This is the first of five appearances of the famous Passion Chorale. With words written by Paul Gerhardt in 1656, this melody runs through the Passion like a leitmotiv. This is stanza 5, and Bach sets it here in the high key of E major, the 4 sharps giving it a bright and innocent feel. The harmony is simple, clear, without dissonance, and all of the cadences are securely resolved. The connection to the events is made in the word Hüter (shepherd). Christ is portrayed here as a shepherd.
15 |
Chorus Chorale |
Erkenne mich, mein Hüter |
Recognise me my shepherd |
Here we have Peter’s two protests, angrily making the claim that he will never deny Christ. The second, as if to emphasise his point, is set to a higher, quicker and more agitated phrase, accompanied by short, terse chords in the continuo.
16 |
Evangelist Peter |
Petrus aber antwortete und sprach zu ihm: “Wenn sie auch alle sich an dir ärgerten, so will ich doch mich nimmermehr ärgern.” |
Peter answered and said unto him: “Though all men shall be offended because of thee, yet will I never be offended.” |
Evangelist Jesus |
Jesus sprach zu ihm: “Wahrlich, ich sage dir: In dieser Nacht, ehe der Hahn krähet, wirst du mich dreimal verleugnen.” |
Jesus said unto him: “Verily I say unto thee, that this night, before the cock crow, thou shalt deny me thrice.” |
|
Evangelist Peter |
Petrus sprach zu ihm: “Und wenn ich mit dir sterben müßte, so will ich dich nicht verleugnen.” |
Peter said unto him: “Though I should die with thee, yet will I not deny thee.” |
|
Evangelist |
Desgleichen sagten auch alle Jünger. |
Likewise also said all the disciples. |
In this, the second appearance of the Passion Chorale (see no 15), Bach chooses a lower key with flats. The harmony is the same, but, with the change of key, the chorale has a much more serious feel as the chorus of believers make their personal avowal to stand by Christ. This is stanza 6 of Geerhardt’s original hymn.
17 |
Chorus |
Ich will hier bei dir stehen; |
Here I will stand by you |
This recitative, which begins the final scene of the first part, is set in the Garden of Gethsemane. The Evangelist, who so far has been limited to the role of narrator, now begins to become more emotionally involved. On the word trauern (to be sad) for the first time the Evangelist is permitted a little melisma, and we hear again the falling phrase, which characterises grief, coupled with a falling augmented fourth. The sense of anguish in Christ’s words is illuminated with heavy, low-pitched repeating chords. The lowest note of all is reserved for the word Tod (death), painted here in a particularly dark tonal colour.
18 |
Evangelist Jesus Evangelist Jesus |
Da kam Jesus mit ihnen zu einem Hofe, der hieß Gethsemane, und sprach zu seinen Jüngern: “Setzet euch hie, bis daß ich dort hingehe und bete.” Und nahm zu sich Petrum und die zween Söhne Zebedäi, und fing an zu trauern und zu zagen. Da sprach Jesus zu ihnen: “Meine Seele ist betrübt bis an den Tod, bleibet hie und wachet mit mir.” |
Then cometh Jesus with them unto a place called Gethsemane, and saith unto the disciples: “Sit ye here while I go and pray yonder.” And he took with him Peter and the two sons of Zebedee, and began to be very sorrowful and very heavy. Then saith he unto them: “My soul is exceeding sorrowful, even unto death, tarry ye here and watch with me.” |
Commentary by Peter Parfitt © Aberdeen Bach Choir 2012
