Part One of the St. John Passion by Bach ends with #20.  Some very important (critical, actually) events take place, and deserve detailed comments, and there are serious translation issues, as well.  I apologize for being so wordy, but I'm convinced that future "Ponderings" will be less so.

#14.  This is a long recitative passage, involving five soloists.  "That other disciple" is mentioned again (I suggested he was almost certainly John himself, as in other passages he referred to himself in the third person.  However, a Bible study guide I consulted states that it would be highly unlikely that a common, young fisherman like John would be "known to the High Priest".  So the identity of "that" disciple will remain a mystery.)  Peter is recognized by some, but he denies any connection with Jesus.  A clever musical trick is found in measure 19:  a little trill, or tremble, that describes the feeling you get when you start warming up after being cold.  (It occurs again in measure 4 in #16.)  A servant strikes Jesus in measures 37-42, after he questions the need for this line of questioning.  Jesus then asks the toady, "Why did you hit me?"

#15.  This great Chorale is in two parts:  Part 1 asks why Jesus should be struck when He offended no one, nor ever committed a sin or did evil.  Part 2 answers: it is our sins, and so many of them, that have brought this suffering upon him.

#16. Jesus is bound again, sent from Annas to Caiaphas, and Peter once again is confronted by a group of people.

#17. This wonderful chorus starts somewhat hesitatingly, but before long, more and more people join in to ask Peter, "Aren't you one of Jesus' disciples?"  This chorus picks up speed and volume as it goes along, very much like a crowd of reporters or protesters, louder and more insistent with each question.

#18. Peter denies again, and then a third time.  And the cock crows.  Listen for the "cocka-doodle-do" in the harpsichord or organ.  It's unmistakable!  Now Bach really shows his dramatic side.  John's Gospel story leaves it at that.  But all of the Synoptic Gospels tell us that Peter wept bitter tears, because Jesus had told him he would deny Him three times before the cock would crow.  Only Luke writes that Jesus turned and looked at Peter, as if to say "I was right, wasn't I?"  So Bach now steals from Luke, probably, rather than from Matthew or Mark, to give the Evangelist a virtuoso moment: a real vocal description of weeping.  Not often does the Evangelist get to do a "star turn.”  This is one of them!

#19.  Now follows possibly the most emotional piece of music Bach ever composed.  This tenor aria is not accompanied by a solo instrument as in other arias, but the entire string section.  It is jagged.  It ranges all over the place, weeps, screams, flails about.  It's obviously a response to what Peter has done, but, remember, Peter doesn't sing this.  This is Bach's (and each of our) comment on the terrible things we tend to do.  And one might even think of Peter having a "guy thing” type of breakdown here.  Picture Jesus as the coach of the team.  Peter is the captain.  Why?  Because he's a cheerleader, spirited, a fighter, the big lug that everyone loves and looks up to.  And he's let everyone, especially his coach, know that he can always be counted on.  And then, at crunch-time, he fails his coach.  The result is a total emotional breakdown.  This aria makes one think of a man banging his fists against his head and screaming "How could I have done this?!"  "Where to run?  Where to hide?  Will I ever find peace again?  My reputation is shot!!"  Complete despair. 

#20.  Part One ends with a Chorale that should evoke tears instead of applause.  (It would be so appropriate to have silence at the end of Part One!)  The English text of this Chorale does not come close to the original meaning.  It describes Peter's failure, and then it becomes a prayer, asking that Jesus give us the strength of conscience to do the right thing.

Index

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Part 7

Part 8

Part 9

Part 10