The St Matthew Passion of 1754 holds a special place among Telemann’s passions: it is the only such work we have that was intended for liturgical use outside of Hamburg. Not Hamburg, but rather Danzig performing traditions and requirements determined the construction of this passion, which cannot, therefore, be compared to Telemann’s other passions.

Telemann’s music conforms to the liturgical setting. The work is introduced with a short, lamenting string sinfonia, which sets the stage for Jesus’ passion. The evangelist’s recitatives are noteworthy for their straightforward, narrational tone. Recitatives with instruments (accompagnato) and ariosi are reserved entirely for the Son of God. The text is clearly declaimed at all times.

The composition meets the requirement of the Hamburg music theoretician Johann Matthesom “it is as easy and understandable to the ears as if it were spoken.” Telemann realizes a vivid interpretation of the text with simple melodic and harmonic means and an economical accompaniment. Extreme vocal range is avoided, with the exception of the alto part for Judas the betrayer, as well as rapid changes of tonality and leaps of large intervals.

Telemann subtly sets important words at melodic and harmonic high point. He interprets central moments of the Gospel by using difficult harmonies, chromatic coloration and a mysterious faux bourdon in Jesus’ presentiment of death. Generally speaking, contradictory declarations in the recitatives lead to sudden harmonic changes.

Telemann uses the gripping, affect rich, turba choruses with their urgent declamation of the text and extraordinarily terse rhythms to intensify the dramatic action.

This Danzig passion is noteworthy for the large number of congregational hymns and the lack of arias. It also provides us with a glimpse of Telemann’s compositional practice.