# St Matthew Passion structure

Johann Sebastian Bach's St Matthew Passion (Matthäuspassion), BWV 244, is structured on multiple levels: the composition is structured in three levels of text sources (Gospel, libretto and chorales) and by the different forms that are used for musical expression (arias, recitatives and choruses).
Bach's large choral composition was written to present the Passion of Jesus, as told in the Gospel of Matthew, in a vespers service on Good Friday. It is composed in two parts, that were to be performed before and after the sermon of that service. Part I covers the events until the arrest of Jesus and Part II concludes with his burial and the sealing of his grave.
Bach took the Gospel text for the composition from Martin Luther's German translation of Matthew 26 and 27. Contemporary poetry in Picander's libretto and chorales comment on the Bible text and open and close most scenes of the narration.

## Numbering of the movements

Bach did not number the sections of the St Matthew Passion but twentieth-century scholars have done so. The Bach-Werke-Verzeichnis (BWV, Bach Works Catalog) divides the work into 78 numbers (vocal movements), while the Neue Bach-Ausgabe (NBA, New Bach Edition) divides the piece into 68 movements. Both use lettered subsections in some cases. Movement numbers in this article follow the NBA scheme, except for the table with the movements that cross-references both numbering systems.

## Text based structure

The text is taken from three sources: the biblical texts, contemporary poetry by Picander and chorales.

### Scene division based on the Gospel text

The St Matthew Passion can be divided in scenes or "stations" that follow the dramatic action of the Gospel account in different locations. Whatever the chosen scene division (none of them indicated by the composer in the score), scenes end on an aria, a chorus, or in the midst of a Gospel text section. In the latter case the ending of the scene would usually be on a turba chorus, such as Wahrlich, dieser ist Gottes Sohn gewesen ending the scene where Jesus dies at the cross.
New scenes begin with Gospel text sung by the Evangelist, except the first scene of each of the two parts of the composition. In other words, except for the chorus and aria that open Part One and Part Two, chorales and arias are a meditation after the narration of the action in the sung Gospel text.
| NBA | 16 scenes | Archiv |
| Part I |||
| 1–4a | 1. "The chief priests seek to destroy Jesus" | Anointing in Bethany |
| 4b–6 | 2. "Jesus is anointed with precious ointment" | Anointing in Bethany |
| 7–8 | 3. "Judas plans the betrayal of Christ" | The Lord's Supper |
| 9a–11 | 4. "The disciples prepare the Passover meal" | The Lord's Supper |
| 12–13 | 5. "The Last Supper" | The Lord's Supper |
| 14–17 | 6. "The Agony in the Garden" | The Lord's Supper |
| 18–25 | 6. "The Agony in the Garden" | In Gethsemane |
| 26–29 | 7. "The arrest of Jesus" | In Gethsemane |
| Part II |||
| 30–35 | 8. "The hearing before high priest Caiaphas" | False Witness |
| 36–37 | 8. "The hearing before high priest Caiaphas" | Interrogation by Caiaphas and Pilate |
| 38–40 | 9. "Peter's denial of Christ, and his remorse" | Interrogation by Caiaphas and Pilate |
| 41–44 | 10. "Judas' repentance and death" | Interrogation by Caiaphas and Pilate |
| 45–52 | 11. "The trial before Pontius Pilate" | Jesus' Delivery and Flagellation |
| 53–54 | 12. "Soldiers crown Jesus with thorns, mocking him" | Jesus' Delivery and Flagellation |
| 55–60 | 13. "Crucifixion" | Crucifixion |
| 61–63b | 14. "Death of Jesus, followed by an earthquake" | Crucifixion |
| 63c–66a | 15. "Descent from the Cross; Christ's burial" | The Interment |
| 66b–68 | 16. "Chief priests demand the tomb be sealed" | The Interment |

### Libretto

Christian Friedrich Henrici (Picander), who collaborated with Bach, wrote text for recitatives and arias, and for the large scale choral movements that open and close the Passion. Other libretto sections came from publications by Salomo Franck and Barthold Heinrich Brockes.
Scenes can be opened and closed by arias: No. 6 Buß und Reu, an aria for alto, concludes the scene at Bethany. Part II opens with an aria, Ach! nun ist mein Jesus hin!.

