# St John Passion structure

The structure of the St John Passion (German: Johannes-Passion), BWV 245, a sacred oratorio by Johann Sebastian Bach first performed in Leipzig on Good Friday 1724, is "carefully designed with a great deal of musico-theological intent". Some main aspects of the structure are shown in tables below.
The original Latin title Passio secundum Joannem translates to "Passion according to John". Bach's large choral composition in two parts on German text, written to be performed in a Lutheran service on Good Friday, is based on the Passion, as told in two chapters from the Gospel of John (John 18 and John 19) in the translation by Martin Luther, with two short interpolations from the Gospel of Matthew (in the earliest version, one is from the Gospel of Matthew and one from the Gospel of Mark). During the vespers service, the two parts of the work were performed before and after the sermon. Part I covers the events until Peter's denial of Jesus, Part II concludes with the burial of Jesus. The Bible text is reflected in contemporary poetry and in chorales that often end a "scene" of the narration, similar to the way a chorale ends most Bach cantatas. An anonymous poet supplied a few texts himself, quoted from other Passion texts and inserted various stanzas of chorales by nine hymn writers. Bach led the first performance on 7 April 1724 in Leipzig's Nikolaikirche. He repeated it several times between 1724 and 1749, experimenting with different movements and changing others, which resulted in four versions (with a fifth one not performed in Bach's lifetime, but representing the standard version). The Passion, close to Bach's heart, has an "immediate dramatic quality".

## Structure
### Text
#### Gospel

The gospel account by John narrates the story in five "scenes". The corresponding movement numbers are given from the Neue Bach-Ausgabe (NBA).
Part I
* Arrest (1–5), Kidron Valley (John 18:1–11)
* Denial (6–14), palace of the high priest Kaiphas (John 18:12–27)
Part II
* Court hearing with Pontius Pilate (15–26) (John 18:28–40 and John 19:1–22)
* Crucifixion and death (27–37), Golgotha (John 19:23–30)
* Burial (38–40), burial site (John 19:31–42)
Some musicologists regard movement 24 as the conclusion of scene 3, the aria "Eilt, ihr angefocht'nen Seelen" which locates the action from the courthouse to Golgotha, the calvary. Others, including Alfred Dürr, regard the scene as ending with the last comment by Pilate.
Bach incorporated two short interpolations from the Gospel of Matthew (in Version I, one from Matthew and one from the Gospel of Mark), Matthew 26:75 after John 18:27, describing the weeping of Peter, and Matthew 27:51–52 after John 19:30, describing the tearing of the temple curtain (in Version I, this was replaced by Mark 15:38). The narrator is the Evangelist, a tenor. Jesus and all other male characters are sung by a bass (including Peter and Pilate) or tenor (servant); female characters (such as the Maid) are sung by a soprano, while the people who are often summarily called die Jüden (the Jews), the servants of the High Priest, and the soldiers are sung by a four-part chorus (SATB) in dramatic turba movements. The "immediate, dramatic quality" of the "kind of musical equivalent of the Passion Play" relies on the setting of the interaction between the historical persons (Jesus, Pilate, Peter, Maid, Servant) and the crowd ("soldiers, priests, and populace").

#### Chorales

At eleven moments in the Passion, stanzas from Lutheran chorales reflect the narration. Possibly Bach had an influence on their selection. He set them all in common time for four parts, the instruments playing colla parte with the voices.
Five chorales conclude a scene (in movements 5, 14, 26, 37 and 40); while a chorale opens Part II (15). Five chorales comment within a scene (3, 11, 17, 22, 28), including the central movement (22). One chorale accompanies the bass soloist in an aria (32).
Most chorale texts were written in the 16th and 17th century, by authors of the Reformation such as Martin Luther, Martin Schalling and Michael Weiße, and by hymn writers including Paul Gerhardt and Johann Heermann. The central chorale is not part of a common hymn, its text being taken from a libretto by Christian Heinrich Postel.

#### Contemporary text

The third source for the text is contemporary poetry that reflects the biblical narration. It was compiled by an unknown author, who partly used existing text: from the Brockes Passion (Der für die Sünde der Welt Gemarterte und Sterbende Jesus, aus den IV Evangelisten, Hamburg, 1712 and 1715) by Barthold Heinrich Brockes, he copied the text for movements 7, 19, 20, 24, 32, 34, 35 (partly) and 39; he found movement 13 in Christian Weise's Der Grünen Jugend Nothwendige Gedanken (Leipzig, 1675) and took from Postel's Johannes-Passion (c. 1700) movements 19 (partly), 22 and 30.
* Barthold Heinrich Brockes, etching by Christian Fritzsch (1744)
* Christian Weise, etching by J.C. Böcklin

### Scoring

The work is scored for vocal soloists (soprano, alto, tenor and bass), a four-part choir SATB, and an orchestra of two flauto traverso (Ft) (except for Version I, since all evidence of Bach's use of traverse flutes point to the 2nd Cantata Cycle as when he first used them), two oboes (Ob), two oboes da caccia (Oc), two oboes d'amore (Oa), two violins, viola (Va), and basso continuo. Bach added some instruments which were already old-fashioned at the time in arias for special effects, such as the archlute (Version I and 1739–1749 revision only, replaced by organ and/or harpsichord), the viola d'amore and the viola da gamba (Vg). Bach did not differentiate the vox Christi (voice of Christ), singing the words of Jesus, from the other bass recitatives and arias, nor the evangelist from the tenor arias.

### Symmetry

The work displays a thoughtful symmetry. In the center of the five parts is the court hearing which confronts Jesus, Pilate, and the people. In the middle of the hearing, a chorale (22) interrupts the argument, which is a discussion about freedom and captivity. It is surrounded by two choral movements, which not only both ask 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 choir explains the law, while a corresponding movement reminds Pilate of the Emperor whose authority is challenged by someone calling himself a king. Preceding this, Jesus is greeted in mockery as a king, corresponding in motif to the later request that Pilate should change the inscription saying he is "the King of the Jews" to "He said: I am the King of the Jews".

### Versions

Bach led the first performance on 7 April 1724 at the Nikolaikirche (St. Nicholas) as part of a Vesper service for Good Friday. Part I was performed before the sermon, Part II after the sermon. Bach performed a second version on Good Friday a year later, 30 March 1725. Other versions were performed between 1728 and 1732 (version 3), and in 1749 (version 4). A final, fifth version, revised between 1739 and 1749, was never performed in Bach's lifetime.
In version 2, Bach opened with a chorale fantasia on "O Mensch, bewein dein Sünde groß" (O man, bewail thy sins so great), the first stanza of a 1525 hymn by Sebald Heyden, a movement which he ultimately used to conclude Part I of his St Matthew Passion, returning to the previous chorus Herr, unser Herrscher in later versions of the St John Passion. He used three alternative arias, one of them with a chorale sung by the choir, and replaced the two closing movements, the chorus Ruht wohl and the chorale Ach Herr, laß dein lieb Engelein with the chorale fantasia on "Christe, du Lamm Gottes" (Christ, you Lamb of God), the German Agnus Dei, published in Braunschweig in 1528. Bach took this movement from his cantata Du wahrer Gott und Davids Sohn, BWV 23, which had been an audition piece for his post in Leipzig. Before, it had been part of his Weimarer Passion of 1717.
In version 3, after Bach wrote his St Matthew Passion, he returned the opening chorus Herr, unser Herrscher and the final chorus Ruht wohl to their initial position, but removed the Gospel passages from Matthew and the closing chorale.
In version 5 (never performed), possibly dating from as early 1739, Bach returned to the first version, but revised it thoroughly. He began a new score which covers 12 movements. As Christoph Wolff observes: "The fragmentary revised score constitutes an extensive stylistic overhaul with painstaking improvements to the part-writing and a partial restructuring of the instrumentation; particular attention was paid to the word-setting in the recitatives and the continuo accompaniment." In 1749, Bach performed the St John Passion once more, in an expanded and altered form from the 1724 version, in what would be his last performance of a Passion.
Wolff writes: "Bach experimented with the St John Passion as he did with no other large-scale composition", possible by the work's structure with the Gospel text as its backbone and interspersed features that could be exchanged. Wolff concludes: "the work accompanied Bach right from his first year as Kantor of St Thomas's to the penultimate year of his life and thus, for that reason alone, how close it must have been to his heart.

## Overview

In the following, the movement numbers are those of the NBA, version I, unless otherwise noted.

