St. Matthew Passion, BWV 244 |
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The traditional Roman liturgy involves the singing of the Passions – accounts of the suffering and crucifixion of Christ – on four days preceding Easter: the Gospel of St. Matthew on Palm Sunday, the narrative of St. Luke on the Wednesday of the Holy Week, St. Mark on Maundy Thursday, and St. John on Good Friday. In this work, the text is taken from the Marlin Luther translation of the Gospel of St. Matthew. In addition to the biblical text, there are recitatives and arias that offer reflection on the events of the passion and chorales that allow the chorus to add more meditation. The narrative is sung by the Evangelist, a tenor, with the words of Christ, Peter, Judas, and others allocated to different singers.
The whole work is in two parts, the first of these taking the narrative from the events leading up to the Last Supper, to Gethsemane and the betrayal of Christ. The second part, after a contralto aria, opens with Christ before the High Priest and goes on to St. Peter's denial of Christ, the attempt of Judas to repent, and Christ before Pilate, His condemnation, scourging and crucifixion. The work ends with Pilate ordering a watch to be kept on the sepulcher.
The performances I liked the most where those of Herreweghe, Richter, and especially Klemperer. For the first listening, I would recommend the Herreweghe version, because, to me, it sounds the most agreeable of the three -- not excessively dramatic or theatrical, and "normal" tempo . Herreweghe is actually a very well-known Bach conductor, and he has used superstar soloists in this performance. My favourite aria is Blute nur, du liebes Herz (Bleed now, thou dear heart) by soprano Hana Blažíková. (It is number 8 in the YouTube playlist below.) Hana's voice has a special darkness that is perfect for a work such as this. She has done many other live performances, but unfortunately, I couldn't find a studio recording of her.
Translation here. By the way, the performance is in German (which is not exactly like what is spoken today.)
The whole work is in two parts, the first of these taking the narrative from the events leading up to the Last Supper, to Gethsemane and the betrayal of Christ. The second part, after a contralto aria, opens with Christ before the High Priest and goes on to St. Peter's denial of Christ, the attempt of Judas to repent, and Christ before Pilate, His condemnation, scourging and crucifixion. The work ends with Pilate ordering a watch to be kept on the sepulcher.
The performances I liked the most where those of Herreweghe, Richter, and especially Klemperer. For the first listening, I would recommend the Herreweghe version, because, to me, it sounds the most agreeable of the three -- not excessively dramatic or theatrical, and "normal" tempo . Herreweghe is actually a very well-known Bach conductor, and he has used superstar soloists in this performance. My favourite aria is Blute nur, du liebes Herz (Bleed now, thou dear heart) by soprano Hana Blažíková. (It is number 8 in the YouTube playlist below.) Hana's voice has a special darkness that is perfect for a work such as this. She has done many other live performances, but unfortunately, I couldn't find a studio recording of her.
Translation here. By the way, the performance is in German (which is not exactly like what is spoken today.)
If you enjoyed Herreweghe's version and would like to try a different "flavour" of St. Mathew's passion, then you can listen to the Klemperer version. The first thing you'll notice is its tempo, which is way slower than Herreweghe's; for me, this intensifies the music and makes it more compelling. This performance features very distinguished singers from the 1960s. Overall it is legendary. |
Favourite pieces
Quotes, phrases, elegies, etc.
As can be expected, the text contains many beautiful and poetic words -- especially the arias. I happen to have a habit of collecting things like these. Some of them can be adapted to other contexts, for example if you are applying for jobs and not hearing back:
- Part I, X. Aria: "Buß' und Reu'"
- Part I, XII. Aria: "Blute nur, du liebes Herz"
- Part I, XXV. Resitative: "O Schmerz!"
- Part I, XXVI. Aria: "Ich will bei meinem Jesu"
- Part I, XXIX. Aria: "Gerne will ich mich bequemen"
- Part I, XXXIII. Duett "So ist mein Jesus nun gefangen"
- Part II, XXXVI. Aria: "Ach, nun ist mein Jesus hin"
- Part II, XLI. Aria: "Geduld, wenn mich falsche Zungen stechen"
- Part II, XLVII. Aria: "Erbarme dich, mein Gott"
- Part II, LI. Aria: "Gebt mir meinen Jesum wieder!"
- Part II, LVIII Aria: "Aus Liebe will mein Heiland sterben"
- Part II, LXI. Aria: "Können Tränen meiner Wangen"
- Part II, LXVI. Aria: "Komm, süßes Kreuz"
- Part II, LXX. Aria with Choir: "Sehet, Jesus hat die Hand"
Quotes, phrases, elegies, etc.
As can be expected, the text contains many beautiful and poetic words -- especially the arias. I happen to have a habit of collecting things like these. Some of them can be adapted to other contexts, for example if you are applying for jobs and not hearing back:
Ah, my applications in tiger's claws!
Ah, what answer should I give My soul, if it asks me anxiously: Ah, where is my Job gone? |
Blute nur, du liebes Herz!
Mein Hert in Trknen schwlmmt. Hier zittert das gequällte Herz! Gerne will ich mich bequemm, Kreuz und Becher anzunehmen. Ach, nun ist mein Jesus hin! ... Ach! mein Lamm in Tigerklauen! Ach! wo ist mein Jesus hin? Ach! was soll ich der Seele sagen, Wenn sie mlch wlrd ängstlich fragen: Ach! wo Ist mein Jesus hin? Antwortest du nichts zu dem? Geduld, Geduld! Wenn mich falsche Zungen stechen. Leid ich wider meine Schuld Schimpf und Spott, Ei, so mag der liebe Gott Meines Herzens Unschuld rächen. Erbarme dich, mein Gott, Um meiner Zähren Willen! Schaue hier, Herz und Auge Weint vor dir bitterlich. Gebt mir meinen Jesum wieder! Seht das Geld, den Mörderlohn, Wirft euch der verlorne Sohn Zu den Füßen nieder! Komm, süßes Kreuz, so will ich sagen, Mein Jesu, gib es immer her! Wird mein Leiden einst zu schwer, So hilfst du mir es selber tragen. Mein Gott, mein Gott, warum hast du mich verlassen? |
Bleed now, thou dear heart!
My heart swims In tears. Here trembles the troubled heart! Gladly will I submit To take the cup and cross. Ah, now is my Jesus gone! ... Ah, my Lamb in tiger's claws! Ah, where is my Jesus gone? Ah, what answer should I give My soul, if it asks me anxiously: Ah, where is my Jesus gone? Answerest Thou nothing? Patience, patience! If false tongues attack me. I suffer for my guilt, Insult and contempt, Ah, so may the dear God Avenge the innocence of my heart. Have mercy, my God, For the sake of my tears! Behold, heart and eyes Weep before Thee bitterly. Give me my Jesus back! See, the money, the price of murder, Cast by lost son At your feet! Come, sweet Cross, so will I say, My Jesus, give it always to me! If my sufferings ever becomes too heavy, Thou helpest me to bear them. My God, my God, why hast Thou forsaken Me? |