcE-flat majorcommon time
27a53EvDie Kriegsknechte aberJohn 19:23–27aBcF Mixolydian modecommon time
b54ChorusLasset uns den nicht zerteilen2Ft 1Ob 1Oba 2Vn Va BcC major3/4
c55Ev,
Jesus		Auf daß erfüllet würde die SchriftBcA minorcommon timeAdagio for "Sie haben meine Kleider"
2856ChorusEr nahm alles wohl in achtPaul Stockmann2Ft 2Ob 2Vn Va BcA majorcommon time
2957Ev,
Jesus		Und von Stund an nahm sie der JüngerJohn 19:27b–30aBcD majorcommon time
3058Aria AltoEs ist vollbrachtChristian Heinrich PostelVg 2Vn Va BcB minor
D major		common time
3/4		Middle section: Vg doubles Alto (8vb).
3159EvUnd neiget das HauptJohn 19:30bBcF-sharp Phrygian modecommon time
3260Aria BassChorusMein teurer Heiland, laß dich fragenBrockes
Paul Stockmann		2Vn Va BcD major12/8
3361Sinfonia1Ob 2Vn Va Bc
or
2Ob Taille (instrument) 1Bsn		C Dorian modecommon timeLost, possibly identical to BWV 246(?)
34Discarded
35Discarded
3664EvDie Jüden aber, dieweil es der Rüsttag warJohn 19:31–37BcC Dorian modecommon time
3765ChorusO hilf, Christe, Gottes SohnMichael Weiße2Ft 2Ob 2Vn Va BcB-flat Dorian modecommon time
3866EvDarnach bat Pilatum Joseph von ArimathiaJohn 19:38–42BcC Dorian modecommon time25 measures
3967ChorusRuht wohl, ihr heiligen GebeineBrockes2Ft 2Ob 2Vn Va BcC Dorian mode3/4
40Discarded

Standard Version (1739-1749)

Essentially a reworking of the 1724 Version, this version is the most detail-oriented revision of the work. On 17 March 1739, while still working on this revision, Bach was informed that the performance of the Passion setting could not go ahead without official permission, thus (most likely) effectively halting any plans for that year. In response, Bach performed the Brockes-Passion of his friend, Georg Philipp Telemann (TVWV 5:1). However, though he had stopped at measure 42 of Movement 10, he continued to work on this revision, as shown by the copyists' score and parts. It is listed as BC D 2e.[32]

