▁of ▁Part ▁Two ▁shows ▁symmetry ▁around ▁this ▁movement , ▁the ▁music ▁of ▁the ▁preceding ▁ch orus ▁# 2 1 f ▁" W ir ▁haben ▁ein ▁Ges etz " ▁corresponds ▁to ▁# 2 3 b ▁" L ä ss est ▁du ▁diesen ▁los ", ▁the ▁demand ▁# 2 1 d ▁" K re uz ige ▁ihn !" ▁is ▁repeated ▁in ▁an ▁intens ified ▁way ▁in ▁# 2 3 d ▁" W eg , ▁weg ▁mit ▁dem , ▁kre uz ige ▁ihn ! ", ▁# 2 1 b ▁" Se i ▁g egr ü ß et , ▁lie ber ▁J ü den k önig " ▁re app ears ▁as ▁# 2 5 b ▁" Sch reib e ▁nicht : ▁der ▁J ü den ▁König ". ▁ ▁Sc oring ▁ ▁The ▁St ▁John ▁Pass ion ▁is ▁written ▁for ▁an ▁int imate ▁ensemble ▁of ▁solo ists , ▁four - part ▁cho ir , ▁strings ▁and ▁b asso ▁continu o ▁and ▁pairs ▁of ▁fla uti ▁travers i ▁and ▁ob o es , ▁the ▁latter ▁both ▁dou bling ▁on ▁ob oe ▁da ▁c ac cia . ▁For ▁special ▁colors ▁Bach ▁also ▁used ▁l ute , ▁vi ola ▁d ' am ore ▁and ▁vi ola ▁da ▁g amba , ▁instruments ▁that ▁were ▁already ▁old - f ashion ed ▁at ▁the ▁time . ▁In ▁present - day ▁performances ▁the ▁part ▁of ▁Jesus ▁is ▁given ▁to ▁one ▁bass ▁solo ist , ▁Pil ate ▁and ▁the ▁bass ▁a rias ▁to ▁another . ▁Some ▁ten ors ▁sing ▁the ▁Evangel ist ▁– ▁a ▁very ▁demand