Ask about a certain passage of st matthew and its revisions
Fasting and meditating to a foolish end
Pericope Adulterae[a], or Jesus and the Woman Taken in Adultery, is a passage (pericope) in John’s Gospel (7:53–8:11) that has sparked much scholarly debate.
After spending the previous night at the Mount of Olives, Jesus has sat down in the temple and is writing on the ground with a pencil. Jesus is interrupted in his writing by a party of scribes and Pharisees. They bring in a woman and accuse her of adultery, alleging that she was caught in the act. They ask Jesus if stoning, as required by Mosaic Law, should be the punishment for anyone like her. 1st Jesus initially ignores the intrusion and writes on the ground as if he is not aware of their presence. However, as the woman’s accusers continue their challenge, he says that the first stone should be thrown by the one who is without sin. The accusers and the congregation leave, realizing that none of them was sinless, leaving Jesus alone with the virgin. When Jesus asks the woman if anyone has condemned her, she responds that no one has. Jesus assures her that he does not condemn her and tells her to stop sinning.
A day with god’s editors
‘That’s the one,’ says the narrator. Only the Lord knows how you avoided being banished for writing it. But, don’t you think the whole thing was a little revolting? When there’s honest work to be done, a writer with your obvious talent shouldn’t be cocking his snook at the Palace fools. What about unbiased reporting? So, what about philosophy? ‘How about our own jobs?’ ‘Ah, yes, I enjoyed your work quite a bit.’ There was a lot of blood and a lot of screaming. Of course, the whole thing about knights and monsters and damsels in distress is nonsense. Your poetry has a lot of potential. Maybe you will help us here at St. Cyriac’s. You may be able to assist us with some of the more… robust… Old Testament passages.’ Oh, you were the one? Yes, it’s a fascinating item. Of course, the main plot was nonsense, but I loved the spiritual aspects. It was a great idea to use the Elder Country as a symbol for Purgatory. And as a tale of redemption found in the Neath, I have to admit that it has inspired my own work.’ That monstrosity was written by you! It’s difficult enough to come to terms with the Neath’s metaphysical realities without literary thugs like you instilling a desire for life on the surface. Now get out of here! ‘Get out of here!’
Embarked on an expedition to the north
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1. When we examine the four accounts of our Lord’s existence on earth, the first thing that comes to mind is the material and character differences between the three first Gospels and the fourth. This distinction can thus be briefly defined.
2. Matthew, Mark, and Luke limit their accounts of Jesus’ ministry, discourses, and miracles to the events that occurred in Galilee before the final journey to Jerusalem. None of them mentions any incident from His ministry in Juda (1). We could never have said with any certainty that He went to Jerusalem during His public life, before His time came to be delivered up, if we had only relied on their accounts. Right, they do not rule out such a possibility, but rather suggest it (see Matthew 23:37; Matthew 27:57, and parallels: also Matthew 4:12 vs. Matthew 4:25; Matthew 8:10; Matthew 15:1); however, it could not be derived with any historical accuracy from their narrative.
The deep archives of the college of st cyriac
Nothing is known about the St Matthew Passion’s production process with certainty. Extant early texts, contemporary libretto papers, and circumstantial records, such as documents archived by the Leipzig Town Council, are all sources of information.
The St Matthew Passion was most likely first performed in the St. Thomas Church on April 11, 1727 (Good Friday), and then on April 15, 1729, March 30, 1736, and March 23, 1742. Between 1743 and 1746, Bach revised it once more.
In Bach’s day, the St. Thomas Church had a “small” organ loft that would have matched Chorus II and Orchestra II of the St Matthew Passion (note: the organ in this photograph is a late 20th-century addition)
Only men sang in church at the time, and treble choristers were used to perform high-pitched vocal parts. Bach told the Leipzig Town Council in 1730 of the number of singers he thought should be required for the churches under his care, including the St. Thomas Church: a choir of twelve singers, plus eight singers who would represent both St. Thomas and the Peterskirche. Also for large scale works like the St Matthew Passion, which were written for double choir, the request was only partly granted by the Town Council, suggesting that at least some of the Passion performances in St. Thomas were performed with less than twenty singers. [