turbulence). It is said to be the greatest peice of sacred classical music ever written. Bach, written in 1727 for solo voices, double choir and double orchestra, with libretto by picander. We are a fellowship of families and singles, practicing radical discipleship in the spirit of the first church in Jerusalem. The solo vocal and multipart choral styles of Italian Baroque music were strongly influential in Germany. One can only imagine what St. Augustine, who agonized over the seductive dangers of chant, would make of it. A fine example of Bach’s use of repetition to make connections is noted by the scholar Christoph Wolff, who suggests that the use of the same melody for “O blessed Jesus,” the first chorale in the oratorio, and one of the last “O wondrous love” is intentional. It is an audible symbol of human frailty, akin to Peter’s failure of courage.”. He was only twenty, and a recent convert to Christianity. It’s a melody originally written by one Hans Leo Hassler (1562-1612). Stream songs including "St. Matthew Passion, BWV 244: No.1 Chorus I/II: "Kommt, ihr Töchter, helft mir klagen"", "St. Matthew Passion, BWV 244: No.2 Evangelist, Jesus: "Da Jesus diese Rede vollendet hatte"" and more. The results are just full of wonder, and bittersweet joy--perfectly suited to the seasons f Easter and Passover, not to mention the Time of the Coronavirus disease plague in 2020. There was a lot to copy: during his life Bach wrote some 250 cantatas, plus scores of sonatas, concertos, trios, oratorios, masses, motets, keyboard exercises and variations. This not only varies and enhances the texture of the music, it also emphasizes the dialogic character of the poetry. We’ll start in one of the most sublime and powerful corners of J.S. Bach uses it no less than five times in the course of the St Matthew Passion, each time presenting it in a new way, with different words, keys and harmonisations (he also used it – twice – in the Christmas Oratorio and in several cantatas). We're an intentional Christian community with locations worldwide. Bach's Passion continues to … Programme Notes - Musical Director (St Matthew Passion) Posted: 25th February 2019 For the concert on 9 March 2019: It is a privilege to welcome you to our performance of J.S. The new pressing from original sources is on 180gm vinyl and, to enhance audio quality, no side exceeds 30 minutes. It is this sort of device that makes the oratorio so heart-rending. As with all great religious art, there is no need to explain or justify such an assertion: the piece has, in and of itself, sufficient power to touch the heart, awaken the imagination, and enliven faith. Isoyama, Tadashi. Ross, Alex. Endless critical appraisals, from the academic to the heartfelt, including an unlikely appreciation by a London Muslim who says that the work is so “devastating” in its power that even non-Christians can find meaning in it. And not just one orchestra – but two. (Instead, the choir, dressed in street clothes, was arranged on a round stage, with the audience around it, to invite maximum participation in the experience.) Listen to excerpt 10, which depicts the whole sequence of Peter’s betrayal, and ends with him weeping. Yet this remastered recording of Bach's St. Matthew Passion--like that of his Bach concertos with Glenn Gould and others--is a moving document of musical and emotional empathy. Only two survive today; the second of these, the St. Matthew Passion dates from 1729. In the biblical text, vocal soloists portray Jesus, Pilate, other individual characters, and Matthew the Evangelist, delivering their narration and … To some, this may sound like a dismal way to end an evening. It prompts repentance, urging us to turn from vice toward freedom and salvation. Scholars now agree that an early version was first heard two years earlier, a second version in 1729, a further revised version in 1736 and a final one – the one we hear today – in 1742. The St. Matthew Passion of Bach is a massive oratorio set for double chorus and orchestra, multiple soloists, and an Evangelist. In 1707 he married a second cousin, Maria Barbara, and had seven children. Unlike the opera, the best-known type of musical drama, the oratorio does not use costumes, makeup, or musicians who act while they sing. At the Bach House in Eisenach, where he was born and raised, numerous Bibles, hymnals, and multi-volume works by Martin Luther (in some cases heavily marked in the margins) attest to the fact that he had more than a passing interest in theology, and that he took his faith seriously. In 1723, the family moved to Leipzig, where Bach spent the rest of his life, mostly at St. Thomas, where he was cantor, though also at the city’s other big church, St. Nicholas. No. Fast forwarding to 2014, the same seems to have happened to one of the best-known music critics of our time, Alex Ross, who attended a performance of the Passion by the Berlin Philharmonic that