In the Matthew Passion Bach follows that of Sebastiani with the addition of new forms derived from the drama, but enriched and ennobled by the mind of the Master. Scripture words and hymns no longer satisfied his contemporaries or himself; and as long as the kernel of the work was scriptural, according to use consecrated by time, no objection could be made to the introduction of what had already been accepted in other services in the Church. Only the soliloquies, those theatrical scenes in which biblical persons appear with words other than biblical, he would not introduce, for it was too like the stage. Thus in a form, which though new, was intimately connected with the old, did the Passions of Bach appear, and the congregation took part by singing the chorales. It is not known for certain how many Passions Bach wrote; the number is said to be five.
Regarding the author and composer of the St Luke’s Passion nothing is known for certain, for Bach gives neither in his copy. The arguments for its being his work are that it is in his writing, and is possibly a youthful composition, and that he recopied it in later years so that it should not be forgotten; while the chief argument against its genuineness is its insignificance. The Bachgesellschaft publish it with the above reservation.
It consists mostly of chorales in four parts with short recitatives between them. There are few arias or choruses, and a sermon is to be preached in the middle.[64]
Matthew Passion
The first performance of the Matthew Passion took place on Good Friday, 1729. The words, where not scriptural, are by Picander. All the resources of art are employed in this tremendous work. A double chorus, a ripieno chorus of sopranos, a double orchestra and double organ part; a part for the Evangelist which calls forth the very highest powers of the greatest singers; all the instruments known in Bach’s time are at various points brought into requisition. We have already alluded (p. [104]) to the effect of the opening chorus when sung in the Thomas Church. The never-ceasing flow of quavers in 12-8 time, the call to the contemplation of the Passion, the questioning second chorus which finally unites with the first, the solemn and dignified march of the orchestra, have a devotional expression which has never been surpassed. Throughout the work the words of the Saviour are accompanied by strings alone in four parts, with the continuo (which was never omitted in those days). The chorales, which are of frequent occurrence, are to be sung in unison by the congregation, and harmonised by the choir and instruments. The words of the turba or Jewish people are always allotted to double choruses, which throw the expressions backwards and forwards at each other in a turbulent manner (see p. [123]).
The disciples are also represented by a double chorus, as are the Christian congregation; and the music of the various double choruses is in keeping with sentiments which might be supposed to actuate the singers. The arias which fill the “pauses” suggested by Deyling are allotted to an alto, soprano, tenor, or bass, and are accompanied, in addition to the organ, by two flutes, or two oboi d’amore, or oboi da caccia, or by a viola da gamba, or by a violin solo with string band.
After Bach’s death this magnificent work was performed at St Thomas Church till the end of the seventeenth century, when it was laid aside until revived by Mendelssohn in 1829, just one hundred years after its first performance.
Ja nicht auf das Fest auf dass nicht ein Aufruhr werde
Weissage