Poet unknown.

2 February 1727, Leipzig; again 2 February 1731, perhaps also in 1730, transposed to E minor for flute and soprano.

BG 20, 1; NBA I/28.

1. Aria (B)

I have now enough,
I have now my Savior, the hope of the faithful
Within my desiring embrace now enfolded;
I have now enough!

On him have I gazed,
My faith now hath Jesus impressed on my heart;
I would now, today yet, with gladness
Make hence my departure.

Matthias Grünewald, "Crucifixion" (panel from the Isenheim altarpiece, 1515)

I have now enough.
My hope is this alone,
That Jesus might belong to me and I to him.
In faith I hold to him,
For I, too, see with Simeon
The gladness of that life beyond.
Let us in this man’s burden join!
Ah! Would that from the bondage of my body
The Lord might free me.
Ah! My departure, were it here,
With joy I’d say to thee, O world:
I have now enough.

3. Aria (B)

Slumber now, ye eyes so weary,
Fall in soft and calm repose!

World, I dwell no longer here,
Since I have no share in thee
Which my soul could offer comfort.
Here I must with sorrow reckon,
But yet, there, there I shall witness
Sweet repose and quiet rest.

4. Recit. (B)

My God! When comes that blessed “Now!”
When I in peace shall walk forever
Both in the sand of earth’s own coolness
And there within thy bosom rest?
My parting is achieved,
O world, good night!

5. Aria (B)

Rejoicing do I greet my death,
Ah, would that it had come already.

I’ll escape then all the woe
Which doth here in the world confine me.

Occasion unknown.

Christian Friedrich Hunold, a contamination of two works from Academische Neben-Stunden allerhand neuer Gedichte (Halle and Leipzig, 1713): Der vergnügte Mensch and Cantata/ Von der Zufriedenheit, with lines 3ff. of Movement 7 and Movement 8 from an unknown source; Facs: Neumann T, p. 263.

1726 or 1727; Parody: 8 —> BWV 216/3.

BG 11, 2; NBA I/40.

Mobile Link

On Contentment

1. Recit. (S)

I am content within, let someone else be anxious,
Although he will thereby not fill his sack or belly.
Though I’m not rich and great, in majesty but faint,
Yet my contented state is time in me well spent.
I praise nought of mine own: a fool his own bells stirreth;(1)
I’ll keep a quiet tongue, while frantic hounds are baying.
I’ll tend to mine affairs, let go their merry way
Who in their idleness are filled with happiness.
As for mine own desire, it is desire to conquer;
I do not fear distress or search for vain possessions.
Fallen man can go to Eden once again
And find in fortune’s fill e’en earthly happiness.(2)

2. Aria (S)

With one’s self to rest contented
Is the world’s most precious gift.

Nought enjoyeth, who enjoyeth
What this earthly ball encloseth
And a wretched heart doth own.

3. Recit. (S)

Ye spirits, ye who’ve lost your way
And ever run amok
And for mere wealth’s illusive realm
The riches of your soul would sell;
Concupiscence’s great might doth captive hold:
Just search ye through the whole wide world!
Ye search for what ye cannot gain thee,
And gain it, find in it no pleasure;
If please you, will it soon betray you
And must at last like dust be scattered.
Who treasure doth in others find
Is to the merchant like,
From others’ fortune rich.
With him is wealth of little worth:
For if he is not bankrupt oft in fact,
He is forever anxious that he may gain this woe.
Wealth, pleasure, rank
Are not fair
Midst one’s possessions to be valued,
But with brave purpose to disdain them
Is best without compare.

4. Aria (S)

The precious goods of earth’s expanses,
Let this my spirit leave in peace.

To him will ever heaven come
Who can in poverty be wealthy.

