Matte house passion (brook)

Auszug aus Bachs überarbeiteter Partitur von 1736
excerpt made of brook of revised score of 1736

table of contents


the matte house passion, BWV 244, is a oratorische passion of Johann Sebastian brook, which has a suffering and a dying Jesu Christi after the gospel to matte house to the topic. The matte house passion and the Johannespassion are the two only completely received authentic passion works of brook. The matte house passion is also over three hours of performance duration of brook most extensive work. It places free of doubtsa high point of its work and is at the same time one of the most important abendländischen works of the religious music.


the piece was written for two “choirs”, those in each case from singing voices (Sopran, alto, tenor, bass) and instruments (2 block or Traversflöten, 2 oboes, 2 Violinstimmen, viola, Basso continuo) exist. In the today's linguistic usage one would speak orchestras” of “double choir and -.
In the sentences 1 and 35 additionally a Soprano is required in ripieno; for its occupation there is a performance traditionwith boy voices (as contrast to the woman voices in the two choirs), which however in no relationship with the original intentions of brook stands, that anyway in the church excluding Knabensoprane (and/or. falsettierende man voices both for Sopran and alto) used. In of brook own versionsthe work this voice was taken over also by an organ.

The matte house passion plans the following solo portions:

it give airs for all being correct situations, which are differentiated after Chorus I or II.

sources of text

the text is based on the one hand on that 26. and 27. Chapter of the EH gelists matte house and on the other hand on the baroque seals of Christian Friedrich Henrici (spades other mentioned).

The work consists the lecture of approx. of a somewhat shorter first part and a more extensive second part, between those at brook times. duration one held for one hour.

structure and symbolism

the work unfold a fantastic stereophoneEffect by the double plant of choir and orchestra, with which the choirs lead a dialogue often with one another. Exemplary for this the overwhelming initially and Schlusschorus are to be mentioned in particular in each case. Between them there are often long, kontemplative airs, those suffering Jesu internal. Between Rezitativen, Choirs and airs are altogether fourteen Choräle trained, which refer to the dramatic high points of the action. A central role plays thereby the Choral O head fully blood and wounds of Paul Gerhardt, who rings out altogether five times with different Strophen and harmonizations.

Inthe matte house passion works brook often with musical symbols. Thus for instance with the Rezitativen the text Jesu is always accompanied high retaining notes that by long, strike ago, which symbolize the Göttliche. Acting humans however are only under-painted by the general bass. Only as Jesus at the cross thoselast words it speaks, grows silent the caper instruments with which brook the people becoming Jesu symbol light.

There are numerous investigations, which believe to recognize in particular pronounced zahlenmystische elements in the passion, however might at least some of them on pure coincidences be based.

emergence and history thatMatte house passion

it is disputed whether the matte house passion originates from the year 1727 or 1729. It stands in relationship with the mourning music BWV 244a (for prince Leopold of notion Köthen, performance to 24. March 1729). It is unclear whether the Trauerkantate Parodievorlage or the Parodie is to BWV 244.Secured it is only that the matte house passion to 15. April 1729 (Karfreitag) was specified in the Leipziger Thomas church under brook line. Brook revised parts of the work in later years twice, last 1736. Not considered during brook lifetimes the matte house passion and even because oftheir „a operaful “character met with hostility by the representatives of the Pietismus within the Evangelist church and the Leipziger citizenry. With the reperformance of the matte house passion at the 11. March 1829 by Felix Mendelssohn Bartholdy with the singing academy to Berlin introduced these in Germany one brook Renaissance. In 20. Centurydeveloped numerous, most different photographs with considerable conductors and artists (among other thingsWilliam Furtwängler, Karl judge, Nikolaus Harnoncourt, Gustav Leonhardt, clay/tone Koopman, Helmuth Rilling, George Solti, John Eliot servant), who points the large spectrum of interpretation possibilities out.

To the mendelssohnschenTo performance see the article over Felix Mendelssohn Bartholdy.

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