, Key Structure and Tonal Allegory in the ~' Passions of]. S. Bach: An Introduction f By Eric Chafe "Allegory" is the term used by Bukofzer to describe a relationship of coherence between a musical element and something extra-musical. For 1 example, the triad can be used to represent the trinity because it embodies the concept "three in one"-three notes, one chord. Tonal allegory, then, is the use of any tonal element-key, modulation, sharp sign, enharmonic change, cross relation or even the entire key structure of a lengthy work-to express a coherent relationship with something extra-musical. Key structure is a term not quite so easily agreed upon. In fact, Bukofzer denied its existence in the Bach passions and Handel operas, although his denial was perhaps intended more as a commentary on the musicological literature on the subject of key structure than on the actual tonal plans of the works in question.2 An allegorical tonal plan he would certainly have accepted, but in the face of blatantly unhistorical presentations of key relationships, Bukofzer tended to stick with the concept of closely related keys that obviously held true in the cantatas, sonatas, concertos, and so on: that is, tonic, dominant, subdominant and their relative minors, the com mon chords of the key. In his view no satisfactory rationale had been found for the very wide range of keys in the passions. This is a crucial point, for their wide key range is the single aspect of tonality which most con spicuously divides the passions not only from the cantatas, but from the other larger works as well. The Easter and Ascension Oratorios, the Trauer-Ode, Magnificat, B-Minor Mass, Christmas Oratorio, Missae Breves, and others, all stick very closely to what Heinichen called the "ambitus" of six keys that represent the nearest tonal relationships and the normal limit of modulation within a single movement. It is most important not only to recognize the spe 3 cial position of the extravagant key range in the passions within Bach's out put, but also to realize that to a great extent the juxtaposition or confronta tion between remotely related or unrelated keys belongs in these works as part of the allegory of the irreconcilable conflicts of the passion story. Analysis of the passions is done a disservice, therefore, by H. J. Moser's equating of the key of A-flat major to G-sharp major in the St. Matthew Passion;4 or the fairly frequent statements by Moser and others that widely separated movements in C-major and c-minor in both passions are to be thought of as being in the same key;5 or Dieter Weiss's inclusion of the C major chorus, "Lasset uns den nicht zerteilen" in the St. John Passion within a "scene" in E-flat.6 On the contrary, Bach shows rather an acute awareness of the distances between these keys, and exploits them in his structures. The rationale behind Bach's tonal procedl.lres in the passions is illumi nated by a document by Johann Kuhnau, his predecessor and the founder of Leipzig's eighteenth-century passion tradition just two years before Bach's 39 arrival in that city. It was in Kuhnau's preface to his Biblical Sonatas that Bukofzer found an explicit definition of musical allegory and the composer's reference to a striking instance of its tonal application: his representing Laban's deceit with a "deception of the ear," that is, with a sudden modu lation from one key to another. 7 Kuhnau published an even more interesting preface to a cycle of church cantatas for the year 1709-10.8 In it he called for two special qualities from the composer of church music: first, that he be able to stir the affections, and second, that he be no stranger to hermeneutics (the art of scriptural exegesis), and understand both the correct sensus and scopus of the words. (These terms will be illustrated below.) Kuhnau furthermore out lines his approach to setting the beginning of the first Psalm, which, as it happens, presents the same kind of split that occurs in the passion story, that between the Gottlosen ("ungodly") and the Frommen ("pious"). He prescribes several different kinds of tonal or harmonic shift. They include repetition of the word "dem" ("Wohl dem," "Blessed is he") in "unexpected keys, which bring