Anonymous, "Lazarus and the Rich Man" (c. 1035-1040)

It is most hard, when idle wealth possessing,
Lest one with love for it, forbidden love, be kindled;
But harder is it yet,
Lest one be vexed by sorrow’s heavy weight
Ere(3) come that pleasure which with ease
Is there for taking;
And if it cease
Just like the world and all its beauty’s course,
Then take a hundred cares its place.
To go inside myself,
To seek within,
And, feeling not the flame of guilt,
Toward heaven having turned my face,
That is my fill of pleasure,
And heaven will provide it.
The mussel opens up when sunbeams dance upon it,
Revealing in itself the pearly fruit:
So seek thou but thy heart to open up to heaven
And thou shalt through its godly light
A jewel, too, be given,
Which all the treasures of the earth
No power hath to purchase.

6. Aria (S)

Let my spirit be content
With whatever God ordains.

This world’s ocean to have fathomed
Is a vain and dangerous thing,
In ourselves must we discover
Pearls of our contentedness.

7. Recit. and Arioso (S)

A noble man is like the pearly conch,
Within most often rich,

Who seeks not for high position
And the world’s assorted fame;
Though I have no country villa
God shall be my residence.(4)

Why should one seek great possessions
Or seek money, precious rot;
What’s that at his riches tapping:
All will stay here in the world!

Who would fly to lofty breezes?
My mind striveth not thereto;
I would up to heaven journey,
That is my reward and lot.

To rely on friends is hopeless,
Most are fickle as can be.
I would sooner trust the breezes
Than in friends when I’m in need.

Were I just to live for pleasure,
Thrall alone to idleness,
I’d be e’er in fear suspended
And create mine own distress.

All that time doth own will vanish,
The outset reveals the end;(5)
Some things live while others perish,
Soon destruction is at hand.

8. Aria (S)

Heavenly contentedness,
Ev’ry heart to thee devoted
Liveth /bideth/ always free from sadness
And enjoys a golden age,
Heavenly contentedness.

O divine contentedness,
Thou, thou makest rich the poor,
Even unto to princes like;
I’ll devote to thee my breast,
O divine contentedness.

Notes

1. This probably alludes to the Schellenkappe ‘cap of fools’ to which bells were tied (cf. BWV 201/13).

2. Bach’s omission of the antecedent of Der leaves these last two lines in some confusion. The last three lines of the PT are as follows:

Die Demuth liebt mich selbst; wer es so weit kan bringen,
Der gehet nach dem Fall in Eden wieder ein,
Und kan in allem Glück auch irdisch seelig seyn.
Humility loves me; whoever can attain this
Will after the great fall to Eden go again
And find in fortune’s fill e’en earthly happiness.

3. BG has Ja ein Vergnügen, “Yea, any pleasure,” but this makes no real improvement to the apparent ellipsis of some verb like kommt in the PT.

4. This is the first of six four-line trochaic stanzas which Bach’s unknown librettist adds to Hunold’s work. It is in the moralizing style popular in Bach’s day and in a tradition reaching back to the Odes of Horace.

5. I.e., as man began in corruption, so will he end in corruption.
Although the meter of the text is trochaic, Bach treats the first foot of this line muscially as an iamb so as to correct the accentuation of Anfang. The translation, thus, begins with an iamb.

Translated by Z. Philip Ambrose

Poet unknown (probably Picander).

1 April 1725, Leipzig; revised, ca. 1735; Parody: 3, 5, 7, 9, 11 < --- BWV 249a.

BG 21, 3; NBA II/7.

Easter Oratorio
Mary, daughter of James (S), Mary Magdalene (A), Peter (T), John (B)

1. Sinfonia

2. Adagio

3. Aria (T, B) (1)

Come, hasten and hurry,(2) ye fleet-footed paces,
Make haste for the grotto which Jesus doth veil!

Laughter and pleasure,
Attend ye our hearts now,
For he who saves us is raised up.

4. Recit. (A, S, T, B) Mary Magdalene, Mary, daughter of James, Peter, John

(Mary Magdalene)
O men so cold of heart!
Where is that love then gone
Which to the Savior ye now owe?

(Mary, daughter of James)
A helpless woman must upbraid you!