### Chorales

The oldest chorale chosen for the Passion dates from 1525. Bach used the hymns in different ways, most are four-part setting, two are the cantus firmus of the two chorale fantasias framing Part I, one as a commenting element in a tenor recitative.
Three of the texts Bach used for chorale settings are written by Paul Gerhardt. Bach included five stanzas of his "O Haupt voll Blut und Wunden" in the Passion, and he uses the first two stanzas of the poem to conclude the Flagellation scene.
Chorales in St Matthew Passion :
| Author | Date | Hymn; Stanza | Hymn; Stanza | Stanza incipit | No. | Set as... |
| Nikolaus Decius | 1541 | O Lamm Gottes, unschuldig | 1 | O Lamm Gottes, unschuldig | 1 | cantus firmus in choral movement |
| Johann Heermann | 1630 | Herzliebster Jesu | 1 | Herzliebster Jesu, was hast du verbrochen | 3 | four-part chorale |
| Paul Gerhardt | 1647 | O Welt, sieh hier dein Leben | 5 | Ich bin's, ich sollte büßen | 10 | four-part chorale |
| Paul Gerhardt | 1656 | O Haupt voll Blut und Wunden | 5 | Erkenne mich, mein Hüter | 15 | four-part chorale |
| Paul Gerhardt | 1656 | O Haupt voll Blut und Wunden | 7 | Es dient zu meinen Freuden | 17 | four-part chorale |
| Paul Gerhardt | 1656 | O Haupt voll Blut und Wunden | 6 | Ich will hier bei dir stehen | 17 | four-part chorale |
| Johann Heermann | 1630 | Herzliebster Jesu | 3 | Was ist doch wohl die Ursach | 19 | coro II in tenor recitative |
| Albert, Duke of Prussia | 1547 | Was mein Gott will, das g'scheh allzeit | 1 | Was mein Gott will, das g'scheh allzeit | 25 | four-part chorale |
| Christian Keymann | 1658 | Meinen Jesum laß ich nicht | 6 | Jesum laß' ich nicht von mir | 29 | four-part chorale |
| Sebald Heyden | 1525 | O Mensch, bewein dein Sünde groß | 1 | O Mensch, bewein dein Sünde groß | 29 | cantus firmus in choral movement |
| Adam Reusner | 1533 | In dich hab ich gehoffet, Herr | 5 | Mir hat die Welt trüglich gericht' | 32 | four-part chorale |
| Paul Gerhardt | 1647 | O Welt, sieh hier dein Leben | 3 | Wer hat dich so geschlagen | 37 | four-part chorale |
| Johann Rist | 1642 | Werde munter, mein Gemüte | 6 | Bin ich gleich von dir gewichen | 40 | four-part chorale |
| Paul Gerhardt | 1656 | Befiehl du deine Wege | 1 | Befiehl du deine Wege | 44 | four-part chorale |
| Johann Heermann | 1630 | Herzliebster Jesu | 4 | Wie wunderbarlich ist doch diese Strafe! | 46 | four-part chorale |
| Paul Gerhardt | 1656 | O Haupt voll Blut und Wunden | 1 | O Haupt voll Blut und Wunden | 54 | four-part chorale |
| Paul Gerhardt | 1656 | O Haupt voll Blut und Wunden | 2 | Du edles Angesichte | 54, cont. | four-part chorale |
| Paul Gerhardt | 1656 | O Haupt voll Blut und Wunden | 9 | Wenn ich einmal soll scheiden | 62 | four-part chorale |
| Notes ↑ Without text (played by organ only) in older versions of the Passion 1 2 Only in version BWV 244b 1 2 3 Not in version BWV 244b |||||||