Part I
NBA BWV Bible Reflection Chorale Beginning of text Source Instruments Key Time Symmetry
11ChorusHerr, unser Herrscheranonymous2Ft 2Ob 2Vn Va BcG minorcommon time39All choral sections and instrumental ritornellos now include a Contrabassoon in the Continuo part;
much voice and instrumental details altered;
Slight changes in voice-leading and instrumental parts throughout work.
2a2Ev (T),
Jesus (B)		Jesus ging mit seinen JüngernJohn 18:1–8BcC Dorian modecommon timeSlight change in voice-leading and other details.
b3ChorusJesum von Nazareth2Ft 2Ob 2Vn Va BcG minorcommon time
c4Ev,
Jesus		Jesus spricht zu ihnenBcG minorcommon time
d5ChorusJesum von Nazareth2Ob 2Vn Va BcC Dorian modecommon time
e6Ev,
Jesus		Jesus antworteteBcC Dorian modecommon time
37ChorusO große LiebJohann Heermann2Ft 2Ob 2Vn Va BcG minorcommon timeMore flowing/less chordal;
now ends in G major
48Ev,
Jesus		Auf daß das Wort erfüllet würdeJohn 18:9–11BcF Mixolydian modecommon timeJesus recitative now accompanied by flowing Continuo part rather than chordal.
59ChorusDein Will geschehMartin Luther2Ft 2Ob 2Vn Va BcD minorcommon time
610Ev,
Jesus		Die Schar aber und der OberhauptmannJohn 18:12–14BcF majorcommon timeSlight alteration in voice-leading;
ends with stronger cadence.
711Aria AltoVon den Stricken meiner SündenBrockes2Ob BcD minor3/4Voice-leading and instrumental notation and Continuo part altered.
812EvSimon Petrus aber folgete Jesu nachJohn 18:15aBcB-flat Lydian modecommon time
913Aria SopranoIch folge dir gleichfallsanonymous2Ft BcB-flat major3/8Voice-leading and instrumental notation altered;
a measure inserted after measure 146;
Final ritornello reduced by 8 bars.
1014Ev,
Magd (S),
Petrus (B),
Jesus,
Knecht (T)		Derselbige Jünger war dem Hohenpriester bekanntJohn 18:15b–23BcG minor
A minor		common timeMost extensive revision in voice-leading and instrumental notation.
1115ChorusWer hat dich so geschlagenPaul Gerhardt2Ft 2Ob 2Vn Va BcA majorcommon time
12a16EvUnd Hannas sandte ihn gebundenJohn 18:24–27
Matthew 26:75		BcA Mixolydian mode common timeSlight change in voice-leading and other details.
b17ChorusBist du nicht seiner Jünger einer2Ft 2Ob 2Vn Va BcA Mixolydian mode common time
c18Ev,
Petrus,
Knecht		Er leugnete aber und sprachBcA Mixolydian mode
B minor		common time
1319Aria TenorAch, mein SinnChristian Weise2Ft 2Ob 2Vn Va BcF-sharp minor3/4Marked "tutti gli Stromenti".
1420ChorusPetrus, der nicht denkt zurückPaul Stockmann2Ft 2Ob 2Vn Va BcA majorcommon time15
Part II
NBA BWV Bible Reflection Chorale Beginning of text Source Instruments Key Time Symmetry
1521ChorusChristus, der uns selig machtMichael Weiße2Ft 2Ob 2Vn Va BcE Phrygian modecommon time14
16a22Ev,
Pilate (B)		Da führeten sie JesumJohn 18:28–36BcA minorcommon time
b23ChorusWäre dieser nicht ein Übeltäter2Ft 2Ob 2Vn Va BcD Dorian modecommon time
c24Ev,
Pilate		Da sprach Pilatus zu ihnenBcD Dorian modecommon time
d25ChorusWir dürfen niemand töten2Ft 2Ob 2Vn Va BcA minorcommon time
e26Ev,
Pilate,
Jesus		Auf daß erfüllet würde das WortBcA minorcommon time
1727ChorusAch großer KönigJohann Heermann2Ft 2Ob 2Vn Va BcA minorcommon time
18a28Ev,
Pilate,
Jesus		Da sprach Pilatus zu ihmJohn 18:37–40; John 19:1BcC majorcommon time
b29ChorusNicht diesen, sondern Barrabam2Ft 2Ob 2Vn Va BcD Dorian modecommon time
c30EvBarrabas aber war ein MörderBcD Dorian modecommon time
1931Arioso bassBetrachte, meine Seel'Brockes
Christian Heinrich Postel		2 violas d'amore Bc with ArchluteE-flat majorcommon time
2032Aria TenorErwäge, wie sein blutgefärbter RückenBrockes2 violas d'amore Bc (most likely only Cello or Vg and Keyboard)C minor12/8
21a33EvUnd die Kriegsknechte flochten eine KroneJohn 19:2–12aBcG minorcommon time
b34ChorusSei gegrüßet, lieber Jüdenkönig2Ft 2Ob 2Vn Va BcB-flat major6/425 b
c35Ev,
Pilate		Und gaben ihm BackenstreicheBcG minorcommon time
d36ChorusKreuzige, kreuzige2Ft 2Ob 2Vn Va BcG minorcommon time23 d
e37Ev,
Pilate		Pilatus sprach zu ihnenBcG minorcommon time
f38ChorusWir haben ein Gesetz2Ft 2Ob 2Vn Va BcF majorcommon time23 b
g39Ev,
Pilate,
Jesus		Da Pilatus das Wort höreteBcE Phrygian modecommon time23 a
2240ChorusDurch dein Gefängnis, Gottes SohnChristian Heinrich Postel
Melody Johann Hermann Schein		2Ft 2Ob 2Vn Va BcE majorcommon timecenter
23a41EvDie Jüden aber schrieen und sprachenJohn 19:12b–17BcE majorcommon time21 g
b42ChorusLässest du diesen los1Ob 1 Oboe d'amore 2Vn Va BcE majorcommon time21 f
c43Ev,
Pilate		Da Pilatus das Wort höreteBcE majorcommon time
d44ChorusWeg, weg mit dem2Ft 1Ob 1Oa 2Vn Va BcF-sharp minorcommon time21 d
e45Ev,
Pilate		Spricht Pilatus zu ihnenBcF-sharp minor
B minor		common time
f46ChorusWir haben keinen König2Ft 1Ob 1Oa 2Vn Va BcB minorcommon time
g47EvDa überantwortete er ihnBcB minorcommon time
2448Aria BassSoprano
Alto
Tenor		Eilt, ihr angefochtnen SeelenBrockes2Vn Va BcG minor3/8
25a49EvAllda kreuzigten sie ihnJohn 19:18–22BcF Mixolydian modecommon time
b50ChorusSchreibe nicht: der Jüden König2Ft 2Ob 2Vn Va BcB-flat major6/421 b
c51Ev,
Pilate		Pilatus antwortetBcB-flat majorcommon time
2652ChorusIn meines Herzens GrundeValerius Herberger2Ft 2Ob 2Vn Va BcE-flat majorcommon time
27a53EvDie Kriegsknechte aberJohn 19:23–27aBcF Mixolydian modecommon time
b54ChorusLasset uns den nicht zerteilen2Ft 1Ob 1Oba 2Vn Va BcC major3/4
c55Ev,
Jesus		Auf daß erfüllet würde die SchriftBcA minorcommon timeAdagio for "Sie haben meine Kleider"
2856ChorusEr nahm alles wohl in achtPaul Stockmann2Ob 2Vn Va BcA majorcommon time
2957Ev,
Jesus		Und von Stund an nahm sie der JüngerJohn 19:27b–30aBcD majorcommon time
3058Aria AltoEs ist vollbrachtChristian Heinrich PostelVg 2Vn Va BcB minor
D major		common time
3/4		Middle section: Vg doubles Continuo.
3159EvUnd neiget das HauptJohn 19:30bBcF-sharp Phrygian modecommon time
3260Aria BassChorusMein teurer Heiland, laß dich fragenBrockes
Paul Stockmann		2Vn Va BcD major12/8
3361EvUnd siehe da, der Vorhang im Tempel zerrißMatthew 27:51–52BcE Dorian modecommon time
3462Arioso TenorMein Herz, in dem die ganze WeltBrockes2Ft 2Oc 2Vn Va BcG majorcommon time
3563Aria SopranoZerfließe, mein HerzeBrockes2Ft 2Oc BcF Dorian mode3/8
3664EvDie Jüden aber, dieweil es der Rüsttag warJohn 19:31–37BcC Dorian modecommon time
3765ChorusO hilf, Christe, Gottes SohnMichael Weiße2Ft 2Ob 2Vn Va BcB-flat Dorian modecommon time
3866EvDarnach bat Pilatum Joseph von ArimathiaJohn 19:38–42BcC Dorian modecommon time
3967ChorusRuht wohl, ihr heiligen GebeineBrockes2Ft 2Ob 2Vn Va BcC Dorian mode3/4
4068ChorusAch Herr, laß dein lieb EngeleinMartin Schalling2Ft 2Ob 2Vn Va BcE-flat majorcommon time