year and was so deeply affected by it that he wrote an entire piece about the concert in the normally cynical-witty pages of The New Yorker. Like the Jewish cabbalists, and like Christians down the centuries who have highlighted the significance of numbers in everything from seven-armed candelabras to the triune God and the twelve gates of the Holy City (or the twelve disciples), Bach was interested in numerology – that is, mathematical symbolism. Note that whereas Bach used the organ and other instruments to accompany most voices of the cast, he used strings alone as accompaniment whenever Jesus himself speaks, resulting in what Bernstein called a shimmering “halo” effect. English language He died of a stroke (after an unsuccessful eye operation) in 1750, at the age of 65, and was buried in an unmarked grave. Bach’s St Matthew Passion this evening and it is particularly special to be finally performing this great work given the unexpected weather that forced us to cancel this event in March 2018. The music is seductive, even voluptuous. Warner Classics: 7777630585. These led directly to a complete reassessment and revival of interest in all of Bach’s music for, baffling as it seems nowadays, Johann Sebastian Bach had fallen into near obscurity since his death nearly 80 years earlier. For a specific example relating to Bach, there’s Paul Simon’s song “American Tune,” which is almost identical to “O Sacred Head.”. Required fields are marked *. Some of these are obvious because of the interplay of music and text; others are open to interpretation and have been “discovered,” so to speak, by critics over the years. Schweitzer, Albert. Announcements for past and future performances from the smallest rural church choirs to the largest halls of New York, Moscow, Johannesburg, Berlin, Tokyo, and Sydney. By drawing us right into the shadow of the Cross and prying open our hearts to Christ’s agony there, he invites us to share in it as fully as possible. Bach: Music in the Castle of Heaven (2013) According to the critic Alex Ross, all this is a fruit of Bach’s intent, which was not merely to set an important text to music, but to bring to life a theological truth. In addition to the Bible story and Picander’s texts for the recitatives, arias and other sections, Bach interspersed the work with his own harmonisations of old chorale melodies and texts. Another is anguished, set in a minor key with an unsettling chromatic bass line that never really finds its footing till the end. In short, you don’t need to understand it to be moved by it. For instance, whereas the St John Passion had a mere continuo accompaniment (harpsichord or organ), its successor had an orchestra with Christ’s words accompanied by strings (an effect that has been compared to a halo round the Saviour’s head). The last “actor,” of course, is Jesus himself. A Study of The St Matthew Passion by Johann Sebastian Bach Music Assignment Grades 6-8 Name_____ Date_____ Listen to Leonard Bernstein’s musical analysis of the Bach St. Matthew Passion (16 minutes) and answer the following questions: 1. Who does the chorus represent? Days before, I had arranged tickets for two other groups who plan to attend performances in the vicinity; and come April, the yearly Bach-Wochen (“Bach Weeks”) will be drawing musicians and music-lovers from around the globe for an overwhelming smorgasbord of offerings put on by local conservatories, churches, choirs, and orchestras. Each of these performances sold out quickly, despite tickets ranging from $30 to $80 apiece. Then there’s the so-called Lord Supper sequence, where, as mentioned earlier, the phrase “Lord, is it I?” is repeated eleven times – once for each faithful disciple. Is it really just the music drawing people? What followed two years later was an altogether grander, more magnificent setting. It is unclear exactly how many Passion settings Bach wrote: perhaps but not likely five, possibly three or four. They are written for soloists (both instrumental and vocal) and a single or double chorus, and often involve dialogue, as in the first piece, where Choir I asks questions (“What?” “Come where?”), and Choir II answers them (“A spotless lamb.” “To Jesus’ bosom”). A local Lutheran preacher, Salomon Deyling, supervised the writing of the text, using the 26th and 27th chapters of St Matthew’s Gospel (in his manuscript, Bach underlined the words of the Scripture with red ink). In St. Matthew Passion we have the narrator, who is called the evangelist, because he recites, in “recitatives,” the story of the crucifixion as told in the gospel, or evangel (from the Latin evangelium). In the first instance, the text refers to Christ’s prediction of his sufferings. Sir David Willcocks’ 1978 recording for Decca is the only version currently available in English. What is the Bruderhof? Fania Records: How A New York Label Took Salsa To The World, Pride Of The Opry: Charley Pride Makes Musical