the hearers to attention"; taking the word "wandelt" figuratively to refer to the "twisted circumlocutions" of the ungodly, then setting it with many passages that "wander outside the scale"; setting the word "Gottlosen" ("im Rath der Gottlosen," "in the council of the ungodly") with a "hard dissonance"; setting the word "Rath," in "remote and unforeseen keys" ("since a council often comes to an unpredictable decision"); moving a~ay from the right key and "erring" into foreign tonalities for the word "Sunder." In addition to these passages,' Kuhnau prescribes one further tonal shift that, from his description, appears to be of a more extreme nature and of greater importance to the structure as a whole: ... Sondern hat Lust zum Gesetz des Herrn. There, in consideration of the adversative conjunction, "sondern," [the music] should proceed in a completely different key, with mi transformed into fa, or fa into mi ... ,9 This last modulation corresponds to a major structural division in the text of the Psalm, between the first and second verses, and even more importantly, it expresses the central issue of the text, the split between the way of the ungodly and that of the righteous. Kuhnau perhaps meant an enharmonic change when he spoke of "mi" being transformed into "fa," or at the very least a sudden turn from sharps to flats or vice-versa. Similar expressions can be found made by other writers of the time. Georg Muffat on the relatio non-harmonica, for example: ... with "mi" those well versed in the art mean the ~ mi or hard notes bb which are signed with a ~ or diesis; with "fa," they mean the "mollia," or otherwise soft signs. In every such false interval there are always found two such signs in opposition, namely, one which is dur and the other moll, or soft; therefore it is called mi conira/a.lo In the writings of Werckmeister, Scheibe and others we find references to modulations made by means of cross relations, enharmonic changes, and so 40 forth, described as the confrontation between sharps and flats or the trans formation of the one sphere into the other. Still others, such as Heinichen, 11 will stress the "extreme" nature of keys that are removed from C-major by more than a few sharps or flats. As will be shown below, it is the idea of 12 separation, and even of opposition between sharp and flat keys that Bach makes into his main allegorical structural principle in the two passions. In turning first to the St. John Passion, one encounters an astonishing work of scriptural exegesis. It is almost a virtuoso exercise in the presentation and musical allegorizing of theological themes. Perhaps Bach was determined to show, in the first Leipzig passion after Kuhnau, his mastery of the herme neutics Kuhnau had required of the church composer. The St. John Passion presents a thoroughly johannine conception of the passion, overlooking none of the special characteristics of John's account. John's emphasis on the trial and his arranging it in a dramatically-conceived chiasmus13 are amplified by Bach in the central symmetry of the setting, what Smend calls the Herzstuck.14 The themes of Jesus' majesty, of His all-powerful nature throughout the pas sion, of the passion as a glorification rather than an abasement are given full announcement in "Herr, unser Herrscher" and echoed throughout the work, for example, in "0 grosser Konig," "der Held aus Juda siegt mit Macht" (c.f., the final line of the Easter Oratorio, "der Lowe von Juda kommt siegend gezogen"), the final chorale, with its pronounced associations of victory. 15 Space. does not permit reference to the many other instances of Bach's catching the tone of the johannine narrative perfectly. An additional point that might have been of special importance to Bach in his planning the structure and character of the St. John Passion, is the fact that Luther, in his Preface to the New Testament, had named the gospel of John, along with the epistles of Paul (especially Romans), as pre-eminent among the books of the Bible. The Epistle to the Romans he often referred to as the 16 most important book of the Bible. Indeed, Luther's writings are filled with references to Paul: his doctrine. of substitutionary atonement; the law