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St John Passion structure

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.

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 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

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Text

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Gospel

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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

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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

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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

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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

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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

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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

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

The chorales in detail

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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] part of a movement to make German a literary language by imposing strict rules of metre and hymn; the form is that of a Sapphic stanza with the characteristically short last forth line which here literally is a punch line, hitting home: "Und du mußt leiden" (And you must suffer).[8] The hymn is based on a passion meditation which was attributed to the church father St Augustine (Meditationes Divi Augustini, chapter VII) – another nod to classical learning but with all the emotionally charged medieval rhetoric of Anselm of Canterbury or Bernard of Clairvaux. The text addresses the crucified Christ pondering on the bodily signs of the passion but even more on the significance of this display of suffering. This verse breaks into the exclamation of wonder: a highly emotionally charged start the triple ‘o’ in the first line and the neologism of the ‘Marterstraße’ in the second which Bach makes audible in the chromatically discordant setting. It imagines Christ being physically pushed by Love personified on the road of suffering while the singer lives with Mrs World in sinful pleasure – a combination of the medieval concept of the “Crucifixion by the virtues” with the pilgrim’s progress idea of encountering virtues and vices on the way.

 
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

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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

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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
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NBA BWV Bible Reflection Chorale Beginning of text Source Instruments Key Time Symmetry
1 1 Chorus Herr, unser Herrscher anonymous 2Ob 2Vn Va Bc G minor   39
2 a 2 Ev (T),
Jesus (B)		 Jesus ging mit seinen Jüngern John 18:1–8 Bc C Dorian mode  
b 3 Chorus Jesum von Nazareth 2Ob 2Vn Va Bc G minor  
c 4 Ev, Jesus Jesus spricht zu ihnen Bc G minor  
d 5 Chorus Jesum von Nazareth 2Ob 2Vn Va Bc C Dorian mode  
e 6 Ev, Jesus Jesus antwortete Bc C Dorian mode  
3 7 Chorus O große Lieb Johann Heermann 2Ob 2Vn Va Bc G minor  
4 8 Ev, Jesus Auf daß das Wort erfüllet würde John 18:9–11 Bc F Mixolydian mode  
5 9 Chorus Dein Will gescheh Martin Luther 2Ob 2Vn Va Bc D minor  
6 10 Ev Die Schar aber und der Oberhauptmann John 18:12–14 Bc F major  
7 11 Aria Alto Von den Stricken meiner Sünden Brockes 2Ob Bc D minor 3/4
8 12 Ev Simon Petrus aber folgete Jesu nach John 18:15a Bc B-flat Lydian mode  
9 13 Aria Soprano Ich folge dir gleichfalls anonymous 2Vn Bc B-flat major 3/8
10 14 Ev,
Magd (S),
Petrus (B),
Jesus,
Knecht (T)		 Derselbige Jünger war dem Hohenpriester bekannt John 18:15b–23 Bc G minor
A minor		  
11 15 Chorus Wer hat dich so geschlagen Paul Gerhardt 2Ob 2Vn Va Bc A major  
12 a 16 Ev Und Hannas sandte ihn gebunden John 18:24–27
Matthew 26:75		 Bc A Mixolydian mode  
b 17 Chorus Bist du nicht seiner Jünger einer 2Ob 2Vn Va Bc A Mixolydian mode  
c 18 Ev,
Petrus,
Knecht		 Er leugnete aber und sprach Bc A Mixolydian mode
