Bach's St. John Passion is a complex work, intensely dramatic and musically varied. It is also very personal and vital, with an emotional connection that still speaks to us over the years. Christian or not, we experience through Bach's music the pain and anguish of our human condition. His music also reminds us of the resilience of the human spirit — its capacity to endure and succeed, and especially to have hope. It is not possible to do justice to this masterpiece in a few short paragraphs. What follows below places the Passion in its historical context, provides a general overview of the formal design, and highlights a few of the best-loved arias. This magnificent music stands on its own.

The St. John Passion was first performed on April 7th, Good Friday, in 1724, during Bach's first year in Leipzig. The tradition of re-enacting the events of the day Jesus died dates from the early Christian church, when the Gospel narrations of the betrayal, trial, and crucifixion were chanted. The annual presentation of the Passion on Good Friday was intended to teach and to remind the congregation of events in the life of Jesus that are an integral part of Christian beliefs. The larger, more complex and dramatic works performed in the Lutheran church during the 17th and 18th centuries were also intended to provide the opportunity to reflect on and experience these events. By Bach's time, this tradition of presenting complex, dramatic works with solos, choruses, and instruments was well established in Northern Germany.

It appears that Bach wrote at least three settings of the Gospel Passion narratives during his tenure in Leipzig, of which two have survived: the St. John and the larger St. Matthew, which followed in 1727. Bach performed the St. John at least four times during his years in Leipzig, adding and deleting movements in each instance. No definitive or autograph version exists today; however, in a later (and final) version dated 1740, Bach returns to a form similar to the original. Our performance today is the 1724 version. In Bach's time, it was customary for the Passion to be presented in two parts, before and after the sermon. Our intermission reflects this break.

The core is the narrative taken from John 18 and 19. This story is presented in a recitative style sung by the evangelist (a tenor) with supporting roles of Jesus, Pilate, and Peter. A chorus representing the crowds of bystanders responds and participates in the narrative. The arias, elaborate and often intensely personal, stop the action to comment and to provide time for reflection. The texts of the arias were adapted from popular poetry and writings, some possibly by Bach himself. Another important element of the Passion is the chorales, which Bach thoughtfully selected for their relevance to the narrative. They are simpler, more straightforward music, familiar and comforting to the congregation, who knew them well. The work begins and ends with two large, dramatic choruses.

After an introductory symphonia, the opening chorus, "Herr, unser Herrscher" (Lord, our ruler), is a hymn of praise but also a request for comfort and reassurance that Jesus will survive the darkest hours. The action unfolds as the evangelist recounts the story. Short choruses representing the crowds shout out during the trial and crucifixion. The arias are interspersed to comment on a specific action, to provide the opportunity for reflection, and to reinforce the emotional content. The sprightly and lyrical soprano aria "Ich folge dir gleichfalls" (I follow you likewise) follows the dramatic narrative that describes the arrest of Jesus as he is being taken away by the soldiers, with his disciple Peter following behind them. The music is a flowing triple meter that suggests walking. The soloist is accompanied by two flutes in unison and continuo. The congregation hearing this text would have known that, in fact, Peter did not follow Jesus and would later deny that he was even his disciple. The narrative that describes Peter's denial and further, the realization that he has done so, as Jesus had prophesized, is an intense and anguished recitative, a tortured line of bitter weeping. The tenor aria that follows, "Ach, mein Sinn" (Ah, my soul), picks up the same motifs in the same key and maintains the dramatic intensity with a large orchestral accompaniment. Bach continues to explore this topic with the chorale which follows, "Petrus, der nicht denkt zurück" (Peter, who did not recall). The familiar chorale provides additional opportunity for reflection on the effects of lack of conscience and awareness, and also concludes the first part of the Passion.

One of the most poignant arias in this work is "Es ist vollbracht" (The end has come), Jesus's last words. The recitative that precedes the aria describes Jesus's final moments with understated simplicity, ending with the text "Es ist vollbracht" on a descending motif. A viola da gamba, an instrument associated with death during Bach's time, picks up this motif to introduce the alto aria. The motif is an integral part of the aria and is woven continually into the melodic structure. The aria ends with a simple re-statement of this motif, followed by silence. The chorus that forms the close of the work, "Ruht wohl" (Rest well) — often described as a lullaby — is gentle and restful, but full of feeling. The Passion concludes with the chorale "Ach Herr, las dein lieb Engelein" (Ah Lord, let your dear little angel).

The move to Leipzig provided Bach with greatly expanded instrumental resources. Among the instruments in this work that are less well known to contemporary concert audiences are the viola d'amore and the oboe da caccia. The viola d'amore is a viola-like instrument, typically strung with five or six strings and an additional set of sympathetic strings that vibrate with the sound as the instrument is played. The oboe da caccia is a member of the oboe family. It is larger than a modern oboe and has a curved body and a brass bell. The instruments in our performance include a full Baroque orchestra of strings (six violins, two violas, and two cellos), two flutes, two oboes, oboe da caccia, viola d'amore, viola da gamba, and organ continuo.