Version IV

Essentially a re-production of Version I with a few alterations (text changes in Movements 9, 19 & 20, instrumentation reflective of Version III). It was performed in 1749 and (most likely) repeated in 1750. It also represents (outside of the St Matthew Passion) the largest instrumental ensemble used (calling for 3 1st Violins), and (for the first time in his work) calls for a Contrabassoon (used in all choral parts, as well as instrumental ritornellos). It is listed as BC D 2d.

Part I
NBA BWV Bible Reflection Chorale Beginning of text Source Instruments Key Time Symmetry
11ChorusHerr, unser Herrscheranonymous2Ft 2Ob 2Vn Va BcG minorcommon time39
2a2Ev (T),
Jesus (B)		Jesus ging mit seinen JüngernJohn 18:1–8BcC Dorian modecommon time
b3ChorusJesum von Nazareth2Ft 2Ob 2Vn Va BcG minorcommon time
c4Ev,
Jesus		Jesus spricht zu ihnenBcG minorcommon time
d5ChorusJesum von Nazareth2Ob 2Vn Va BcC Dorian modecommon time
e6Ev,
Jesus		Jesus antworteteBcC Dorian modecommon time
37ChorusO große LiebJohann Heermann2Ft 2Ob 2Vn Va BcG minorcommon time
48Ev,
Jesus		Auf daß das Wort erfüllet würdeJohn 18:9–11BcF Mixolydian modecommon time
59ChorusDein Will geschehMartin Luther2Ft 2Ob 2Vn Va BcD minorcommon time
610Ev,
Jesus		Die Schar aber und der OberhauptmannJohn 18:12–14BcF majorcommon time
711Aria AltoVon den Stricken meiner SündenBrockes2Ob BcD minor3/4Continuo like revision.
812EvSimon Petrus aber folgete Jesu nachJohn 18:15aBcB-flat Lydian modecommon time
913Aria SopranoIch folge dir gleichfallsanonymous2Ft BcB-flat major3/8a measure inserted after measure 146;
Text changed: "Ich folge dir gleichfalls, mein Heiland, mit Freuden", etc.
1014Ev,
Magd (S),
Petrus (B),
Jesus,
Knecht (T)		Derselbige Jünger war dem Hohenpriester bekanntJohn 18:15b–23BcG minor
A minor		common timeContinuo in Measure 20 changed.
1115ChorusWer hat dich so geschlagenPaul Gerhardt2Ft 2Ob 2Vn Va BcA majorcommon time
12a16EvUnd Hannas sandte ihn gebundenJohn 18:24–27
Matthew 26:75		BcA Mixolydian mode common time
b17ChorusBist du nicht seiner Jünger einer2Ft 2Ob 2Vn Va BcA Mixolydian mode common time
c18Ev,
Petrus,
Knecht		Er leugnete aber und sprachBcA Mixolydian mode
B minor		common time
1319Aria TenorAch, mein SinnChristian Weise2Vn Va BcF-sharp minor3/4
1420ChorusPetrus, der nicht denkt zurückPaul Stockmann2Ft 2Ob 2Vn Va BcA majorcommon time15
Part II
NBA BWV Bible Reflection Chorale Beginning of text Source Instruments Key Time Symmetry
1521ChorusChristus, der uns selig machtMichael Weiße2Ft 2Ob 2Vn Va BcE Phrygian modecommon time14
16a22Ev,
Pilate (B)		Da führeten sie JesumJohn 18:28–36BcA minorcommon time
b23ChorusWäre dieser nicht ein Übeltäter2Ft 2Ob 2Vn Va BcD Dorian modecommon time
c24Ev,
Pilate		Da sprach Pilatus zu ihnenBcD Dorian modecommon time
d25ChorusWir dürfen niemand töten2Ft 2Ob 2Vn Va BcA minorcommon time
e26Ev,
Pilate,
Jesus		Auf daß erfüllet würde das WortBcA minorcommon time
1727ChorusAch großer KönigJohann Heermann2Ft 2Ob 2Vn Va BcA minorcommon time
18a28Ev,
Pilate,
Jesus		Da sprach Pilatus zu ihmJohn 18:37–40; John 19:1BcC majorcommon time
b29ChorusNicht diesen, sondern Barrabam2Ft 2Ob 2Vn Va BcD Dorian modecommon time
c30EvBarrabas aber war ein MörderBcD Dorian modecommon time
1931Arioso BassBetrachte, meine Seel'Brockes