B minor		  
13 19 Aria Tenor Ach, mein Sinn Christian Weise 2Vn Va Bc F-sharp minor  
14 20 Chorus Petrus, der nicht denkt zurück Paul Stockmann 2Ft 2Ob 2Vn Va Bc A major   15
Part II
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NBA BWV Bible Reflection Chorale Beginning of text Source Instruments Key Time Symmetry
15 21 Chorus Christus, der uns selig macht Michael Weiße 2Ob 2Vn Va Bc E Phrygian mode   14
16 a 22 Ev,
Pilate (B)		 Da führeten sie Jesum John 18:28–36 Bc A minor  
b 23 Chorus Wäre dieser nicht ein Übeltäter 2Ob 2Vn Va Bc D Dorian mode  
c 24 Ev,
Pilate		 Da sprach Pilatus zu ihnen Bc D Dorian mode  
d 25 Chorus Wir dürfen niemand töten 2Ob 2Vn Va Bc A minor  
e 26 Ev,
Pilate,
Jesus		 Auf daß erfüllet würde das Wort Bc A minor  
17 27 Chorus Ach großer König Johann Heermann 2Ob 2Vn Va Bc A minor  
18 a 28 Ev,
Pilate,
Jesus		 Da sprach Pilatus zu ihm John 18:37–40; John 19:1 Bc C major  
b 29 Chorus Nicht diesen, sondern Barrabam 2Ob 2Vn Va Bc D Dorian mode  
c 30 Ev Barrabas aber war ein Mörder Bc D Dorian mode  
19 31 Arioso Bass Betrachte, meine Seel' Brockes
Christian Heinrich Postel		 2 violas d'amore Archlute Bc E-flat major  
20 32 Aria Tenor Erwäge, wie sein blutgefärbter Rücken Brockes 2 violas d'amore Bc (most likely only Cello or Vg and Keyboard) C minor 12/8
21 a 33 Ev Und die Kriegsknechte flochten eine Krone John 19:2–12a Bc G minor  
b 34 Chorus Sei gegrüßet, lieber Jüdenkönig 2Ob 2Vn Va Bc B-flat major 6/4 25 b
c 35 Ev,
Pilate		 Und gaben ihm Backenstreiche Bc G minor  
d 36 Chorus Kreuzige, kreuzige 2Ob 2Vn Va Bc G minor   23 d
e 37 Ev,
Pilate		 Pilatus sprach zu ihnen Bc G minor  
f 38 Chorus Wir haben ein Gesetz 2Ob 2Vn Va Bc F major   23 b
g 39 Ev,
Pilate,
Jesus		 Da Pilatus das Wort hörete Bc E Phrygian mode   23 a
22 40 Chorus Durch dein Gefängnis, Gottes Sohn Christian Heinrich Postel
Melody Johann Hermann Schein		 2Ob 2Vn Va Bc E major   center
23 a 41 Ev Die Jüden aber schrieen und sprachen John 19:12b–17 Bc E major   21 g
b 42 Chorus Lässest du diesen los 1Ob 1 Oboe d'amore 2Vn Va Bc E major   21 f
c 43 Ev,
Pilate		 Da Pilatus das Wort hörete Bc E major  
d 44 Chorus Weg, weg mit dem 1Ob 1Oa 2Vn Va Bc F-sharp minor   21 d
e 45 Ev,
Pilate		 Spricht Pilatus zu ihnen Bc F-sharp minor
B minor		  
f 46 Chorus Wir haben keinen König 1Ob 1Oa 2Vn Va Bc B minor  
g 47 Ev Da überantwortete er ihn Bc B minor  
24 48 Aria Bass Soprano
Alto
Tenor		 Eilt, ihr angefochtnen Seelen Brockes 2Vn Va Bc G minor 3/8
25 a 49 Ev Allda kreuzigten sie ihn John 19:18–22 Bc F Mixolydian mode  
b 50 Chorus Schreibe nicht: der Jüden König 2Ob 2Vn Va Bc B-flat major 6/4 21 b
c 51 Ev,
Pilate		 Pilatus antwortet Bc B-flat major  
26 52 Chorus In meines Herzens Grunde Valerius Herberger 2Ob 2Vn Va Bc E-flat major  
27 a 53 Ev Die Kriegsknechte aber John 19:23–27a Bc F Mixolydian mode  
b 54 Chorus Lasset uns den nicht zerteilen 1Ob 1Oba 2Vn Va Bc C major 3/4
c 55 Ev,
Jesus		 Auf daß erfüllet würde die Schrift Bc A minor   Adagio for "Sie haben meine Kleider"
28 56 Chorus Er nahm alles wohl in acht Paul Stockmann 2Ob 2Vn Va Bc A major  
29 57 Ev,
Jesus		 Und von Stund an nahm sie der Jünger John 19:27b–30a Bc D major  
30 58 Aria Alto Es ist vollbracht Christian Heinrich Postel Vg 2Vn Va Bc B minor
D major		  
3/4		 Vg in middle section doubles Continuo.
31 59 Ev Und neiget das Haupt John 19:30b Bc F-sharp Phrygian mode  
32 60 Aria Bass Chorus Mein teurer Heiland, laß dich fragen Brockes
Paul Stockmann		 Bc D major 12/8
33 61 Ev Und der Vorhang im Tempel zerriß Mark 15:38 Bc E Dorian mode   Only 3 measures long
34 62 Arioso Tenor Mein Herz, in dem die ganze Welt Brockes 2Vn 2Oa 2Vn Va Bc G major  
35 63 Aria Soprano Zerfließe, mein Herze Brockes Oc Vn Bc F Dorian mode 3/8
36 64 Ev Die Jüden aber, dieweil es der Rüsttag war John 19:31–37 Bc C Dorian mode  
37 65 Chorus O hilf, Christe, Gottes Sohn Michael Weiße 2Ob 2Vn Va Bc B-flat Dorian mode  
38 66 Ev Darnach bat Pilatum Joseph von Arimathia John 19:38–42 Bc C Dorian mode   23 measures
39 67 Chorus Ruht wohl, ihr heiligen Gebeine Brockes 2Ob 2Vn Va Bc C Dorian mode 3/4
40 68 Chorus Ach Herr, laß dein lieb Engelein Martin Schalling 2Ob 2Vn Va Bc E-flat major  

