Johann Sebastian Bach St. Matthew Passion

Arrangement with one orchestra only (arr. D. Sourisse) BWV 244 (BWV3 244.2), 1727 (ca.) / 2020

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As well as soloists and double choir, Bach’s “great Passion” calls for two complete orchestras. That posed problems even for Bach: he could only perform this Passion in Leipzig St Thomas Church – there simply was not enough space in St Nikolai! The same applies today to many choirs, quite apart from the financial expense of the double orchestra.

In this arrangement, Dominique Sourisse combines the two orchestras, and has endeavored to retain the double-choir effect with individual solutions without ever resorting to the formulaic. With the alternative solutions offered in some movements, it is possible to perform the work with just single strings.

All the vocal parts (soloists and chorus) are unaltered in the arrangement, so that the vocal scores and choral scores from the original version can be used.


Original VersionArrangement for one orchestra
Soli, Coro SATB/SATB, Soprano in ripieno (Cantus-firmus-Chor für Sopran), 2 Orchester: I: 2 Blfl, 2 Fl, 2 Ob/2 Obda, 2 Obca, 2 Vl, Va, Vc/Cb, Vga, Org obl.; II: 2 Fl, 2 Ob /2 Obda, 2 Vl, Va, Vg, Vc/Cb, Org obl
Soli, Coro SATB/SATB, Soprano in ripieno, 2 Bfl, 2 Fl, 2 Ob / Obda / Obca, Fg, 2 Vl, Va, Vdg, Org
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  • Text: Holy Bible according to Matthew 26 & 27; Christian Friedrich Henrici alias Picander
    Translation: Henry S. Drinker

    Prima parte

    1. Coro (I+II) con Corale (Soprano in ripieno)

    Come, ye daughters, share my wailing,
    see ye! – Whom? – the Bridegroom see!
    see him, – How? – a Lamb is he,
    Soprano in ripieno:
    O Lamb of God unspotted
    upon the cross thou art slaughtered.

    Look ye, – What? – how patient he.
    See ye him, for love of me
    he himself his cross must carry.

    See – Ah, where? – how guilty we,
    Serene and everpatient
    Tho’ scorned and cruelly tortured.

    All sin for our sake bearing,
    else would we die despairing.
    Have pity on us, O Jesus!

    2. Evangelista, Jesus (I)

    Evangelist:
    When Jesus then had finished with all
    ...
  • Prima parte

    1. Coro (I+II) con Corale (Soprano in ripieno)

    Kommt, ihr Töchter, helft mir klagen,
    sehet – Wen? – den Bräutigam,
    seht ihn – Wie? – als wie ein Lamm!
    Soprano in ripieno:
    O Lamm Gottes, unschuldig
    am Stamm des Kreuzes geschlachtet,

    sehet, – Was? – seht die Geduld.
    allzeit erfunden geduldig,
    wiewohl du warest verachtet.

    Seht – Wohin? – auf unsre Schuld;
    All Sünd hast du getragen,
    sonst müssten wir verzagen.

    Sehet ihn aus Lieb und Huld
    Holz zum Kreuze selber tragen!
    Erbarm dich unser, o Jesu!

    2. Evangelista, Jesus (I)

    Evangelist:
    Da Jesus diese Rede vollendet hatte, sprach er zu seinen Jüngern:
    Jesus:
    Ihr wisset, dass nach zweien Tagen Ostern
    ...
  • Text from the CD Carus 83.286

    Andreas Glöckner
    Translation (abridged): David Kosviner

    Bach’s “great Passion”

    Many aspects relating to the genesis of the St. Matthew Passion are still unresolved. Only one performance can be documented with certainty: it took place during the Good Friday Vespers in 1736. There was, most probably, a further performance in 1742. There is substantial evidence in support of two preceding performances (in 1729 and 1727), but we cannot be absolutely certain. It is probable that the events leading up to the Passion go back even further than we already supposed: Perhaps already in 1726 Bach intended to compose a work before he decided (apparently too late) to re-perform the St. Mark Passion that has been mistakenly attributed to Reinhard Keiser. Also, in the previous year (1725), there was an attempt to write a Passion composition which came to naught, probably due to the withdrawal of the librettist. (Had Bach at that time already planned to compose a Passion according to the Evangelist Matthew?) Apparently he decided at short notice to perform his St. John Passion again, which had been performed in 1724, but with far-reaching changes to the