### The chorales in detail

The first chorale, movement 3, is inserted after Jesus tells the crowd to arrest him, but let his disciples go. "O große Lieb, o Lieb ohn alle Maße" (O mighty love, O love beyond all measure) is stanza 7 of Johann Heermann's 1630 hymn "Herzliebster Jesu, was hast du verbrochen", part of a movement to make German a literary language by imposing strict rules of metre and hymn; the form is that of a Sapphic stanza with the characteristically short last forth line which here literally is a punch line, hitting home: "Und du mußt leiden" (And you must suffer). The hymn is based on a passion meditation which was attributed to the church father St Augustine (Meditationes Divi Augustini, chapter VII) – another nod to classical learning but with all the emotionally charged medieval rhetoric of Anselm of Canterbury or Bernard of Clairvaux. The text addresses the crucified Christ pondering on the bodily signs of the passion but even more on the significance of this display of suffering. This verse breaks into the exclamation of wonder: a highly emotionally charged start the triple ‘o’ in the first line and the neologism of the ‘Marterstraße’ in the second which Bach makes audible in the chromatically discordant setting. It imagines Christ being physically pushed by Love personified on the road of suffering while the singer lives with Mrs World in sinful pleasure – a combination of the medieval concept of the “Crucifixion by the virtues” with the pilgrim’s progress idea of encountering virtues and vices on the way.
The second chorale, movement 5, ends the first scene, after Jesus remarks that he has to be obedient. "Dein Will gescheh, Herr Gott, zugleich" (Your will be done, Lord God, alike) is stanza 4 of Luther's 1539 hymn "Vater unser im Himmelreich, a paraphrase of the Lord's Prayer.
The third chorale, movement 11, is inserted after Jesus asks those who are beating him for justification. Two stanzas from Paul Gerhardt's 1647 hymn "O Welt, sieh hier dein Leben" comment the scene, stanza 3, "Wer hat dich so geschlagen" (Who has you now so stricken), and stanza 4, "Ich, ich und meine Sünden" (I, I and my transgressions), highlighting the personal responsibility of the speaking sinner for the suffering of Jesus.
The fourth chorale, movement 14, ends the second scene and Part I. After Peter's denial, "Petrus, der nicht denkt zurück" (Peter, when he fails to think) summarizes the scene with stanza 10 of Paul Stockmann's 1633 hymn "Jesu Leiden, Pein und Tod".
The fifth chorale, movement 15, opens Part II and the third scene. "Christus, der uns selig macht" (Christ, who has made us blessed), stanza 1 of Michael Weiße's 1531 hymn, summarizes what Jesus has to endure, even though he is innocent ("made captive, ... falsely indicted, and mocked and scorned and bespat").
The sixth chorale, movement 17, comments in two more stanzas from "Herzliebster Jesu" (3), after Jesus addresses the different people of his kingdom. Stanza 8, "Ach großer König, groß zu allen Zeiten" (Ah King so mighty, mighty in all ages) reflects the need for thanksgiving and stanza 9 the inability to grasp it, "Ich kanns mit meinen Sinnen nicht erreichen" (I cannot with my reason ever fathom).
The seventh chorale, movement 22, is the central movement of the whole Passion, which interrupts the conversation of Pilate and the crowd by a general statement of the importance of the passion for salvation: "Durch dein Gefängnis, Gottes Sohn, ist uns die Freiheit kommen" (Through your prison, Son of God, must come to us our freedom) is not part of a known hymn, but the text of an aria from a St John Passion by Postel from around 1700.
The eighth chorale, movement 26, ends the scene of the court hearing, after Pilate refuses to change the inscription. "In meines Herzens Grunde" (Within my heart's foundation) is stanza 3 of Valerius Herberger's 1613 hymn "Valet will ich dir geben".
The ninth chorale, movement 28, is related to Jesus telling his mother and John to take care of each other. "Er nahm alles wohl in acht" (He of all did well take heed) is stanza 20 of Stockmann's hymn (14).
The tenth chorale, movement 32, is part of the bass aria which follows immediately after the report of the death of Jesus. "Jesu, der du warest tot, lebest nun ohn' Ende" (Jesus, you who suffered death, now live forever) is the final stanza of Stockmann's hymn (14).
The eleventh chorale, movement 37, ends the scene of the crucifixion. "O hilf, Christe, Gottes Sohn" (O help, Christ, Son of God) is stanza 8 of Weiße's hymn (15).
The twelfth chorale, movement 40, ends the Passion. "Ach Herr, laß dein lieb Engelein" (Ah Lord, let your own angels dear) is stanza 3 of Martin Schalling's 1569 hymn "Herzlich lieb hab ich dich, o Herr".

### Tables of movements

The following tables give an overview of all versions of the Passion, first performed in 1724. Two variants of movement numbering are given, first that of the Neue Bach-Ausgabe (NBA), then that of the Bach-Werke-Verzeichnis (BWV). Voices appear in one of three columns, depending on the text source: Bible, contemporary poetic reflection, or chorale. The instrumentation is added, using abbreviations for instruments, followed by key and time signature, and the NBA number of a corresponding movement within the work's symmetry.

#### Version I

There are no extant Flute parts for this version, so the movements that normally require them have violins instead. This was performed in 1724. The Bach Compendium lists it as BC D 2a

##### Part I

| NBA | | BWV | Bible | Reflection | Chorale | Beginning of text | Source | Instruments | Key | Time | Symmetry |
| 1 | | 1 | | Chorus | | Herr, unser Herrscher | anonymous | 2Ob 2Vn Va Bc | G minor | | 39 |
| 2 | a | 2 | Ev (T), Jesus (B) | | | Jesus ging mit seinen Jüngern | John 18:1–8 | Bc | C Dorian mode | |
| 2 | b | 3 | Chorus | | | Jesum von Nazareth | John 18:1–8 | 2Ob 2Vn Va Bc | G minor | |
| 2 | c | 4 | Ev, Jesus | | | Jesus spricht zu ihnen | John 18:1–8 | Bc | G minor | |
| 2 | d | 5 | Chorus | | | Jesum von Nazareth | John 18:1–8 | 2Ob 2Vn Va Bc | C Dorian mode | |
| 2 | e | 6 | Ev, Jesus | | | Jesus antwortete | John 18:1–8 | Bc | C Dorian mode | |
| 3 | | 7 | | | Chorus | O große Lieb | Johann Heermann | 2Ob 2Vn Va Bc | G minor | |
| 4 | | 8 | Ev, Jesus | | | Auf daß das Wort erfüllet würde | John 18:9–11 | Bc | F Mixolydian mode | |
| 5 | | 9 | | | Chorus | Dein Will gescheh | Martin Luther | 2Ob 2Vn Va Bc | D minor | |
| 6 | | 10 | Ev | | | Die Schar aber und der Oberhauptmann | John 18:12–14 | Bc | F major | |
| 7 | | 11 | | Aria Alto | | Von den Stricken meiner Sünden | Brockes | 2Ob Bc | D minor | 3/4 |
| 8 | | 12 | Ev | | | Simon Petrus aber folgete Jesu nach | John 18:15a | Bc | B-flat Lydian mode | |
| 9 | | 13 | | Aria Soprano | | Ich folge dir gleichfalls | anonymous | 2Vn Bc | B-flat major | 3/8 |
| 10 | | 14 | Ev, Magd (S), Petrus (B), Jesus, Knecht (T) | | | Derselbige Jünger war dem Hohenpriester bekannt | John 18:15b–23 | Bc | G minor A minor | |
| 11 | | 15 | | | Chorus | Wer hat dich so geschlagen | Paul Gerhardt | 2Ob 2Vn Va Bc | A major | |
| 12 | a | 16 | Ev | | | Und Hannas sandte ihn gebunden | John 18:24–27 Matthew 26:75 | Bc | A Mixolydian mode | |
| 12 | b | 17 | Chorus | | | Bist du nicht seiner Jünger einer | John 18:24–27 Matthew 26:75 | 2Ob 2Vn Va Bc | A Mixolydian mode | |
| 12 | c | 18 | Ev, Petrus, Knecht | | | Er leugnete aber und sprach | John 18:24–27 Matthew 26:75 | Bc | A Mixolydian mode B minor | |
| 13 | | 19 | | Aria Tenor | | Ach, mein Sinn | Christian Weise | 2Vn Va Bc | F-sharp minor | |
| 14 | | 20 | | | Chorus | Petrus, der nicht denkt zurück | Paul Stockmann | 2Ft 2Ob 2Vn Va Bc | A major | | 15 |