Version II

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For this version (of 1725), in addition to the Flute parts (which were first used in late 1724 (after first 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
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NBA BWV Bible Reflection Chorale Beginning of text Source Instruments Key Time Symmetry
1II
(BWV 244/29)		 244/35 Chorus O Mensch, bewein dein Sünde groß Sebald Heyden 2Ft 2Ob 2Vn Va Bc E-flat major  
2 a 2 Ev, Jesus Jesus ging mit seinen Jüngern John 18:1–8 Bc C Dorian mode  
b 3 Chorus Jesum von Nazareth 2Ft 2Ob 2Vn Va Bc G minor  
c 4 Ev, Jesus Jesus spricht zu ihnen Bc G minor  
d 5 Chorus Jesum von Nazareth 2Ob 2Vn Va Bc C Dorian mode  
e 6 Ev, Jesus Jesus antwortete Bc C Dorian mode  
3 7 Chorus O große Lieb Johann Heermann 2Ft 2Ob 2Vn Va Bc G minor  
4 8 Ev, Jesus Auf daß das Wort erfüllet würde John 18:9–11 Bc B-flat major  
5 9 Chorus Dein Will gescheh Martin Luther 2Ft 2Ob 2Vn Va Bc D minor  
6 10 Ev Die Schar aber und der Oberhauptmann John 18:12–14 Bc F major  
7 11 Alto Von den Stricken meiner Sünden Brockes 2Ob Bc D minor 3/4
8 12 Ev Simon Petrus aber folgete Jesu nach John 18:15a Bc B-flat Lydian mode  
9 13 Soprano Ich folge dir gleichfalls anonymous 2Ft Bc B-flat major 3/8
10 14 Ev,
Magd (S),
Petrus (B), Jesus, Knecht (T)		 Derselbige Jünger war dem Hohenpriester bekannt John 18:15b–23 Bc G minor
A minor		  
11 15 Chorus Wer hat dich so geschlagen Paul Gerhardt 2Ft 2Ob 2Vn Va Bc A major  
11+ (12) 245a Aria Bass Soprano Himmel, reiße, Welt, erbebe Christoph Birkmann
Paul Stockmann		 2Ft Bc F-sharp minor  
12 (13) a 16 Ev Und Hannas sandte ihn gebunden John 18:24–27 Matthew 26:75 Bc A Mixolydian mode  
b 17 Chorus Bist du nicht seiner Jünger einer 2Ft 2Ob 2Vn Va Bc A Mixolydian mode  
c 18 Ev,
Petrus,
Knecht		 Er leugnete aber und sprach Bc A Mixolydian mode  
13II (14) 245b Aria Tenor Zerschmettert mich, ihr Felsen und ihr Hügel Christoph Birkmann 2Vn Va Bc A major  
14 (15) 20 Chorus Petrus, der nicht denkt zurück Paul Stockmann 2Ft 2Ob 2Vn Va Bc A major   15
Part II
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NBA BWV Bible Reflection Chorale Beginning of text Source Instruments Key Time Symmetry
15 (16) 21 Chorus Christus, der uns selig macht Michael Weiße 2Ob 2Vn Va Bc E Phrygian mode   14
16 (17) a 22 Ev,
Pilate (B)		 Da führeten sie Jesum John 18:28–36 Bc A minor  
b 23 Chorus Wäre dieser nicht ein Übeltäter 2Ft 2Ob 2Vn Va Bc D Dorian mode  
c 24 Ev,
Pilate		 Da sprach Pilatus zu ihnen Bc D Dorian mode  
d 25 Chorus Wir dürfen niemand töten 2Ft 2Ob 2Vn Va Bc A minor  
e 26 Ev,
Pilate,
Jesus		 Auf daß erfüllet würde das Wort Bc A minor  
17 (18) 27 Chorus Ach großer König Johann Heermann 2Ft 2Ob 2Vn Va Bc A minor  
18 (19) a 28 Ev,
Pilate,
Jesus		 Da sprach Pilatus zu ihm John 18:37–40; John 19:1 Bc C major  
b 29 Chorus Nicht diesen, sondern Barrabam 2Ft 2Ob 2Vn Va Bc D Dorian mode  
c 30 Ev Barrabas aber war ein Mörder Bc D Dorian mode  
19II (20) 245c Aria Tenor Ach windet euch nicht so, geplagte Seelen Christoph Birkmann 2Ob Bc C Dorian mode  
20 Discarded
21 a 33 Ev Und die Kriegsknechte flochten eine Krone John 19:2–12a Bc G minor  
b 34 Chorus Sei gegrüßet, lieber Jüdenkönig 2Ft 2Ob 2Vn Va Bc B-flat major 6/4 25 b
c 35 Ev,
Pilate		 Und gaben ihm Backenstreiche Bc G minor  
d 36 Chorus Kreuzige, kreuzige 2Ft 2Ob 2Vn Va Bc G minor   23 d
e 37 Ev,
Pilate		 Pilatus sprach zu ihnen Bc G minor  
f 38 Chorus Wir haben ein Gesetz 2Ft 2Ob 2Vn Va Bc F major   23 b
g 39 Ev,
Pilate,
Jesus		 Da Pilatus das Wort hörete Bc E Phrygian mode   23 a
22 40 Chorus Durch dein Gefängnis, Gottes Sohn Christian Heinrich Postel
Melody Johann Hermann Schein		 2Ft 2Ob 2Vn Va Bc E major   center
23 a 41 Ev Die Jüden aber schrieen und sprachen John 19:12b–17 Bc E major   21 g
b 42 Chorus Lässest du diesen los 2Ft 1Ob 1 Oboe d'amore 2Vn Va Bc E major   21 f
c 43 Ev,
Pilate		 Da Pilatus das Wort hörete Bc E major  
d 44 Chorus Weg, weg mit dem 2Ft 1Ob 1Oa 2Vn Va Bc F-sharp minor   21 d
e 45 Ev,
Pilate		 Spricht Pilatus zu ihnen Bc F-sharp minor
B minor		  
f 46 Chorus Wir haben keinen König 2Ft 1Ob 1Oa 2Vn Va Bc B minor  
g 47 Ev Da überantwortete er ihn Bc B minor  
24 48 Aria Bass Soprano Alto Tenor Eilt, ihr angefochtnen Seelen Brockes 2Vn Va Bc G minor 3/8
25 a 49 Ev Allda kreuzigten sie ihn John 19:18–22 Bc F Mixolydian mode  
b 50 Chorus Schreibe nicht: der Jüden König 2Ft 2Ob 2Vn Va Bc B-flat major 6/4 21 b
c 51 Ev,
Pilate		 Pilatus antwortet Bc B-flat major  
26 52 Chorus In meines Herzens Grunde Valerius Herberger 2Ft 2Ob 2Vn Va Bc E-flat major  
27 a 53 Ev Die Kriegsknechte aber John 19:23–27a Bc F Mixolydian mode  
b 54 Chorus Lasset uns den nicht zerteilen 2Ft 1Ob 1Oba 2Vn Va Bc C major 3/4
c 55 Ev,
Jesus		 Auf daß erfüllet würde die Schrift Bc A minor   Adagio for "Sie haben meine Kleider"
28 56 Chorus Er nahm alles wohl in acht Paul Stockmann 2Ft 2Ob 2Vn Va Bc A major  
29 57 Ev,
Jesus		 Und von Stund an nahm sie der Jünger John 19:27b–30a Bc D major  
30 58 Aria Alto Es ist vollbracht Christian Heinrich Postel Vg 2Vn Va Bc B minor
D major		  
3/4
31 59 Ev Und neiget das Haupt John 19:30b Bc F-sharp Phrygian mode  
32 60 Aria Bass Chorus Mein teurer Heiland, laß dich fragen Brockes
Paul Stockmann		 2Vn Va Bc D major 12/8
33 61 Ev Und siehe da, der Vorhang im Tempel zerriß Matthew 27:51–52 Bc E Dorian mode   Now 7 measures long
34 62 Arioso Tenor Mein Herz, in dem die ganze Welt Brockes 2Ft 2Oc 2Vn Va Bc G major  
35 63 Aria Soprano Zerfließe, mein Herze Brockes Ft Oc Bc F Dorian mode 3/8
36 64 Ev Die Jüden aber, dieweil es der Rüsttag war John 19:31–37 Bc C Dorian mode  
37 65 Chorus O hilf, Christe, Gottes Sohn Michael Weiße 2Ft 2Ob 2Vn Va Bc B-flat Dorian mode  
38 66 Ev Darnach bat Pilatum Joseph von Arimathia John 19:38–42 Bc C Dorian mode  
39 67 Chorus Ruht wohl, ihr heiligen Gebeine Brockes 2Ft 2Ob 2Vn Va Bc C Dorian mode 3/4
40II 23/4 Chorus Christe, du Lamm Gottes Martin Luther 2Ft 2Ob 2Vn Va Bc G minor   Adagio
Andante