Christian Heinrich Postel		2Vn con sordini Bc with HarpsichordE-flat majorcommon timeText for middle section altered.
2032Aria TenorMein Jesu, ach! dein schmerzhaft bitter LeidenAnonymous2Vn con sordini Bc (most likely only Cello or Vg and Keyboard)C minor12/8
21a33EvUnd die Kriegsknechte flochten eine KroneJohn 19:2–12aBcG minorcommon time
b34ChorusSei gegrüßet, lieber Jüdenkönig2Ft 2Ob 2Vn Va BcB-flat major6/425 b1Vn each doubles wind parts.
c35Ev,
Pilate		Und gaben ihm BackenstreicheBcG minorcommon time
d36ChorusKreuzige, kreuzige2Ft 2Ob 2Vn Va BcG minorcommon time23 d
e37Ev,
Pilate		Pilatus sprach zu ihnenBcG minorcommon time
f38ChorusWir haben ein Gesetz2Ft 2Ob 2Vn Va BcF majorcommon time23 b
g39Ev,
Pilate,
Jesus		Da Pilatus das Wort höreteBcE Phrygian modecommon time23 a
2240ChorusDurch dein Gefängnis, Gottes SohnChristian Heinrich Postel
Melody Johann Hermann Schein		2Ft 2Ob 2Vn Va BcE majorcommon timecenter
23a41EvDie Jüden aber schrieen und sprachenJohn 19:12b–17BcE majorcommon time21 g
b42ChorusLässest du diesen los2Ft 1Ob 1 Oboe d'amore 2Vn Va BcE majorcommon time21 f
c43Ev,
Pilate		Da Pilatus das Wort höreteBcE majorcommon time
d44ChorusWeg, weg mit dem2Ft 1Ob 1Oa 2Vn Va BcF-sharp minorcommon time21 d
e45Ev,
Pilate		Spricht Pilatus zu ihnenBcF-sharp minor
B minor		common time
f46ChorusWir haben keinen König2Ft 1Ob 1Oa 2Vn Va BcB minorcommon time
g47EvDa überantwortete er ihnBcB minorcommon time
2448Aria BassSoprano
Alto
Tenor		Eilt, ihr angefochtnen SeelenBrockes2Vn Va BcG minor3/8
25a49EvAllda kreuzigten sie ihnJohn 19:18–22BcF Mixolydian modecommon time
b50ChorusSchreibe nicht: der Jüden König2Ft 2Ob 2Vn Va BcB-flat major6/421 b1Vn each doubles wind parts.
c51Ev,
Pilate		Pilatus antwortetBcB-flat majorcommon time
2652ChorusIn meines Herzens GrundeValerius Herberger2Ft 2Ob 2Vn Va BcE-flat majorcommon time
27a53EvDie Kriegsknechte aberJohn 19:23–27aBcF Mixolydian modecommon time
b54ChorusLasset uns den nicht zerteilen2Ft 1Ob 1Oba 2Vn Va BcC major3/4
c55Ev,
Jesus		Auf daß erfüllet würde die SchriftBcA minorcommon timeAdagio for "Sie haben meine Kleider"
2856ChorusEr nahm alles wohl in achtPaul Stockmann2Ft 2Ob 2Vn Va BcA majorcommon time
2957Ev,
Jesus		Und von Stund an nahm sie der JüngerJohn 19:27b–30aBcD majorcommon time
3058Aria AltoEs ist vollbrachtChristian Heinrich PostelVg 2Vn Va BcB minor
D major		common time
3/4		Middle section: Vg doubles Alto (8vb).
3159EvUnd neiget das HauptJohn 19:30bBcF-sharp Phrygian modecommon time
3260Aria BassChorusMein teurer Heiland, laß dich fragenBrockes
Paul Stockmann		2Vn Va BcD major12/8
3361EvUnd siehe da, der Vorhang im Tempel zerrißMatthew 27:51–52BcE Dorian modecommon time
3462Arioso TenorMein Herz, in dem die ganze WeltBrockes2Ft 2Oa 2Vn Va BcG majorcommon time
3563Aria sopranoZerfließe, mein HerzeBrockes1Ft + 1Vn con sordino 1Oc BcF Dorian mode3/8
3664EvDie Jüden aber, dieweil es der Rüsttag warJohn 19:31–37BcC Dorian modecommon time
3765ChorusO hilf, Christe, Gottes SohnMichael Weiße2Ft 2Ob 2Vn Va BcB-flat Dorian modecommon time
3866EvDarnach bat Pilatum Joseph von ArimathiaJohn 19:38–42BcC Dorian modecommon time
3967ChorusRuht wohl, ihr heiligen GebeineBrockes2Ft 2Ob 2Vn Va BcC Dorian mode3/4
4068ChorusAch Herr, laß dein lieb EngeleinMartin Schalling2Ft 2Ob 2Vn Va BcE-flat majorcommon time