of the . spirit versus that of the flesh; the fulfillment of the law through faith and God's grace, not through works; the cross and faith setting the Christian free from sin, or the law of the flesh; and so on. The reason Luther gave for plac ing John's gospel above the others was John's emphasis upon the teachings of Christ as opposed to the focus upon His works that Luther saw in the synop tics. In other words, Luther viewed John through the eyes of Paul. That Bach was thoroughly conversant with these ideas hardly need be questioned. And that he embodied them in certain works of a pronounced "theological" or "doctrinal" character is known. In the motet "Je su, meine Freude" he gave full voice to all the aforementioned ideas by means of his interweaving of five crucial verses of Romans 8 with the six of the chorale. The work's structural symmetry is well known, and so is the relation of its central fugue-with ten entries of its subject-to the central fugue choruses of the St. John Passion, especially "Wir haben ein Gesetz." The themes of both were apparently modelled on the ten-commandments chorale. "Es sind die heil'gen zehn Gebot. In both passion and motet Bach created a Lutheran "17 41 - (and johannine) juxtaposition of opposites: flesh versus spirit in the one instance, the law of the Jews versus the freedom of Christians in the other. Bach had allegorized the same idea many years earlier, in the middle move ment of the Actus Tragicus, Cantata 106, where the juxtaposition was described in terms of the old covenant versus the new. In passion, motet and cantata, and in a number of comparable works, Bach's use of symmetrical, ground plans seems to create a structural image of the formality and solidity of the doctrines involved. Symmetry was the first clearly recognizable struc tural pattern developed by Bach in his church works, the so-called "tropierende Spruchkantaten"; a clear line of descent runs from these 18 works to the St. John Passion. The antithesis specifically derived from Luther appears in the St. John Passion at the very center, where the chorale "Durch dein Gefangnis, Gottes Sohn" echoes all at once the close of the preceding chorus, "we have a law, and according to the law he must die, for he has made himself to be the son of God"; the discussion between Jesus and Pilate concerning freedom; and most interestingly of all, the pauline theology that Luther expounded most eloquently perhaps in his tract, The Freedom of the Christian. Bach, of course, had to seek out a chorale that would express just this combination of structural and theological motives. Hence, in "Durch FIGURE 1: The pattern of key areas in the St. John Passion tro 0 0 ~ C"1 I'd I" qt qt 00 r-I N I" N C"1 0 0 r-I r-I N I N I I qt r-I I I I tro I ,Q 0 I I 0 U"l en r-I qt I" I" U"l r-I r-I r-I r-I N N N N C"1 U) U) U) U) U) U) U) U) U) 0 0 0 0 0 0 Z Z Z ~ Z ~ Z Z ~ ~Herzstdc~ (Smend) b t b f b * b L~ ~ l I J 1 2 3 4 5 6 7 8 9 1) b * ~ 2) f- ~ b 3) q b t 4) * b ~ q 5) b t• b 6) ~ 42 i dein Gefangnis," one finds the only certain chorale contrafactum in his church music. To clarify how Bach uses tonality to allegorize these great issues, the basis of his procedure is shown in Figure 1. He arranges the entire passion into a huge chiasmus, forming a nine-fold (3 x 3) division of the key areas of the work. We are reminded of Smend's nine-fold division of the Credo of the 19 B-minor Mass; in that work the three central movements are preceded and fol lowed by a group of three others; as Smend states, "in the middle stands the word 'crucifixus.' So it is with the St. John Passion: Smend's Herzstuckcom "20 prises a three-fold segment of strong internal coherence; it is flanked by three preceding and three following "scenes." The very center allegorizes the cross by means of its sharp keys (KreuztonartenY' and, above all, by the fact that the modulation from the flats of "Wir haben ein Gesetz" to the sharps of "Durch dein Gefangnis" is placed very precisely by Bach on the word "kreuzigen" (Example 1). In a series of movements that constitute the pivot of the St. John Passion's structure we perceive four stages in the delineation of the theology of redemption, the soteriology of the cross: 1) The Jews refer to the law in the F-major chorus, "Wir haben ein Gesetz"; the grounds for crucifixion are stated in its final words, "denn er hat sich selbst zu Gottes Sohn gemacht." 