##### Part II

| NBA | | BWV | Bible | Reflection | Chorale | Beginning of text | Source | Instruments | Key | Time | Symmetry |
| 15 | | 21 | | | Chorus | Christus, der uns selig macht | Michael Weiße | 2Ob 2Vn Va Bc | E Phrygian mode | | 14 |
| 16 | a | 22 | Ev, Pilate (B) | | | Da führeten sie Jesum | John 18:28–36 | Bc | A minor | |
| 16 | b | 23 | Chorus | | | Wäre dieser nicht ein Übeltäter | John 18:28–36 | 2Ob 2Vn Va Bc | D Dorian mode | |
| 16 | c | 24 | Ev, Pilate | | | Da sprach Pilatus zu ihnen | John 18:28–36 | Bc | D Dorian mode | |
| 16 | d | 25 | Chorus | | | Wir dürfen niemand töten | John 18:28–36 | 2Ob 2Vn Va Bc | A minor | |
| 16 | e | 26 | Ev, Pilate, Jesus | | | Auf daß erfüllet würde das Wort | John 18:28–36 | Bc | A minor | |
| 17 | | 27 | | | Chorus | Ach großer König | Johann Heermann | 2Ob 2Vn Va Bc | A minor | |
| 18 | a | 28 | Ev, Pilate, Jesus | | | Da sprach Pilatus zu ihm | John 18:37–40; John 19:1 | Bc | C major | |
| 18 | b | 29 | Chorus | | | Nicht diesen, sondern Barrabam | John 18:37–40; John 19:1 | 2Ob 2Vn Va Bc | D Dorian mode | |
| 18 | c | 30 | Ev | | | Barrabas aber war ein Mörder | John 18:37–40; John 19:1 | Bc | D Dorian mode | |
| 19 | | 31 | | Arioso Bass | | Betrachte, meine Seel' | Brockes Christian Heinrich Postel | 2 violas d'amore Archlute Bc | E-flat major | |
| 20 | | 32 | | Aria Tenor | | Erwäge, wie sein blutgefärbter Rücken | Brockes | 2 violas d'amore Bc (most likely only Cello or Vg and Keyboard) | C minor | 12/8 |
| 21 | a | 33 | Ev | | | Und die Kriegsknechte flochten eine Krone | John 19:2–12a | Bc | G minor | |
| 21 | b | 34 | Chorus | | | Sei gegrüßet, lieber Jüdenkönig | John 19:2–12a | 2Ob 2Vn Va Bc | B-flat major | 6/4 | 25 b |
| 21 | c | 35 | Ev, Pilate | | | Und gaben ihm Backenstreiche | John 19:2–12a | Bc | G minor | |
| 21 | d | 36 | Chorus | | | Kreuzige, kreuzige | John 19:2–12a | 2Ob 2Vn Va Bc | G minor | | 23 d |
| 21 | e | 37 | Ev, Pilate | | | Pilatus sprach zu ihnen | John 19:2–12a | Bc | G minor | |
| 21 | f | 38 | Chorus | | | Wir haben ein Gesetz | John 19:2–12a | 2Ob 2Vn Va Bc | F major | | 23 b |
| 21 | g | 39 | Ev, Pilate, Jesus | | | Da Pilatus das Wort hörete | John 19:2–12a | Bc | E Phrygian mode | | 23 a |
| 22 | | 40 | | | Chorus | Durch dein Gefängnis, Gottes Sohn | Christian Heinrich Postel Melody Johann Hermann Schein | 2Ob 2Vn Va Bc | E major | | center |
| 23 | a | 41 | Ev | | | Die Jüden aber schrieen und sprachen | John 19:12b–17 | Bc | E major | | 21 g |
| 23 | b | 42 | Chorus | | | Lässest du diesen los | John 19:12b–17 | 1Ob 1 Oboe d'amore 2Vn Va Bc | E major | | 21 f |
| 23 | c | 43 | Ev, Pilate | | | Da Pilatus das Wort hörete | John 19:12b–17 | Bc | E major | |
| 23 | d | 44 | Chorus | | | Weg, weg mit dem | John 19:12b–17 | 1Ob 1Oa 2Vn Va Bc | F-sharp minor | | 21 d |
| 23 | e | 45 | Ev, Pilate | | | Spricht Pilatus zu ihnen | John 19:12b–17 | Bc | F-sharp minor B minor | |
| 23 | f | 46 | Chorus | | | Wir haben keinen König | John 19:12b–17 | 1Ob 1Oa 2Vn Va Bc | B minor | |
| 23 | g | 47 | Ev | | | Da überantwortete er ihn | John 19:12b–17 | Bc | B minor | |
| 24 | | 48 | | Aria Bass | Soprano Alto Tenor | Eilt, ihr angefochtnen Seelen | Brockes | 2Vn Va Bc | G minor | 3/8 |
| 25 | a | 49 | Ev | | | Allda kreuzigten sie ihn | John 19:18–22 | Bc | F Mixolydian mode | |
| 25 | b | 50 | Chorus | | | Schreibe nicht: der Jüden König | John 19:18–22 | 2Ob 2Vn Va Bc | B-flat major | 6/4 | 21 b |
| 25 | c | 51 | Ev, Pilate | | | Pilatus antwortet | John 19:18–22 | Bc | B-flat major | |
| 26 | | 52 | | | Chorus | In meines Herzens Grunde | Valerius Herberger | 2Ob 2Vn Va Bc | E-flat major | |
| 27 | a | 53 | Ev | | | Die Kriegsknechte aber | John 19:23–27a | Bc | F Mixolydian mode | |
| 27 | b | 54 | Chorus | | | Lasset uns den nicht zerteilen | John 19:23–27a | 1Ob 1Oba 2Vn Va Bc | C major | 3/4 |
| 27 | c | 55 | Ev, Jesus | | | Auf daß erfüllet würde die Schrift | John 19:23–27a | Bc | A minor | | Adagio for "Sie haben meine Kleider" |
| 28 | | 56 | | | Chorus | Er nahm alles wohl in acht | Paul Stockmann | 2Ob 2Vn Va Bc | A major | |
| 29 | | 57 | Ev, Jesus | | | Und von Stund an nahm sie der Jünger | John 19:27b–30a | Bc | D major | |
| 30 | | 58 | | Aria Alto | | Es ist vollbracht | Christian Heinrich Postel | Vg 2Vn Va Bc | B minor D major | 3/4 | Vg in middle section doubles Continuo. |
| 31 | | 59 | Ev | | | Und neiget das Haupt | John 19:30b | Bc | F-sharp Phrygian mode | |
| 32 | | 60 | | Aria Bass | Chorus | Mein teurer Heiland, laß dich fragen | Brockes Paul Stockmann | Bc | D major | 12/8 |
| 33 | | 61 | Ev | | | Und der Vorhang im Tempel zerriß | Mark 15:38 | Bc | E Dorian mode | | Only 3 measures long |
| 34 | | 62 | | Arioso Tenor | | Mein Herz, in dem die ganze Welt | Brockes | 2Vn 2Oa 2Vn Va Bc | G major | |
| 35 | | 63 | | Aria Soprano | | Zerfließe, mein Herze | Brockes | Oc Vn Bc | F Dorian mode | 3/8 |
| 36 | | 64 | Ev | | | Die Jüden aber, dieweil es der Rüsttag war | John 19:31–37 | Bc | C Dorian mode | |
| 37 | | 65 | | | Chorus | O hilf, Christe, Gottes Sohn | Michael Weiße | 2Ob 2Vn Va Bc | B-flat Dorian mode | |
| 38 | | 66 | Ev | | | Darnach bat Pilatum Joseph von Arimathia | John 19:38–42 | Bc | C Dorian mode | | 23 measures |
| 39 | | 67 | | Chorus | | Ruht wohl, ihr heiligen Gebeine | Brockes | 2Ob 2Vn Va Bc | C Dorian mode | 3/4 |
| 40 | | 68 | | | Chorus | Ach Herr, laß dein lieb Engelein | Martin Schalling | 2Ob 2Vn Va Bc | E-flat major | |

#### Version II

For this version (of 1725), in addition to the Flute parts (which were first used in late 1724 (after first Sunday after Trinity), Bach heavily revised both text and music. He added five movements from his Weimarer Passion, with three texts now thought to be by Christoph Birkmann. This is listed as BC 2b.

##### Part I

| NBA | | BWV | Bible | Reflection | Chorale | Beginning of text | Source | Instruments | Key | Time | Symmetry |
| 1$^{II}$ (BWV 244/29) | | 244/35 | | | Chorus | O Mensch, bewein dein Sünde groß | Sebald Heyden | 2Ft 2Ob 2Vn Va Bc | E-flat major | | |
| 2 | a | 2 | Ev, Jesus | | | Jesus ging mit seinen Jüngern | John 18:1–8 | Bc | C Dorian mode | |
| 2 | b | 3 | Chorus | | | Jesum von Nazareth | John 18:1–8 | 2Ft 2Ob 2Vn Va Bc | G minor | |
| 2 | c | 4 | Ev, Jesus | | | Jesus spricht zu ihnen | John 18:1–8 | Bc | G minor | |
| 2 | d | 5 | Chorus | | | Jesum von Nazareth | John 18:1–8 | 2Ob 2Vn Va Bc | C Dorian mode | |
| 2 | e | 6 | Ev, Jesus | | | Jesus antwortete | John 18:1–8 | Bc | C Dorian mode | |
| 3 | | 7 | | | Chorus | O große Lieb | Johann Heermann | 2Ft 2Ob 2Vn Va Bc | G minor | |
| 4 | | 8 | Ev, Jesus | | | Auf daß das Wort erfüllet würde | John 18:9–11 | Bc | B-flat major | |
| 5 | | 9 | | | Chorus | Dein Will gescheh | Martin Luther | 2Ft 2Ob 2Vn Va Bc | D minor | |
| 6 | | 10 | Ev | | | Die Schar aber und der Oberhauptmann | John 18:12–14 | Bc | F major | |
| 7 | | 11 | | Alto | | Von den Stricken meiner Sünden | Brockes | 2Ob Bc | D minor | 3/4 |
| 8 | | 12 | Ev | | | Simon Petrus aber folgete Jesu nach | John 18:15a | Bc | B-flat Lydian mode | |
| 9 | | 13 | | Soprano | | Ich folge dir gleichfalls | anonymous | 2Ft Bc | B-flat major | 3/8 |
| 10 | | 14 | Ev, Magd (S), Petrus (B), Jesus, Knecht (T) | | | Derselbige Jünger war dem Hohenpriester bekannt | John 18:15b–23 | Bc | G minor A minor | |
| 11 | | 15 | | | Chorus | Wer hat dich so geschlagen | Paul Gerhardt | 2Ft 2Ob 2Vn Va Bc | A major | |
| 11$^+$ (12) | | 245a | | Aria Bass | Soprano | Himmel, reiße, Welt, erbebe | Christoph Birkmann Paul Stockmann | 2Ft Bc | F-sharp minor | |
| 12 (13) | a | 16 | Ev | | | Und Hannas sandte ihn gebunden | John 18:24–27 Matthew 26:75 | Bc | A Mixolydian mode | |
| 12 (13) | b | 17 | Chorus | | | Bist du nicht seiner Jünger einer | John 18:24–27 Matthew 26:75 | 2Ft 2Ob 2Vn Va Bc | A Mixolydian mode | |
| 12 (13) | c | 18 | Ev, Petrus, Knecht | | | Er leugnete aber und sprach | John 18:24–27 Matthew 26:75 | Bc | A Mixolydian mode | |
| 13$^{II}$ (14) | | 245b | | Aria Tenor | | Zerschmettert mich, ihr Felsen und ihr Hügel | Christoph Birkmann | 2Vn Va Bc | A major | |
| 14 (15) | | 20 | | | Chorus | Petrus, der nicht denkt zurück | Paul Stockmann | 2Ft 2Ob 2Vn Va Bc | A major | | 15 |