And Cultural History, ‘Here Come The Warm Jets’: Bathing In Brian Eno’s Genius. Bach's large choral composition was written to present the Passion, as told in the Gospel of Matthew, in a vespers service on Good Friday. Bach did not act as his own librettist for the St Matthew Passion. On the occasion of the centenary of the first performance of the St Matthew Passion in Aberdeen in 1912, Peter Parfitt, Musical Director of Aberdeen Bach Choir, has prepared a musical commentary on the work with the text (in German) and translation into English. We used to go to similar (free) concerts at St. Peter’s, a church on the Upper East Side, where the audience was invited to sing along with each chorale. But he then tells his mother that he did go to hear Bach’s “St. Geiringer, Karl. Obviously, our anguish is vicarious, limited to the realm of Bach’s (and our) imagination. They seemed to say, ‘You, too, are responsible.’”. Whether a singer in the choir, or as a listener, we are thus drawn into the story. It is composed in two parts, that were to be … Discourses on historically accurate performing standards and instrumentation. Willcocks’s comments still hold good and this superb recording justifies them on purely musical grounds, with noticeably brisk tempi, lending a welcome light and nimble touch to proceedings. In an age when churches are normally dark and empty, why are crowds still flocking to hear such an overtly religious piece – an age when any song you could ever want can be had with the flick of your finger? Listen to excerpt 2 – and note the evangelist, the turbae, and the strings accompanying the voice of Jesus. (‘Passion’ is derived from the Latin verb ‘patior’ meaning ‘to suffer’ or ‘endure’, from which we also get ‘patience’ and ‘patient’.) This moment in our country’s history demands a response. Sir John’s approach to the work is as celebrated as his first-class soloists, his great Monteverdi Choir and the splendid English Baroque Soloists. That’s the simple choral melody set above the swirling accompaniment. It is a theatrical concept, a drama. German language When my wife and I lived in New York, the Brooklyn Academy of Music was offering a series of special Passion concerts each spring that dispensed with the customary stand-and-sing presentation. The story here is as follows: Caiaphas consults with leaders to kill Jesus. It is even written in two Parts (or two ‘Acts’) with an interval (indeed, for the work’s first performance a sermon was preached between the two Parts) – and that is one reason why its first performance in Leipzig met with decidedly mixed reactions. (‘Passion’ is derived from the Latin verb ‘patior’ meaning ‘to suffer’ or ‘endure’, from which we also get ‘patience’ and ‘patient’.) His second wife, Anna Magdalena, was a singer, and bore him thirteen more children. For until we are willing to open ourselves to the suffering that took place at Gethsemane and on Golgotha, it cannot work its redemptive powers in us. Unlike the opera, the best-known type of musical drama, the oratorio does not use costumes, makeup, or musicians who act while they sing. (According to the Bach scholar Z. Philip Ambrose, the most famous one “O sacred head,” by Han Leo Hassler, was originally a secular love song.) The St. Matthew Passion has been presented in staged performances. Google “St. Like operas, though, oratorios do have casts. Sign up for a weekly email from the Bruderhof, Follow us on Instagram for snapshots of Bruderhof life. I compiled them simply in order to share an ongoing fascination with this unrivaled depiction of Christ’s final sufferings – unrivaled in its poetic and musical scope, its spiritual depth, and its uncanny ability to stir the soul. This week we’ll explore music inspired by Good Friday and Easter, both sacred and secular. In the Passion, as elsewhere, Bach uses his mastery of musical forms to create powerful contrasts of mood. Like operas, though, oratorios do have casts. Johann Sebastian Bach is widely regarded the greatest musical genius of all time. Levang, Rex. The story was arranged by Christian Friedrich Henrici, a postal official in the city who wrote verses using the pseudonym of Picander. It sets chapters 26 and 27 of the Gospel of Matthew (in Luther's German translation) to music, with chorales and arias. These take two forms: there are eleven chorales which “step outside the action at significant spots and react to the story…They provide commentary and create a sense of a community response to the events just described by the soloists.” Then there are the four longer choruses that frame each half of the Passion, like bookends. We are interested in two inhabitants of the city, the composer Johann Sebastian Bach, Cantor of the Thomas School and Church, and the writer Christian Friedrich Henrici (pen name: Picander), Post Office Commissioner. In Hans’s reply (from Munich, where he is studying medicine), he says he didn’t go; he