The Fort Street Chorale is made up of people from many different backgrounds, races, ethinic traditions, and religions:  a fascinating mix.  Several of our members are not Christian.  A few consider themselves agnostics.  But we make beautiful music together.  When we sing the Passions of J.S. Bach, we are involved in the most sacred period of the Christian year.  How can those who are not believers, still manage to convey the story?  By being good actors.  Actors who play the role of Iago, or of Macbeth and his Lady, or Richard III don’t subscribe to their evil, but must do a convincing job of giving the appearance of evil.  Conversely, the tenor singing the role of the guileless Lohengrin might in real life be a scoundrel, but, on stage, he is a glorious knight in shining armor.

    The gripping drama of the Passion story is a great vehicle for a choir of actors.  Do not feel left out if you don't believe it.  For this performance, sing as though you do.

    1. "Greek" Chorus

    2.   Evangelist and Jesus             John 18: 1b-4

    3. "Posse" Chorus                        John 18:  5a

    4.   Evangelist and Jesus             John 18:  5b-7a

    5. "Posse" Chorus                         John 18:  7b

    6.   Evangelist and Jesus             John 18:   8     

    7. "Christian Community" Chorale

    A long orchestral introduction precedes the impressive entrance of the first chorus:  three loud chords, followed by long melismatic lines sung by all the voices.  Finally, in measure 33, individual voice parts enter, one by one, the first of several "stretto" passages in this chorus, where one voice part interrupts the line begun by the first before their line is done (unlike the fugue, which waits for a line to end before a second line begins). Short stretto passages are found in measures 47 and 48, but true stretti begin in measure 49 with the altos.  That's very exciting, and that's what stretti are used for:  building musical excitement.  Other examples are found in measures 58 to 69 and 78 to 84.  A wonderful moment occurs at the tutti entrance at measure 70, after a stretto passage dies down to a pianissimo, with a forte passage by all the voices.   A da capo brings us back to the beginning, and ends at measures 55-58 with especially effective lines by the basses and sopranos. 

    The story now begins, as St. John starts his narrative at the point when a posse of people who were deputized by the priests and Pharisees, and led by Judas, enter the Garden of Gethsemane, where Jesus and the Disciples are, and Jesus approaches them and asks them whom they are seeking (knowing full well that they're looking for Him).

    Now the Chorus becomes the posse, and answers the question in a very short chorus:  "Jesus of Nazareth.”

    John continues, telling us that the posse is terrified (shrinking back and falling to the ground). Interesting! Do we wonder why they do that?  My thought:  these people weren't the brightest of bulbs, and when Jesus approaches, they might be remembering that He was greeted with palms only days earlier by eager crowds, and that they had heard that He healed the sick, raised the dead, walked on water, fed the five thousand, had many followers.  They might have thought that when He approached, he might wave his hand and cause them to fall dead.  Jesus again asks the same question, and the posse gives the same answer.  Same words, same tune, BUT different harmony.  Subtle. The audience might not notice the difference, but we do!

 

     A chanting or yelling crowd will say the same words over and over, but not quite the same way, especially when there's an element of fear.  John states that Jesus again identifies Himself, then asks the posse to let the Disciples go.

 

    That comment prompts the first Chorale.  Remember, the Chorales represent the Christian community's reaction to what has just happened.  And Bach intended for the congregation (e.g., the audience) to join in.  He made this easier by using tunes that were familiar to just about everyone.  The words were new, however.  The audience in Chorale # 7 comments on the love Christ showed his disciples and all people, including the audience, contrasting our love of earthly pleasures and comforts with Jesus who is giving Himself up to suffer death. 

 

    Next part:  I shall address the difficulty in translating the text, especially the Chorales, and we'll look at Sections 8 through 13.

 

Index

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Part 7

Part 8

Part 9

Part 10