![]() The text tells the story on its own, but it's Bach's (often hidden) techniques that bring the music to life.ĭiscover more about JS Bach and his music here. ![]() While the words speak for themselves, telling the all-important Easter story, Bach's multiple layers of musical meaning in both the St John and St Matthew Passions mean it's possible to enjoy the music on a number of levels. As the St Matthew rabble call for Barabbas to be freed condemning Jesus to death, listen out for the spine-tingling cluster chord - it sounds scary regardless, but those in the know might have recognised it as a specific musical device, known as the 'devil in music'. Other important words like 'tears', 'death', and 'crucified' are also highlighted so they stand out from the text. Now the Biblical text could be understood, Bach made sure it was brought to life by his music: in both settings, on words like 'wept bitterly', Bach emphasises the text by making the music sound like uncontrollable weeping - musically, of course. Worship, which used to be in Latin, was now in German - a language understood by the entire congregation. And listen out for the cello's close relative, a viola da gamba, at the start of 'Es ist Vollbracht': Bach used this instrument to symbolise comfort for those who mourn. In the St John Passion, after Jesus dies, the soprano sings 'Zerfliesse, mein Herz', which Bach sets in the unusual key of B flat minor to highlight the singer's grief. In the St Matthew Passion, the strings play a long high chord whenever Jesus sings, setting his singing apart from the other singing like a musical 'halo'. When the congregation weren't singing, Bach made sure the overarching mood of the story was represented in the music - and he had a remarkable number of tricks up his sleeve, using different instruments and key signatures to highlight the different characters and emotions. Listen to 'O grosse Lieb, o Liebe ohn' alle Masse' from the St John Passion, or, in fact, 'Herzliebster Jesu, was hast du verbrochen' from the St Matthew - it's the same tune, only with different words, making it easier for the congregation to sing. 10) and a toccata, a chance for virtuoso. Bach even uses the same hymn tunes in both Passion settings. Alongside these in each group of three, Bach places a free-form piece, often dance-like or in a ‘genre’, such as a Gigue (no.
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