Version III

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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
edit
NBA BWV Bible Reflection Chorale Beginning of text Source Instruments Key Time Symmetry
1 1 Chorus Herr, unser Herrscher anonymous 2Ft 2Ob 2Vn Va Bc G minor   39
2 a 2 Ev (T),
Jesus (B)		 Jesus ging mit seinen Jüngern John 18:1–8 Bc C Dorian mode  
b 3 Chorus Jesum von Nazareth 2Ft 2Ob 2Vn Va Bc G minor  
c 4 Ev, Jesus Jesus spricht zu ihnen Bc G minor  
d 5 Chorus Jesum von Nazareth 2Ob 2Vn Va Bc C Dorian mode  
e 6 Ev, Jesus Jesus antwortete Bc C Dorian mode  
3 7 Chorus O große Lieb Johann Heermann 2Ft 2Ob 2Vn Va Bc G minor  
4 8 Ev, Jesus Auf daß das Wort erfüllet würde John 18:9–11 Bc B-flat major  
5 9 Chorus Dein Will gescheh Martin Luther 2Ft 2Ob 2Vn Va Bc D minor  
6 10 Ev, Jesus Die Schar aber und der Oberhauptmann John 18:12–14 Bc F major  
7 11 Aria Alto Von den Stricken meiner Sünden Brockes 2Ob Bc D minor 3/4
8 12 Ev Simon Petrus aber folgete Jesu nach John 18:15a Bc B-flat Lydian mode  
9 13 Aria Soprano Ich folge dir gleichfalls anonymous 2Ft Bc B-flat major 3/8
10 14 Ev,
Magd (S),
Petrus (B),
Jesus,
Knecht (T)		 Derselbige Jünger war dem Hohenpriester bekannt John 18:15b–23 Bc G minor
A minor		  
11 15 Chorus Wer hat dich so geschlagen Paul Gerhardt 2Ft 2Ob 2Vn Va Bc A major  
12 a 16 Ev Und Hannas sandte ihn gebunden John 18:24–27 Bc A Mixolydian mode  
b 17 Chorus Bist du nicht seiner Jünger einer 2Ft 2Ob 2Vn Va Bc A Mixolydian mode  
c 18 Ev,
Petrus,
Knecht		 Er leugnete aber und sprach Bc A Mixolydian mode
B minor		   12c ends with "und alsobald krähete der Hahn" in B minor.
13III Tenor ? E minor
G major		 ? Aria lost.
14 20 Chorus Petrus, der nicht denkt zurück Paul Stockmann 2Ft 2Ob 2Vn Va Bc G major   15
Part II
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NBA BWV Bible Reflection Chorale Beginning of text Source Instruments Key Time Symmetry
15 21 Chorus Christus, der uns selig macht Michael Weiße 2Ob 2Vn Va Bc E Phrygian mode   14
16 a 22 Ev,
Pilate (B)		 Da führeten sie Jesum John 18:28–36 Bc A minor  
b 23 Chorus Wäre dieser nicht ein Übeltäter 2Ft 2Ob 2Vn Va Bc D Dorian mode  
c 24 Ev,
Pilate		 Da sprach Pilatus zu ihnen Bc D Dorian mode  
d 25 Chorus Wir dürfen niemand töten 2Ft 2Ob 2Vn Va Bc A minor  
e 26 Ev,
Pilate,
Jesus		 Auf daß erfüllet würde das Wort Bc A minor  
17 27 Chorus Ach großer König Johann Heermann 2Ob 2Vn Va Bc A minor  
18 a 28 Ev,
Pilate,
Jesus		 Da sprach Pilatus zu ihm John 18:37–40; John 19:1 Bc C major  
b 29 Chorus Nicht diesen, sondern Barrabam 2Ft 2Ob 2Vn Va Bc D Dorian mode  
c 30 Ev Barrabas aber war ein Mörder Bc D Dorian mode  
19 31 Arioso Bass Betrachte, meine Seel Brockes
Christian Heinrich Postel		 2Vn con sordinis Bc with organ E-flat major  
20 32 Aria Tenor Erwäge, wie sein blutgefärbter Rücken Brockes 2Vn con sordini Bc (most likely only Cello or Vg and Keyboard) C minor 12/8
21 a 33 Ev Und die Kriegsknechte flochten eine Krone John 19:2–12a Bc G minor  
b 34 Chorus Sei gegrüßet, lieber Jüdenkönig 2Ft 2Ob 2Vn Va Bc (violins double the winds) B-flat major 6/4 25 b
c 35 Ev,
Pilate		 Und gaben ihm Backenstreiche Bc G minor  
d 36 Chorus Kreuzige, kreuzige 2Ft 2Ob 2Vn Va Bc G minor   23 d
e 37 Ev,
Pilate		 Pilatus sprach zu ihnen Bc G minor  
f 38 Chorus Wir haben ein Gesetz 2Ob 2Vn Va Bc F major   23 b
g 39 Ev,
Pilate,
Jesus		 Da Pilatus das Wort hörete Bc E Phrygian mode   23 a
22 40 Chorus Durch dein Gefängnis, Gottes Sohn Christian Heinrich Postel
Melody Johann Hermann Schein		 2Ft 2Ob 2Vn Va Bc E major   center
23 a 41 Ev Die Jüden aber schrieen und sprachen John 19:12b–17 Bc E major   21 g
b 42 Chorus Lässest du diesen los 2Ft 1Ob 1 Oboe d'amore 2Vn Va Bc E major   21 f
c 43 Ev,
Pilate		 Da Pilatus das Wort hörete Bc E major  
d 44 Chorus Weg, weg mit dem 2Ft 1Ob 1Oa 2Vn Va Bc F-sharp minor   21 d
e 45 Ev,
Pilate		 Spricht Pilatus zu ihnen Bc F-sharp minor
B minor		  
f 46 Chorus Wir haben keinen König 2Ft 1Ob 1Oa 2Vn Va Bc B minor  
g 47 Ev Da überantwortete er ihn Bc B minor  
24 48 Aria bass Soprano Alto Tenor Eilt, ihr angefochtnen Seelen Brockes 2Vn Va Bc G minor 3/8
25 a 49 Ev Allda kreuzigten sie ihn John 19:18–22 Bc F Mixolydian mode  
b 50 Chorus Schreibe nicht: der Jüden König 2Ft 2Ob 2Vn Va Bc B-flat major 6/4 21 b 1Vn each doubles winds
c 51 Ev,
Pilate		 Pilatus antwortet Bc B-flat major  
26 52 Chorus In meines Herzens Grunde Valerius Herberger 2Ft 2Ob 2Vn Va Bc E-flat major  
27 a 53 Ev Die Kriegsknechte aber John 19:23–27a Bc F Mixolydian mode  
b 54 Chorus Lasset uns den nicht zerteilen 2Ft 1Ob 1Oba 2Vn Va Bc C major 3/4
c 55 Ev,
Jesus		 Auf daß erfüllet würde die Schrift Bc A minor   Adagio for "Sie haben meine Kleider"
28 56 Chorus Er nahm alles wohl in acht Paul Stockmann 2Ft 2Ob 2Vn Va Bc A major  
29 57 Ev,
Jesus		 Und von Stund an nahm sie der Jünger John 19:27b–30a Bc D major  
30 58 Aria Alto Es ist vollbracht Christian Heinrich Postel Vg 2Vn Va Bc B minor
D major		  
3/4		 Middle section: Vg doubles Alto (8vb).
31 59 Ev Und neiget das Haupt John 19:30b Bc F-sharp Phrygian mode  
32 60 Aria Bass Chorus Mein teurer Heiland, laß dich fragen Brockes
Paul Stockmann		 2Vn Va Bc D major 12/8
33 61 Sinfonia 1Ob 2Vn Va Bc
or
2Ob Taille (instrument) 1Bsn		 C Dorian mode   Lost, possibly identical to BWV 246(?)
34 Discarded
35 Discarded
36 64 Ev Die Jüden aber, dieweil es der Rüsttag war John 19:31–37 Bc C Dorian mode  
37 65 Chorus O hilf, Christe, Gottes Sohn Michael Weiße 2Ft 2Ob 2Vn Va Bc B-flat Dorian mode  
38 66 Ev Darnach bat Pilatum Joseph von Arimathia John 19:38–42 Bc C Dorian mode   25 measures
39 67 Chorus Ruht wohl, ihr heiligen Gebeine Brockes 2Ft 2Ob 2Vn Va Bc C Dorian mode 3/4
40 Discarded

