The Sacred Thunder: Bach’s St Matthew Passion
- Arashk Azizi
- 4 days ago
- 5 min read
A Life of Faith and Fugue: Bach in Context
Johann Sebastian Bach (1685–1750), one of the titanic figures of Western music, was born in Eisenach, Germany, into a prolific musical family. The Bach lineage included over 50 known musicians, and young Johann was surrounded by music from the start. Orphaned by the age of 10, he moved in with his older brother Johann Christoph Bach, who furthered his musical education. As a devout Lutheran and a musical genius, Bach’s life was profoundly shaped by both his faith and his family.
Bach's Germany was a patchwork of small principalities, each with its own court, church, and musical establishment. Religion was not a private affair; it shaped society’s structure and routine. Lutheranism emphasized the power of Scripture, the importance of congregational singing, and the theological significance of music. Bach internalized these values deeply—he did not merely write music for religious occasions; he saw his music as a direct offering to God. He often inscribed his scores with the letters "S.D.G." (Soli Deo Gloria – "To God alone the glory").
Despite his genius, Bach was not considered revolutionary in his time. He was seen more as a skilled craftsman than a trailblazer. Yet, his work reached spiritual and structural heights that wouldn’t be fully appreciated until generations later.
The Genesis of St Matthew Passion
By the time Bach composed St Matthew Passion (Matthäus-Passion, BWV 244), he was working in Leipzig as the Kantor of the Thomasschule and music director of the city’s principal churches. He held this position from 1723 until his death in 1750. It was during this time, immersed in his role of providing weekly church music, that he began crafting his monumental Passions.
St Matthew Passion was first performed on Good Friday, April 11, 1727, at the St. Thomas Church in Leipzig. It was designed to be part of the Vespers service on that solemn day. For Bach, the Passion story—Christ’s suffering and death—was the central drama of Christian theology. It is where humanity’s sin and divine mercy meet.
The libretto was primarily written by Christian Friedrich Henrici, known as Picander, who worked closely with Bach. The text draws from Matthew 26–27, interspersed with reflective arias and Lutheran chorales. Bach did not treat the Passion as a mere recitation of events; he shaped it into a meditation, where biblical narrative, personal emotion, and theological reflection become one musical experience.
Transcendent Form: Architecture of the St Matthew Passion
The St Matthew Passion is nothing less than a sacred oratorio of immense complexity and emotional power. Lasting between 2.5 to 3 hours, it is scored for:
Two choirs (double choir)
Two orchestras
A boys’ choir (originally for chorales)
Soloists (Evangelist, Jesus, Pilate, Judas, Peter, and others)
Basso continuo, flutes, oboes (including oboe da caccia), violins, violas, cellos, violas da gamba
The piece is structured in two parts, originally intended to be performed before and after the Good Friday sermon.
Key Elements:
Evangelist (Tenor): The narrator who sings the Gospel text in recitative.
Jesus (Bass/Baritone): Sung in arioso, a dignified and emotionally restrained role.
Arias and Duets: Deeply expressive, commenting on the unfolding drama, often accompanied by obbligato instruments.
Chorales: Lutheran hymns familiar to the congregation, acting like a communal response.
Choruses: Ranging from the violent cries of the mob ("Laß ihn kreuzigen!" – "Crucify him!") to the heartbreaking opening and closing laments.
Famous Movements:
"Kommt, ihr Töchter, helft mir klagen" – The opening chorus, with its weeping strings and echoing choir, sets the tone of grief.
"Erbarme dich, mein Gott" – An aria for alto and solo violin, expressing Peter’s remorse; arguably one of the most poignant arias in all sacred music.
"Ich will bei meinem Jesu wachen" – A duet with echoing choir, showing a desire to stay faithful.
Final chorus: "Wir setzen uns mit Tränen nieder" – A collective mourning after Christ's death.
This is not music of spectacle—it is a sacred ritual. In Bach's hands, form becomes faith. Each aria is a confession, each chorale a prayer, each dissonance a cry.
From Silence to Resurrection: Rediscovery in the 19th Century
After Bach’s death, his music fell into obscurity. The St Matthew Passion was rarely performed—too long, too complex, too theologically rich for changing tastes.
Enter Felix Mendelssohn.
In 1829, at just 20 years old, Mendelssohn arranged and conducted a performance of the St Matthew Passion in Berlin, the first in nearly a century. This event is often credited with launching the Bach Revival, reintroducing his genius to the world. Mendelssohn had to cut the work down due to the tastes of the time, but the performance was nonetheless a revelation.
The concert was a sensation. For many, it was as if a voice had spoken from the past with divine authority. From that moment on, the St Matthew Passion became a cornerstone of Western classical music.
When and How It’s Performed Today
Though originally meant for liturgical use, the St Matthew Passion has become a staple in concert halls, especially during Holy Week. In churches, it may be staged as a spiritual event; in secular venues, it is revered as a masterwork of emotional and structural sophistication.
Performances today vary:
Historically informed performances (HIP) aim to recreate the original sound with period instruments and tuning.
Modern symphonic renditions use larger choirs and modern orchestras.
Some semi-staged versions bring theatrical elements into play, blurring the lines between oratorio and opera.
Iconic Recordings and Influences
Some of the most acclaimed recordings and performances include:
Karl Richter (1960s, 1970s) – Deeply expressive and traditional, with Dietrich Fischer-Dieskau as Christ.
Nikolaus Harnoncourt – A HIP pioneer, offering transparent textures and historical accuracy.
John Eliot Gardiner (1989) – A vibrant, historically informed recording with the Monteverdi Choir and English Baroque Soloists.
Philippe Herreweghe – Noted for its contemplative, lyrical interpretation.
Simon Rattle and Berlin Philharmonic – A powerful modern performance emphasizing drama and grandeur.
Notable Influences and Covers:
Sofia Gubaidulina and Krzysztof Penderecki have acknowledged Bach’s Passions as models for their own sacred compositions.
Peter Sellars’ semi-staged versions with Simon Rattle were praised for their emotional directness and visual storytelling.
The St Matthew Passion has inspired artists beyond classical: even jazz musicians like Jacques Loussier have interpreted its themes, and electronic composer Wendy Carlos included Bach's sacred music in her Moog synth projects. One of my favourite inspired piece is by the neo classical band E.S. Posthumus.
The Eternal Question and Answer
What is the St Matthew Passion, ultimately?
It is a meditation on suffering, sacrifice, betrayal, and mercy. It is a spiritual journey, not just for the listener but for the soul. In an age of distraction, its slow, sacred pace demands contemplation. In a time of division, its message of divine love and human frailty transcends theology.
Bach didn’t just tell the story of Christ’s death. He told our story—of hope, guilt, grief, and redemption—through the universal language of music. As long as there are ears to hear and hearts to break, the St Matthew Passion will speak.
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