Dunedin Consort - JS Bach Matthew Passion (BWV 244) (Final performing version, c. 1742) Studio Masters

Bach's Matthew Passion

The Passion story was represented in a musical-dramatic tradition well before the invention of opera and oratorio. But it was only a matter of time before these later dramatic genres would cross-fertilize with the earlier traditions. This began to happen towards the end of the seventeenth century as librettists and composers increasingly embellished the Gospel texts with free arias, meditations and demanding obbligati. Many composers sought to capitalize on the operatic conventions that congregations would have experienced in the world of secular entertainment. Nevertheless, the Passion in oratorio style did not arrive in Leipzig until 1717 (at the modish Neue-Kirche), and the ageing Johann Kuhnau did not introduce an Oratorio Passion at the Cantorate of the Thomasschule until 1721, thus shortly before Bach himself came to Leipzig (1723). So, one of the greatest ironies about Bach's Passions is that their original audiences were far less familiar with the genre than we are; moreover - as is the case with all Bach's most celebrated music - we might have heard them many more times than did the original performers or even Bach himself.

Bach's Passions were performed during the afternoon Vesper service on Good Friday, their two parts replacing the cantata and Magnificat which were normally presented on either side of the sermon. Like Bach's cantatas, the Passions assimilate something of the sermon's function, since the free poetry of the arias, ariosos and framing choruses provide both a commentary and an emotional interpretation of the biblical text in the world of the listener. This is something quite different from the function of an aria in opera, which normally develops a specific character within the represented world. But it is not difficult to understand some of the complaints about the new Passion genre from congregations in Lutheran Germany; Passions do, after all, borrow liberally from secular conventions such as dance and, particularly, opera.

Particularly striking in the construction of both the free poetry (by the Leipzig poet, Christian Friedrich Henrici, or ‘Picander') and Bach's musical setting is the emphasis on dialogue form - necessitating the performing format of double chorus and orchestra. This rhetorical device allows for contrasting or even opposing moods to be presented simultaneously (e.g. ‘So ist mein Jesus nun gefangen'/‘Laßt ihn, haltet, bindet nicht!'), complementary viewpoints (‘Ach, nun ist mein Jesu hin'/‘Wo ist denn dein Freund hingegangen') or a dialogue between a single speaker and a group (‘Ich will bei meinem Jesu wachen'/‘So schlafen unsre Sünden ein'). All of these devices serve to personify the various ‘voices' within a single listener, acting out one's own reactions and conflicts.

The most impressive of the dialogue numbers is the opening chorus, which sets out some of the topics that the meditative numbers are to cover; indeed it seeds several words that open later arias. It is cast as a dialogue between Christian believers and ‘the Daughter of Zion' (one of the allegorical personages from the Song of Songs, reinterpreted as contemporary witnesses to Jesus's suffering). The theme of Solomon's love is recast in a Christian context with Jesus as the loving bridegroom and the church as his bride. A third element is introduced with the German chorale on the Agnus Dei, ‘O Lamm Gottes, unschuldig', sung by ripieno sopranos. Christ is thus portrayed as an innocent sacrificial lamb, an image that points towards the Apocalypse when Christ as a lamb rules the New Jerusalem, a bridegroom to the (‘feminine') community of all believers. In the work as a whole, Bach spun a dialogue between Old and New Testaments, between these and the Lutheran tradition (e.g. the traditional chorales) and between all these and the believer of his own time. It may well be that this sense of continual conversation is what has rendered this work so durable in later contexts, drawing in the listener to continue the conversation, whether within or without the Christian tradition.

Bach shared something of the encyclopaedic urge of his age, and compiled virtually every possible musical form available: recitatives (accompanied and secco), arioso, aria (including dance and concerto elements), chorales, chorale fantasias, choruses and motets. Together with two elements unusual in Bach's works - the doubled forces and the string ‘halo' for Christ's utterances - these render it even more ambitious than his more brutally immediate John Passion.

With its unfolding levels of symbolism, theological interpretation and - most striking of all - psychological insight, the Matthew Passion is perhaps the most challenging and ambitious artwork on a Christian subject. It is thus not entirely surprising that Bach seems to have spent considerable time and care in preparing the work. He possibly began writing it as early as 1725 but clearly did not finish or perfect it in time for the Good Friday performance (the John Passion had to be repeated). Bach did not present the Matthew Passion until 1727 and recast it in its most familiar form in 1736. This recording is the first to present the work with Bach's final revisions of scoring, as performed around 1742.