(Peter)
Ah, our sore-troubled grieving

(John)
And anxious, heartfelt woe

(Peter, John)
Here, joined with salty weeping
And melancholy yearning,
For him an unction did intend,

(Mary, daughter of James, Mary Magdalene)
Which ye, as we, in vain have brought.

5. Aria (S) Mary, daughter of James

Spirit, these thy costly spices
Should consist no more of myrrh.

For alone,
Crowned with laurel wreaths resplendent,
Wilt thou still thy anxious longing(3).

Hans Holbein the Younger, "Noli me tangere" (1524)

(Peter)
Here is the crypt

(John)
And here the stone
Which kept it tightly closed.
But where, then, is my Savior gone?

(Mary Magdalene)
He is from death now risen up!
We met, before, an angel here
Who brought to us report of this.

(Peter)
I see now with great rapture
The napkin all unwound here lying.

7. Aria (T) Peter

Gentle shall my dying labor,
Nought but slumber,
Jesus, through thy napkin be.
Yes, for it will there(4) refresh me
And the tears of all my pain
From my cheeks wipe dry with comfort.

8. Recit. and Arioso (S, A) Mary, daughter of James, Mary Magdalene

And meanwhile, sighing, we
Here burn with deep desire:
Ah, if it only soon might happen,
To see himself the Savior!

9. Aria (A) Mary Magdalene

Tell me, tell me, tell me quickly,
Tell me where I may find Jesus,
Him whom all my soul doth love!

Come now, come, and hold me close,
For my heart is, lacking thee,
Left an orphan and distressed.

10. Recit. (B) John

We now rejoice
That this our Jesus lives again,
And these our hearts,
Which once in sadness were dissolved and in suspense,
Forget their pain
And turn to joyful anthems,
For this our Savior once more liveth.

11. Chorus (S, A, T, B)

Laud and thanks
Bide, O Lord, thy song of praise.
Hell and devil are now vanquished,
And their portals are destroyed.
Triumph, O ye ransomed voices,
Till ye be in heaven heard.
Spread open, ye heavens, your glorious arches,
The Lion of Judah with triumph shall enter!

Notes

1. In the revised version: Chorus (S, A, T, B).

2. In the earlier version: Kommt, fliehet und eilet “Come, fleeing and running, …” (so, Dürr, 238), Kommt, gehet und eilet “Come, go ye and hasten, (so Neumann T).

3. In the earlier version Sich mit Lorbeerkränzen schmücken, Schicket sich vor dein Erquicken “Self with laurel wreaths bedecking maketh ready thy refreshment.”

4. I.e., in heaven.

See also:

1. Come, Hasten & Hurry

When J. S. Bach came to write his St. Matthew Passion in the 1720s, the passion, as a musical form, had grown to allow orchestra, choirs, and non-scriptural choruses and arias. But even by the standard of the Baroque passion, the Passion According to St. Matthew is exceptional for its musical richness and its grand scope.

Musically, the score is of imposing length, and calls for double orchestra and double choir—three choirs, at one point. The musical textures range from complex counterpoint to simple hymns. Dramatically, the point of view shifts regularly, from the narrative of the Evangelist, to the actual words of Jesus and his disciples, to reflections that speak for the individual believer. But in Bach’s hands, the effect that the Passion gives is not one of a brilliant collage, but a single, sustained, somber meditation—appropriate for a work that was first performed as part of a church service.

Scholars believe the first performance of the St. Matthew Passion may have been in 1727. It was certainly performed on Good Friday of 1729, and perhaps at several other Good Friday services during Bach’s life. It then dropped from public view until 1829, when it was triumphantly revived by Felix Mendelssohn, crystallizing a revival of interest in Bach that grew throughout the 19th century and still continues.

The text of the passion was created by the German writer Christian Henrici, who wrote under the pen name of Picander. Like Bach, he lived in Leipzig, and it is believed that he and Bach worked closely together on the text.

