A
beautiful example of classical sacred music, St. Matthew's Passion
(Matth¤us-Passion, BMV 244), composed in 1727 by Johann Sebastian Bach,
presents chapters 26 and 27 from the Gospel of Matthew in musical form.
As an
oratorio, the Passion was intended for Good Friday services and employs a libretto by Picander
paraphrasing the Biblical text. Bachs composition features two orchestras, two choirs, soloists
representing characters in the narrative, and subtle shifts between major and minor keys. Within
the referenced time frame, the attentive listener will find a moving introduction to a
significant piece of Western classical music.
The Passion begins with the
orchestra playing a slow tempo in a minor key to establish a solemn, respectful tone. As is
typical with music of the Baroque period, violins, flutes, and oboes are the featured
instruments.
After the introduction by the orchestra, both choirs
representing the Daughters of Zion and Believing Souls sing the opening text in which they mourn
the upcoming Crucifixion. Then a tenor soloist and a baritone soloist perform the roles of the
Evangelist and Jesus with responses from theaccompanied by the orchestra. A harpsichord
accompanies parts of the Evangelists performance of the story about the Anointing at Bethany
(Matthew 26:6€“13). Another instrument featured during the choral responses is the
organ.
A mezzo soprano soloist performs to the accompaniment of flutes,
strings, and the organ a recitative and aria from the point of view of the woman who anoints
Jesus. The Evangelist then introduces the story of the betrayal of Jesus by Judas (Matthew
26:14€“16).
From that point on, St. Matthew's Passion
continues toward the events of the Crucifixion with a depth of feeling that earns the work its
place in the musical canon.
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