Compositional Style
Bach’s recitatives often set the mood for the particular passages by highlighting emotionally charged words such as "crucify", "kill", or "mourn" with chromatic melodies. Diminished seventh chords and sudden modulations accompany Jesus's apocalyptic prophecies.
In the turba parts, the two choruses sometimes alternate in cori spezzati style (e.g. "Weissage uns, Christe") and sometimes sing together ("Herr, wir haben gedacht"). Other times only one chorus sings (chorus I always takes the parts of the disciples) or they alternate, for example when "some bystanders" say "He’s calling for Elijah", and "others" say "Wait to see if Elijah comes to help him."
In the arias, obbligato instruments are equal partners with the voices, as was customary in late Baroque arias. Bach often uses madrigalisms, as in "Buß und Reu", where the flutes start playing a raindrop-like staccato as the alto sings of drops of his tears falling. In "Blute nur", the line about the serpent is set with a twisting melody.
Read more about this topic: St Matthew Passion
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“It is the style of idealism to console itself for the loss of something old with the ability to gape at something new.”
—Karl Kraus (1874–1936)