The St Matthew Passion, (also frequently St Matthew's
Passion) BWV 244, (German: Matthäus-Passion), is a
sacred oratorio from the Passions written by Johann
Sebastian Bach in 1727 for solo voices, double choir
and double orchestra, with libretto by Picander
(Christian Friedrich Henrici). It sets chapters 26 and
27 of the Gospel of Matthew (in the German translation
of Martin Luther) to music, with interspersed chorales
and arias. It is widely regarded as one of the
masterpieces of classical sac...(+)
The St Matthew Passion, (also frequently St Matthew's
Passion) BWV 244, (German: Matthäus-Passion), is a
sacred oratorio from the Passions written by Johann
Sebastian Bach in 1727 for solo voices, double choir
and double orchestra, with libretto by Picander
(Christian Friedrich Henrici). It sets chapters 26 and
27 of the Gospel of Matthew (in the German translation
of Martin Luther) to music, with interspersed chorales
and arias. It is widely regarded as one of the
masterpieces of classical sacred music. The original
Latin title Passio Domini Nostri J.C. Secundum
Evangelistam Matthaeum translates to "The Passion of
our Lord J[esus] C[hrist] according to the Evangelist
Matthew." It is also rendered in English as St. Matthew
Passion and in German as Matthäuspassion.
Although Bach wrote four (or five) settings of the
Passions only two have survived; the other is the St
John Passion. The St Matthew Passion was probably first
performed on Good Friday (11 April) 1727 in the
Thomaskirche in Leipzig, where Bach was the Kantor of
the School and Directoris Chori musici of Leipzig. He
revised it by 1736, performing it again on 30 March
1736, this time including two organs in the
instrumentation. He further revised and performed it
again on 24 March 1742. Possibly due to the second
organ being under repair, he switched the continuo
instrument to harpsichord in Coro II, reinforced the
continuo group in Coro II with a viola da gamba, and
inserted a ripieno soprano in both movements 1 and 29.
There is evidence of a further revision in 1743–1746,
when the score as we know it originated, but no
performance.
Although this Aria "Blute nur, du liebes Herz!" ("Bleed
on, dear heart!") was written for Chorus and period
Instruments, I created this arrangement for Flute &
Concert (Pedal) Harp.
PARTITION