##### Part II

| NBA | | BWV | Bible | Reflection | Chorale | Beginning of text | Source | Instruments | Key | Time | Symmetry |
| 15 (16) | | 21 | | | Chorus | Christus, der uns selig macht | Michael Weiße | 2Ob 2Vn Va Bc | E Phrygian mode | | 14 |
| 16 (17) | a | 22 | Ev, Pilate (B) | | | Da führeten sie Jesum | John 18:28–36 | Bc | A minor | |
| 16 (17) | b | 23 | Chorus | | | Wäre dieser nicht ein Übeltäter | John 18:28–36 | 2Ft 2Ob 2Vn Va Bc | D Dorian mode | |
| 16 (17) | c | 24 | Ev, Pilate | | | Da sprach Pilatus zu ihnen | John 18:28–36 | Bc | D Dorian mode | |
| 16 (17) | d | 25 | Chorus | | | Wir dürfen niemand töten | John 18:28–36 | 2Ft 2Ob 2Vn Va Bc | A minor | |
| 16 (17) | e | 26 | Ev, Pilate, Jesus | | | Auf daß erfüllet würde das Wort | John 18:28–36 | Bc | A minor | |
| 17 (18) | | 27 | | | Chorus | Ach großer König | Johann Heermann | 2Ft 2Ob 2Vn Va Bc | A minor | |
| 18 (19) | a | 28 | Ev, Pilate, Jesus | | | Da sprach Pilatus zu ihm | John 18:37–40; John 19:1 | Bc | C major | |
| 18 (19) | b | 29 | Chorus | | | Nicht diesen, sondern Barrabam | John 18:37–40; John 19:1 | 2Ft 2Ob 2Vn Va Bc | D Dorian mode | |
| 18 (19) | c | 30 | Ev | | | Barrabas aber war ein Mörder | John 18:37–40; John 19:1 | Bc | D Dorian mode | |
| 19$^{II}$ (20) | | 245c | | Aria Tenor | | Ach windet euch nicht so, geplagte Seelen | Christoph Birkmann | 2Ob Bc | C Dorian mode | |
| 20 | | | | Discarded | | | | | | |
| 21 | a | 33 | Ev | | | Und die Kriegsknechte flochten eine Krone | John 19:2–12a | Bc | G minor | |
| 21 | b | 34 | Chorus | | | Sei gegrüßet, lieber Jüdenkönig | John 19:2–12a | 2Ft 2Ob 2Vn Va Bc | B-flat major | 6/4 | 25 b |
| 21 | c | 35 | Ev, Pilate | | | Und gaben ihm Backenstreiche | John 19:2–12a | Bc | G minor | |
| 21 | d | 36 | Chorus | | | Kreuzige, kreuzige | John 19:2–12a | 2Ft 2Ob 2Vn Va Bc | G minor | | 23 d |
| 21 | e | 37 | Ev, Pilate | | | Pilatus sprach zu ihnen | John 19:2–12a | Bc | G minor | |
| 21 | f | 38 | Chorus | | | Wir haben ein Gesetz | John 19:2–12a | 2Ft 2Ob 2Vn Va Bc | F major | | 23 b |
| 21 | g | 39 | Ev, Pilate, Jesus | | | Da Pilatus das Wort hörete | John 19:2–12a | Bc | E Phrygian mode | | 23 a |
| 22 | | 40 | | | Chorus | Durch dein Gefängnis, Gottes Sohn | Christian Heinrich Postel Melody Johann Hermann Schein | 2Ft 2Ob 2Vn Va Bc | E major | | center |
| 23 | a | 41 | Ev | | | Die Jüden aber schrieen und sprachen | John 19:12b–17 | Bc | E major | | 21 g |
| 23 | b | 42 | Chorus | | | Lässest du diesen los | John 19:12b–17 | 2Ft 1Ob 1 Oboe d'amore 2Vn Va Bc | E major | | 21 f |
| 23 | c | 43 | Ev, Pilate | | | Da Pilatus das Wort hörete | John 19:12b–17 | Bc | E major | |
| 23 | d | 44 | Chorus | | | Weg, weg mit dem | John 19:12b–17 | 2Ft 1Ob 1Oa 2Vn Va Bc | F-sharp minor | | 21 d |
| 23 | e | 45 | Ev, Pilate | | | Spricht Pilatus zu ihnen | John 19:12b–17 | Bc | F-sharp minor B minor | |
| 23 | f | 46 | Chorus | | | Wir haben keinen König | John 19:12b–17 | 2Ft 1Ob 1Oa 2Vn Va Bc | B minor | |
| 23 | g | 47 | Ev | | | Da überantwortete er ihn | John 19:12b–17 | Bc | B minor | |
| 24 | | 48 | | Aria Bass | Soprano Alto Tenor | Eilt, ihr angefochtnen Seelen | Brockes | 2Vn Va Bc | G minor | 3/8 |
| 25 | a | 49 | Ev | | | Allda kreuzigten sie ihn | John 19:18–22 | Bc | F Mixolydian mode | |
| 25 | b | 50 | Chorus | | | Schreibe nicht: der Jüden König | John 19:18–22 | 2Ft 2Ob 2Vn Va Bc | B-flat major | 6/4 | 21 b |
| 25 | c | 51 | Ev, Pilate | | | Pilatus antwortet | John 19:18–22 | Bc | B-flat major | |
| 26 | | 52 | | | Chorus | In meines Herzens Grunde | Valerius Herberger | 2Ft 2Ob 2Vn Va Bc | E-flat major | |
| 27 | a | 53 | Ev | | | Die Kriegsknechte aber | John 19:23–27a | Bc | F Mixolydian mode | |
| 27 | b | 54 | Chorus | | | Lasset uns den nicht zerteilen | John 19:23–27a | 2Ft 1Ob 1Oba 2Vn Va Bc | C major | 3/4 |
| 27 | c | 55 | Ev, Jesus | | | Auf daß erfüllet würde die Schrift | John 19:23–27a | Bc | A minor | | Adagio for "Sie haben meine Kleider" |
| 28 | | 56 | | | Chorus | Er nahm alles wohl in acht | Paul Stockmann | 2Ft 2Ob 2Vn Va Bc | A major | |
| 29 | | 57 | Ev, Jesus | | | Und von Stund an nahm sie der Jünger | John 19:27b–30a | Bc | D major | |
| 30 | | 58 | | Aria Alto | | Es ist vollbracht | Christian Heinrich Postel | Vg 2Vn Va Bc | B minor D major | 3/4 |
| 31 | | 59 | Ev | | | Und neiget das Haupt | John 19:30b | Bc | F-sharp Phrygian mode | |
| 32 | | 60 | | Aria Bass | Chorus | Mein teurer Heiland, laß dich fragen | Brockes Paul Stockmann | 2Vn Va Bc | D major | 12/8 |
| 33 | | 61 | Ev | | | Und siehe da, der Vorhang im Tempel zerriß | Matthew 27:51–52 | Bc | E Dorian mode | | Now 7 measures long |
| 34 | | 62 | | Arioso Tenor | | Mein Herz, in dem die ganze Welt | Brockes | 2Ft 2Oc 2Vn Va Bc | G major | |
| 35 | | 63 | | Aria Soprano | | Zerfließe, mein Herze | Brockes | Ft Oc Bc | F Dorian mode | 3/8 |
| 36 | | 64 | Ev | | | Die Jüden aber, dieweil es der Rüsttag war | John 19:31–37 | Bc | C Dorian mode | |
| 37 | | 65 | | | Chorus | O hilf, Christe, Gottes Sohn | Michael Weiße | 2Ft 2Ob 2Vn Va Bc | B-flat Dorian mode | |
| 38 | | 66 | Ev | | | Darnach bat Pilatum Joseph von Arimathia | John 19:38–42 | Bc | C Dorian mode | |
| 39 | | 67 | | Chorus | | Ruht wohl, ihr heiligen Gebeine | Brockes | 2Ft 2Ob 2Vn Va Bc | C Dorian mode | 3/4 |
| 40$^{II}$ | | 23/4 | | | Chorus | Christe, du Lamm Gottes | Martin Luther | 2Ft 2Ob 2Vn Va Bc | G minor | | Adagio Andante |

#### Version III

In this version, Bach reverted to the original layout (thus discarding the previous revisions and additions). However, he decided to compose a true St John Passion, and thus eliminated the material inserted from the Gospel of Matthew. Now 12c ends in Measure 31 and Movement 33 is eliminated altogether (replaced by a lost Sinfonia). He also dispensed with the Lute and the Viola d'amore, replacing them with an Organ and Violini con sordino. It was probably performed in 1730. This is listed as BC D 2c.