Vocal Scoring

The debates about Bach's vocal scoring have endured for over a quarter of a century. There is thus no need to repeat here the details of the thesis that Bach performed the majority of his choral works with a single voice to each part (as first proposed by Joshua Rifkin, on the basis of the surviving sets of performance parts). Indeed, there have been several successful performances and at least one recording of this Passion with this scoring.

The details of the debate notwithstanding, it is striking how well the Matthew Passion, in particular, is served by using eight principal voices (thus four in each of the two choirs). The work explores many forms of dialogue, as if to draw the listener into a conversation that occurs in real time. Not only are there the sections written in genuine double-choir texture, but there are several other combinations, such as one voice against four, or a dialogue between two singers in the first choir that becomes part of a larger dialogue with the four singers of the second choir. When all eight voices come together for certain choruses and all the chorales, the effect is quite different from performances in which the voices of each choir are already massed. The solo scoring also allows for a form of expression and delivery that is more commonly associated with solo singing than choral performance. When these voices come together as disciples or those baying for Jesus's blood, we hear them as individuals constituting a group rather than simply as a crowd.

Another point to emerge from the vocal scoring is the way the four main singers, and to a somewhat lesser extent, the four singers of choir two, become familiar to us as the piece progresses. Hearing them take several roles, both in the past of the story and in the present of the performance, enhances their actual reality to us. Given the large amount of aria material representing a contemporary response to the story, these singers are sharing our reactions, as observers, while also bringing the past to presence. It is almost as if the essence of the Passion story becomes real in our own time through the intermediary representation of these eight singers, who increasingly seem to belong to us rather than merely to some distant world.

The case of the Evangelist and Jesus is especially significant. In the opening chorus we hear the principal tenor singing as one of the allegorical ‘Daughters of Zion', calling us to lament. Then, by beginning the recitative (now in the third person) he brings a story to life, dipping into the past as a (first person) voice in the chorus, then back into our present in the chorales and his aria (where he promises to ‘stand by Jesus', precisely as he does physically in the actual performance). By going precisely against operatic convention, the moments when he brings personages to presence (including Jesus himself) give us a realism that is all the more striking for its intermittent nature. Indeed, the use of third-person Gospel narrative combined with many other voices, past and present, renders the experience rather more like a novel in sound than a straightforward theatrical representation. The case of Jesus is even more striking, in that the principal bass can also be heard as a human in the present, then as someone who can be either friend or foe to Jesus in the choruses. Towards the end he sings two arias that relate specifically to the human assimilation of Jesus, first at the point where Simon of Cyrene helps carry the cross (thus, literally, the first imitator of Christ), and secondly in the wish to ‘entomb' Jesus in his own heart. Who better then to exemplify the imitation and assimilation of Jesus than the singer who has been taking his role all along?

If the type of realism implied by the scoring of the eight voices is achieved through a sort of anti-theatricality, this is made all the more striking by the way the remaining historical personages are represented in Bach's scoring. These roles are split between three further singers who - according to the layout of Bach's performing parts - play no further role in the performance (not even the chorales; and the two sopranos ‘in ripieno' added to the first and last numbers of Part One seem to sing nothing else in the piece). The highest of the three takes the role of Pilate's wife and both the servant girls; of the two bass parts, one takes the roles of Judas and Priest I, the other the roles of Peter, Pilate, Caiphas and Priest II. Thus, in the course of the performance, these singers seem like disembodied voices from a Palestine long in the past and, consequently, set in relief the consistent presence of the main voices (and specifically the presence of Jesus, who, at least for a Christian, is far more alive in our present than the likes of Judas, Peter or Pilate). Given the difficulty of these short roles and the lack of any vocal preparation, it may well be that Bach expected them to sound awkward and incompetent (an element of historical accuracy we decided not to duplicate in this recording).


Instrumental Scoring

In following Bach's vocal scoring more directly than in most previous performances (even those with single voices) we have also decided to recreate the instrumentation that Bach employed in his last performance of the Matthew Passion. Most significant here seems to be his substitution of a harpsichord for the organ in orchestra two. This has normally been explained by the fact that the second main organ, at the other end of Leipzig's Thomaskirche, had fallen into disrepair. But it is not likely that this instrument could ever have performed a continuo function, given the distance involved, and, in any case, Bach could easily have employed a positive organ for choir two. Given that the harpsichord features in several other late performances by Bach, we might then infer that it was included here to provide a genuine contrast of texture rather than merely to serve as an emergency measure.