2) In a recitative dialogue Pilate claims to have the power to crucify Jesus or to set him free. This claim is denied by Bach's carrying the "kreuzigen" interval (an augmented fourth) sequentially further into sharps, as well as in Christ's answer to Pilate. Pilate has power only to carry out events foreordained by God-in this case crucifixion. The cross (G-sharp) is agent of the modulation. 3) The outcome of the modulation is the key of Christian freedom ("Durch dein Gefangnis," E-major), which, according to Bach's alle gory, is attained through the cross and God's plan of salvation. 4) As the music of the F -major "Wir haben ein Gesetz" is heard with a new text, "Lassest du diesen los," in E-major (Kuhnau's "fa [F] transformed into mi [E]," as it were), we perceive Bach's musical alle gorizing of an idea that resounds throughout all of Luther's work, and especially in The Freedom of a Christian: through faith in Christ crucified the Christian is freed from the law. The law is reinterpreted and ful filled only through faith in His sacrifice. Whether or not Bach's juxtaposition of F-major and E-major can be called a mi contra fa, and hence a sort of cross relation, is arguable. That the overall structure was designed to allegorize the cross is, however, probably indispu table. A few moments' reflection on the pattern of key areas in the passion shows further that once Bach had decided upon sharps for the central seg ment (the fifth) and flats for the fourth and sixth (to provide the fa/mi shift as well as the maximum contrast), the choice of key areas for all the others 43 I': t ; ¥¥ } J)~ ! Iv ; ~ P B j &;~ V ~i SF f ~Ii$ Gig Pilatus Pe-cbt du. "iekt" mit "'it? q"\SSeSt clI4. "Id1t, c\oss ieh Ma.cht m.be, di t" J.U. \(Ye.~ise~ 111\0 M~ht~) Basso cont. ,---- 12 CO'_ 210 lij ~ 6 5 ~ ~ f"1'- ~JI: .. Pilatusl~id1 ~-ben! los-"tu.- Basso cont. ~ ~ ~ 5 "<I' EXAMPLE 1: St.John Passion: recitative no. 21g, mm. 7-10; Pilatus and basso continuo "<I' became inevitable. For only with this arrangement (shown in Figure 1), could he provide all six permutations in the ordering of the three signs. There is thus a play with the number three embedded in the structure of the work. Bach's plan is in many respects highly abstract and predetermined, a trait that is very much in accord with the nature of a gospel whose first half is com monly called the Book of Signs and its second, beginning with the passion, the Book of Glory. Moreover, it is a gospel which is characterized through out by a decidedly deterministic cast. Bach's structure is also composed of musical signs and glory, and his extensive pre-planning mirrors the johannine structure and theology of pre-destination. 22 Incidentally, when Bach sets the word "kreuzigen" with a tritone leap up to a sharp, he is representing what Kuhnau called the sensus of the word. However, when he makes this detail into merely a single element in a full allegory of the theological meaning of the passion as a whole, he provides us with one of the most impressive instances of his penetration of the scopus of the text. The most conspicuous musical agent of that allegory is tonality. With the foregoing analysis as a basis, understanding the more complex' tonal procedures in the St. Matthew Passion becomes much easier, even though that work is not at all as obviously "patterned" as its predeces~or. The char acter of Matthew's gospel and of Bach's setting is quite different from the St. John Passion-Matthew placing emphasis upon the church as an institu tion-and his ecclesiology is mirrored in Bach's dialogues between the church and the faithful, in Bach's series of verses of the same chorale, in his turn to the passion sermons of Heinrich Muller for a considerable number of texts23 (especially those of the most conspicuous "new" element, the eleven "ariosi"), and in Bach's special arioso treatment of the words of institution of the Lord's Supper. Although Matthew's passion is of the suffering rather than the victorious Christ, and is clearly treated as such by Bach, the basic