    ...
  • Booklet-Text der CD Carus 83.286

    Andreas Glöckner

    Bachs „große Passion“

    Die Entstehung der Matthäus-Passion ist in vielerlei Hinsicht noch ungeklärt. Wirklich gesichert ist nur eine Aufführung in der Karfreitagsvesper 1736, sehr wahrscheinlich zudem eine weitere im Jahre 1742. Für zwei vorangegangene Darbietungen (1729 und 1727) sprechen stichhaltige Indizien, ohne dass wir absolute Gewissheit darüber haben. Wahrscheinlich ist die Vorgeschichte der Passion aber noch älter, als wir bislang angenommen haben: Bereits 1726 hatte Bach vielleicht ein eigenes Werk komponieren wollen, bevor er sich (scheinbar erst spät) zur Wiederaufführung der irrtümlich Reinhard Keiser zugeschriebenen Markus-Passion entschied. Und im Jahr zuvor (1725) war der Versuch, eine Passionsmusik zu komponieren, wohl durch den Ausfall des Textdichters gescheitert. (Hatte Bach bereits zu jener Zeit eine Passion nach dem Evangelisten Matthäus geplant?) Offenbar erst kurzfristig entschloss er sich zur nochmaligen Aufführung seiner schon 1724 musizierten Johannes-Passion, wobei er das Werk weitreichend veränderte.

    Im Frühjahr 1729 stand Bach vor der enormen

    ...
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Purchase
full score, Foreword in German and English Carus 31.244/50, ISMN 979-0-007-26195-5 264 pages, paperback
available
124,00 € / copy
set of parts, complete orchestral parts, on loan, also available in digital form Carus 31.244/69 23 x 32 cm, without cover
  • 1 x set of parts, harmony parts, on loan, flute 1, flute 2, oboe 1, oboe 2, recorders 1 and 2, bassoon (31.244/59)
     
    4 x individual part, violin 1, on loan (31.244/61)
     
    4 x individual part, violin 2, on loan (31.244/62)
     
    3 x individual part, viola, on loan (31.244/63)
     
    4 x individual part, basso continuo, on loan (31.244/64)
     
    1 x individual part, viola da gamba, on loan (31.244/65)
     
    2 x individual part, organ, on loan (31.244/99)
     
text (without music) for download, html file, Introductory text, German Carus 31.244/00-310-000
available
25,00 € / copy
text (without music) for download, html file, Introductory text, English Carus 31.244/00-320-000
available
25,00 € / copy
text (without music) for download, html file, Singing text, english translation Carus 31.244/00-360-000
available
8,00 € / copy
text (without music) for download, html file, Singing text, original Carus 31.244/00-380-000
available
5,00 € / copy
full score digital (download), pdf file Carus 31.244/50-010-000, ISMN 979-0-007-29942-2 264 pages
available
111,60 € / copy
set of parts (digital), zip file, pdf file, complete orchestral parts, on loan Carus 31.244/69-010-000
  • 1 x set of parts (digital), zip file, pdf file, harmony parts, on loan (31.244/59-010-000)
     
    1 x individual part, pdf file, violin 1, on loan (31.244/61-010-000)
     
    1 x individual part, pdf file, violin 2, on loan (31.244/62-010-000)
     
    1 x individual part, pdf file, viola, on loan (31.244/63-010-000)
     
    1 x individual part, pdf file, basso continuo, on loan (31.244/64-010-000)
     
    1 x individual part, pdf file, viola da gamba, on loan (31.244/65-010-000)
     
  • Johann Sebastian Bach is one of the most important composers of Western music history. He came from a widely ramified musical dynasty, which produced numerous musicians and organists in the Thuringian-Saxon area.

    Bach vocal

    Ever since Carus-Verlag was founded in 1972, publishing the music of Johann Sebastian Bach has been a special focus for us. In the 2017 Reformation anniversary year we completed the Bach vocal project. Bach's complete sacred vocal works are now available in modern Urtext editions, together with performance material. A complete edition of all the full scores is also available in a high quality box set. Personal details

Reviews

Eine sehr plausible Rekonstruktion, die in der Praxis eine wunderbar schöne und prächtige Weihnachtskantate aufführbar macht.

CHORaktuell, Dezember 2022 Nr. 178

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writes
We performed this arrangement of the St Matthew Passion on Palm Sunday 2022. The performance was received with great enthusiasm, no one in the audience really noticed that there was no orchestra. My amateur orchestra played very well. All the musicians had to play a lot more, which is a big challenge for a work of this duration. In these corona times, it was very good not to have an orchestra of 40 musicians, but only 20. As a conductor, I did miss the rich sound in the orchestra, e.g. in the opening chorus, but this is compensated for by the transparent chamber music sound. All in all, highly recommended, even if you don't have the means to pay for a full orchestra. The balance between choir and orchestra was excellent, at our performance we had a chamber choir of about 40 singers. The sheet music is easy to read, and the digital edition means that anyone can play or sing from a tablet.
*This review was submitted in another language and has been translated for you.

Frequent questions about this work

Are two organists necessary for performing the music piece?

The orchestral material contains the organ part of the original version, which, depending on the make-up of the ensemble, can be played by one or two instrumentalists. In this connection, the alternation and tonal contrast between organ and harpsichord can also be attractive. If only one instrumentalist is playing, he/she can also transfer the second organ part to the first one.
Yes, it's possible to perform this version with modern or historical instruments.
No, the string parts of the original version cannot be used for the arrangement. These parts have been newly arranged.
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