Here:
You need not have seen the words Passio secundum Johannem at the head of the score to feel that this is the scene at Golgotha: an emaciated body raised on the Cross, nails being driven in one by one, blood trickling down, a murmuring crowd below. It goes on for nine or ten minutes, in an irresistible sombre rhythm, a dance of death that all must join.
What went through the minds of the congregation at the Nikolaikirche, in Leipzig, on Good Friday, 1724, when the St. John Passion had its first performance? A year earlier, Johann Sebastian Bach, aged thirty-nine, had taken up posts as the cantor of the St. Thomas School and the director of music for Leipzig’s Lutheran churches. He had already acquired a reputation for being difficult, for using “curious variations” and “strange tones.” More than a few of his works begin with gestures that inspire awe and fear. Several pieces from his years as an organ virtuoso practice a kind of sonic terrorism. The Fantasia and Fugue in G Minor feasts on dissonance with almost diabolical glee, perpetrating one of the most violent harmonies of the pre-Wagnerian era: a chord in which a D clashes with both a C-sharp and an E-flat, resulting in a full-throated acoustical scream.
In the St. John Passion, Bach’s art of holy dread assumes unprecedented dimensions. The almost outlandish thing about “Herr, unser Herrscher” is that it does not simply take the point of view of the mourners and the mockers. It also adopts the perspective of the man on the Cross, gazing up and down. Aspects of the music that seem catastrophic acquire a triumphant tinge. ...
If the good people of Leipzig understood that they were in the presence of the most stupendous talent in musical history, they gave no sign. Indeed, Bach removed “Herr, unser Herrscher” from the score when he revived the St. John the following year—a hint that his listeners may have gone away unhappy.
