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Contents The Chorales of Bach's Introduction 2 Melody #1: the "Passion Chorale" St. Matthew Passion: Erkenne mich, mein Hüter 9 Ich will hier bei dir stehen 11 their Sources and Dramatic Befiehl du deine Wege 24 O Haupt voll Blut und Wunden 28 Roles Wenn ich einmal soll scheiden 30 Melody #2 Herzliebster Jesu 5 Was ist die Ursach aller solcher Plagen? 13 Wie wunderbarlich ist doch diese Strafe 26 Tim Smith and Ben Kammin Melody #3 Ich bins, ich sollte büßen 7 Wer hat dich so geschlagen 20 Melodies 4-8 O Lamm Gottes unschuldig 3 Was mein Gott will, das gscheh allzeit 15 O Mensch, bewein dein Sünde groß 17 Mir hat die Welt trüglich gericht' 19 digitalbach.com/matthew Bin ich gleich von dir gewichen 22 Jesum laß ich nicht von mir (before 1736) 32 The chorale scores © 2013 Ben Kammin are made available on the Internet for your personal use only. Any other use including, but not limited to, copying or reposting on the Internet is prohibited. Introduction Chorales are hymns of the Lutheran church. The churches in Leipzig used a hymnal They were used in public worship, and in private published in that city called "Geistreicher Lieder- devotions. Without them, the St. Matthew Schatz, oder Leipziger Gesang-Buch" ("Treasury Passion would be quite unrecognizable to us. As of Spiritual Songs: the Leipzig Hymn Book"), by a matter of fact, without chorales nearly half of Johann Friedrich Braun. Each city had its own Bach's music wouldn't exist. They are the focus hymnbook, suited to its particular theology. of so much in Bach, especially in the cantatas and organ music. Clearly, the chorale was very dear to Bach himself. In the St. Matthew Passion, they are second only to Scripture as the unifying element. Eight chorales are heard in the St. Matthew Passion. One is heard five times, another three, and another twice. All told, chorales punctuate the narrative fifteen times, always in moments of the greatest introspection. We have every indication that Bach chose these chorales himself, as well as their placement in the drama. His purpose was twofold: that we should speak as one voice in response to Scripture, and that we should apply its lessons to our lives. In this document, the chorales appear in the order that they are heard in the St. Matthew Passion. But in the table of contents page they are grouped by melody. 2. O Lamm Gottes unschuldig with ornate double-choir polyphony all about. You will need to listen closely to hear the “cantus firmus” with its phrases (O Lamb of God without guilt) separated by elaborate choral interludes. The opening chorus of the St. Matthew Passion presents the first of its two great themes: lamentation for our sins. The crux of the chorale is this line: “You [O Lamb of God] have carried all sin, otherwise we must despair.” This theme is restated in the closing chorus of part 1: “O man, bewail your great sin” (“O Mensch bewein dein Sünde groß”). The word “sin” is heard fourteen times in the St. Matthew Passion, with related words of guilt, fault, heavy burden, transgressions, penance and remorse, need to make atonement, being deserving of punishment and blame, and the weakness of the flesh. The second theme emanates of the first. In it we hear consoling words of forgiveness and of Godʼs grace, love, salvation, loyal care, acceptance, faithfulness, removal of judgment, refreshment of our souls, lifting us up, helping us not to despair, moderation in chastisement, sacrifice for us, being our advocate and mediator, helping our sins to fall asleep, and of Jesus reaching out his hand to offer redemption, mercy, and rest. The poem, by Nicolaus Decius, is one of two German texts that Luther substituted for the Latin “Agnus Dei.” The When is this heard? other was “Christe, du Lamm Gottes.” Occasionally the breviaries of the period called for “the German Agnus Dei,” This chorale is embedded within the great double chorus leaving liturgists to chose which one. Unlike that of the that begins the St. Matthew Passion. It was not part of the Roman rite, the German Agnus Dei had no fixed place in first performance in 1727, apparently not added until Bachʼs Lutheran worship, sometimes being sung before communion, 1736 revision. Though missing from the original score, it may and at other times during. When during communion, it was yet have been sung, as it seems implausible for Bach to more likely to be joined by the whole congregation, rather have written so complex a work only to discover, after the than chanted by the minister. fact, the musical possibility of overlaying a chorale so thematically relevant as this. The melody is sung by boys, 3. Who wrote it? Melody and text: Nicolaus Decius (1485-1546). Nicolaus a Curia, also