theological issues, which transcend the question of differences among the gospels and necessarily center around the meaning of Christ's sacrifice, remain the same as those of the St. John PassiO/!. Again, in dealing with Matthew's gospel, Bach makes his structure pivot around the issues that were at the center of the St. John Passion; and he retains the idea of opposition between sharp and flat keys in his new setting. But otherwise his means of allegorizing the meaning of the whole of Matthew's text leads ultimately to a very different structural realization. The tonal areas of the St. Matthew Passion are not arranged in any kind of cross or symmetrical pattern. Instead, Bach chose to interpret the sharp and flat keys as descendants of the old system of hexachords, cantus durus and cantus mollis, which were still very much alive as a conceptual framework for key relationships, although rapidly becoming more and more outmoded.24 By Bach's adopting this view of the passion's wide range of keys, instead of the passion story being accommodated to an abstract or partially predetermined tonal plan, the result is that the keys follow the text, allowing it to determine the course of musical events (i.e., the 45 tonal shifts) to a much greater extent. It might be said that the treatment of sharp and flat tonalities constitutes a plan in the St. John Passion, but a pro cedure in the St. Matthew Passion. This is the first level of tonal allegory in the St. Matthew Passion. Bach aligns the full range of tonalities in the work to the text-as interpreted and ampli fied theologically, of course-so that its durus and mollis states are given expression according to the traditional proprietates.25 The "hard" realm of affections encompasses all that was described of old as asperitas: the cruci fixion in all its stages-the trial and shouts of the mob for Jesus' death, the scourging, and so forth. But it also represents a group of positive emotions which derive from the traditional interpretation of durus as masculine and 10r tius: Christ's prediction of the Kingdom of God, the spread of the gospel, the resurrection, the parousia, Peter's repentance, Jesus' resolve at the close of Part I, and so on. Contrariwise, the "soft" affections comprise weakness (reflecting ancient associations of mollis with the feminine and imperfect): Jesus' difficulty accepting the cup at first, His depressed states on the Mount of Olives ("Meine Seele ist betrubt") and on the cross ("Eli, Eli"), and His resignation before Pilate. Mollis also represents the comforting, gentle and sympathetic associations of "feminine": the Christian reactions to Jesus' suf ferings ("Ich bin's," "Wer hat dich so geschlagen," "0 Haupt voll Blut und Wunden"), the reaction of Pilate's wife, the disciples' sleep in the garden, Jesus' final sleep in the grave, His arms open to the Christian seeking redemption, His finding rest in the believer's heart. In general terms, the polarities involved are principally light/dark, active/ passive, tension/resolution, weak/strong, hard/soft. As reflected in this interpretation, the prediction of the resurrection and the agitated events sur rounding the capture of Christ call forth the extremes of sharp-key tonality in the passion: E-major, g-sharp minor, and c-sharp minor, while the anticipa tions of betrayal and denial, Jesus' crisis on the Mount of Olives, and the darkness and despair of His last moments and words are set in f-minor, A flat, b-flat minor, and even e-flat minor, the flat "extremes" of the passion and of well-tempered tuning generally. "Ach! Golgotha" hovers around G flat, D-flat and even a-flat minor; the word "Finsternis" is sung on f-flat. The organization of tonal shifts within the passion is carefully planned, sometimes even patterned, although its relation to the text is more direct than in the St. John Passion (see Figures 2a, 2b). The most satisfactory means of comprehending the many shifts of tonal direction is in terms of anabasis (motion upward or "sharpward" through the circle of fifths) and catabasis (the reverse). The burial and all anticipations of death, for example, mark conspicuous turns "flatward" ("dass mann mich begraben wird"; "und wenn ich mit dir sterben