There are three strands in the text: the actual text from the book of Matthew; Picander’s own poetry; and the pre-existing hymns, or chorales, which Bach incorporates into the score, which would have been immediately recognizable by his first hearers.

PART ONE
Chorus I and II

Original German © Walter F. Bischof		English translation © Z. Philip Ambrose, translator
Chorus I Kommt, ihr Töchter, helft mir klagen, Sehet—(Chorus II) Wen?—(Chorus I) den Bräutigam, Seht ihn—(Chorus II) Wie?—(Chorus I) als wie ein Lamm! Chorale O Lamm Gottes, unschuldig Am Stamm des Kreuzes geschlachtet, Sehet,—Was?—seht die Geduld, Allzeit erfunden geduldig, Wiewohl du warest verachtet. Seht—Wohin?—auf unsre Schuld; All Sünd hast du getragen, Sonst müßten wir verzagen. Sehet ihn aus Lieb und Huld Holz zum Kreuze selber tragen! Erbarm dich unser, o Jesu !		Chorus I Come, ye daughters, share my mourning, See ye—(Chorus II) whom?—(Chorus I) the bridegroom there, See him—(Chorus II) how?—(Chorus I) just like a lamb! Chorale O Lamb of God, unspotted Upon the cross’s branch slaughtered, See ye,—what?—see him forbear, Alway displayed in thy patience, How greatly wast thou despisèd. Look—where, then?—upon our guilt; All sin hast thou born for us, Else we had lost all courage. See how he with love and grace Wood as cross himself now beareth! Have mercy on us, O Jesus!

Recitative

WHAT IS A RECITATIVE? A recitative is a vocal passage that imitates spoken language, usually in free tempo. Often in passages of recitative, the emphasis is on the words rather than the musical content—which doesn’t keep Bach from writing some very striking recitative passages.
Evangelist Da Jesus diese Rede vollendet hatte, sprach er zu seinen Jüngern: Jesus Ihr wisset, daß nach zweien Tagen Ostern wird, und des Menschen Sohn wird überantwortet werden, daß er gekreuziget werde.		Evangelist When Jesus, then, had finished all these sayings, he said to his disciples:Jesus Ye know well that in two days will be Passover, and the Son of man is then to be handed over, that he be crucifièd.

Chorale

Chorus I and II Herzliebster Jesu, was hast du verbrochen, Daß man ein solch scharf Urteil hat gesprochen? Was ist die Schuld, in was für Missetaten Bist du geraten?

Chorus I and II O dearest Jesus, how hast thou offended, That such a cruel sentence hath been spoken? What is thy guilt, what were the evil doings Thou hast committed?

Recitative

Evangelist Da versammleten sich die Hohenpriester und Schriftgelehrten und die Ältesten im Volk in dem Palast des Hohenpriesters, der da hieß Kaiphas, und hielten Rat, wie sie Jesum mit Listen griffen und töteten. Sie sprachen aber:

Evangelist There assembled themselves the high priests and the scribes together, and the elders of the people within the palace of the chief priest, whose name was Caiphas; and there took counsel, how with stealth they might capture Jesus and put him to death. They said however:

Chorus I and II

Ja nicht auf das Fest, auf daß nicht ein Aufruhr werde im Volk.

Not upon the feast, lest there be an uproar in the people.

Recitative

Evangelist Da nun Jesus war zu Bethanien, im Hause Simonis des Aussätzigen, trat zu ihm ein Weib, die hatte ein Glas mit köstlichem Wasser und goß es auf sein Haupt, da er zu Tische saß. Da das seine Jünger sahen, wurden sie unwillig und sprachen:

Evangelist When now Jesus visited Bethany and was in the house of the leper called Simon, unto him came a woman who carried a jar of precious ointment and poured it on his head as he sat at the table. But when his disciples saw it, they became indignant and said:

Chorus I

Wozu dienet dieser Unrat? Dieses Wasser hie mögen teuer verkauft und den Armen gegeben werden.