Bach also added a viola da gamba to choir two in his last performance, a different part (and, presumably, player) from that of choir one. This is for the tenor 2 recitative and aria (‘Mein Jesus schweigt/Geduld') where the viola da gamba is added to the existing continuo of violoncello and violone (and oboes in the recitative). In other words, the gamba seems to be an addition rather than the substitution that is often assumed. This gives both numbers a rather grittier sonority, perhaps portraying more vividly the taunting against which the beleaguered tenor calls for patience.


Listening in Leipzig

One final aspect of Bach's performance that we have considered here is the way in which the piece may originally have been heard in relation to the libretto available to the congregation. The text survives in a collection of Picander's poetry from 1729, where its layout is entirely compatible with surviving libretti for other Bach vocal works. All that the libretto presents is the text of the free poetry of arias and meditative choruses, each one cued by a reference to the point reached in Matthew's story. Thus the first recitative-aria pair occurs ‘When the woman had anointed Jesus'.

The original listener would presumably have read each aria text while listening to the familiar gospel narrative (interspersed with chorales, which would have been very familiar, but which are not listed in the libretto), drawing each of the fifteen scenes together in the expectation of the meditation to come. We have thus tried to give some sense of the way the work falls into scenes, each culminating in an aria. There are clearly some exceptions to this pattern, such as when the scene is very short (e.g. Judas's betrayal, between the arias ‘Buß und Reu' and ‘Blute nur, du liebes Herz!'), or when the aria seems to burst into the middle of a scene (‘So ist mein Jesu nun gefangen'). Most striking is the way the renewed call for Jesus's crucifixion bursts in at the end of what is arguably the most beautiful aria, relating to Jesus's supreme act of love (‘Aus Liebe will mein Heiland sterben'). Here we get the sense of a scene that has been interrupted by the aria, and the return to brutality is surely one of the most disturbing moments in the history of western music. With the recurrence of the chorus ‘Laß ihn kreuzigen' a tone higher, there is a sense of intensification, but also perhaps of the change wrought by the sentiment of the aria: we recognise it as precisely the same music, yet every note is different.

Trying to follow Bach's vocal scoring and the instrumentation of his last performance is not done in the name of a sort of pious literalism that condemns every other approach to the realm of inauthenticity. It is rather an attempt to explore the possibilities for creative expression within a particular set of historical parameters (which can thereby become opportunities). These are thus very much the starting point for performance rather than the goal to which it is directed. In the event, historical details might begin to seem rather trivial if the performance reveals this work - coming from a relatively obscure venue in eighteenth-century Europe - to provide a musical experience that is almost on the threshold of what is emotionally bearable.

© John Butt, 2008

01 August 2008
The Absolute Sound
Andrew Quint

The formerly controversial albeit now widely adopted practice of performing large-scale Bach with small-scale vocal forces - one singer to a part - was first championed by the American conductor and musicologist Joshua Rifkin in the early 1980s. There's evidence that this was how Bach performed much of his music, and this new recording of the St. Matthew Passion from John Butt and the Scottish-based Dunedin Consort offers both intimacy and grandeur. Performed with just eight singers, the famous opening double chorus possesses both contrapuntal clarity and emotional potency. One can also fully appreciate the genius of the 15 chorales, many of which are subtly varied takes on the same tune. All the soloists have appealing voices, but Nicholas Mulroy, who is far from a dispassionate observer as the Evangelist, and Clare Wilkinson, whose arias are exquisite, deserve special recognition.

Linn's multichannel program, captured at an Edinburgh church, is conservatively executed. Still, there are cues of the room's reverberant nature. The timbres of recorder, viola da gamba, and oboe da caccia are beautifully rendered.



10 March 2008
BBC Music Magazine
George Pratt

A humane passion - George Pratt hails a new landmark St Matthew on disc...

One-to-a-part Bach infiltrated the St Matthew Passion with Paul McCreesh in 2002. I described him then as ‘provocative and compelling', and Butt is no less so. Of his eight remarkable singers, (plus two unison sopranos for the opening chorus' crowning chorale), several are barely out of college, but they match spine-tingling tone with astonishing maturity. Nicholas Mulroy as Evangelist has a powerful dramatic sense, sometimes floating free of Bach's note-values - he's mercilessly harsh when Jesus is spat upon - elsewhere meticulous: Peter's weeping would move the hardest heart.