Standard Version (1739-1749)

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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
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NBA BWV Bible Reflection Chorale Beginning of text Source Instruments Key Time Symmetry
1 1 Chorus Herr, unser Herrscher anonymous 2Ft 2Ob 2Vn Va Bc G minor   39 All 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.
2 a 2 Ev (T),
Jesus (B)		 Jesus ging mit seinen Jüngern John 18:1–8 Bc C Dorian mode   Slight change in voice-leading and other details.
b 3 Chorus Jesum von Nazareth 2Ft 2Ob 2Vn Va Bc G minor  
c 4 Ev,
Jesus		 Jesus spricht zu ihnen Bc G minor  
d 5 Chorus Jesum von Nazareth 2Ob 2Vn Va Bc C Dorian mode  
e 6 Ev,
Jesus		 Jesus antwortete Bc C Dorian mode  
3 7 Chorus O große Lieb Johann Heermann 2Ft 2Ob 2Vn Va Bc G minor   More flowing/less chordal;
now ends in G major
4 8 Ev,
Jesus		 Auf daß das Wort erfüllet würde John 18:9–11 Bc F Mixolydian mode   Jesus recitative now accompanied by flowing Continuo part rather than chordal.
5 9 Chorus Dein Will gescheh Martin Luther 2Ft 2Ob 2Vn Va Bc D minor  
6 10 Ev,
Jesus		 Die Schar aber und der Oberhauptmann John 18:12–14 Bc F major   Slight alteration in voice-leading;
ends with stronger cadence.
7 11 Aria Alto Von den Stricken meiner Sünden Brockes 2Ob Bc D minor 3/4 Voice-leading and instrumental notation and Continuo part altered.
8 12 Ev Simon Petrus aber folgete Jesu nach John 18:15a Bc B-flat Lydian mode  
9 13 Aria Soprano Ich folge dir gleichfalls anonymous 2Ft Bc B-flat major 3/8 Voice-leading and instrumental notation altered;
a measure inserted after measure 146;
Final ritornello reduced by 8 bars.
10 14 Ev,
Magd (S),
Petrus (B),
Jesus,
Knecht (T)		 Derselbige Jünger war dem Hohenpriester bekannt John 18:15b–23 Bc G minor
A minor		   Most extensive revision in voice-leading and instrumental notation.
11 15 Chorus Wer hat dich so geschlagen Paul Gerhardt 2Ft 2Ob 2Vn Va Bc A major  
12 a 16 Ev Und Hannas sandte ihn gebunden John 18:24–27
Matthew 26:75		 Bc A Mixolydian mode   Slight change in voice-leading and other details.
b 17 Chorus Bist du nicht seiner Jünger einer 2Ft 2Ob 2Vn Va Bc A Mixolydian mode  
c 18 Ev,
Petrus,
Knecht		 Er leugnete aber und sprach Bc A Mixolydian mode
B minor		  
13 19 Aria Tenor Ach, mein Sinn Christian Weise 2Ft 2Ob 2Vn Va Bc F-sharp minor 3/4 Marked "tutti gli Stromenti".
14 20 Chorus Petrus, der nicht denkt zurück Paul Stockmann 2Ft 2Ob 2Vn Va Bc A major   15
Part II
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NBA BWV Bible Reflection Chorale Beginning of text Source Instruments Key Time Symmetry
15 21 Chorus Christus, der uns selig macht Michael Weiße 2Ft 2Ob 2Vn Va Bc E Phrygian mode   14
16 a 22 Ev,
Pilate (B)		 Da führeten sie Jesum John 18:28–36 Bc A minor  
b 23 Chorus Wäre dieser nicht ein Übeltäter 2Ft 2Ob 2Vn Va Bc D Dorian mode  
c 24 Ev,
Pilate		 Da sprach Pilatus zu ihnen Bc D Dorian mode  
d 25 Chorus Wir dürfen niemand töten 2Ft 2Ob 2Vn Va Bc A minor  
e 26 Ev,
Pilate,
Jesus		 Auf daß erfüllet würde das Wort Bc A minor  
17 27 Chorus Ach großer König Johann Heermann 2Ft 2Ob 2Vn Va Bc A minor  
18 a 28 Ev,
Pilate,
Jesus		 Da sprach Pilatus zu ihm John 18:37–40; John 19:1 Bc C major  