What end serveth all this nonsense? For this ointment might indeed have been sold for much, and the sum to the poor been given.

Recitative

Evangelist Da das Jesus merkete, sprach er zu ihnen:Jesus Was bekümmert ihr das Weib? Sie hat ein gut Werk an mir getan. Ihr habet allezeit Arme bei euch, mich aber habt ihr nicht allezeit. Daß sie dies Wasser hat auf meinen Leib gegossen, hat sie getan, daß man mich begraben wird. Wahrlich, ich sage euch Wo dies Evangelium geprediget wird in der ganzen Welt, da wird man auch sagen zu ihrem Gedächtnis, was sie getan hat.

Evangelist But when Jesus noticed this, said he unto them:Jesus Why trouble ye so this woman? For she hath done a good deed for me! Ye always have the poor with you, me though will ye not have always. That she hath poured this ointment over my body hath she done because I am to be buried. Truly I say to you: wherever this gospel shall be preached throughout the whole world, there will be told also in memory of her what she hath done.

Recitative

Alto Du lieber Heiland du, Wenn deine Jünger töricht streiten, Daß dieses fromme Weib Mit Salben deinen Leib Zum Grabe will bereiten, So lasse mir inzwischen zu, Von meiner Augen Tränenflüssen Ein Wasser auf dein Haupt zu gießen!

Alto Belovèd Savior thou, Midst thy disciples’ foolish quarrel, Because this loyal dame Thy body with her oils To bury would make ready, O in the meanwhile grant me this, From these mine eyes’ own streams of weeping To pour upon thy head an ointment!

Aria

Alto Buß und Reu Knirscht das Sündenherz entzwei, Daß die Tropfen meiner Zähren Angenehme Spezerei, Treuer Jesu, dir gebären.

Alto Guilt and pain Break the sinful heart in twain, So the teardrops of my weeping A most soothing precious balm, Chorus II Jesus, thee doth offer.

Recitative

Evangelist Da ging hin der Zwölfen einer, mit Namen Judas Ischarioth, zu den Hohenpriestern und sprach: Judas Was wollt ihr mir geben? Ich will ihn euch verraten. Evangelist Und sie boten ihm dreißig Silberlinge. Und von dem an suchte er Gelegenheit, daß er ihn verriete.

Evangelist Then there went one of the twelve, whose name was Judas Iscariot, forth unto the chief priests and said:Judas What would ye then give me? I would to you betray him. Evangelist And they offered him thirty silver pieces. And from thence forth he sought an opportunity when he might betray him.

Aria

Soprano Blute nur, du liebes Herz! Ach! ein Kind, das du erzogen, Das an deiner Brust gesogen, Droht den Pfleger zu ermorden, Denn es ist zur Schlange worden.

Soprano Bleed alway, O thou my heart! Ah, a child which thou hast nurtured, Which at thine own breast hath suckled, Bodes his keeper now to murder, For it hath become a serpent.

Recitative

Evangelist Aber am ersten Tage der süßen Brot traten die Jünger zu Jesu und sprachen zu ihm:

Evangelist But on the first day of Unleavened Bread came the disciples to Jesus and said unto him:

Chorus I

Wo willst du, daß wir dir bereiten, das Osterlamm zu essen?

What place wouldst thou have us prepare thee, the paschal lamb to eat now?

Recitative

Evangelist Er sprach: Jesus Gehet hin in die Stadt zu einem und sprecht zu ihm: Der Meister laßt dir sagen: Meine Zeit ist hier, ich will bei dir die Ostern halten mit meinen Jüngern. Evangelist Und die Jünger täten, wie ihnen Jesus befohlen hatte, und bereiteten das Osterlamm. Und am Abend satzte er sich zu Tische mit den Zwölfen. Und da sie aßen, sprach er: Jesus Wahrlich, ich sage euch: Einer unter euch wird mich verraten.