musste"; "meine Seele ist betrubt bis an den Tod"; "Er ist des Todes schuldig"; Jeremiah's prophesy of the buying of the potter's field, and so on. From this standpoint we find that a very large span of Part I (two-thirds) is occupied with two extended and very regular anabases, each moving from four flats to four sharps in very extended and 46 No. 1 INTRODUCTION, The road to Golgotha (e) 2 Prediction of the crucifixion (b) ________________4_ a_._b ___~ P-l-o-t-t-ing~-O-f--t-h-e-J-e-W-s--a~g-a_in_s__t _J_ e_s_u_s ___________ (e/C/G) 4c Bethany (uBethanienu) (d) Annointing of the Messiah (g/d) 44de TJehseu ds i=s c"Fipolre ys eI rheapvreo athceh poor always with (( oc ~d_) you; but me ye have not always." (g) ~d Anticipation of the burial (d) ~tSlo --------------~(74-e7)----p-r-e~d~ic~t~i~o~n~o~f~th-e~s-p~r~e~a~d~O-f--t-h-e--g-o-sp-e-l--------(a)* (el ~~ f, g>j HH 57 ,6 AJurdioasso aanndd thaer iaH iognh Pthrei easntsn ointment ((Db), f 0'YC ) 11 ;g H 9a-c Preparation for the Passover (G/e/C) -Qlfr _____w_ _________~ 9~c ____~ T~h~e~L~a~s~t~s~u~p~p~e~r~(·~·A~bSe=n~d~U~)~a~n~d~--------------(F/g) ~~ PredJ.ctJ.on of the betrayal (0) olt! 9d,e The disciples' response (f) 11 Further remarks about the betrayer (E-flat) Judas identified as the betrayer (g) Insti tution of the Eucharist: bread (F) ______________~ ~----------------------------~w~i~n~e-----------(C) (11) Anticipation of the Kingdom of God (G) 14 The Mount of Olives (D) PPrreeddiiccttiioonn ooff tthhee dreisscuirprelecsti I ond esertion ((Ef#) /A) 15 CHORALE: "Erkenne mich mein Hiiter" (E) 16 Peter avows hi·s fai thf'ulness (A/b) ol$>~~YQ': Peter's denial foretold (D/e)~o~ Peter reaffirms his loyalty ("sterben") (c) ~? ----------------1=7t-C=H=O=RA~LE~,~'='I~C~h~w~i~1~1~h~i~e~r~b=e~i=d='~·r~s~t~e~h=e=n~"~~-------(E-flat) ~~ .... ." 18-19 Gethsemane, Jesus' conflict (A-flat/f) 7' ~ < 20 DIALOGUE: "Ich will bei meinem Jesu wachen" (c) ~ ~ H 21 Jesus' prayers: "Mein Vater. .... (g) 24 Jesus returns to the sleeping disciples (F) "The spirit is willing, but the flesh is weak" (a)* ---------------(~22=~+--Je-s-u-s~p=r~a=y~s~a~g~a~i~n~(="b=e~t~e~t~e~"~)=,~"M~e=i=n~v=a=t=er.~. = .~"~==--(e/b) 6 Jesus awakens the disciples and announces his imminent capture The Betrayal and capture ("Verrater") 27 DIALOGUE: "So ist mein Jesus"/"Sind Blitze" 28 Jesus speaks against the sword "The scripture must be fulfilled" Announcement of scriptU.{"al fulfillment The disciples flee 29 CHORALE FANTASIA, "0 Mensch, bewein" FIGURE 2a: Outline of the major tonal shifts and patterns in Part I of the St. Matthew Passion. All sharp/fiat modulations are underscored. Dialogues and movements which display parallels to one another have been set apart. The "naturalis" centers of three anabases, marking the divisions between tonal groupings II and III (a-minor, the Gospel), IV and V (C-major, the Eucha rist) and VI and VII (a-minor, Spirit versus Flesh) are marked with asterisks. Words which are the objects of particular focus in the modulations-"Bethanien," "Evangelium," "Abend,)) "sterben," "betete," and "Verrater"-are placed in parentheses. systematic fashion. The first of these starts with the prediction of betrayal and the disciples' reaction ("Herr, bin ich's," f-minor; "Ich bin's, ich sollte bussen," A-flat) and moves through the circle of fifths, one key-signature level at a time, until we reach Jesus' prediction of resurrection and the chorale, "Erkenne mich, mein HUter," both in E-major. After that point Jesus predicts Peter's denial, Peter makes a musically and textually ironic protestation of loyalty in a sudden catabasis (modulation to c-minor) and the chorale is repeated a half tone lower in E-flat---the kind of parallel encountered at the center of the St. John Passion--another transformation of "mi" (E) into "fa" (E-flat). Now Jesus' words, "meine Seele ist betrubt" (A flat) and the arioso, "0 Schmerz" (f-minor) mark the start of a second, much longer anabasis, more than twice the length of the first, which leads in regular steps to E-major again, and the end of Part I ("0 Mensch, bewein"). These 26 two anabases were, of course, very carefully thought out. Their boundaries- four flats and four sharps--mark the limits of flat and sharp keys