b 29 Chorus Nicht diesen, sondern Barrabam 2Ft 2Ob 2Vn Va Bc D Dorian mode  
c 30 Ev Barrabas aber war ein Mörder Bc D Dorian mode  
19 31 Arioso bass Betrachte, meine Seel' Brockes
Christian Heinrich Postel		 2 violas d'amore Bc with Archlute E-flat major  
20 32 Aria Tenor Erwäge, wie sein blutgefärbter Rücken Brockes 2 violas d'amore Bc (most likely only Cello or Vg and Keyboard) C minor 12/8
21 a 33 Ev Und die Kriegsknechte flochten eine Krone John 19:2–12a Bc G minor  
b 34 Chorus Sei gegrüßet, lieber Jüdenkönig 2Ft 2Ob 2Vn Va Bc B-flat major 6/4 25 b
c 35 Ev,
Pilate		 Und gaben ihm Backenstreiche Bc G minor  
d 36 Chorus Kreuzige, kreuzige 2Ft 2Ob 2Vn Va Bc G minor   23 d
e 37 Ev,
Pilate		 Pilatus sprach zu ihnen Bc G minor  
f 38 Chorus Wir haben ein Gesetz 2Ft 2Ob 2Vn Va Bc F major   23 b
g 39 Ev,
Pilate,
Jesus		 Da Pilatus das Wort hörete Bc E Phrygian mode   23 a
22 40 Chorus Durch dein Gefängnis, Gottes Sohn Christian Heinrich Postel
Melody Johann Hermann Schein		 2Ft 2Ob 2Vn Va Bc E major   center
23 a 41 Ev Die Jüden aber schrieen und sprachen John 19:12b–17 Bc E major   21 g
b 42 Chorus Lässest du diesen los 1Ob 1 Oboe d'amore 2Vn Va Bc E major   21 f
c 43 Ev,
Pilate		 Da Pilatus das Wort hörete Bc E major  
d 44 Chorus Weg, weg mit dem 2Ft 1Ob 1Oa 2Vn Va Bc F-sharp minor   21 d
e 45 Ev,
Pilate		 Spricht Pilatus zu ihnen Bc F-sharp minor
B minor		  
f 46 Chorus Wir haben keinen König 2Ft 1Ob 1Oa 2Vn Va Bc B minor  
g 47 Ev Da überantwortete er ihn Bc B minor  
24 48 Aria Bass Soprano
Alto
Tenor		 Eilt, ihr angefochtnen Seelen Brockes 2Vn Va Bc G minor 3/8
25 a 49 Ev Allda kreuzigten sie ihn John 19:18–22 Bc F Mixolydian mode  
b 50 Chorus Schreibe nicht: der Jüden König 2Ft 2Ob 2Vn Va Bc B-flat major 6/4 21 b
c 51 Ev,
Pilate		 Pilatus antwortet Bc B-flat major  
26 52 Chorus In meines Herzens Grunde Valerius Herberger 2Ft 2Ob 2Vn Va Bc E-flat major  
27 a 53 Ev Die Kriegsknechte aber John 19:23–27a Bc F Mixolydian mode  
b 54 Chorus Lasset uns den nicht zerteilen 2Ft 1Ob 1Oba 2Vn Va Bc C major 3/4
c 55 Ev,
Jesus		 Auf daß erfüllet würde die Schrift Bc A minor   Adagio for "Sie haben meine Kleider"
28 56 Chorus Er nahm alles wohl in acht Paul Stockmann 2Ob 2Vn Va Bc A major  
29 57 Ev,
Jesus		 Und von Stund an nahm sie der Jünger John 19:27b–30a Bc D major  
30 58 Aria Alto Es ist vollbracht Christian Heinrich Postel Vg 2Vn Va Bc B minor
D major		  
3/4		 Middle section: Vg doubles Continuo.
31 59 Ev Und neiget das Haupt John 19:30b Bc F-sharp Phrygian mode  
32 60 Aria Bass Chorus Mein teurer Heiland, laß dich fragen Brockes
Paul Stockmann		 2Vn Va Bc D major 12/8
33 61 Ev Und siehe da, der Vorhang im Tempel zerriß Matthew 27:51–52 Bc E Dorian mode  
34 62 Arioso Tenor Mein Herz, in dem die ganze Welt Brockes 2Ft 2Oc 2Vn Va Bc G major  
35 63 Aria Soprano Zerfließe, mein Herze Brockes 2Ft 2Oc Bc F Dorian mode 3/8
36 64 Ev Die Jüden aber, dieweil es der Rüsttag war John 19:31–37 Bc C Dorian mode  
37 65 Chorus O hilf, Christe, Gottes Sohn Michael Weiße 2Ft 2Ob 2Vn Va Bc B-flat Dorian mode  
38 66 Ev Darnach bat Pilatum Joseph von Arimathia John 19:38–42 Bc C Dorian mode  
39 67 Chorus Ruht wohl, ihr heiligen Gebeine Brockes 2Ft 2Ob 2Vn Va Bc C Dorian mode 3/4
40 68 Chorus Ach Herr, laß dein lieb Engelein Martin Schalling 2Ft 2Ob 2Vn Va Bc E-flat major  