##### Part I

| NBA | | BWV | Bible | Reflection | Chorale | Beginning of text | Source | Instruments | Key | Time | Symmetry |
| 1 | | 1 | | Chorus | | Herr, unser Herrscher | anonymous | 2Ft 2Ob 2Vn Va Bc | G minor | | 39 |
| 2 | a | 2 | Ev (T), Jesus (B) | | | Jesus ging mit seinen Jüngern | John 18:1–8 | Bc | C Dorian mode | |
| 2 | b | 3 | Chorus | | | Jesum von Nazareth | John 18:1–8 | 2Ft 2Ob 2Vn Va Bc | G minor | |
| 2 | c | 4 | Ev, Jesus | | | Jesus spricht zu ihnen | John 18:1–8 | Bc | G minor | |
| 2 | d | 5 | Chorus | | | Jesum von Nazareth | John 18:1–8 | 2Ob 2Vn Va Bc | C Dorian mode | |
| 2 | e | 6 | Ev, Jesus | | | Jesus antwortete | John 18:1–8 | Bc | C Dorian mode | |
| 3 | | 7 | | | Chorus | O große Lieb | Johann Heermann | 2Ft 2Ob 2Vn Va Bc | G minor | |
| 4 | | 8 | Ev, Jesus | | | Auf daß das Wort erfüllet würde | John 18:9–11 | Bc | B-flat major | |
| 5 | | 9 | | | Chorus | Dein Will gescheh | Martin Luther | 2Ft 2Ob 2Vn Va Bc | D minor | |
| 6 | | 10 | Ev, Jesus | | | Die Schar aber und der Oberhauptmann | John 18:12–14 | Bc | F major | |
| 7 | | 11 | | Aria Alto | | Von den Stricken meiner Sünden | Brockes | 2Ob Bc | D minor | 3/4 |
| 8 | | 12 | Ev | | | Simon Petrus aber folgete Jesu nach | John 18:15a | Bc | B-flat Lydian mode | |
| 9 | | 13 | | Aria Soprano | | Ich folge dir gleichfalls | anonymous | 2Ft Bc | B-flat major | 3/8 |
| 10 | | 14 | Ev, Magd (S), Petrus (B), Jesus, Knecht (T) | | | Derselbige Jünger war dem Hohenpriester bekannt | John 18:15b–23 | Bc | G minor A minor | |
| 11 | | 15 | | | Chorus | Wer hat dich so geschlagen | Paul Gerhardt | 2Ft 2Ob 2Vn Va Bc | A major | |
| 12 | a | 16 | Ev | | | Und Hannas sandte ihn gebunden | John 18:24–27 | Bc | A Mixolydian mode | |
| 12 | b | 17 | Chorus | | | Bist du nicht seiner Jünger einer | John 18:24–27 | 2Ft 2Ob 2Vn Va Bc | A Mixolydian mode | |
| 12 | c | 18 | Ev, Petrus, Knecht | | | Er leugnete aber und sprach | John 18:24–27 | Bc | A Mixolydian mode B minor | | 12c ends with "und alsobald krähete der Hahn" in B minor. |
| 13$^{III}$ | | | | Tenor | | ? | | | E minor G major | ? | Aria lost. |
| 14 | | 20 | | | Chorus | Petrus, der nicht denkt zurück | Paul Stockmann | 2Ft 2Ob 2Vn Va Bc | G major | | 15 |

##### Part II

| NBA | | BWV | Bible | Reflection | Chorale | Beginning of text | Source | Instruments | Key | Time | Symmetry |
| 15 | | 21 | | | Chorus | Christus, der uns selig macht | Michael Weiße | 2Ob 2Vn Va Bc | E Phrygian mode | | 14 |
| 16 | a | 22 | Ev, Pilate (B) | | | Da führeten sie Jesum | John 18:28–36 | Bc | A minor | |
| 16 | b | 23 | Chorus | | | Wäre dieser nicht ein Übeltäter | John 18:28–36 | 2Ft 2Ob 2Vn Va Bc | D Dorian mode | |
| 16 | c | 24 | Ev, Pilate | | | Da sprach Pilatus zu ihnen | John 18:28–36 | Bc | D Dorian mode | |
| 16 | d | 25 | Chorus | | | Wir dürfen niemand töten | John 18:28–36 | 2Ft 2Ob 2Vn Va Bc | A minor | |
| 16 | e | 26 | Ev, Pilate, Jesus | | | Auf daß erfüllet würde das Wort | John 18:28–36 | Bc | A minor | |
| 17 | | 27 | | | Chorus | Ach großer König | Johann Heermann | 2Ob 2Vn Va Bc | A minor | |
| 18 | a | 28 | Ev, Pilate, Jesus | | | Da sprach Pilatus zu ihm | John 18:37–40; John 19:1 | Bc | C major | |
| 18 | b | 29 | Chorus | | | Nicht diesen, sondern Barrabam | John 18:37–40; John 19:1 | 2Ft 2Ob 2Vn Va Bc | D Dorian mode | |
| 18 | c | 30 | Ev | | | Barrabas aber war ein Mörder | John 18:37–40; John 19:1 | Bc | D Dorian mode | |
| 19 | | 31 | | Arioso Bass | | Betrachte, meine Seel | Brockes Christian Heinrich Postel | 2Vn con sordinis Bc with organ | E-flat major | |
| 20 | | 32 | | Aria Tenor | | Erwäge, wie sein blutgefärbter Rücken | Brockes | 2Vn con sordini Bc (most likely only Cello or Vg and Keyboard) | C minor | 12/8 |
| 21 | a | 33 | Ev | | | Und die Kriegsknechte flochten eine Krone | John 19:2–12a | Bc | G minor | |
| 21 | b | 34 | Chorus | | | Sei gegrüßet, lieber Jüdenkönig | John 19:2–12a | 2Ft 2Ob 2Vn Va Bc (violins double the winds) | B-flat major | 6/4 | 25 b |
| 21 | c | 35 | Ev, Pilate | | | Und gaben ihm Backenstreiche | John 19:2–12a | Bc | G minor | |
| 21 | d | 36 | Chorus | | | Kreuzige, kreuzige | John 19:2–12a | 2Ft 2Ob 2Vn Va Bc | G minor | | 23 d |
| 21 | e | 37 | Ev, Pilate | | | Pilatus sprach zu ihnen | John 19:2–12a | Bc | G minor | |
| 21 | f | 38 | Chorus | | | Wir haben ein Gesetz | John 19:2–12a | 2Ob 2Vn Va Bc | F major | | 23 b |
| 21 | g | 39 | Ev, Pilate, Jesus | | | Da Pilatus das Wort hörete | John 19:2–12a | Bc | E Phrygian mode | | 23 a |
| 22 | | 40 | | | Chorus | Durch dein Gefängnis, Gottes Sohn | Christian Heinrich Postel Melody Johann Hermann Schein | 2Ft 2Ob 2Vn Va Bc | E major | | center |
| 23 | a | 41 | Ev | | | Die Jüden aber schrieen und sprachen | John 19:12b–17 | Bc | E major | | 21 g |
| 23 | b | 42 | Chorus | | | Lässest du diesen los | John 19:12b–17 | 2Ft 1Ob 1 Oboe d'amore 2Vn Va Bc | E major | | 21 f |
| 23 | c | 43 | Ev, Pilate | | | Da Pilatus das Wort hörete | John 19:12b–17 | Bc | E major | |
| 23 | d | 44 | Chorus | | | Weg, weg mit dem | John 19:12b–17 | 2Ft 1Ob 1Oa 2Vn Va Bc | F-sharp minor | | 21 d |
| 23 | e | 45 | Ev, Pilate | | | Spricht Pilatus zu ihnen | John 19:12b–17 | Bc | F-sharp minor B minor | |
| 23 | f | 46 | Chorus | | | Wir haben keinen König | John 19:12b–17 | 2Ft 1Ob 1Oa 2Vn Va Bc | B minor | |
| 23 | g | 47 | Ev | | | Da überantwortete er ihn | John 19:12b–17 | Bc | B minor | |
| 24 | | 48 | | Aria bass | Soprano Alto Tenor | Eilt, ihr angefochtnen Seelen | Brockes | 2Vn Va Bc | G minor | 3/8 |
| 25 | a | 49 | Ev | | | Allda kreuzigten sie ihn | John 19:18–22 | Bc | F Mixolydian mode | |
| 25 | b | 50 | Chorus | | | Schreibe nicht: der Jüden König | John 19:18–22 | 2Ft 2Ob 2Vn Va Bc | B-flat major | 6/4 | 21 b | 1Vn each doubles winds |
| 25 | c | 51 | Ev, Pilate | | | Pilatus antwortet | John 19:18–22 | Bc | B-flat major | |
| 26 | | 52 | | | Chorus | In meines Herzens Grunde | Valerius Herberger | 2Ft 2Ob 2Vn Va Bc | E-flat major | |
| 27 | a | 53 | Ev | | | Die Kriegsknechte aber | John 19:23–27a | Bc | F Mixolydian mode | |
| 27 | b | 54 | Chorus | | | Lasset uns den nicht zerteilen | John 19:23–27a | 2Ft 1Ob 1Oba 2Vn Va Bc | C major | 3/4 |
| 27 | c | 55 | Ev, Jesus | | | Auf daß erfüllet würde die Schrift | John 19:23–27a | Bc | A minor | | Adagio for "Sie haben meine Kleider" |
| 28 | | 56 | | | Chorus | Er nahm alles wohl in acht | Paul Stockmann | 2Ft 2Ob 2Vn Va Bc | A major | |
| 29 | | 57 | Ev, Jesus | | | Und von Stund an nahm sie der Jünger | John 19:27b–30a | Bc | D major | |
| 30 | | 58 | | Aria Alto | | Es ist vollbracht | Christian Heinrich Postel | Vg 2Vn Va Bc | B minor D major | 3/4 | Middle section: Vg doubles Alto (8vb). |
| 31 | | 59 | Ev | | | Und neiget das Haupt | John 19:30b | Bc | F-sharp Phrygian mode | |
| 32 | | 60 | | Aria Bass | Chorus | Mein teurer Heiland, laß dich fragen | Brockes Paul Stockmann | 2Vn Va Bc | D major | 12/8 |
| 33 | | 61 | | | | Sinfonia | | 1Ob 2Vn Va Bc or 2Ob Taille (instrument) 1Bsn | C Dorian mode | | Lost, possibly identical to BWV 246(?) |
| 34 | | | | Discarded | | | | | | |
| 35 | | | | Discarded | | | | | | |
| 36 | | 64 | Ev | | | Die Jüden aber, dieweil es der Rüsttag war | John 19:31–37 | Bc | C Dorian mode | |
| 37 | | 65 | | | Chorus | O hilf, Christe, Gottes Sohn | Michael Weiße | 2Ft 2Ob 2Vn Va Bc | B-flat Dorian mode | |
| 38 | | 66 | Ev | | | Darnach bat Pilatum Joseph von Arimathia | John 19:38–42 | Bc | C Dorian mode | | 25 measures |
| 39 | | 67 | | Chorus | | Ruht wohl, ihr heiligen Gebeine | Brockes | 2Ft 2Ob 2Vn Va Bc | C Dorian mode | 3/4 |
| 40 | | | | | Discarded | | | | | |