## Musical structure

The work is composed for double choir, double orchestra, and vocal soloists. The choirs are abbreviated Ch I and Ch II, individual voice parts as S (soprano), A (alto), T (tenor), and B (bass). Both choirs are four-part, SATB. The orchestra consists of woodwinds, strings, and basso continuo (Bc). Woodwinds are recorders, flauto traverso (transverse flute) (Ft), oboe (Ob), oboe d'amore (Oa), and oboe da caccia (Oc). Strings are violin (Vn), solo violin (Vs), viola (Va), lute (Lt), and viola da gamba (Vg). Continuo are violoncello, double bass, bassoon, and organ.
The Bible story is told by the Evangelist (Ev) in secco recitative, and by the characters that have direct speech in the narrative. The speech of Jesus sings in accompagnato recitative, except at the beginning of No. 61a where Jesus utters his last words "Eli, Eli, lama, lama asabthani" [sic] in recitative secco (see facsimile image on the right). The speech of other persons, called soliloquents, is also set as secco recitative. Soliloquents are Judas (B), Peter (B), two witnesses (A T), two high priests (B), two maids (S), Pilate (B), and his wife (S). The speech of groups such as the disciples and the crowd, are expressed in turba choruses.
Reflecting thoughts on contemporary poetry appear as sequence of recitatives (rec) and arias, sometimes just the latter, and in choral movements. Most chorales are four-part settings. Several movements use a combination of forms, such as an aria with chorale, a chorale fantasia, a chorus with a chorale as a cantus firmus. Chorales were performed by both groups combined, with each voice type in unison. Movement 63b, Wahrlich, dieser ist Gottes Sohn gewesen (Truly, this man was God's own Son most truly), is treated the same way. Part I ends with a chorale fantasia that is based on the opening chorus of the St John Passion in its second version, also performed by both choirs in unison, whereas the opening chorus is for double choir with the chorale "O Lamm Gottes, unschuldig" as the cantus firmus, which was originally played, later sung. The closing chorus is in da capo form for two choirs.

