- Narrative perspective, expressed in the recitatives of the Evangelist and the characters, as well as in the dramatic choral parts (turbae);
- The contemplative perspective of the individual(s), expressed in the mostly lyrical arias;
- The devotional perspective of the congregation, in the form of well-known evangelical hymns (chorales);
- The exhortative perspective, embodied in the elaborate opening and closing choruses.
Bach continued to make changes to the St. John Passion, so that today there are four different versions (1724, 1725, 1728, and 1749). The St. John Passion is often compared to the St. Matthew Passion, which Bach would write a few years later. The St. John Passion is musically more dramatic and less contemplative (and perhaps less refined). This is because the Gospel of John is more dynamic than the Gospel of Matthew. Jesus in John is more of an actor and less of a prophet and teacher. Bach masterfully expressed the character of the St. John Passion in his music.
For John, Jesus is first and foremost the Son of God, carrying out a preordained mission on earth at the behest of his heavenly Father. Christ is presented as the eternal and omnipresent ruler who stands outside of human concepts of time. This characterization of Jesus by John is set down by Bach right at the beginning in the opening chorus, where there is no reference to His coming passion, but only to His kingship: "Herr, unser Herrscher."."
Jesus' suffering is also not a painful human suffering, but a necessary phase of his return to heaven: the crucifixion as the mechanical means by which the Son returns to the Father. The arrest of Jesus is treated very briefly. The inner conflicts of the Gethsemane prayer are absent, as is the kiss of the traitor Judas Iscariot. Instead, Jesus reveals himself to the servants of the high priests and asks them to spare his disciples. During the interrogation by Pontius Pilate, Jesus appears superior and indifferent to his fate: he refuses to make statements or answer with counter-questions. Even in the crucifixion scene, he appears sovereign and unaffected by human suffering. He carries his cross himself and does not have to endure ridicule. Instead, while still on the cross, he instructs his favorite disciple to take care of his mother. Finally, according to John, Jesus' last words are triumphant: "It is finished."
PART I
(1) Opening chorus: "Herr, unser Herrscher ..." ("Lord, our master, ...")
(2-5) Arrest in the Kidron Valley (John 18:1-11)
(6-14) Denial, palace of the high priest Kaiphas (John 18:12–27)
Part II
(15-26) Court hearing with Pontius Pilate (John 18:28–40 and John 19:1–22)
(27-37) Crucifixion and death, Golgotha (John 19:23–30)
(38-39) Burial (John 19:31–42)
(40) Closing chorale: Ach Herr, lass dein lieb Engelein ... (O Lord, let your dear little angels ...)
Text & translation
Right at the beginning of the opening chorus, the woodwinds play the three notes E flat, D flat and G flat, which stands for "Soli (E flat) Deo (D) Gloria (G)": Bach is dedicating the composition directly to God.
The fierce character of the Gospel of John is interpreted by Bach through the use of so-called turbae: dramatic choruses in which Bach expresses the emotions of hateful people, hypocritical scribes, indifferent soldiers and teasing bystanders - true paintings in music. Bach uses this technique fourteen times in the St. John Passion.
The work has a deliberate symmetry. At the center of the five parts is the trial, with the confrontation between Jesus, Pilate, and the crowd. This trial scene is the central point of St. John's narrative, since it is here that Christ's kingship is judged. It is also the turning point of the story: Pilate withdraws; the outcome has now become inevitable. It is not the death of Jesus that is the dramatic climax, but the human actions that lead to it. In the middle of the trial, a chorale (22) interrupts the argument, which is a discussion of freedom and imprisonment. It is surrounded by two choral movements, both of which not only call for the crucifixion of Jesus, but also use the same musical motifs, the second time intensified. Again, in a repetition of similar musical material, a preceding Turba chorus explains the law, while a corresponding movement reminds Pilate of the emperor whose authority is challenged by someone who calls himself a king.
As noted above, the centerpiece of the work is (22), the chorale "Durch dein Gefängnis, Gottes Sohn" - we gain freedom through Christ's captivity. As the true Son of God, Jesus is glorified even in his passion.
What comes through in the performance is the inexorability of the events: everything happens with almost clockwork precision, in direct and necessary fulfillment of a preordained order.
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