In this piece, the instruments bring a touching vulnerability to the performance. The combination of flute and oboes is uniquely beautiful. The intimacy of this St. Matthew Passion is reinforced by the size of the choruses. Originally the St. Mathews passion employs two mixed choruses, two orchestras, and another group of boy singers for the preexisting melody used as the basis of a polyphonic composition for the first chorus.

The St. Mathews passion represents the climax of Bach’s music for the protestant church.This piece is a setting of the Passion story from the Gospel of St. Matthew and was first performed on Good Friday. The gospel of St. Mathew allowed Bach to express his own fervent devotion to Jesus here.

While Bach was working on this piece, news had reached him that his dear former patron prince Leopold of Anhalt-Cothen had suddenly passed away, and was expected to perform music for the memorial service the following spring.  Bach saw that part of his sublime new work seem to be the appropriate piece for this event. Something I found very interesting about this piece is that Bach composed the St. Mathews Passion not as an independent oratorio, but to be heard in a specific liturgical context.The ariosos, arias, and choruses convey the emotions of the unfaithful watching the unfolding of the imposing drama.

A distinguishing factor I liked about this piece compared to his St. Johns passion I also listened to, was the indication of great importance Bach attached to it in terms of the vast musical forces needed to perform it.

I don’t think there was any information that i wished I had known before seeing the concert. However, I think biography and history matters when listening to a piece of music because, studying the Biography of composers can give a better understanding of the chronology of compositions, as well as influences on style and works. In addition, it can also provide important background to the interpretation by performers or listeners of a piece of music.

Sources: Bach, The Culmination Of An Era. Edited by Karl Geiringer in collaboration with Irene Geiringer. New York: Oxford University Press, 1966