## Movements

Column 1 of the table is the movement number in the Neue Bach-Ausgabe; column 2 is this number in the Bach-Werke-Verzeichnis. The last column shows the incipit, the first measures of each movement with text.
Structure of St Matthew Passion, Part I :
| NBA | BWV | Gospel | Ch 1 | Ch II | Key | Time | Instr. | Beginning of text | Source |
| 1 | 1 | Chorale S | Ch I | Ch II | E minor | $^{12}$ $_8$ | 2Ft 2Ob 2Vn Va Bc | Kommt, ihr Töchter, helft mir klagen + chorale O Lamm Gottes, unschuldig as cantus firmus | Picander + Nicolaus Decius |
| 2 | 2 | Ev, Jesus | Ev, Jesus | Ev, Jesus | G major → B minor | | 2Vn Va Bc | Da Jesus diese Rede vollendet hatte | Mt 26:1–2 |
| 3 | 3 | | Chorale | Chorale | B minor | | 2Ft 2Ob 2Vn Va Bc | Herzliebster Jesu | Johann Heermann |
| 4a | 4 | Ev | Ev | Ev | D major → C major | | Bc | Da versammleten sich die Hohenpriester | Mt 26:3–4 |
| 4b | 5 | Ch I | Ch I | Ch II | C major | | 2Ft 2Ob 2Vn Va Bc | Ja nicht auf das Fest | Mt 26:5 |
| 4c | 6 | Ev | Ev | Ev | C major → A minor | | Bc | Da nun Jesus war zu Bethanien | Mt 26:6–8a |
| 4d | 7 | Ch I | Ch I | | A minor → D minor | | 2Ft 2Ob 2Vn Va Bc | Wozu dienet dieser Unrat | Mt 26:8b–9 |
| 4e | 8 | Ev, Jesus | Ev, Jesus | Ev, Jesus | B♭ major → E minor | | 2Vn Va Bc | Da das Jesus merkete | Mt 26:10–13 |
| 5 | 9 | | Rec A | Rec A | B minor → F♯ minor | | 2Ft Bc | Du lieber Heiland du | Salomo Franck |
| 6 | 10 | | Aria A | Aria A | F♯ minor | $^3$ $_8$ | 2Ft Bc | Buß und Reu | Picander |
| 7 | 11 | Ev, Judas | Ev, Judas | Ev, Judas | D major → B minor | | Bc | Da ging hin der Zwölfen einer | Mt 26:14–16 |
| 8 | 12 | | Aria S | Aria S | B minor | | 2Ft 2Vn Va Bc | Blute nur, du liebes Herz! | Picander |
| 9a | 13 | Ev | Ev | Ev | G major | | Bc | Aber am ersten Tage der süßen Brot | Mt 26:17a |
| 9b | 14 | Ch I | Ch I | Ch I | G major | $^3$ $_4$ | 2Ft 2Ob 2Vn Va Bc | Wo willst du, daß wir dir bereiten | Mt 26:17b |
| 9c | 15 | Ev, Jesus | Ev, Jesus | Ev, Jesus | G major → C major | | 2Vn Va Bc | Er sprach: Gehet hin in die Stadt | Mt 26:18–21 |
| 9d | 15 | Ev | Ev | Ev | B♭ minor → F minor | | Bc | Und sie wurden sehr betrübt | Mt 26:22a |
| 9e | 15 | Ch I | Ch I | Ch I | F minor → C minor | | 2Ft 2Ob 2Vn Va Bc | Herr, bin ich's? | Mt 26:22b |
| 10 | 16 | | Chorale | Chorale | A♭ major | | 2Ob 2Vn Va Bc | Ich bin's, ich sollte büßen | Paul Gerhardt |
| 11 | 17 | Ev, Jesus, Judas | Ev, Jesus, Judas | Ev, Jesus, Judas | F minor → G major | –$^6$ $_4$ | 2Vn Va Bc | Er antwortete und sprach | Mt 26:23–29 |
| 12 | 18 | | Rec S | Rec S | E minor → C major | | 2Oa Bc | Wiewohl mein Herz in Tränen schwimmt | Picander |
| 13 | 19 | | Aria S | Aria S | G major | $^6$ $_8$ | 2Oa Bc | Ich will dir mein Herze schenken | Picander |
| 14 | 20 | Ev, Jesus | Ev, Jesus | Ev, Jesus | B minor → E major | | 2Vn Va Bc | Und da sie den Lobgesang gesprochen hatten | Mt 26:30–32 |
| 15 | 21 | | Chorale | Chorale | E major | | 2Ft 2Ob 2Vn Va Bc | Erkenne mich, mein Hüter | Paul Gerhardt |
| 16 | 22 | Ev, Jesus, Peter | Ev, Jesus, Peter | Ev, Jesus, Peter | A major → G minor | | 2Vn Va Bc | Petrus aber antwortete | Mt 26:33–35 |