#### Standard Version (1739–1749)

Essentially a reworking of the 1724 Version, this version is the most detail-oriented revision of the work. On 17 March 1739, while still working on this revision, Bach was informed that the performance of the Passion setting could not go ahead without official permission, thus (most likely) effectively halting any plans for that year. In response, Bach performed the Brockes-Passion of his friend, Georg Philipp Telemann (TVWV 5:1). However, though he had stopped at measure 42 of Movement 10, he continued to work on this revision, as shown by the copyists' score and parts. It is listed as BC D 2e.

##### Part I

| NBA | | BWV | Bible | Reflection | Chorale | Beginning of text | Source | Instruments | Key | Time | Symmetry |
| 1 | | 1 | | Chorus | | Herr, unser Herrscher | anonymous | 2Ft 2Ob 2Vn Va Bc | G minor | | 39 | All choral sections and instrumental ritornellos now include a Contrabassoon in the Continuo part; much voice and instrumental details altered; Slight changes in voice-leading and instrumental parts throughout work. |
| 2 | a | 2 | Ev (T), Jesus (B) | | | Jesus ging mit seinen Jüngern | John 18:1–8 | Bc | C Dorian mode | | Slight change in voice-leading and other details. |
| 2 | b | 3 | Chorus | | | Jesum von Nazareth | John 18:1–8 | 2Ft 2Ob 2Vn Va Bc | G minor | | Slight change in voice-leading and other details. |
| 2 | c | 4 | Ev, Jesus | | | Jesus spricht zu ihnen | John 18:1–8 | Bc | G minor | | Slight change in voice-leading and other details. |
| 2 | d | 5 | Chorus | | | Jesum von Nazareth | John 18:1–8 | 2Ob 2Vn Va Bc | C Dorian mode | | Slight change in voice-leading and other details. |
| 2 | e | 6 | Ev, Jesus | | | Jesus antwortete | John 18:1–8 | Bc | C Dorian mode | | Slight change in voice-leading and other details. |
| 3 | | 7 | | | Chorus | O große Lieb | Johann Heermann | 2Ft 2Ob 2Vn Va Bc | G minor | | More flowing/less chordal; now ends in G major |
| 4 | | 8 | Ev, Jesus | | | Auf daß das Wort erfüllet würde | John 18:9–11 | Bc | F Mixolydian mode | | Jesus recitative now accompanied by flowing Continuo part rather than chordal. |
| 5 | | 9 | | | Chorus | Dein Will gescheh | Martin Luther | 2Ft 2Ob 2Vn Va Bc | D minor | |
| 6 | | 10 | Ev, Jesus | | | Die Schar aber und der Oberhauptmann | John 18:12–14 | Bc | F major | | Slight alteration in voice-leading; ends with stronger cadence. |
| 7 | | 11 | | Aria Alto | | Von den Stricken meiner Sünden | Brockes | 2Ob Bc | D minor | 3/4 | Voice-leading and instrumental notation and Continuo part altered. |
| 8 | | 12 | Ev | | | Simon Petrus aber folgete Jesu nach | John 18:15a | Bc | B-flat Lydian mode | |
| 9 | | 13 | | Aria Soprano | | Ich folge dir gleichfalls | anonymous | 2Ft Bc | B-flat major | 3/8 | Voice-leading and instrumental notation altered; a measure inserted after measure 146; Final ritornello reduced by 8 bars. |
| 10 | | 14 | Ev, Magd (S), Petrus (B), Jesus, Knecht (T) | | | Derselbige Jünger war dem Hohenpriester bekannt | John 18:15b–23 | Bc | G minor A minor | | Most extensive revision in voice-leading and instrumental notation. |
| 11 | | 15 | | | Chorus | Wer hat dich so geschlagen | Paul Gerhardt | 2Ft 2Ob 2Vn Va Bc | A major | |
| 12 | a | 16 | Ev | | | Und Hannas sandte ihn gebunden | John 18:24–27 Matthew 26:75 | Bc | A Mixolydian mode | | Slight change in voice-leading and other details. |
| 12 | b | 17 | Chorus | | | Bist du nicht seiner Jünger einer | John 18:24–27 Matthew 26:75 | 2Ft 2Ob 2Vn Va Bc | A Mixolydian mode | | Slight change in voice-leading and other details. |
| 12 | c | 18 | Ev, Petrus, Knecht | | | Er leugnete aber und sprach | John 18:24–27 Matthew 26:75 | Bc | A Mixolydian mode B minor | | Slight change in voice-leading and other details. |
| 13 | | 19 | | Aria Tenor | | Ach, mein Sinn | Christian Weise | 2Ft 2Ob 2Vn Va Bc | F-sharp minor | 3/4 | Marked "tutti gli Stromenti". |
| 14 | | 20 | | | Chorus | Petrus, der nicht denkt zurück | Paul Stockmann | 2Ft 2Ob 2Vn Va Bc | A major | | 15 |