The freshness of other soloists is deeply affecting. For instance, Clare Wilkinson partners two flutes to perfection in ‘Buss und Reu', Susan Hamilton impeccable oboes d'amore in ‘Ich will dir....'. Matthew Brook is a touchingly human Jesus.

Reduced forces present special challenges in the choral numbers. Eight voices successfully reflect the Lutheran congregation identifying with the chorales, (though Butt's variable approach to Bach's pauses puzzles me; sometimes they're simply breathing points, elsewhere they're held for two extra beats). If the mob lacks the mass hysteria familiar from TV newsreels, they are realistically ferocious. Only the monumental opening loses, for me, some coherence. Rather than the softer focus of a choir, the cutting edge of solo voices mingled with that of minimal instruments creates more rather than less complexity in the already dense counterpoint.

Yet Linn's on-going commitment to SACD pays off handsomely, with three-dimensional crowds and vocal soloists standing forward of their accompaniment - all confirmation of this as my new benchmark.



26 January 2009
Classical WETA
Jens F. Laurson

John Butt's is not the first Matthew Passion that uses OVPP-Paul McCreesh has already done that. But it is the first one to use the (ca.)1742 version that Bach presumably used in his last performance of the " big Passion" as Bach always referred to it. On the OVPP question: The sophisticated conjecture about Bach having, or even wanting, just one voice per part in his Matthew Passion can be followed in the writings of Joshua Rifkin. I have not yet read an argument (either pro- or contra-OVPP) that didn't willfully ignore information suggesting the opposite from their held beliefs, or massage the evidence to necessarily support their side when it might support it possibly at best. I find it curious, though, that Bach should have wanted the big Passion" sung with one voice per part (OVPP), while the St. John Passion's surviving performing material indicates at least two voices per part.

Ultimately I don't care-as long as the performance is enjoyable or revealing. The Historically Informed Performance movement has brought us many such performances and should be welcomed by all music lovers with open arms. As long as its ‘extreme fringes' don't become the new orthodox, inflexible standard by which to perform Bach (or all baroque music) which would leave some of the greatest music ever written the prerogative of specialist groups, HIP only enriches our musical experience. John Butt notably, laudably states precisely that in his generally incisive liner notes: "Trying to follow Bach's vocal scoring and the instrumentation of his last performance is not done in the name of a sort of pious literalism that condemns every other approach to the realm of inauthenticity... [H]istorical details might begin to seem rather trivial if the performance reveals this work to provide a musical experience that is almost on the threshold of what is emotionally bearable." He legitimately hopes that his performance provides that experience, but the ambition is expertly clad in humility.

Upon first listening, the Dunedin Matthew Passion did precisely what John Butt must have set out to achieve. Hugely impressive for its combination of thrust and clarity, the invigorating play of the Dunedin Consort & Players manage to have instrumental and vocal strands appear where all-too often they become part of a greater ‘sound'. This is nouvelle cuisine compared the cuisine classique of decades past or the musical curry that those conductors have made of the Matthew Passion, who performed in the tradition of the massive oratorios. Outstanding, apart from the ever lively playing, are also the superb basses (a sonorous, richly wonderful Jesus in Matthew Brook, Brian Bannatyne-Scott who is simply terrific in "Gerne will ich mich bequemen", Roderick Bryce who makes Judas rather appealing), and Evangelist Nicholas Mulroy-eminently worth hearing.

Unfortunately, there are also a significant amount of shortcomings that become increasingly obvious with repeat listening. For one, the female voices are less pleasant than the male, notable in the opening "chorus" where they stand out unpleasantly. Particularly unpleasant is alto Clare Wilkinson. Right off the bat the first "kla-a-a-a-a-gen" (note esp. bar 24) is most unfortunate sounding. Soprano I Susan Hamilton is better, but sounds-for better or worse-like a treble most of the time. The interpolating "Wen, Wie, Was, Wohin?" questions from the second choir sound more like pecked interruptions than questions that stipulate the answer of the first choir.