| 17 | 23 | | Chorale | Chorale | E♭ major | | 2Ob 2Vn Va Bc | Ich will hier bei dir stehen | Paul Gerhardt |
| 18 | 24 | Ev, Jesus | Ev, Jesus | Ev, Jesus | F major → A♭ major | | 2Vn Va Bc | Da kam Jesus mit ihnen zu einem Hofe | Mt 26:36–38 |
| 19 | 25 | | Rec T | Ch II Chorale | F minor → G major | | 2Fl 2Oc 2Vn Va Bc | O Schmerz! Hier zittert das gequälte Herz | Picander + Johann Heermann |
| 20 | 26 | | Aria T | Ch II | C minor | | 2Ft Ob 2Vn Va Bc | Ich will bei meinem Jesu wachen | Picander |
| 21 | 27 | Ev, Jesus | Ev, Jesus | Ev, Jesus | B major → G minor | | 2Vn Va Bc | Und ging hin ein wenig | Mt 26:39 |
| 22 | 28 | | Rec B | Rec B | D minor → B♭ major | | 2Vn Va Bc | Der Heiland fällt vor seinem Vater nieder | Picander |
| 23 | 29 | | Aria B | Aria B | G minor | $^3$ $_8$ | 2Vn Bc | Gerne will ich mich bequemen | Picander |
| 24 | 30 | Ev, Jesus | Ev, Jesus | Ev, Jesus | F major → B minor | | 2Vn Va Bc | Und er kam zu seinen Jüngern | Mt 26:40–42 |
| 25 | 31 | | Chorale | Chorale | B minor | | 2Ft 2Ob 2Vn Va Bc | Was mein Gott will, das g'scheh allzeit | Albert, Duke of Prussia |
| 26 | 32 | Ev, Jesus, Judas | Ev, Jesus, Judas | Ev, Jesus, Judas | D major → G major | | 2Vn Va Bc | Und er kam und fand sie aber schlafend | Mt 26:43–50 |
| 27a | 33 | | Aria S A | Ch II | E minor | | 2Ft 2Ob 2Vn Va Bc | So ist mein Jesus nun gefangen | Picander |
| 27b | 33 | | Ch I | Ch II | E minor | $^3$ $_8$ | 2Ft 2Ob 2Vn Va Bc | Sind Blitze, sind Donner in Wolken verschwunden? | Barthold Heinrich Brockes |
| 28 | 34 | Ev, Jesus | Ev, Jesus | Ev, Jesus | F♯ major → C♯ minor | | 2Vn Va Bc | Und siehe, einer aus denen | Mt 26:51–56 |
| 29 | 35 | | Chorale fantasia | Chorale fantasia | E major | | 2Ft 2Oa 2Vn Va Bc | O Mensch, bewein dein Sünde groß | Sebald Heyden |
Structure of St Matthew Passion, Part II :
| NBA | BWV | Form | Form | Form | Key | Time | Instr. | Beginning of Text | Source |
| 30 | 36 | | Aria A | Ch II | B minor | $^3$ $_8$ | Ft Oa 2Vn Va Bc | Ach! nun ist mein Jesus hin! | Picander |
| 31 | 37 | Ev | Ev | Ev | B major → D minor | | Bc | Die aber Jesum gegriffen hatten | Mt 26:57–60a |
| 32 | 38 | | Chorale | Chorale | B♭ major | | 2Ft 2Ob 2Vn Va Bc | Mir hat die Welt trüglich gericht' | Adam Reusner |
| 33 | 39 | Ev, 2 witnesses, high priest | Ev, 2 witnesses, high priest | Ev, 2 witnesses, high priest | G minor | | Bc | Und wiewohl viel falsche Zeugen herzutraten | Mt 26:60b–63a |
| 34 | 40 | | Rec T | Rec T | A major → A minor | | 2Ob Vg Bc | Mein Jesus schweigt | Picander |
| 35 | 41 | | Aria T | Aria T | A minor | | Vg Bc | Geduld! Wenn mich falsche Zungen stechen | Picander |
| 36a | 42 | Ev, Jesus, high priest | Ev, Jesus, high priest | Ev, Jesus, high priest | E minor | | 2Vn Va Bc | Und der Hohepriester antwortete | Mt 26:63b–66a |
| 36b | 42 | Ch I | Ch I | Ch II | G major | | 2Ft 2Ob 2Vn Va Bc | Er ist des Todes schuldig! | Mt 26:66b |
| 36c | 43 | Ev | Ev | Ev | C major → D minor | | Bc | Da speieten sie aus | Mt 26:67 |
| 36d | 43 | Ch I | Ch I | Ch II | D minor → F major | | 2Ft 2Ob 2Vn Va Bc | Weissage uns, Christe | Mt 26:68 |
