were probably minor. The libretto has the Biblical text interspersed with free verse and chorale texts. The chorale texts are taken from "Was mein Gott will, das g'scheh allzeit" by Albert, Duke of Prussia (verse 1), "Christus, der uns selig macht" by Michael Weiße (Verse 8), "O Haupt voll Blut und Wunden" by Paul Gerhardt (verses 9 and 10), and "O Traurigkeit, o Herzeleid" by Johann Rist. Unlike Passions for instance written for Leipzig, there is no division of the work into two parts. Voices: Evangelist: tenor Jesus: bass Peter: tenor Judas: alto High priest: alto Ancilla (maid): soprano Pilate: tenor Soldier: alto Centurion: alto Solo arias (and chorale No. 23 (42)) for soprano, for alto, for tenor and for bass Choir: SATB Orchestra: Winds: Oboes I (also used in No. 30) and II Strings: Violins I and II Violas I and II Basso continuo (bassoon; 2 cellos, bass; organ/harpsichord) 1707/1711 Hamburg version The original version of the Passion would have been composed around 1705. Its first Hamburg performance took place in the Cathedral in 1707, under the direction of Bruhns, who also conducted the Hamburg performance of 1711. Bach's Weimar version Bach's first version, BC 5a, originated in the early 1710s in Weimar. Whether he changed anything to the original is uncertain, but the arrangement of the "O hilf, Christe, Gottes Sohn" and "O Traurigkeit, o Herzeleid" chorales is usually attributed to him. Possibly he also composed the first "Symphonia" (No. 10 [18]), which is only found in Bach's versions. Bach's Leipzig versions Bach performed Jesus Christus ist um unsrer Missetat willen verwundet twice in a Good Friday service in Leipzig. 1726 Bach staged the passion in a new version, BC 5b, in 1726 in Leipzig. The order of service in Leipzig requested passions in two parts: apparently for this reason Bach added the chorale "So gehst du nun, mein Jesu", BWV 500a, as a conclusion for the first part. In this version he also slightly modified the "O hilf, Christe, Gottes Sohn" and "O Traurigkeit, o Herzeleid" chorale settings. Late 1740s Bach combined the passion with seven arias from Handel's Brockes Passion for a new performance around 1747. Some of these arias replaced movements of the preceding version, other arias were inserted without replacing earlier material. This pasticcio version is known as BNB I/K/2. Pasticcios deriving from the original and/or Hamburg version There are two known pasticcio versions