Version IV

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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
edit
NBA BWV Bible Reflection Chorale Beginning of text Source Instruments Key Time Symmetry
1 1 Chorus Herr, unser Herrscher anonymous 2Ft 2Ob 2Vn Va Bc G minor   39
2 a 2 Ev (T),
Jesus (B)		 Jesus ging mit seinen Jüngern John 18:1–8 Bc C Dorian mode  
b 3 Chorus Jesum von Nazareth 2Ft 2Ob 2Vn Va Bc G minor  
c 4 Ev,
Jesus		 Jesus spricht zu ihnen Bc G minor  
d 5 Chorus Jesum von Nazareth 2Ob 2Vn Va Bc C Dorian mode  
e 6 Ev,
Jesus		 Jesus antwortete Bc C Dorian mode  
3 7 Chorus O große Lieb Johann Heermann 2Ft 2Ob 2Vn Va Bc G minor  
4 8 Ev,
Jesus		 Auf daß das Wort erfüllet würde John 18:9–11 Bc F Mixolydian mode  
5 9 Chorus Dein Will gescheh Martin Luther 2Ft 2Ob 2Vn Va Bc D minor  
6 10 Ev,
Jesus		 Die Schar aber und der Oberhauptmann John 18:12–14 Bc F major  
7 11 Aria Alto Von den Stricken meiner Sünden Brockes 2Ob Bc D minor 3/4 Continuo like revision.
8 12 Ev Simon Petrus aber folgete Jesu nach John 18:15a Bc B-flat Lydian mode  
9 13 Aria Soprano Ich folge dir gleichfalls anonymous 2Ft Bc B-flat major 3/8 a measure inserted after measure 146;
Text changed: "Ich folge dir gleichfalls, mein Heiland, mit Freuden", etc.
10 14 Ev,
Magd (S),
Petrus (B),
Jesus,
Knecht (T)		 Derselbige Jünger war dem Hohenpriester bekannt John 18:15b–23 Bc G minor
A minor		   Continuo in Measure 20 changed.
11 15 Chorus Wer hat dich so geschlagen Paul Gerhardt 2Ft 2Ob 2Vn Va Bc A major  
12 a 16 Ev Und Hannas sandte ihn gebunden John 18:24–27
Matthew 26:75		 Bc A Mixolydian mode  
b 17 Chorus Bist du nicht seiner Jünger einer 2Ft 2Ob 2Vn Va Bc A Mixolydian mode  
c 18 Ev,
Petrus,
Knecht		 Er leugnete aber und sprach Bc A Mixolydian mode
B minor		  
13 19 Aria Tenor Ach, mein Sinn Christian Weise 2Vn Va Bc F-sharp minor 3/4
14 20 Chorus Petrus, der nicht denkt zurück Paul Stockmann 2Ft 2Ob 2Vn Va Bc A major   15
Part II
edit
NBA BWV Bible Reflection Chorale Beginning of text Source Instruments Key Time Symmetry
15 21 Chorus Christus, der uns selig macht Michael Weiße 2Ft 2Ob 2Vn Va Bc E Phrygian mode   14
16 a 22 Ev,
Pilate (B)		 Da führeten sie Jesum John 18:28–36 Bc A minor  
b 23 Chorus Wäre dieser nicht ein Übeltäter 2Ft 2Ob 2Vn Va Bc D Dorian mode  
c 24 Ev,
Pilate		 Da sprach Pilatus zu ihnen Bc D Dorian mode  
d 25 Chorus Wir dürfen niemand töten 2Ft 2Ob 2Vn Va Bc A minor  
e 26 Ev,
Pilate,
Jesus		 Auf daß erfüllet würde das Wort Bc A minor  
17 27 Chorus Ach großer König Johann Heermann 2Ft 2Ob 2Vn Va Bc A minor  
18 a 28 Ev,
Pilate,
Jesus		 Da sprach Pilatus zu ihm John 18:37–40; John 19:1 Bc C major  
b 29 Chorus Nicht diesen, sondern Barrabam 2Ft 2Ob 2Vn Va Bc D Dorian mode  
c 30 Ev Barrabas aber war ein Mörder Bc D Dorian mode  
19 31 Arioso Bass Betrachte, meine Seel' Brockes
Christian Heinrich Postel		 2Vn con sordini Bc with Harpsichord E-flat major   Text for middle section altered.
20 32 Aria Tenor Mein Jesu, ach! dein schmerzhaft bitter Leiden Anonymous 2Vn con sordini Bc (most likely only Cello or Vg and Keyboard) C minor 12/8
21 a 33 Ev Und die Kriegsknechte flochten eine Krone John 19:2–12a Bc G minor  
b 34 Chorus Sei gegrüßet, lieber Jüdenkönig 2Ft 2Ob 2Vn Va Bc B-flat major 6/4 25 b 1Vn each doubles wind parts.
c 35 Ev,
Pilate		 Und gaben ihm Backenstreiche Bc G minor  
d 36 Chorus Kreuzige, kreuzige 2Ft 2Ob 2Vn Va Bc G minor   23 d
e 37 Ev,
