Bach's Breakthrough Chorales

Bach was never more brilliant than in the originality of his chorale harmonizations. The "science" of musical harmony was formed by Jean-Philippe Rameau in 1726, the year before St. Matthew Passion was composed. Since Bach didn't know the "rules" he was free to explore theretofore unknown harmonies. Almost every composition student uses the corpus of Bach's chorale settings as a textbook. One has to wonder why, in college harmony classes, the ideal is to keep the alto and tenor lines as close to a monotone as possible. Bach goes wild -- cross voices, false relations, savage chromaticism -- whatever is necessary to create a melody of interest in all the parts, not just the soprano. My prof told us, in analysis class, that the chord progression which opened the door to modern music was the first phrase of the "Love Death" (Liebestodt). But he surely must have heard Bach's chorale setting of "Es ist genug." Rameau could have analyzed the Wagner but he would have been hard pressed to figure the Bach. Alban Berg understood. He based his violin concerto on the Bach.

Concert, Entertainment, or Act of Faith?

Not long ago I attended a performance by the San Francisco Symphony of Bach's other Passion, the St. John, at Davies Symphony Hall. It was well-performed and enthusiastically received. But I felt uneasy during the performance; I realized that an important context was missing. More than 200 performers -- orchestra, chorus, and soloists -- filed in and out, dressed in black tie. But is was purely and simply a concert; more than entertainment, but less than an act of faith.

Congregation as Greek Chorus

Bach's intention is that the congregation sing with the Choir during the St. Matthew Passion chorales. Before each service the congregation and the Choir will rehearse the chorales. The rehearsal is a transitional moment when the church prepares to assume its role in the great drama commenting and reacting, like a Greek chorus, to the appalling and gripping drama unfolding in front of it. The Choir will serve as unruly mobs of outraged citizens, as disciples, as High Priests. The congregation, as the bride of Christ, the Church, the daughter of Zion, rather than being passive observer will participate in the drama and, I hope, make a spiritual journey, a pilgrimage to the Cross, that will be at once deeply personal and communally shared.

How We're Going to Present the Work

The entire Passion lasts around three hours, and quotes all of the 26th and 27th chapters of the Book of Matthew. We'll divide it into six successive parts, each lasting 30-35 minutes, and present them over six successive Sundays during Lent. This will involve a few changes in the normal Sunday morning worship order. The sermons will address the themes that arise with the unfolding of the Passion. We will have a full orchestra, six soloists and the 60-person Calvary Chancel Choir. The Santa Rosa Children's Chorus will sing the first Sunday, February 25th. This is a lot of people. There are many days when I pace the Chancel and think about how we will shoehorn in all the performers. I wonder if Bach ever had this concern in his day?

Religious Fervor, Unfathomable Genius

Bach's St. Matthew Passion is his own pilgrimmage to the Cross as well as his crowning achievement. Bach alludes to the conjoining of of religious fervor and unfathomable genius when, at the end of his composition, he inscribes: Soli Deo Gloria, to God Alone the Glory. Examining Bach's hurried, scrawling manuscripts, we believe Bach when he tells us that the music "from heaven above" was fired to him so rapidly he scarcely had time to get the notes down on paper.