##### Part II

| NBA | | BWV | Bible | Reflection | Chorale | Beginning of text | Source | Instruments | Key | Time | Symmetry |
| 15 | | 21 | | | Chorus | Christus, der uns selig macht | Michael Weiße | 2Ft 2Ob 2Vn Va Bc | E Phrygian mode | | 14 |
| 16 | a | 22 | Ev, Pilate (B) | | | Da führeten sie Jesum | John 18:28–36 | Bc | A minor | |
| 16 | b | 23 | Chorus | | | Wäre dieser nicht ein Übeltäter | John 18:28–36 | 2Ft 2Ob 2Vn Va Bc | D Dorian mode | |
| 16 | c | 24 | Ev, Pilate | | | Da sprach Pilatus zu ihnen | John 18:28–36 | Bc | D Dorian mode | |
| 16 | d | 25 | Chorus | | | Wir dürfen niemand töten | John 18:28–36 | 2Ft 2Ob 2Vn Va Bc | A minor | |
| 16 | e | 26 | Ev, Pilate, Jesus | | | Auf daß erfüllet würde das Wort | John 18:28–36 | Bc | A minor | |
| 17 | | 27 | | | Chorus | Ach großer König | Johann Heermann | 2Ft 2Ob 2Vn Va Bc | A minor | |
| 18 | a | 28 | Ev, Pilate, Jesus | | | Da sprach Pilatus zu ihm | John 18:37–40; John 19:1 | Bc | C major | |
| 18 | b | 29 | Chorus | | | Nicht diesen, sondern Barrabam | John 18:37–40; John 19:1 | 2Ft 2Ob 2Vn Va Bc | D Dorian mode | |
| 18 | c | 30 | Ev | | | Barrabas aber war ein Mörder | John 18:37–40; John 19:1 | Bc | D Dorian mode | |
| 19 | | 31 | | Arioso bass | | Betrachte, meine Seel' | Brockes Christian Heinrich Postel | 2 violas d'amore Bc with Archlute | E-flat major | |
| 20 | | 32 | | Aria Tenor | | Erwäge, wie sein blutgefärbter Rücken | Brockes | 2 violas d'amore Bc (most likely only Cello or Vg and Keyboard) | C minor | 12/8 |
| 21 | a | 33 | Ev | | | Und die Kriegsknechte flochten eine Krone | John 19:2–12a | Bc | G minor | |
| 21 | b | 34 | Chorus | | | Sei gegrüßet, lieber Jüdenkönig | John 19:2–12a | 2Ft 2Ob 2Vn Va Bc | B-flat major | 6/4 | 25 b |
| 21 | c | 35 | Ev, Pilate | | | Und gaben ihm Backenstreiche | John 19:2–12a | Bc | G minor | |
| 21 | d | 36 | Chorus | | | Kreuzige, kreuzige | John 19:2–12a | 2Ft 2Ob 2Vn Va Bc | G minor | | 23 d |
| 21 | e | 37 | Ev, Pilate | | | Pilatus sprach zu ihnen | John 19:2–12a | Bc | G minor | |
| 21 | f | 38 | Chorus | | | Wir haben ein Gesetz | John 19:2–12a | 2Ft 2Ob 2Vn Va Bc | F major | | 23 b |
| 21 | g | 39 | Ev, Pilate, Jesus | | | Da Pilatus das Wort hörete | John 19:2–12a | Bc | E Phrygian mode | | 23 a |
| 22 | | 40 | | | Chorus | Durch dein Gefängnis, Gottes Sohn | Christian Heinrich Postel Melody Johann Hermann Schein | 2Ft 2Ob 2Vn Va Bc | E major | | center |
| 23 | a | 41 | Ev | | | Die Jüden aber schrieen und sprachen | John 19:12b–17 | Bc | E major | | 21 g |
| 23 | b | 42 | Chorus | | | Lässest du diesen los | John 19:12b–17 | 1Ob 1 Oboe d'amore 2Vn Va Bc | E major | | 21 f |
| 23 | c | 43 | Ev, Pilate | | | Da Pilatus das Wort hörete | John 19:12b–17 | Bc | E major | |
| 23 | d | 44 | Chorus | | | Weg, weg mit dem | John 19:12b–17 | 2Ft 1Ob 1Oa 2Vn Va Bc | F-sharp minor | | 21 d |
| 23 | e | 45 | Ev, Pilate | | | Spricht Pilatus zu ihnen | John 19:12b–17 | Bc | F-sharp minor B minor | |
| 23 | f | 46 | Chorus | | | Wir haben keinen König | John 19:12b–17 | 2Ft 1Ob 1Oa 2Vn Va Bc | B minor | |
| 23 | g | 47 | Ev | | | Da überantwortete er ihn | John 19:12b–17 | Bc | B minor | |
| 24 | | 48 | | Aria Bass | Soprano Alto Tenor | Eilt, ihr angefochtnen Seelen | Brockes | 2Vn Va Bc | G minor | 3/8 |
| 25 | a | 49 | Ev | | | Allda kreuzigten sie ihn | John 19:18–22 | Bc | F Mixolydian mode | |
| 25 | b | 50 | Chorus | | | Schreibe nicht: der Jüden König | John 19:18–22 | 2Ft 2Ob 2Vn Va Bc | B-flat major | 6/4 | 21 b |
| 25 | c | 51 | Ev, Pilate | | | Pilatus antwortet | John 19:18–22 | Bc | B-flat major | |
| 26 | | 52 | | | Chorus | In meines Herzens Grunde | Valerius Herberger | 2Ft 2Ob 2Vn Va Bc | E-flat major | |
| 27 | a | 53 | Ev | | | Die Kriegsknechte aber | John 19:23–27a | Bc | F Mixolydian mode | |
| 27 | b | 54 | Chorus | | | Lasset uns den nicht zerteilen | John 19:23–27a | 2Ft 1Ob 1Oba 2Vn Va Bc | C major | 3/4 |
| 27 | c | 55 | Ev, Jesus | | | Auf daß erfüllet würde die Schrift | John 19:23–27a | Bc | A minor | | Adagio for "Sie haben meine Kleider" |
| 28 | | 56 | | | Chorus | Er nahm alles wohl in acht | Paul Stockmann | 2Ob 2Vn Va Bc | A major | |
| 29 | | 57 | Ev, Jesus | | | Und von Stund an nahm sie der Jünger | John 19:27b–30a | Bc | D major | |
| 30 | | 58 | | Aria Alto | | Es ist vollbracht | Christian Heinrich Postel | Vg 2Vn Va Bc | B minor D major | 3/4 | Middle section: Vg doubles Continuo. |
| 31 | | 59 | Ev | | | Und neiget das Haupt | John 19:30b | Bc | F-sharp Phrygian mode | |
| 32 | | 60 | | Aria Bass | Chorus | Mein teurer Heiland, laß dich fragen | Brockes Paul Stockmann | 2Vn Va Bc | D major | 12/8 |
| 33 | | 61 | Ev | | | Und siehe da, der Vorhang im Tempel zerriß | Matthew 27:51–52 | Bc | E Dorian mode | |
| 34 | | 62 | | Arioso Tenor | | Mein Herz, in dem die ganze Welt | Brockes | 2Ft 2Oc 2Vn Va Bc | G major | |
| 35 | | 63 | | Aria Soprano | | Zerfließe, mein Herze | Brockes | 2Ft 2Oc Bc | F Dorian mode | 3/8 |
| 36 | | 64 | Ev | | | Die Jüden aber, dieweil es der Rüsttag war | John 19:31–37 | Bc | C Dorian mode | |
| 37 | | 65 | | | Chorus | O hilf, Christe, Gottes Sohn | Michael Weiße | 2Ft 2Ob 2Vn Va Bc | B-flat Dorian mode | |
| 38 | | 66 | Ev | | | Darnach bat Pilatum Joseph von Arimathia | John 19:38–42 | Bc | C Dorian mode | |
| 39 | | 67 | | Chorus | | Ruht wohl, ihr heiligen Gebeine | Brockes | 2Ft 2Ob 2Vn Va Bc | C Dorian mode | 3/4 |
| 40 | | 68 | | | Chorus | Ach Herr, laß dein lieb Engelein | Martin Schalling | 2Ft 2Ob 2Vn Va Bc | E-flat major | |

#### Version IV

Essentially a re-production of Version I with a few alterations (text changes in Movements 9, 19 & 20, instrumentation reflective of Version III). It was performed in 1749 and (most likely) repeated in 1750. It also represents (outside of the St Matthew Passion) the largest instrumental ensemble used (calling for 3 1st Violins), and (for the first time in his work) calls for a Contrabassoon (used in all choral parts, as well as instrumental ritornellos). It is listed as BC D 2d.

##### Part I

| NBA | | BWV | Bible | Reflection | Chorale | Beginning of text | Source | Instruments | Key | Time | Symmetry |
| 1 | | 1 | | Chorus | | Herr, unser Herrscher | anonymous | 2Ft 2Ob 2Vn Va Bc | G minor | | 39 |
| 2 | a | 2 | Ev (T), Jesus (B) | | | Jesus ging mit seinen Jüngern | John 18:1–8 | Bc | C Dorian mode | |
| 2 | b | 3 | Chorus | | | Jesum von Nazareth | John 18:1–8 | 2Ft 2Ob 2Vn Va Bc | G minor | |
| 2 | c | 4 | Ev, Jesus | | | Jesus spricht zu ihnen | John 18:1–8 | Bc | G minor | |
| 2 | d | 5 | Chorus | | | Jesum von Nazareth | John 18:1–8 | 2Ob 2Vn Va Bc | C Dorian mode | |
| 2 | e | 6 | Ev, Jesus | | | Jesus antwortete | John 18:1–8 | Bc | C Dorian mode | |
| 3 | | 7 | | | Chorus | O große Lieb | Johann Heermann | 2Ft 2Ob 2Vn Va Bc | G minor | |
| 4 | | 8 | Ev, Jesus | | | Auf daß das Wort erfüllet würde | John 18:9–11 | Bc | F Mixolydian mode | |
| 5 | | 9 | | | Chorus | Dein Will gescheh | Martin Luther | 2Ft 2Ob 2Vn Va Bc | D minor | |
| 6 | | 10 | Ev, Jesus | | | Die Schar aber und der Oberhauptmann | John 18:12–14 | Bc | F major | |
| 7 | | 11 | | Aria Alto | | Von den Stricken meiner Sünden | Brockes | 2Ob Bc | D minor | 3/4 | Continuo like revision. |
| 8 | | 12 | Ev | | | Simon Petrus aber folgete Jesu nach | John 18:15a | Bc | B-flat Lydian mode | |
| 9 | | 13 | | Aria Soprano | | Ich folge dir gleichfalls | anonymous | 2Ft Bc | B-flat major | 3/8 | a measure inserted after measure 146; Text changed: "Ich folge dir gleichfalls, mein Heiland, mit Freuden", etc. |
| 10 | | 14 | Ev, Magd (S), Petrus (B), Jesus, Knecht (T) | | | Derselbige Jünger war dem Hohenpriester bekannt | John 18:15b–23 | Bc | G minor A minor | | Continuo in Measure 20 changed. |
| 11 | | 15 | | | Chorus | Wer hat dich so geschlagen | Paul Gerhardt | 2Ft 2Ob 2Vn Va Bc | A major | |
| 12 | a | 16 | Ev | | | Und Hannas sandte ihn gebunden | John 18:24–27 Matthew 26:75 | Bc | A Mixolydian mode | |
| 12 | b | 17 | Chorus | | | Bist du nicht seiner Jünger einer | John 18:24–27 Matthew 26:75 | 2Ft 2Ob 2Vn Va Bc | A Mixolydian mode | |
| 12 | c | 18 | Ev, Petrus, Knecht | | | Er leugnete aber und sprach | John 18:24–27 Matthew 26:75 | Bc | A Mixolydian mode B minor | |
| 13 | | 19 | | Aria Tenor | | Ach, mein Sinn | Christian Weise | 2Vn Va Bc | F-sharp minor | 3/4 |
| 14 | | 20 | | | Chorus | Petrus, der nicht denkt zurück | Paul Stockmann | 2Ft 2Ob 2Vn Va Bc | A major | | 15 |