Pilate		 Pilatus sprach zu ihnen Bc G minor  
f 38 Chorus Wir haben ein Gesetz 2Ft 2Ob 2Vn Va Bc F major   23 b
g 39 Ev,
Pilate,
Jesus		 Da Pilatus das Wort hörete Bc E Phrygian mode   23 a
22 40 Chorus Durch dein Gefängnis, Gottes Sohn Christian Heinrich Postel
Melody Johann Hermann Schein		 2Ft 2Ob 2Vn Va Bc E major   center
23 a 41 Ev Die Jüden aber schrieen und sprachen John 19:12b–17 Bc E major   21 g
b 42 Chorus Lässest du diesen los 2Ft 1Ob 1 Oboe d'amore 2Vn Va Bc E major   21 f
c 43 Ev,
Pilate		 Da Pilatus das Wort hörete Bc E major  
d 44 Chorus Weg, weg mit dem 2Ft 1Ob 1Oa 2Vn Va Bc F-sharp minor   21 d
e 45 Ev,
Pilate		 Spricht Pilatus zu ihnen Bc F-sharp minor
B minor		  
f 46 Chorus Wir haben keinen König 2Ft 1Ob 1Oa 2Vn Va Bc B minor  
g 47 Ev Da überantwortete er ihn Bc B minor  
24 48 Aria Bass Soprano
Alto
Tenor		 Eilt, ihr angefochtnen Seelen Brockes 2Vn Va Bc G minor 3/8
25 a 49 Ev Allda kreuzigten sie ihn John 19:18–22 Bc F Mixolydian mode  
b 50 Chorus Schreibe nicht: der Jüden König 2Ft 2Ob 2Vn Va Bc B-flat major 6/4 21 b 1Vn each doubles wind parts.
c 51 Ev,
Pilate		 Pilatus antwortet Bc B-flat major  
26 52 Chorus In meines Herzens Grunde Valerius Herberger 2Ft 2Ob 2Vn Va Bc E-flat major  
27 a 53 Ev Die Kriegsknechte aber John 19:23–27a Bc F Mixolydian mode  
b 54 Chorus Lasset uns den nicht zerteilen 2Ft 1Ob 1Oba 2Vn Va Bc C major 3/4
c 55 Ev,
Jesus		 Auf daß erfüllet würde die Schrift Bc A minor   Adagio for "Sie haben meine Kleider"
28 56 Chorus Er nahm alles wohl in acht Paul Stockmann 2Ft 2Ob 2Vn Va Bc A major  
29 57 Ev,
Jesus		 Und von Stund an nahm sie der Jünger John 19:27b–30a Bc D major  
30 58 Aria Alto Es ist vollbracht Christian Heinrich Postel Vg 2Vn Va Bc B minor
D major		  
3/4		 Middle section: Vg doubles Alto (8vb).
31 59 Ev Und neiget das Haupt John 19:30b Bc F-sharp Phrygian mode  
32 60 Aria Bass Chorus Mein teurer Heiland, laß dich fragen Brockes
Paul Stockmann		 2Vn Va Bc D major 12/8
33 61 Ev Und siehe da, der Vorhang im Tempel zerriß Matthew 27:51–52 Bc E Dorian mode  
34 62 Arioso Tenor Mein Herz, in dem die ganze Welt Brockes 2Ft 2Oa 2Vn Va Bc G major  
35 63 Aria soprano Zerfließe, mein Herze Brockes 1Ft + 1Vn con sordino 1Oc Bc F Dorian mode 3/8
36 64 Ev Die Jüden aber, dieweil es der Rüsttag war John 19:31–37 Bc C Dorian mode  
37 65 Chorus O hilf, Christe, Gottes Sohn Michael Weiße 2Ft 2Ob 2Vn Va Bc B-flat Dorian mode  
38 66 Ev Darnach bat Pilatum Joseph von Arimathia John 19:38–42 Bc C Dorian mode  
39 67 Chorus Ruht wohl, ihr heiligen Gebeine Brockes 2Ft 2Ob 2Vn Va Bc C Dorian mode 3/4
40 68 Chorus Ach Herr, laß dein lieb Engelein Martin Schalling 2Ft 2Ob 2Vn Va Bc E-flat major  

References

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  1. ^ Chafe 1989, p. 75.
  2. ^ a b 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. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa Ambrose 2012.
  9. ^ Wong 2004.
  10. ^ a b Bach digital 1 1973.
  11. ^ a b c d e f g Wolff 2012, p. 3.
  12. ^ Bach digital 2 1973.
  13. ^ Bach digital 4 1973.
  14. ^ a b 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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Scores

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Books

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Online sources

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Further reading

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