Evangelist He said:Jesus Go ye forth to the town, to one there and say to him: The Master sends thee this message: Now my time is here, I would in thy house keep the Passover with my disciples. Evangelist The disciples did this, as Jesus had commanded them, and made ready there the paschal lamb. And at evening he sat down at the table with the twelve. And while they ate there, he said: Jesus Truly, I say to you: there is one of you who will betray me.

Recitative

Evangelist Und sie wurden sehr betrübt und huben an, ein jeglicher unter ihnen, und sagten zu ihm:

Evangelist And they were then very sad and they began, each one of them in turn, to say unto him:

Chorus I

NUMEROLOGY: Here, as the chorus repeats this phrase, Bach uses the word “Lord” precisely 11 times: once for each disciple, except for Judas.
Herr, bin ich’s?		Lord, is it I?

Chorale

WHAT IS A CHORALE? Basically, a hymn tune of the Lutheran church. In the early years of the Reformation in Germany, a new style of religious song was created. It drew on the Gregorian chant of the Catholic church, on folk song and popular melodies, and was shaped by the prevailing musical style of the day. These melodies came be known as chorales. Many of these chorales, like “A Mighty Fortress” and “Old Hundredth,” are still sung as hymns in churches today.
Chorus I and II Ich bin’s, ich sollte büßen, An Händen und an Füßen Gebunden in der Höll. Die Geißeln und die Banden Und was du ausgestanden, Das hat verdienet meine Seel.		Chorus I and II ‘Tis I, I must be sorry, With hands and feet together Bound fast, must lie in hell. The scourges and the fetters And all that thou hast suffered, All this deserveth now my soul.

Recitative

Evangelist Er antwortete und sprach: Jesus Der mit der Hand mit mir in die Schüssel tauchet, der wird mich verraten. Des Menschen Sohn gehet zwar dahin, wie von ihm geschrieben stehet; doch wehe dem Menschen, durch welchen des Menschen Sohn verraten wird! Es wäre ihm besser, daß derselbige Mensch noch nie geboren wäre. Evangelist Da antwortete Judas, der ihn verriet, und sprach: Judas Bin ich’s, Rabbi? Evangelist Er sprach zu ihm: Jesus Du sagest’s. Evangelist Da sie aber aßen, nahm Jesus das Brot, dankete und brach’s und gab’s den Jüngern und sprach: Jesus Nehmet, esset, das ist mein Leib. Evangelist Und er nahm den Kelch und dankte, gab ihnen den und sprach: Jesus Trinket alle daraus; das ist mein Blut des neuen Testaments, welches vergossen wird für viele zur Vergebung der Sünden. Ich sage euch: Ich werde von nun an nicht mehr von diesem Gewächs des Weinstocks trinken bis an den Tag, da ich’s neu trinken werde mit euch in meines Vaters Reich.

Evangelist He answerèd thus and said:Jesus He who his hand with me in the dish now dippeth, this one will betray me. The Son of man indeed goeth hence, as it hath been written of him; but woe to that man through whom the Son of man hath been betrayed! It were better for him if this very man had never been born. Evangelist Then answerèd Judas, who betrayed him, and said: Judas Is it I, Rabbi? Evangelist He said to him: Jesus Thou sayest. Evangelist But when they had eaten, did Jesus take bread, gave thanks and brake it, and gave it to his disciples, saying: Jesus Take, eat, this is my Body. Evangelist And he took the cup and, giving thanks, he gave it to them, saying: Jesus Drink, all of you, from this; this is my Blood of the New Testament, which hath been poured out here for many in remission of their sins. I say to you: I shall from this moment forth no more drink from this the fruit of the grapevine until the day when I shall drink it anew with you within my Father’s kingdom.

Recitative

Soprano Wiewohl mein Herz in Tränen schwimmt, Daß Jesus von mir Abschied nimmt, So macht mich doch sein Testament erfreut: Mein Fleisch und Blut, o Kostbarkeit, Vermacht er mir in meine Hände. Wie er es auf der Welt mit denen Seinen Nicht böse können meinen, So liebt er sie bis an das Ende.