Jesus' aria "Trinket alle daraus; das ist mein Blut" is fleet, and has the dance-y touch to it that makes this performance so airy, but at the cost of being less touching than it could be. There are also the odd moments of funny accentuation in the Butt recording-for example "Aber nicht wie ich WILL, sondern wie du WILLST" (instead of "Aber nicht wie ICH will, sondern wie DU willst"). But then "Welchen ich kuessen werde, der ists!" is done extremely well-both as regards the pronunciation and the way it is spoken, more than sung. The orchestra and combined voices in "Sind Blitze, sind Donner..." manage for something that is terribly exhilarating, as long as it is not dissected. Here, like in many parts of this performance, the whole becomes much more than the sum of its parts, simply because a few of the parts taken on their own are rather un-lovely. Ironically the Butt-Passion, offering so much focus and detail, moves from "interesting" to splendid only once you take the focus away from it. In that sense, ‘just listening to it' is a far greater joy than reviewing it, score in hand. If you don't get stuck quibbling on these various issues (chances are you won't on hearing it the first few times), the surprising and fresh sweep of the opening carries you with the performance far into part one.

The musical difference of the 1742 version to BWV 244 is insignificant (compared to BWV 244b or some of the different St.John Passion versions). The difference in scoring (harpsichord instead of organ as the basso continuo instrument for the second choir-in any case a change more likely born out of necessity than desire) has been replicated in plenty other recordings, HIP and non-HIP alike. The recording quality and sound of this Linn disc is, as usual with this audiophile label, stupendous.

