St John Passion
an Oratorio for Eastertide by J.S. Bach
Bach conducted the first performance of this work on Good Friday, April 7, 1724,
at the St. Nicholas Church in Leipzig. By this time, it was accepted that a musical
Passion would recount the events surrounding the persecution and crucifixion of
Christ. It would therefore set to music the appropriate text from the Bible (in this
case the 18th and 19th chapters of St John’s gospel), and would add in poetic
reflections in an aria-like style for soloists. At intervals, there would also be well
known Lutheran hymns in which the whole congregation might join.
The Good Friday service was the first major event in the church calendar since
Bach’s arrival in Leipzig, and it offered the new Kantor a perfect opportunity to
show what he could do as a composer. Bach seized the opportunity with both
hands. In addition to all the usual instruments of the time, he added the warmly
expressive viola d’amore, the ancient, ethereal sound of the lute, and three
different kinds of oboes, each with their own special sound-colour.
Before Bach, the good churchgoers of Leipzig were slowly becoming used to a
more ‘theatrical’ musical style, but in the St John Passion, they had suddenly to
confront dramatic music of unprecedented scale and intensity, to say nothing
of the rich and complex effects for singers and instrumentalists, and a harmonic
style that was daringly modern. No doubt they thought that this was merely the
enthusiastic début of a young newcomer, keen to impress, and that the work
would disappear quickly. None of them could have suspected that it was to
become one of the Western world’s abiding masterpieces, still regularly performed
nearly three centuries later!
Bach weaves five strands of musical thread to join all the parts together in this
massive work. The first is the Gospel narrative, set in recitative, with a small group
of continuo instruments. Here, the central figure is the Evangelist (St John), but
there are also parts for Jesus, Pilate, Peter and some others.
Crowd scenes form Bach’s second strand, and are instantly apparent by their often
fierce outbursts. In complete contrast is the recurring thread of the arias, whose
rich and intensely expressive style is used to reflect upon the meaning of what is
taking place.
The fourth strand consists of the chorales, richly harmonized by Bach, and offering
the congregation some recurring moments of re-assurance and reflection. Two
monumental choruses – one opening, one closing — make up the fifth strand, and
provide an epic frame for the whole musical structure.
On the next page is set out the complete text and translation, with short
commentaries in italics from stage to stage.
Please turn pages quietly
4