known as Nicolaus von Hofe (from the town of Hof), was a monk at the time of the Reformation. He followed Luther and became an evangelical pastor. Decius was a good musician who helped Luther adapt the musical parts of the liturgy from Latin to German. Although Luther loved polyphonic choral music, in church he wanted ordinary people to sing the words themselves, in their own language. Decius is remembered for recasting three parts of the Latin ordinary as German vernacular hymns: the Sanctus, Gloria, and Agnus Dei (which is this chorale). Text English translation by Tobin Schmuck. O Lamb of God, innocently slaughtered on the stem of the cross, at all times patiently composed, even as you were condemned. You have carried all sin, otherwise we must despair. Have mercy on us, O Jesus! 4. Herzliebster Jesu That Bach would incorporate a chorale so soon in the Passion reveals its purpose, to include us in the story. Let us (Ah, Holy Jesus, How Hast Thou Offended?) visualize the drama as it now begins. Imagine your best friend telling you what Jesus has just told his friends. He is going to a place where he knows that he will be killed. Willingly? How confused might you be? What might you ask in reply – what explanation demand? What might comfort you? Bachʼs comfort is heard in this chorale: “Beloved Jesus, Why? What have you done to deserve this?” The disciples would have asked this for sure, though Matthew didnʼt write it down. So Bach gives us the opportunity to join them in a hymn of their inevitable asking. This tune is heard three times in the St. Matthew Passion, each to words by one of the most beloved of Lutheran poets, Johann Heermann. He is best known for his “cross and comfort” hymns, of which this is one. You should notice the resolute fullness of Rillingʼs interpretation. The disciples have a right to ask Jesus the meaning of his troubling words. If they are to follow him into this dangerous situation, they must know why. Who wrote it? Melody: Johann Crüger (1598-1662). Crüger was an When is this heard? excellent composer who wrote many well-known chorales, most famously: “Now Thank we All Our God” (“Nun danket This is the second chorale of the St. Matthew Passion, alle Gott”). He is also remembered for his editorial and the first in a traditional hymn style – in four simple voices. contribution to the great hymnbooks of the period. That Bach It is also the first to be heard after the story has begun. harmonized this melody three times in the St. Matthew Jesus tells his disciples that he is going to Jerusalem where Passion is proof of its timeless beauty. he will be crucified. Now this chorale. 5. Text: Johann Heermann (1585-1657) was born 100 years Text before Bach. Five of his older siblings had died, and as a child he fell gravely ill. His mother prayed that if he should Here follows an 1899 metrical rhyming translation (loosely recover, she would educate him for the ministry. This she did, from the German) by the Englishman, Robert S. Bridges. though it required her to borrow the tuition. Heermann lived Three of these stanzas, the most enduring of Heermannʼs through the devastating Thirty Years War, many accidents, original fifteen, are used in the St. Matthew Passion. The and plagues; he was often made homeless, and more than present harmonization sets the first (in red). once nearly lost his life to sabers and bullets. In contemporary publication his poetry was sometimes headed: Ah, holy Jesus, how hast Thou offended, “Songs of Tears in the time of the persecution and distress of That man to judge Thee hath in hate pretended? Pious Christians.” By foes derided, by Thine own rejected, The present poem was first published in 1630, in a O most afflicted. collection called “Music of a Devotional Heart” (“Devoti Musica Cordis”). In the St. Matthew Passion Bach employs Who was the guilty? Who brought this upon Thee? three of its fifteen stanzas, originally published under the Alas, my treason, Jesus, hath undone Thee. banner: “The Cause of the bitter sufferings of Jesus Christ, ʼTwas I, Lord, Jesus, I it was denied Thee! and consolation from his love and grace, from Augustine.” As I crucified Thee. the title implies, the poet found inspiration in St. Augustineʼs Meditations, with related thoughts from St. Anselm and St. Lo, the Good Shepherd for the sheep is offered; Gregory. And what is that cause of Jesus' bitter suffering? The slave hath sinned, and the Son hath suffered; The second stanza has the answer. For manʼs atonement, while he nothing heedeth, God intercedeth. For me, kind Jesus, was Thy incarnation, Thy mortal sorrow, and Thy lifeʼs oblation; Thy death of anguish and Thy bitter passion, For my salvation.

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