Bach: Matthew Passion

Cards (9)

  • Movement 1, Chorus:
    G major tonality: The Children's chorus sings a chorale melody in G major throughout, which conflicts with the prevailing minor key of much of the other music
    Ritornello form: lots of dialogue between the two choirs
  • Movement 21, Chorale:
    Chorales served the purpose of involving the congregation in the music; everyone would join in with singing the melody- originally a popular song
    Major and minor conflict: phrases alternate between major and minor keys
  • Movement 25, Arioso with chorale:
    Soloists: The tenor soloist plays the part of Peter- in the recitative prior to this, Christ has foretold of Peter's betrayal
    Semiquavers in the continuo: Echo the idea of a 'throbbing heart' in the text
    Distinctive three-note 'grief' motif
    Tessitura contrast: Tenor's high tessitura contrasts with the low, deflated tessitura of the chorus
    Disjunct melody: upwards leaps in the melody emphasises important words
    Arioso
  • Movement 33, Aria with chorus:
    No bass at start: viola plays lowest line- bassetto texture creates an innocent, heaven-bound mood
    Long melisma in the bass: word paint 'thunder'
    Aria with chorus, but not a da capo aria: to repeat the opening section would interrupt the flow of the story
    Palindromic tonal structure in the chorus: Example of Bach's mastery of counterpoint and musical organisation
  • Movement 34, Recitative:
    Sustained string chords when Christ sings: persists throughout the movement and acts as a musical halo- the only time Christ's halo is missing is much later in the story when he speaks his final words on the cross
    Unexpected modulation at the end: Christ finishes with a perfect cadence in A major, but the Evangelist continues narration in C sharp minor
  • Movement 47, Aria:
    Violin obbligato: Used in arias connected to Judas' betrayal and Peter's denial
    Aria: again not da capo, wanting to continue the flow of the story
  • Movement 63, Chorale:
    Higher key: creates the feeling of anguish: at this point in the story, Christ has been crowned with thorns- relays the emotion of the story to the listener.
    Passing notes and Chromatic chords: the clashing of notes further emphasises the feeling of anguish, tragedy and betrayal
  • Movement 72, Chorale:
    Sung immediately after Christ's death- provides a sombre commentary by being reharmonised in the Phyrgian mode, along with being lower in pitch and including even more chromaticism
  • Movement 78, final chorus:
    • 'weeping' pairs of descending quavers: featured in the vocal and orchestral parts, relay a sense of anguish and sobriety
    • Final chord major seventh appoggiatura: pungent chord that adds to the atmosphere of mourning that the piece is trying to recreate
    • Ternary-form chorus finishes the Passion