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Fair copy in Bach's own hand of the revised version of the St Matthew Passion BWV 244 that is generally dated to the year 1743–46. The St Matthew Passion is the second of two Passion settings by Bach that have survived in their entirety, the first being the St John Passion, first performed in 1724.
Bach did not number the sections of the St Matthew Passion but twentieth-century scholars have done so. The Bach-Werke-Verzeichnis (BWV, Bach Works Catalog) divides the work into 78 numbers (vocal movements), while the Neue Bach-Ausgabe (NBA, New Bach Edition) divides the piece into 68 movements. Both use lettered subsections in some cases.
The elegiac melodic line and ornamentation are entirely suited to the violin. As numerous commentators have pointed out, with its affecting anapaests, the compositional style and impassioned tone resemble those of the obbligato violin solo in the celebrated alto aria "Erbarme dich" from Bach's St Matthew Passion. The harpsichord supplies a ...
BWV 244 – St Matthew Passion (Matthäus-Passion) BWV 244b – St Matthew Passion, early version(s) BWV 245 – St John Passion (Johannes-Passion), various versions, including: [24] St. John Passion, 2nd version, with opening chorus "O Mensch, bewein dein Sünde groß" (1725), BDW 00308, containing: BWV 245a – Aria "Himmel reiße, Welt erbebe"
Bach wrote the St Mark Passion, BWV 247 for 1731. Picander's libretto for the Passion was once thought to have been destroyed in the bombing of Dresden in World War II, but the recovered copy seems to show that the work was a parody of music from the so-called Trauer-Ode, Laß, Fürstin, laß noch einen Strahl, BWV 198, and that some choruses were used also in the Christmas Oratorio.
The 1727 aria Erbarme dich, mein Gott ("Have mercy my God") for alto and violin from the St Matthew Passion is identical melodically, although the phrasing is slightly different. This musical motif is one that Bach often associates with "pity".
Bach wrote the cantata, a solo cantata for a tenor, in 1726 in Leipzig for the 22nd Sunday after Trinity.It is Bach's only extant cantata for tenor. [1]The prescribed readings for the Sunday were from the Epistle to the Philippians, thanks and prayer for the congregation in Philippi (Philippians 1:3–11), and from the Gospel of Matthew, the parable of the unforgiving servant (Matthew 18:23–35).
The tradition of the German oratorio Passion began in Hamburg in 1643 with Thomas Selle’s St John Passion and continued unbroken until the death of Carl Philipp Emanuel Bach in 1788. The oratorio Passion, made famous by Johann Sebastian Bach in his St John Passion and St Matthew Passion , is the style that is most familiar to the modern listener.