fears it wouldn’t have meant much to him. The St. Matthew Passion is one of hundreds of sacred pieces Bach wrote during his long tenure as director of church music and cantor of the school at Thomaskirche. We know Bach wrote an earlier setting when he was the ducal concertmeister in Weimar (1714-1717) though this has not survived. Bach completed his St. Matthew Passion in time for Good Friday, 1727 (he revised it later, at least once). John Eliot Gardiner has also written about the schematic symmetry in the larger structure of the oratorio too – that is, the way the sequence of choruses, arias, and chorales in Part I is mirrored in Part II. Some of his music can even be played, simultaneously, by two musicians on opposite sides of a table, one reading the music upside down, to form a second part. By great good fortune, two of his singers were Fanny and Felix Mendelssohn. Bach came from a family of prominent musicians. To me, the most vivid tonal depiction comes in the alto aria “Have mercy,” which Alex Ross calls “the most beloved passage in the St. Matthew Passion.” Evoking Peter’s bitter weeping after his denial of Christ, the “keening melody” is interwoven with a “sad, serene, gently dancing violin solo… The singer tries to emulate the violin’s endless melody but keeps falling short, because parts of it lie outside her range. It is almost miraculous that the complete renaissance of Bach’s music which took place after 1829 was due to the performance of a work that had been quite forgotten yet is regarded today as one of his most complex and profound creations of Western music. In a book of letters by Hans and Sophie Scholl, the famous German siblings beheaded in 1943 for their outspoken resistance to Hitler, a letter from their mother, Magdalena, admonishes Hans not to forget the importance of receiving Communion at Easter. The St Matthew Passion performed by the Netherlands Bach Society for All of Bach. In the case of the St. Matthew Passion, this devotion seems to have extended even to the care with which the text was shaped. Wolff, Christoph. In the St Matthew Passion, the strings play a long high chord whenever Jesus sings, setting his singing apart from the other singing like a musical 'halo'. The best known of these, often referred to as the Passion Chorale, is ‘O Haupt Voll Blut Und Wunden’, usually sung in English to the words ‘O Sacred Head Sore Wounded’. Scholarly articles on its structure. Only a dozen or so of his works were published in his lifetime.). There had already been a long history of Passion music – that is musical settings telling the story of the final, short period in the life of Jesus. The St. Matthew's Passion (Matthäus-Passion), BWV 244 is a sacred oratorio by J.S. Even the deepest aria – take, for instance, “Have mercy” – remains a solo, performed by one person; everyone else remains a listener. In the best recordings, these nuances are taken into account, avoiding the tedious delivery that so many people unfairly (but understandably) associate with chorales; in fact, their delivery will be appropriately varied, according to the context. 1: No. Peter’s weeping, after his betrayal of Christ, is also vividly depicted by the vocal line Bach gives the soloist at that point in the story. Listen to excerpt 1 – “Come ye daughters.”, To hear both examples, listen to excerpt 8, Listen to excerpt 9 to hear the rippling motion, Not a Time to Take Sides – Except God’s Side. Bach revised the piece considerably several times, but the final performance during his lifetime, in 1749, was similar in form to the first version. Even the larger “double” choruses, divided in today’s editions simply as “Choir I” and “Choir II”, were originally conceived as having specific historic roles to play. These would have been well-known to the congregation of St Thomas’s, the oldest dating back to the early 16th century. It’s not just a regional phenomenon. Returning to the idea of a cast: there are also commentators. (Despite this prodigious output, by the way, Bach was not known so much as a composer during these years, but first and foremost as a brilliant organist, organ builder and technician, and teacher. We gladly renounce private property and share everything in common. “St. The speeches of various characters – Commentator (soprano), Evangelist (tenor), Christ (bass), Peter (bass), Judas (bass) and so forth – are represented by various solo singers. Hildel, Winifred. The LP comes with a two-page leaflet and original liner notes by Sir John in English and German. This is a reference to Psalm 39, which contains the line, “I will keep my mouth with a bridle while the wicked stand before me.”. 1666 First Perf ormance. Listen to excerpt 3: the Passover story; Jesus’ prediction that one of his disciples will betray him; the evangelist’s depiction of their growing sorrow; and finally, the question, “Lord, is it I?”, The following chorale (excerpt 4) answers their question from our perspective: “Lord, it is my sin that binds thee – I am the one who ought to be suffering such tortures.”