| 37 | 44 | | Chorale | Chorale | F major | | 2Ft 2Ob 2Vn Va Bc | Wer hat dich so geschlagen | Paul Gerhardt |
| 38a | 45 | Ev, Peter, 2 maids | Ev, Peter, 2 maids | Ev, Peter, 2 maids | A major → D major | | Bc | Petrus aber saß draußen | Mt 26:69–73a |
| 38b | 45 | Ch II | Ch II | Ch II | D major → A major | | 2Ft Ob 2Vn Va Bc | Wahrlich, du bist auch einer | Mt 26:73b |
| 38c | 46 | Ev, Peter | Ev, Peter | Ev, Peter | C♯ major → F♯ minor | | Bc | Da hub er an, sich zu verfluchen | Mt 26:74–75 |
| 39 | 47 | | Aria A | Aria A | B minor | $^{12}$ $_8$ | Vs 2Vn Va Bc | Erbarme dich | Picander |
| 40 | 48 | | Chorale | Chorale | F♯ minor → A major | | 2Ft 2Ob 2Vn Va Bc | Bin ich gleich von dir gewichen | Johann Rist |
| 41a | 49 | Ev, Judas | Ev, Judas | Ev, Judas | F♯ minor → B major | | Bc | Des Morgens aber hielten alle Hohepriester | Mt 27:1–4a |
| 41b | 49 | Ch I | Ch I | Ch II | B major → E minor | $^3$ $_4$ | 2Ft 2Ob 2Vn Va Bc | Was gehet uns das an? | Mt 27:4b |
| 41c | 50 | Ev, 2 high priests | Ev, 2 high priests | Ev, 2 high priests | A minor → B minor | | Bc | Und er warf die Silberlinge in den Tempel | Mt 27:5–6 |
| 42 | 51 | | Aria B | Aria B | G major | | Vs 2Vn Va Bc | Gebt mir meinen Jesum wieder! | Picander |
| 43 | 52 | Ev, Jesus, Pilate | Ev, Jesus, Pilate | Ev, Jesus, Pilate | E minor → D major | | 2Vn Va Bc | Sie hielten aber einen Rat | Mt 27:7–14 |
| 44 | 53 | | Chorale | Chorale | D major | | 2Ft 2Ob 2Vn Va Bc | Befiehl du deine Wege | Paul Gerhardt |
| 45a | 54 | Ev, Pilate, his wife | Ch I | Ch II | E major → A minor | | Bc | Auf das Fest aber hatte der Landpfleger Gewohnheit | Mt 27:15–22a |
| 45b | 54 | Ch I & II | Ch I & II | Ch I & II | A minor → B major | | 2Ft 2Ob 2Vn Va Bc | Laß ihn kreuzigen! | Mt 27:22b |
| 46 | 55 | | Chorale | Chorale | B minor | | 2Ft 2Ob 2Vn Va Bc | Wie wunderbarlich ist doch diese Strafe! | Johann Heermann |
| 47 | 56 | Ev, Pilate | Ev, Pilate | Ev, Pilate | B minor | | Bc | Der Landpfleger sagte | Mt 27:23a |
| 48 | 57 | | Rec S | Rec S | E minor → C major | | 2Oc Bc | Er hat uns allen wohlgetan | Picander |
| 49 | 58 | | Aria S | Aria S | A minor | $^3$ $_4$ | Ft 2Oc | Aus Liebe will mein Heiland sterben | Picander |
| 50a | 59 | Ev | Ev | Ev | E minor | | Bc | Sie schrieen aber noch mehr | Mt 27:23b |
| 50b | 59 | Ch I & II | Ch I & II | Ch I & II | B minor → C♯ major | | 2Ft 2Ob 2Vn Va Bc | Laß ihn kreuzigen! | Mt 27:23c |
| 50c | 59 | Ev, Pilate | Ev, Pilate | Ev, Pilate | C♯ major → B minor | | Bc | Da aber Pilatus sahe | Mt 27:24–25a |
| 50d | 59 | Ch I & II | Ch I & II | Ch I & II | B minor → D major | | 2Ft 2Ob 2Vn Va Bc | Sein Blut komme über uns | Mt 27:25b |
| 50e | 59 | Ev | Ev | Ev | D major → E minor | | Bc | Da gab er ihnen Barrabam los | Mt 27:26 |
| 51 | 60 | | Rec A | Rec A | F major → G minor | | 2Vn Va Bc | Erbarm es Gott! | Picander |
| 52 | 61 | | Aria A | Aria A | G minor | $^3$ $_4$ | 2Vn Bc | Können Tränen meiner Wangen | Picander |
| 53a | 62 | Ev | Ev | Ev | F major → D minor | | Bc | Da nahmen die Kriegsknechte | Mt 27:27–29a |
