Page 107 - (DK) The Classical Music Book - Big Ideas Simply Explained

BAROQUE 1600–1750 105

and alto bemoan Jesus’s fate
in resigned tones. In contrast,
the chorus demands his release,
creating an extraordinary tension
between the two moods. While the
resignation continues, the chorus,
which may depict the disciples
or the congregation, gets more
agitated, and the orchestra drives
the music forward to a breathless
conclusion. The ending of this
section in the major key might
seem surprising, underpinning as it
does the words “murderous blood.”
It is suggested, however, that the
music might be reminding the
listener that while the story is one
of suffering, without the capture of
Jesus, his Crucifixion—and thereby
salvation—is not possible.
Elsewhere, many of the more
contemplative texts, such as the
chorale “Ich bin’s ich sollte büssen”
(“It is I who should suffer”) or the
bass aria “Mache dich, mein Herze,
rein” (“Make thyself clean my betrayal of Jesus, as he repeats Bach and three of his sons pose for
heart”), encourage listeners to feel the 17 words of the text with a portrait (1730) by Balthasar Denner.
the emotion and identify with the increasing anguish. Bach had 20 children, and from the early
drama. The most striking example The St. Matthew Passion 1500s to the late 1700s, his family
produced more than 70 musicians.
is perhaps the aria “Erbarme dich, received only a handful of
mein Gott” (“Have mercy Lord, my performances in Bach’s lifetime.
God”). The simplicity of the lilting The newer Classical style had Passion existed only in hand-
rhythm, accompanied by a begun to revolutionize musical copied examples within a very
lamenting violin, underpins and composition and enjoyment, and small circle of admirers, some of
emphasizes the intensity of Peter’s the composer was considered to whom had been his students.
sense of horror and guilt at his be behind the times in writing It was through such a group that
contrapuntal music of this kind. Mendelssohn came to study Bach’s
works in the early 19th century
Bach’s legacy and put on a performance of the
By the end of Bach’s life, his music St. Matthew Passion in 1829. This
was called “learned” in the most performance, although a landmark
The most beautiful piece pejorative sense; the music of his in the revival of Bach’s music, was
of music ever written son Carl Philipp Emanuel Bach was neither complete nor authentic, but
for the violin. better known. Very little of Bach’s it did help to raise awareness of
Yehudi Menhuin music was printed, although the Bach’s work. It was not long before
Describing “Erbarme dich, mein Gott” keyboard works were sometimes societies were created to publish
studied; Ludwig van Beethoven and perform his work. Today, the
(1770–1827) often performed fugues St. Matthew Passion is frequently
and preludes from Bach’s The Well- presented as a staged work; with
Tempered Clavier. However, major its similarities to opera, it can have
works such as the St. Matthew a powerful effect on audiences. ■

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