. Listen to excerpts 12 and 13 - the last recitative, followed by the powerful closing chorus, “In tears of grief.”, Ambrose, Z. Philip. The St. John Passion. Even so, the experience is vital. There was no room for a stage, and no time for scene changes.) Highlights to look out for are the alto aria ‘Buss Und Reu’ (‘Penance And Remorse’), one for soprano, ‘Blute Nur, Du Liebes Herz! On the other hand, as the writer Johann Heinrich Arnold (a lifelong lover of the St. Matthew Passion) stresses in his book Discipleship (1995). It moves the spirit toward self-reflection and the exercise of the conscience.”. To hear both examples, listen to excerpt 8. . Text"genres" Biblical%texts% Recitatives,%TurbaPchoruses% Freepoetry% Aria,%Choruses% Hymns%% Arias,%Hymnsettings% % Authors"of"free"poetry:% BartholdHeinrichBrockes% I, II Speaking of faith, Bach was a staunch Lutheran. Some of what they sing is reflective, as the piece that addresses the evil of Judas’ betrayal; other pieces consist of a soliloquy in which the singer pours out his or her heart, the best-known example being the aria, “Have mercy on me, O Lord.” In numbers like this one, Bach puts the spotlight on our own condition, and forces us to deal with the words on a personal level. A smaller piece than the 1727 St. Matthew, Bach’s St. John Passion was first performed in 1724. Program Notes J.S. Bach’s score is, after all, a sacred drama and Gardiner interprets this aspect of the work with lively and colourful conviction… Singing and playing of this calibre deserve to win many friends…’” – Gramophone. He was born in 1685 in Eisenach, Germany, the same year as Handel, though the two never met, because Handel spent most of his adult life in London. A familiar instance of this in recent years is Carlos Santana’s use, in his album Supernatural, of a melody from Brahms’s Symphony No. True, Bernstein's stylistic approach (the frequently languorous tempos, the italicized effect accorded certain significant moments in Bach's richly textured drama) and employment of large-scale choral and orchestral forces have long … “Bach’s Große Passion,” (1989), The recorded excerpts in the notes are from John Eliot Gardiner’s recording with the Monteverdi Choir (Archiv Produktion, © 1989). Again, it doesn’t just describe Good Friday, but invites everyone to participate in remembering it, and thereby relive (for example) the emotions of the anxious, tired, or faithless disciple, the watcher in the crowd, or Christ’s grieving mother. IHS 89 Key G Dorian mode Year/Date of Composition Y/D of Comp. In Bach’s time, St Thomas’s had two organ lofts – the larger of the two accommodating the musicians for Sunday services throughout the year, the smaller loft used for the additional numbers needed for the music at Christmas and Easter. Many were written around Lutheran chorales, such as “Wake, awake” or “How brightly beams the morning star.”. The best example is (again) the chorales, which often have similar (if not identical) melodies but are harmonized differently in order to evoke different emotions. No. (“In Nomine Jesu,” which means “In the name of Jesus”) or J.J. (“Jesu Juva,” which means “Help me, Jesus”). One setting of “O sacred head” is unrelievedly somber, as when Jesus has just been crucified. (‘Bleed Now, Loving Heart!’); the sublime alto aria with violin obligato ‘Erbame, Dich’ (‘Have Mercy’), a second soprano aria ‘Aus Liebe Will Mein Heiland Sterben’ (‘Out Of Love My Saviour Is Willing To Die’); the blood-curdling moment when the mob calls for Barrabas to be freed and Christ to be crucified’; and the final number in the Passion, the double chorus ‘Wir Setzen Uns Mit Tränen Nieder’ (usually translated as ‘ In Tears Of Grief’). Written in 1727, the St. Matthew Passion represents a large-scale intersection of composition and Lutheran theology. Until 1975, it was held that the first performance of Bach’s St Matthew Passion was on Good Friday 1729. Indeed, his is a musical interpretation of the gospel of St. Matthew, and it makes for one of the great Matthew Passion recordings. Listen to John Eliot Gardiner’s benchmark recording of Bach’s St Matthew Passion right now. Listen to Bach: St. Matthew Passion by Peter Schreier, Rundfunkchor Leipzig & Staatskapelle Dresden on Apple Music. ⇒ 11 more: Ich bin's, ich sollte büßen • Erkenne mich, mein Hüter • Ich will hier bei dir stehen • Was mein Gott will, das g'scheh' all Zeit • Mir hat die Welt trüglich gericht't mit Lügen • Wer hat dich so geschlagen • Bin ich gleich von dir gewichen • Befiehl du deine Wege • Wie wunderbarlich ist doch diese Strafe! At the Heart of the White Rose: Letters and Diaries of Hans and Sophie Scholl This sort of turbulent, emotionally charged musical outcry is known as a “turba” (i.e. The story for the work was taken mostly from the Gospel According to Matthew , but the actual verses that Bach set to music were provided by several contemporary poets. In St. M… Bach St Matthew Passion: Text, Translation and Musical Notes . No one but the individual concertgoer can answer that question, but in the interest of piquing the interest of those to whom Bach’s “Great Passion” is a foreign, inaccessible enigma, here are a few thoughts. Indeed, it is clear that his devotion to Christ was deep and personal. It is also, as Mendelssohn himself noted wryly, somewhat ironic that “it took an actor and the son of Jew to revive the greatest Christian music for the world!”