##### Part II

| NBA | | BWV | Bible | Reflection | Chorale | Beginning of text | Source | Instruments | Key | Time | Symmetry |
| 15 | | 21 | | | Chorus | Christus, der uns selig macht | Michael Weiße | 2Ft 2Ob 2Vn Va Bc | E Phrygian mode | | 14 |
| 16 | a | 22 | Ev, Pilate (B) | | | Da führeten sie Jesum | John 18:28–36 | Bc | A minor | |
| 16 | b | 23 | Chorus | | | Wäre dieser nicht ein Übeltäter | John 18:28–36 | 2Ft 2Ob 2Vn Va Bc | D Dorian mode | |
| 16 | c | 24 | Ev, Pilate | | | Da sprach Pilatus zu ihnen | John 18:28–36 | Bc | D Dorian mode | |
| 16 | d | 25 | Chorus | | | Wir dürfen niemand töten | John 18:28–36 | 2Ft 2Ob 2Vn Va Bc | A minor | |
| 16 | e | 26 | Ev, Pilate, Jesus | | | Auf daß erfüllet würde das Wort | John 18:28–36 | Bc | A minor | |
| 17 | | 27 | | | Chorus | Ach großer König | Johann Heermann | 2Ft 2Ob 2Vn Va Bc | A minor | |
| 18 | a | 28 | Ev, Pilate, Jesus | | | Da sprach Pilatus zu ihm | John 18:37–40; John 19:1 | Bc | C major | |
| 18 | b | 29 | Chorus | | | Nicht diesen, sondern Barrabam | John 18:37–40; John 19:1 | 2Ft 2Ob 2Vn Va Bc | D Dorian mode | |
| 18 | c | 30 | Ev | | | Barrabas aber war ein Mörder | John 18:37–40; John 19:1 | Bc | D Dorian mode | |
| 19 | | 31 | | Arioso Bass | | Betrachte, meine Seel' | Brockes Christian Heinrich Postel | 2Vn con sordini Bc with Harpsichord | E-flat major | | Text for middle section altered. |
| 20 | | 32 | | Aria Tenor | | Mein Jesu, ach! dein schmerzhaft bitter Leiden | Anonymous | 2Vn con sordini Bc (most likely only Cello or Vg and Keyboard) | C minor | 12/8 |
| 21 | a | 33 | Ev | | | Und die Kriegsknechte flochten eine Krone | John 19:2–12a | Bc | G minor | |
| 21 | b | 34 | Chorus | | | Sei gegrüßet, lieber Jüdenkönig | John 19:2–12a | 2Ft 2Ob 2Vn Va Bc | B-flat major | 6/4 | 25 b | 1Vn each doubles wind parts. |
| 21 | c | 35 | Ev, Pilate | | | Und gaben ihm Backenstreiche | John 19:2–12a | Bc | G minor | |
| 21 | d | 36 | Chorus | | | Kreuzige, kreuzige | John 19:2–12a | 2Ft 2Ob 2Vn Va Bc | G minor | | 23 d |
| 21 | e | 37 | Ev, Pilate | | | Pilatus sprach zu ihnen | John 19:2–12a | Bc | G minor | |
| 21 | f | 38 | Chorus | | | Wir haben ein Gesetz | John 19:2–12a | 2Ft 2Ob 2Vn Va Bc | F major | | 23 b |
| 21 | g | 39 | Ev, Pilate, Jesus | | | Da Pilatus das Wort hörete | John 19:2–12a | Bc | E Phrygian mode | | 23 a |
| 22 | | 40 | | | Chorus | Durch dein Gefängnis, Gottes Sohn | Christian Heinrich Postel Melody Johann Hermann Schein | 2Ft 2Ob 2Vn Va Bc | E major | | center |
| 23 | a | 41 | Ev | | | Die Jüden aber schrieen und sprachen | John 19:12b–17 | Bc | E major | | 21 g |
| 23 | b | 42 | Chorus | | | Lässest du diesen los | John 19:12b–17 | 2Ft 1Ob 1 Oboe d'amore 2Vn Va Bc | E major | | 21 f |
| 23 | c | 43 | Ev, Pilate | | | Da Pilatus das Wort hörete | John 19:12b–17 | Bc | E major | |
| 23 | d | 44 | Chorus | | | Weg, weg mit dem | John 19:12b–17 | 2Ft 1Ob 1Oa 2Vn Va Bc | F-sharp minor | | 21 d |
| 23 | e | 45 | Ev, Pilate | | | Spricht Pilatus zu ihnen | John 19:12b–17 | Bc | F-sharp minor B minor | |
| 23 | f | 46 | Chorus | | | Wir haben keinen König | John 19:12b–17 | 2Ft 1Ob 1Oa 2Vn Va Bc | B minor | |
| 23 | g | 47 | Ev | | | Da überantwortete er ihn | John 19:12b–17 | Bc | B minor | |
| 24 | | 48 | | Aria Bass | Soprano Alto Tenor | Eilt, ihr angefochtnen Seelen | Brockes | 2Vn Va Bc | G minor | 3/8 |
| 25 | a | 49 | Ev | | | Allda kreuzigten sie ihn | John 19:18–22 | Bc | F Mixolydian mode | |
| 25 | b | 50 | Chorus | | | Schreibe nicht: der Jüden König | John 19:18–22 | 2Ft 2Ob 2Vn Va Bc | B-flat major | 6/4 | 21 b | 1Vn each doubles wind parts. |
| 25 | c | 51 | Ev, Pilate | | | Pilatus antwortet | John 19:18–22 | Bc | B-flat major | |
| 26 | | 52 | | | Chorus | In meines Herzens Grunde | Valerius Herberger | 2Ft 2Ob 2Vn Va Bc | E-flat major | |
| 27 | a | 53 | Ev | | | Die Kriegsknechte aber | John 19:23–27a | Bc | F Mixolydian mode | |
| 27 | b | 54 | Chorus | | | Lasset uns den nicht zerteilen | John 19:23–27a | 2Ft 1Ob 1Oba 2Vn Va Bc | C major | 3/4 |
| 27 | c | 55 | Ev, Jesus | | | Auf daß erfüllet würde die Schrift | John 19:23–27a | Bc | A minor | | Adagio for "Sie haben meine Kleider" |
| 28 | | 56 | | | Chorus | Er nahm alles wohl in acht | Paul Stockmann | 2Ft 2Ob 2Vn Va Bc | A major | |
| 29 | | 57 | Ev, Jesus | | | Und von Stund an nahm sie der Jünger | John 19:27b–30a | Bc | D major | |
| 30 | | 58 | | Aria Alto | | Es ist vollbracht | Christian Heinrich Postel | Vg 2Vn Va Bc | B minor D major | 3/4 | Middle section: Vg doubles Alto (8vb). |
| 31 | | 59 | Ev | | | Und neiget das Haupt | John 19:30b | Bc | F-sharp Phrygian mode | |
| 32 | | 60 | | Aria Bass | Chorus | Mein teurer Heiland, laß dich fragen | Brockes Paul Stockmann | 2Vn Va Bc | D major | 12/8 |
| 33 | | 61 | Ev | | | Und siehe da, der Vorhang im Tempel zerriß | Matthew 27:51–52 | Bc | E Dorian mode | |
| 34 | | 62 | | Arioso Tenor | | Mein Herz, in dem die ganze Welt | Brockes | 2Ft 2Oa 2Vn Va Bc | G major | |
| 35 | | 63 | | Aria soprano | | Zerfließe, mein Herze | Brockes | 1Ft + 1Vn con sordino 1Oc Bc | F Dorian mode | 3/8 |
| 36 | | 64 | Ev | | | Die Jüden aber, dieweil es der Rüsttag war | John 19:31–37 | Bc | C Dorian mode | |
| 37 | | 65 | | | Chorus | O hilf, Christe, Gottes Sohn | Michael Weiße | 2Ft 2Ob 2Vn Va Bc | B-flat Dorian mode | |
| 38 | | 66 | Ev | | | Darnach bat Pilatum Joseph von Arimathia | John 19:38–42 | Bc | C Dorian mode | |
| 39 | | 67 | | Chorus | | Ruht wohl, ihr heiligen Gebeine | Brockes | 2Ft 2Ob 2Vn Va Bc | C Dorian mode | 3/4 |
| 40 | | 68 | | | Chorus | Ach Herr, laß dein lieb Engelein | Martin Schalling | 2Ft 2Ob 2Vn Va Bc | E-flat major | |