By John Stanton (Bass in The Bach Choir)
The St Matthew Passion and religion are deeply connected – but can you still appreciate this work as a non-religious person? Our tenor John Stanton delves into that subject in this article…
What are Bach’s standout works?
Though one of the most prolific composers in history, there are certain works composed by Johann Sebastian Bach that stand out as immediately familiar. The Brandenburg Concertos; the Well-Tempered Clavier; the Mass in B minor; the Partitas, to name just a select few. At the very pinnacle of Bach’s musical achievements, however, are the two surviving passions: the St John Passion, composed for Good Friday in 1724, Bach’s first year in Leipzig, and the St Matthew Passion, composed for the same feast three years later.
St Matthew Passion – Bach’s best?
Though both immense works, for choir, orchestra and various soloists, the St Matthew Passion is a work of such scale that it dwarfs even its older sibling. Double choir, each with its own continuo, double orchestra, a ripieno chorus, and six soloists make for impressive forces, whilst a wealth of arias, recitatives, chorales, and choruses present the work in different strands. The choir provide the crowd scenes; the Evangelist and Christ provide the narration; and the soloists provide the reflection. It is no surprise that, almost 300 years since its composition, the work is still performed so much.
A 93-year tradition from one of London’s oldest choirs
One performance, which takes place every year, however, holds a very special place on the classical music calendar – The Bach Choir’s annual presentation of the St Matthew Passion at the Royal Festival Hall in London every Palm Sunday. Formed in 1876 to give the first performance in the UK of Johann Sebastian Bach’s Mass in B minor, The Bach Choir has a rich history with the privilege of calling many an eminent musician its Musical Director. A thread that runs throughout that history, though, or at least part of it, is the annual performance of the St Matthew Passion in English. With the exception of 2020 and 2021, The Bach Choir has performed the work every Passiontide since 1930, the tradition conceived by Sir Adrian Boult during his short tenure as Musical Director. The work, then, is embedded within The Choir’s DNA and it holds a special place in the hearts of its members.
The piece’s religious significance
The Passion was, of course, composed for a religious feast – one of the most sacred in the liturgical year – and it is impossible to ignore the way in which Bach’s music, coupled with Picander’s libretto, brings this to life. From the spine-tingling alto aria, Have mercy, Lord, on me (Erbarme dich, mein Gott), to the chilling chorale – Be near me, Lord, when dying, O part not Thou from me! (Wenn ich einmal soll scheiden) – that follows the Evangelist’s proclamation of Jesus’ death, the music is married with both the libretto and the biblical story in a deeply moving and suitable way.
Bach also presents the biblical text in ways that are not immediately obvious. Take tenor recitative, My Jesus is silent at false lies (Mein Jesus schweigt zeu falschen Lügen stille), for example. This comes at a point in the Passion when Jesus has just been condemned to die and he has remained silent in response to the accusations made against him. The recitative is presented in just 10 bars and is accompanied by 39 detached chords on the viola de gamba. This is widely thought to symbolise Psalm 39, verse 10, which states “[r]emove your scourge from me; I am overcome by the blow of your hand”.
A personal view
As a Christian, the significance of the story and the events it portrays is something of which I am acutely aware. Indeed, many audience members regard The Bach Choir’s performance as something of an annual pilgrimage. For me, though, and my faith notwithstanding, the work is defined by its exquisite music and our performance by the privilege of sharing the stage with such musical talent.
Why Bach’s St Matthew Passion transcends religion
Despite the liturgical and religious foundations to the St Matthew Passion, The Bach Choir’s yearly performance of the work is inherently secular: it is performed in the concert hall, rather than in a church or cathedral, and it is presented as a concert in its own right, rather than as part of any liturgical event. This is distinct from the setting for which Bach initially composed the Passion. Initially designed to form part of Good Friday worship, its two parts would have been broken up by a sermon (which The Bach Choir replaces with a very welcome lunch break!) The Bach Choir’s performance in this setting attracts not only those who acknowledge the religious and spiritual value of the work, but also those who appreciate its musical sublimity, the exquisiteness of the libretto, and the way in which Bach so expertly marries the two together to give us a timeless work that transcends religion(s), beliefs, and priorities. The St Matthew Passion is, before anything else, a work of art; one that it is the immense privilege of The Bach Choir to refresh and perform every year.