01 - Chorus Kommt ihr Tochter helft mir klagen Choral O Lamm Gottes unschuldig.flac
02 - Evangelista Jesus Da Jesus diese Rede vollendet hatte.flac
03 - Choral Herzliebster Jesu was hast du verbrochen.flac
04 - Evangelista Da versammleten sich die Hohenpriester.flac
05 - Chori Ja nicht auf das Fest.flac
06 - Evangelista Da nun Jesus war zu Bethanien.flac
07 - Chorus Wozu dienet dieser Unrat.flac
08 - Evangelista Jesus Da das Jesus merkete.flac
09 - Recitativo Du lieber Heiland du.flac
10 - Aria Buss und Reu.flac
11 - Evangelista Judas Da ging hin der Zwolfen einer.flac
12 - Aria Blute nur du liebes Herz.flac
13 - Evangelista Aber am ersten Tage der sussen Brot.flac
14 - Chorus Wo willst du dass wir dir bereiten.flac
15 - Evangelista Jesus Er sprach Gehet hin in die Stadt.flac
16 - Evangelista Und sie wurden sehr betrubt.flac
17 - Chorus Herr bin ichs.flac
18 - Choral Ich bins ich sollte bussen.flac
19 - Evangelista Jesus Judas Er antwortete und sprach.flac
20 - Recitativo Wiewohl mein Herz in Tranen schwimmt.flac
21 - Aria Ich will dir mein Herze schenken.flac
22 - Evangelista Jesus Und da sie den Lobgesang gesprochen hatten.flac
23 - Choral Erkenne mich mein Huter.flac
24 - Evangelista Petrus Jesus Petrus aber antwortete und sprach zu ihm.flac
25 - Choral Ich will hier bei dir stehen.flac
26 - Evangelista Jesus Da kam Jesus mit ihnen zu einem Hofe.flac
27 - Recitativo O Schmerz Hier zittert das gequalte Herz Choral Was ist die Ursach aller solcher Plagen.flac
28 - Aria Ich will bei meinem Jesu wachen Chorus So schlafen unsre Sunden ein.flac
29 - Evangelista Jesus Und ging hin ein wenig.flac
30 - Recitativo Der Heiland fallt vor seinem Vater nieder.flac
31 - Aria Gerne will ich mich bequemen.flac
32 - Evangelista Jesus Und er kam zu seinen Jungern.flac
33 - Choral Was mein Gott will das g scheh allzeit.flac
34 - Evangelista Jesus Judas Und er kam und fand sie aber schlafend.flac
35 - Aria So ist mein Jesus nun gefangen Chorus Lasst ihn haltet bindet nicht.flac
36 - Chori Sind Blitze sind Donner in Wolken verschwunden.flac
37 - Evangelista Jesus Und siehe einer aus denen die mit Jesu waren.flac
38 - Choral O Mensch bewein dein Sunde gross.flac
39 - Aria Ach nun ist mein Jesus hin Chorus Wo ist denn dein Freund hingegangen.flac
40 - Evangelista Die aber Jesum gegriffen hatten.flac
41 - Choral Mir hat die Welt truglich gericht.flac
42 - Evangelista Testis I II Pontifex Und wiewohl viel falsche Zeugen herzutraten.flac
43 - Recitativo Mein Jesus schweigt zu falschen Lugen stille.flac
44 - Aria Geduld.flac
45 - Evangelista Pontifex Jesus Und der Hohepriester antwortete.flac
46 - Chori Er ist des Todes schuldig.flac
47 - Evangelista Da speieten sie aus in sein Angesicht.flac
48 - Chori Weissage uns Christe.flac
49 - Choral Wer hat dich so geschlagen.flac
50 - Evangelista Ancilla I II Petrus Petrus aber sass draussen im Palast.flac
51 - Chorus Wahrlich du bist auch einer von denen.flac
52 - Evangelista Petrus Da hub er an sich zu verfluchen.flac
53 - Aria Erbarme dich mein Gott.flac
54 - Choral Bin ich gleich von dir gewichen.flac
55 - Evangelista Judas Des Morgens aber hielten alle Hohepriester.flac
56 - Chori Was gehet uns das an.flac
57 - Evangelista Pontifex I II Und er warf die Silberlinge in den Tempel.flac
58 - Aria Gebt mir meinen Jesum wieder.flac
59 - Evangelista Pilatus Jesus Sie hielten aber einen Rat.flac
60 - Choral Befiehl du deine Wege.flac
61 - Evangelista Pilatus Uxor Pilati Chori Auf das Fest aber hatte der Landpfleger Gewohnheit.flac
62 - Chori Lass ihn kreuzigen.flac
63 - Choral Wie wunderbarlich ist doch diese Strafe.flac
64 - Evangelista Pilatus Der Landpfleger sagte.flac
65 - Recitativo Er hat uns allen wohlgetan.flac
66 - Aria Aus Liebe will mein Heiland sterben.flac
67 - Evangelista Sie schrieen aber noch mehr Chori Lass ihn kreuzigen.flac
68 - Evangelista Pilatus Da aber Pilatus sahe.flac
69 - Chori Sein Blut komme uber uns.flac
70 - Evangelista Da gab er ihnen Barrabam los.flac
71 - Recitativo Erbarm es Gott.flac
72 - Aria Konnen Tranen meiner Wangen.flac
73 - Evangelista Da nahmen die Kriegsknechte.flac
74 - Chori Gegrusset seist du Judenkonig.flac
75 - Evangelista Und speieten ihn an.flac
76 - Choral O Haupt voll Blut und Wunden.flac
77 - Evangelista Und da sie ihn verspottet hatten.flac
78 - Recitativo Ja freilich will in uns das Fleisch und Blut.flac
79 - Aria Komm susses Kreuz so will ich sagen.flac
80 - Evangelista Und da sie an die Statte kamen.flac
81 - Chori Der du den Tempel Gottes zerbrichst.flac
82 - Evangelista Desgleichen auch die Hohenpriester.flac
83 - Chori Andern hat er geholfen.flac
84 - Evangelista Desgleichen schmaheten ihn auch die Morder.flac
85 - Recitativo Ach Golgatha unselges Golgatha.flac
86 - Aria Sehet Jesus hat die Hand Chorus Wohin.flac
87 - Evangelista Jesus Und von der sechsten Stunde an.flac
88 - Chorus Der rufet dem Elias Evangelista Und bald lief einer unter ihnen.flac
89 - Chori Halt lass sehen.flac
90 - Evangelista Aber Jesus schriee abermal laut.flac
91 - Choral Wenn ich einmal soll scheiden.flac
92 - Evangelista Und siehe da der Vorhang im Tempel zerriss.flac
93 - Chori Wahrlich dieser ist Gottes Sohn gewesen.flac
94 - Evangelista Und es waren viel Weiber da.flac
95 - Recitativo Am Abend da es kuhle war.flac
96 - Aria Mache dich mein Herze rein.flac
97 - Evangelista Und Joseph nahm den Leib.flac
98 - Chori Herr wir haben gedacht.flac
99 - Evangelista Pilatus Pilatus sprach zu ihnen.flac
100 - Recitativo Nun ist der Herr zur Ruh gebracht Chorus Mein Jesu gute Nacht.flac
101 - Chorus Wir setzen uns mit Tranen nieder.flac

johhenrik