#21.    Part Two begins with a Chorale, but this is more a Greek chorus commenting than a Christian community contemplating.

#22.    The Evangelist now starts the story of Christ before Pilate.  From this point through #47, the action takes place inside and outside the Praetorium (Hall of Judgment).  Pilate has to keep going in and out of this Hall, because the Jews are not allowed, by their law, to enter a pagan building, as that would defile them on the Passover, this being the Day of Unleavened Bread.  The time is very early in the morning, possibly 3 a.m.

#23.    This is the first of ten "turba" choruses.  The term refers to crowd scenes, where a lot of turbulence is going on, and anger.  And many of these choruses are not particularly pretty.  This one is, in fact, ugly!  Look at all the accidentals in the score.  Listen to the dissonances.  This could be 20th century music!  In Bach's time, it must have shocked both listeners and performers.  The "Posse" is responding to Pilate's query: "What charge are you bringing against this man?," and they say, "We wouldn't be bringing him here if he were not an evil-doer!"  And that's all they are saying.

#24.    Pilate wants the easy way out of this one.  "Judge him yourselves, under your law!"

#25.     In a slightly less hostile mood (the flutes are prominent in the accompaniment), but still dissonant, as in #23, the Posse sarcastically reminds Pilate, that, according to Roman law (which the people despise), they are not allowed to judge or execute anyone, being a subject people.  Only the Roman occupiers can do that.

#26.    The Evangelist states that this really was the only way that Christ's prophecy (that He would "be lifted up from the earth: i.e.: crucified) could be fulfilled.  Crucifixion was a Roman form of execution.  So it had to be Pilate (as judge) to make this happen.  In a lengthy dialogue inside the Praetorium, where Jesus had been brought inside by a number of Roman soldiers, Pilate asks Jesus about His claim of kingship.  Jesus never answers him directly.  He does say that, were his kingdom of this world, his followers (or soldiers) would fight to defend him, and that passage musically depicts a battle.  

#27.  The Christian community reflects on the majesty of Christ the King.  In the second stanza, we wonder how we, in our feeble form of expression, could render thanks for His tender deeds of love to all of us.

#28.  Pilate and Jesus have something of a discourse here.  Never forget that Pilate has contempt for the people over which he governs.  Pilate, at first, views Jesus as an amusing curiosity, but soon realizes that this prisoner in no way constitutes a threat to him or the Roman Empire.  However, Jesus is at the same time so calm in the face of all this hostility, that Pilate asks him some probing questions, and, when Jesus says that he is here (on earth) to bear witness to the Truth, Pilate wonders what he means by that.  What is, in fact, Truth?  Out to the crowd Pilate goes again, to tell them that he sees no guilt in Jesus, so why not just release him?  If you want blood, says Pilate, let Barabbas -- a real malefactor -- be nailed to a cross.

#29.  But the crowd wants Barabbas released, instead.  This is a very short chorus, but longer than in Bach's St. Matthew Passion  (“Remember "Barabbas!!!").  Again, two flutes are playing during this chorus.  Why?  It gives an almost jovial aspect to this piece.  Did Bach intend to portray the crowd as an "elbow-jabbing, high-fiving" rabble?  The crowd by now has grown in size.  Surely, people had been awakened by the commotion around the Hall of Judgment and had came out to see what was going on.  These additional people were almost certainly less serious about this matter, but just as bloodthirsty.  With each succeeding "turba" chorus, the numbers grow…

#30.  Outraged, the Evangelist exclaims that Barabbas was a criminal!  Then follows another excellent musical description, this time of the flogging that Jesus received.  Another star turn by the Evangelist-tenor. 

#31.  Now follows an arioso (short area) for bass, without the many repeats of words or a Da Capo repeat of music.  Yes, there is a repeat of the last phrase, but that's it.  The words are flowery but quite unintelligible. (You figure it out!)  But forget about that:  this is beautiful music, very soothing, following the frenetic sections preceding it.  Accompanied by two violas (violas d'amore) and a lute, this is as welcome as a cool shower on a blistering day.

#32.  An interminably long tenor aria, again accompanied by two violas d'amore. (Hey, look at it as a welcome rest before some really hectic choral singing!)  Like the previous arioso, this is peaceful music, transforming the gruesome bloody strips of flesh following the scourging into a view of Heaven, with dark clouds parting to reveal sunbeams and rainbows.  Herein is God's bright token of grace, parting the waves of sin. 

I'm stopping here, as the next numbers 33-40 run on without a break in the action.  We'll look at that music in our next segment.  Stay “tuned!”

Index

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Part 7

Part 8

Part 9

Part 10