References

  1. ↑ Chafe 1989, p. 75.
  2. 1 2 Johnston 2014.
  3. ↑ Laffin 2007, p. 53.
  4. ↑ Dürr 1999, p. 66.
  5. ↑ Dürr 1999, p. 54.
  6. ↑ Steinberg 2005, p. 18.
  7. ↑ Oron 2011.
  8. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 Ambrose 2012.
  9. ↑ Wong 2004.
  10. 1 2 Bach digital 1 1973.
  11. 1 2 3 4 5 6 7 Wolff 2012, p. 3.
  12. ↑ Bach digital 2 1973.
  13. ↑ Bach digital 4 1973.
  14. 1 2 Wolff 2012, p. 4.
  15. ↑ Wolff 2012, p. 2.
  16. ↑ BWV 245.3 bach-chorales.com
  17. ↑ BWV 245.5 bach-chorales.com
  18. ↑ BWV 245.11 bach-chorales.com
  19. ↑ Dahn 14 2018.
  20. ↑ BWV 245.15 bach-chorales.com
  21. ↑ BWV 245.17 bach-chorales.com
  22. ↑ Braatz & Oron 2006.
  23. ↑ Browne 2006.
  24. ↑ BWV 245.22 bach-chorales.com
  25. ↑ BWV 245.26 bach-chorales.com
  26. ↑ Dahn 28 2018.
  27. ↑ Dahn 32 2018.
  28. ↑ BWV 245.37 bach-chorales.com
  29. ↑ BWV 245.40 bach-chorales.com
  30. ↑ Bischof 2012.
  31. ↑ Wollny, Peter (2018-07-24). "Zwei Bach-Funde in Mügeln. C. P. E. Bach, Picander und die Leipziger Kirchenmusik in den 1730er Jahren". Bach-Jahrbuch (in German). 96: 111–131. doi:10.13141/bjb.v20101883. ISSN 0084-7682.
  32. ↑ Bach digital 3 1973.

Sources

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