for any movements in the passion; only specially selected recitative passages extend farther in either direction. In that sense the two progressions traverse the 47 -'" ~s:: No. 30 INTRODUCTION, Lament over Jesus' arrest (b) -1''"" H 31 Jesus before the High Priest (e/a/C) ... ---"~''"' '''-------- False witnesses sought ("Hohenpriester") --(F/d/B-flat) 33 False witnesses (d/F) Jesus' silence (g) 34-35 Arioso and aria on Jesus' silence (d/a) -CO"";')'S'8''";': HH ~_ (C33p66ba a"rEro JiSeus~uss~sr~ ~ie"aD;?ud essa gsecshtu'sl"di;g "p 1r esdtiacrtito no fo _ftu _tr_hb_ea (;e:)( G::=ITe=-=g';:)======::~ ~ 36c,d,37 Jesus punished and mocked (d/F) --=.----38a Peter denies Christ; "Dieser war auch mit sudden i~ ';diem~Jpe~s~u~vgon~N~a~Z?a~r~e1tEh~'~"~e~ttcc~.~~~~~ (d/B-flat/e/D) t<:: :H:1 38c,39 Pe~er's repentance (f#/b) -..,'" 41a-c,42 Judas' remorse and suicide (e/b!;:.G'-) _____- -:;;:;? '-G ••••••••• 43 ••... Buying of potter's Field ("Blutakker") (e/d) Jeremiah's prophecy (F/g/c) V" Jesus before Pilate; "du sagest's" (c) ce:t9.09.S1.S ... ~. ..... (4) ..... Pilate: "Harest du nicht, wie hart sie dich verklagen?" ("hart"="durus") (d/a/f#/D) 4-5a Pilate and the people (AjD/a) (Pilate's wife) (C/F/g) 45b "Lass Ihn Kreuzigen" 46 Chorale I "Wie wunderbarlich" 48 Arioso I "Er hat uns allen" 49 Aria, "Aus Liebe" 50a "Lass Ihn Kreuzigen" 50d Judgement of death from the people 50e Jesus scourged and delivered over for _______~ ~--~~c~ru-c~i~f-i-x-i-o-n~~~-~-~~-~----- (e) ~ 51 Christian reaction to the trial and scourg- .., .... '3,"'0'3,$1.$ c.,..;, ''"," < finlag;t s enaht aermndo noicf c"hEarbnagrem f reosm G sahtatri"p s to (f#/g) e",aae<'> coo \J '"-"''8'' 52-57 Jemsuesd' itpautinviesh mreesnptosn asneds mocking; Christian (g/d/F/d) ~ 58a Arrival at Golgotha, the crucifixion (C/F/d-e/b/D/A ------------------- ("gekreuziget") ------- c#/f#/b) c;'" 58b "Der du den Tempel" (b) __'~_"i-'i"l''' S'''"':_'': <H_ ___5588_de _"_An dRerebGn"ce soithetwtarateeitte esivs ne"eS r o" Mhwagnneia"dhtr h odec leaf-crme"drn oei"nansn;soc d er r epn"ienidlaha ismnotsi"gcioo tnnao_v fo e(_nptsu a_r"rbric_ahh e_ sbiai_n) _ ((ee)/ c) ~s"a.a.e<'> ceo. -t9.09.51- 6601 a "SehDeta,r kJneessuss; h"aEtl id, ieE lHi a.n.d." " \t~~~tjt;e:--"'fl;';a::;:t,--.... 61b,c Choruses beneath the cross (c/g-d) Cr"'oI;;'""< ;:1 666313bda , 62 JO"eTusrtubusrl'ye adtkhes aisoth fw; na"asW tutehrneen : Sico"hUn ndeo ifn smiGeoahdl"e. ..d "a ," (((CAa/,-dfe/l-gaJ)t )> h_r_yg_i._ a~n , ====:~. ... "''8''' H 63c-66c The burial and related events (c/g/B-flat/ '" E-flat/c) 67 "Nun ist der Herr zur ruh gebracht" (E-flat/c) 68 "Wir setzen uns mit Tranen nieder" (c) FIGURE 2b: The complex pattern of tonal fluctuation in Part II. Less patterned than Part I, Part II gives greater emphasis to catabases, especially sudden ones. They are almost all associated with the death and burial of Jesus. Anabasis patterns coincide with the prediction of the parousia, the increase in intensity between the two "Let him be crucified" choruses, and the change from the darkness and despair of Golgotha to the point of Christ's death. As in Part I, there are seven major tonal divisions in Part II. entire tonal space of the work. Each anabasis also has a carefully arranged "center" (i.e., the "neutral" keys of C-m~or and a-minor respectively, both of course equidistant from the extremities), although any feeling of symme try is decidedly secondary. In each case, however, the half-way region of the anabasis is reserved for a particularly Lutheran and "Matthean" theological locus. The first is the institution of the Eucharist: F -major for the bread (body), C-major for the wine (blood), G-major for the anticipation of the Kingdom of God. In the second instance the pivot between flats and sharps is given to the words, "the spirit is willing but the flesh is weak" (a-minor cadence with change of key signature and turn to e-minor). Once again Bach pays special attention to the juxtaposition of flesh and spirit, this time ampli fied to the level of the entire second anabasis, from Jesus' and the disciples' human weakness in Gethsemane through Jesus' resolve to obey the Father's will and his announcement of the fulfillment of scripture. The root word 48