| 53b | 62 | Ch I | Ch I | Ch II | D minor → A major | | 2Ft 2Ob 2Vn Va Bc | Gegrüßet seist du, Jüdenkönig! | Mt 27:29b |
| 53c | 62 | Ev | Ev | Ev | D minor | | Bc | Und speieten ihn an | Mt 27:30 |
| 54 | 63 | | Chorale | Chorale | D minor → F major | | 2Ft 2Ob 2Vn Va Bc | O Haupt voll Blut und Wunden | Paul Gerhardt |
| 55 | 64 | Ev | Ev | Ev | A minor | | Bc | Und da sie ihn verspottet hatten | Mt 27:31–32 |
| 56 | 65 | | Rec B | Rec B | F major → D minor | | 2Ft Vg Bc | Ja freilich will in uns | Picander |
| 57 | 66 | | Aria B | Aria B | D minor | | Vg Bc | Komm, süßes Kreuz | Picander |
| 58a | 67 | Ev | Ev | Ev | C major → F♯ major | | Bc | Und da sie an die Stätte kamen | Mt 27:33–39 |
| 58b | 67 | Ch I | Ch I | Ch II | F♯ major → B minor | | 2Ft 2Ob 2Vn Va Bc | Der du den Tempel Gottes zerbrichst | Mt 27:40 |
| 58c | 67 | Ev | Ev | Ev | F♯ major → E minor | | Bc | Desgleichen auch die Hohenpriester | Mt 27:41 |
| 58d | 67 | Ch I | Ch I | Ch II | E minor | | 2Ft 2Ob 2Vn Va Bc | Andern hat er geholfen | Mt 27:42–43 |
| 58e | 68 | Ev | Ev | Ev | G major → C minor | | Bc | Desgleichen schmäheten ihn | Mt 27:44 |
| 59 | 69 | | Rec A | Rec A | A♭ major | | 2Oc Bc | Ach Golgatha | Picander |
| 60 | 70 | | Aria A | Ch II | E♭ major | | 2Ob 2Oc 2Vn Va Bc | Sehet, Jesus hat die Hand | Picander |
| 61a | 71 | Ev, Jesus | Ev, Jesus | Ev, Jesus | E♭ major → C minor | | Bc | Und von der sechsten Stunde an | Mt 27:45–47a |
| 61b | 71 | Ch I | Ch I | Ch I | C minor → F major | | 2Ob 2Vn Va Bc | Der rufet dem Elias! | Mt 27:47b |
| 61c | 71 | Ev | Ev | Ev | F major → G minor | | Bc | Und bald lief einer unter ihnen | Mt 27:48–49a |
| 61d | 71 | Ch II | Ch II | Ch II | G minor → D minor | | 2Ft Ob 2Vn Va Bc | Halt! laß sehen | Mt 27:49b |
| 61e | 71 | Ev | Ev | Ev | D minor → A minor | | Bc | Aber Jesus schriee abermal laut | Mt 27:50 |
| 62 | 72 | | Chorale | Chorale | A minor | | 2Ft 2Ob 2Vn Va Bc | Wenn ich einmal soll scheiden | Paul Gerhardt |
| 63a | 73 | Ev | Ev | Ev | C major → A♭ major | | Bc | Und siehe da, der Vorhang im Tempel zerriß | Mt 27:51–54a |
| 63b | 73 | Ch I & II | Ch I & II | Ch I & II | A♭ major | | 2Ft Ob 2Vn Va Bc | Wahrlich, dieser ist Gottes Sohn gewesen | Mt 27:54b |
| 63c | 73 | Ev | Ev | Ev | E♭ major → B♭ major | | Bc | Und es waren viel Weiber da | Mt 27:55–59 |
| 64 | 74 | | Rec B | Rec B | G minor | | 2Vn Va Bc | Am Abend, da es kühle war | Salomo Franck |
| 65 | 75 | | Aria B | Aria B | B♭ major | $^{12}$ $_8$ | 2Oc 2Vn Va Bc | Mache dich, mein Herze, rein | Picander |
| 66a | 76 | Ev | Ev | Ev | G minor → E♭ major | | Bc | Und Joseph nahm den Leib | Mt 27:59–62 |
| 66b | 76 | Ch I | Ch I | Ch II | E♭ major → D major | | 2Ft 2Ob 2Vn Va Bc | Herr, wir haben gedacht | Mt 27:63–64 |
| 66c | 76 | Ev, Pilate | Ev, Pilate | Ev, Pilate | G minor → E♭ major | | Bc | Pilatus sprach zu ihnen | Mt 27:65–66 |
| 67 | 77 | | Rec S A T B | Ch II | E♭ major → C minor | | 2Ft 2Ob 2Vn Va Bc | Nun ist der Herr zur Ruh gebracht | Picander |
| 68 | 78 | | Ch I | Ch II | C minor | $^3$ $_4$ | 2Ft 2Ob 2Vn Va Bc | Wir setzen uns mit Tränen nieder | Picander |