Part Two shows three scenes, one with Pontius Pilate, one at Golgatha, and the third finally at the burial site. The first scene is in the Kidron Valley, and the second in the palace of the high priest Kaiphas.
Models are the Brockes Passion and a Johannes-Passion by Christian Heinrich Postel. The compiler of the additional poetry is unknown. īach followed chapters 18 and 19 of the Gospel of John in the Luther Bible, and the tenor Evangelist follows exactly the words of that bible. The smaller parts (Peter, Maid, Servant) are sometimes performed by choir members. Some tenors sing the Evangelist – a very demanding part – and the arias. In present-day performances the part of Jesus is often given to one bass soloist, Pilate and the bass arias to another. For special colors Bach also used lute, viola d'amore and viola da gamba, instruments that were already old-fashioned at the time. The St John Passion is written for a four-part choir with soloists, as well as an instrumental ensemble of strings and basso continuo with pairs of flauti traversi and oboes, the latter both doubling on oboe da caccia. The council made the arrangements requested by Bach regarding the harpsichord and space needed for the choir. The council agreed and sent a flyer announcing the new location to all the people around Leipzig.
He also asked that the harpsichord be repaired. Nicholas Church, where he planned to place the musicians needed to perform the music. Nicholas Church,īut pointed out that the booklet was already printed, that there was no room available and that the harpsichord needed some repair, all of which, however, could be attended to at little cost but he requested that a little additional room be provided in the choir loft of St. Bach quickly agreed to their desire to move the service to St. Nicholas Church, shortly after Bach's 39th birthday. Thomas Church in Leipzig, but due to a last-minute change by the music council, it was first performed on Good Friday (as observed by German Protestants) of 1724 in the St.
Originally Bach intended that the St John Passion would be first performed in the St. " O Mensch, bewein dein Sünde groß", a 1725 replacement for the opening chorus, found a new home in the 1736 St Matthew Passion but several arias from the revisions are found only in the appendices to modern editions. Bach first performed the oratorio in 1724 and revised it in 1725, 1732, and 1749, adding several numbers. The work is most often heard today in the 1739–1749 version (never performed during Bach's lifetime). Compared with the St Matthew Passion, the St John Passion has been described as more extravagant, with an expressive immediacy, at times more unbridled and less "finished". The anonymous libretto draws on existing works (notably by Barthold Heinrich Brockes) and is compiled from recitatives and choruses narrating the Passion of Christ as told in the Gospel of John, ariosos and arias reflecting on the action, and chorales using hymn tunes and texts familiar to a congregation of Bach's contemporaries. The structure of the work falls in two halves, intended to flank a sermon. It was written during his first year as director of church music in Leipzig and was first performed on April 7, 1724, at Good Friday Vespers at the St. The Passio secundum Joannem or St John Passion (German: Johannes-Passion), BWV 245, is a Passion or oratorio by Johann Sebastian Bach, the older of the surviving Passions by Bach. First page of the autograph: Passio secundum Joannem
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