. 40, while the tenor sings “My Jesus remains silent before the liars’ falsehoods,” the accompaniment is made up of 39 brief chords. Buy download online. Little is known with certainty about the creation process of the St Matthew Passion. In the same sequence, a flurry of chords dissipating in different directions illustrates Christ’s words about the scattering of his flock. Thus, the whole work is structured as a repeated pattern of Biblical narrative, comment, and prayer. And in the aria where the soprano sings about the scourging of Jesus, a harsh, rhythmic motif in the violin part represents Christ’s being lashed with a whip. These performances would … He notes that in a 1519 treatise on the Crucifixion, Martin Luther had. Matthew Passion” on Good Friday, and that it shattered him. (For a peerless example of such chorale singing, listen to excerpts 5, 6, and 7.). 3. In yet another, the basses stumble over and over the same phrase, illustrating Jesus’s footsteps as he stumbles under the weight of the cross. Driving some friends to the train the other day – they were headed to Leipzig for a performance of Bach’s St. Matthew Passion in the church where he composed it – it struck me that Bach is everywhere at this time of year, at least here in his home state of Thuringia. With respect to the chorales, their poetic lyrics are perhaps just as moving as their musical power. Gardiner, John Eliot. J.S. Whereas the recitatives and arias dramatize the agony of Gethsemane and Golgotha, the chorales give one a chance to “breathe in,” as it were, and respond on an even more personal level to the unfolding story. These performances would mark the high point of the church’s year. David Gordon writes: The best example of this is the so-called “Lord’s Supper sequence.” Note the accompaniment (and the interplay of narrator and cast). There had already been a long history of Passion music – that is musical settings telling the story of the final, short period in the life of Jesus. John Eliot Gardiner’s benchmark recording of Bach’s St Matthew Passion can be bought here. Gardiner, John Eliot. In St. Matthew Passion as in his other choral works, Bach devised specific “tone pictures” or “musical pictures” to help deliver his narrative. Johann Sebastian Bach's St Matthew Passion was first performed on 11 April 1727 in St Thomas Church,Leipzig,Germany. J. S. Bach: Leben und Werk, Bd. Bach’s first wife died in 1720, and he remarried the next year. I keep trying to like “purist” performances including Gardner but I can’t mare up to them. Singing a chorale, on the other hand, presumes the participation of everyone in the choir (and in Bach’s day, the entire congregation as well), and allows each singer to voice – and thus admit – his complicit guilt in relation to Christ's death, and his longing for redemption. Whereas Picander designates Choir I as “the Daughters of Zion” (Jesus’s contemporaries) he marks Choir II as “The Faithful” – us latter-day witnesses to his death. In the 1740s, he began to go blind. Notes at the Bach Museum in Leipzig contain complaints by his contemporaries suggesting that he was too easy on the pupils in his care, who, instead of doing their studies in the evening, ran wild through the streets. Still another is solid and confident, representing strength and faith. Every year for Good Friday Vespers, a Passion would be performed in one of Leipzig’s two principal (Lutheran) churches, St. Thomas and St. Nicholas. Some illustrations: In No. Extolling the “invasive beauty of the lamenting arias, which give the sense that Christ’s death is the acutest of personal losses,” he said they had the effect of “pulling all of modern life into the Passion scene. “Programmatic Notes to Bach’s St. Matthew Passion” (1999) Among other duties, his post required him to instruct the members of the Thomanerchor (the boys’ choir of St. Thomas) in singing and in Latin, and to provide weekly music at both of these churches. Finally, Bach employs a sort of Greek chorus to respond to the events. There was no room for a stage, and no time for scene changes.). Matthäus-Passion Alt ernative. . Versions and contemporaneous performances. As Hans David He was, by now, working as a violinist, organist, and consultant to organ builders. 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