Soprano In truth my heart in tears doth swim, That Jesus doth from me depart, But I am by his Testament consoled: His Flesh and Blood, O precious gift, Bequetheth he to mine own hands now. Just as he in the world unto his people Could never offer malice, He loveth them until the finish.

Aria

Soprano Ich will dir mein Herze schenken, Senke dich, mein Heil, hinein! Ich will mich in dir versenken; Ist dir gleich die Welt zu klein, Ei, so sollst du mir allein Mehr als Welt und Himmel sein.

Soprano I will thee my heart now offer, Merse thyself, my health, in it! I would merse myself within thee; If to thee the world’s too small, Ah, then shalt thou me alone More than world and heaven be.

Recitative

Evangelist Und da sie den Lobgesang gesprochen hatten, gingen sie hinaus an den Ölberg. Da sprach Jesus zu ihnen: Jesus In dieser Nacht werdet ihr euch alle ärgern an mir. Denn es stehet geschrieben: Ich werde den Hirten schlagen, und die Schafe der Herde werden sich zerstreuen. Wenn ich aber auferstehe, will ich vor euch hingehen in Galiläam.

Evangelist But after the song of praise had been recited, they went out to the Mount of Olives. And there Jesus said to them:Jesus In this same night ye will all become annoyed for my sake. For it standeth in the scripture: I shall strike down then the shepherd, and the sheep of the flock will by themselves be scattered. When, however, I am risen, I will go before you into Galilee.

Chorale

THE “PASSION CHORALE”: The next chorale, the so-called “Passion Chorale,” is one that Bach uses five times in the St. Matthew Passion. (You may know it as “O sacred head, now wounded.”) Although this chorale is now indelibly associated with Easter for many people, Bach uses it in other works, including the Christmas Oratorio, and the melody (not by Bach but by Hans Leo Hassler) was originally a secular love song. It was also borrowed by Paul Simon in “An American Tune.”
Chorus I and II Erkenne mich, mein Hüter, Mein Hirte, nimm mich an! Von dir, Quell aller Güter, Ist mir viel Guts getan. Dein Mund hat mich gelabet Mit Milch und süßer Kost, Dein Geist hat mich begabet Mit mancher Himmelslust.		Chorus I and II Acknowledge me, my keeper, My shepherd, make me thine! From thee, source of all blessings, Have I been richly blest. Thy mouth hath oft refreshed me With milk and sweetest food, Thy Spirit hath endowed me With many heav’nly joys.

Recitative

Evangelist Petrus aber antwortete und sprach zu ihm: Peter Wenn sie auch alle sich an dir ärgerten, so will ich doch mich nimmermehr ärgern. Evangelist Jesus sprach zu ihm: Jesus Wahrlich, ich sage dir: In dieser Nacht, ehe der Hahn krähet, wirst du mich dreimal verleugnen. Evangelist Petrus sprach zu ihm: Peter Und wenn ich mit dir sterben müßte, so will ich dich nicht verleugnen. Evangelist Desgleichen sagten auch alle Jünger.

Evangelist Peter, however, then answerèd and said to him.Peter Although the others all be annoyed because of thee, yet will I myself not ever feel annoyance. Evangelist Jesus said to him: Jesus Truly, I say to thee: in this same night, before the cock croweth, wilt thou three times have denied me. Evangelist Peter said to him: Peter And even if I must die with thee, I will not ever deny thee. Evangelist And so declared all the other disciples.

Chorale

Chorus I and II Ich will hier bei dir stehen; Verachte mich doch nicht! Von dir will ich nicht gehen, Wenn dir dein Herze bricht. Wenn dein Herz wird erblassen Im letzten Todesstoß, Alsdenn will ich dich fassen In meinen Arm und Schoß.

Chorus I and II I will here by thee stand now; O put me not to scorn! From thee will I go never, While thee thy heart doth break. When thy heart doth grow pallid Within death’s final stroke, E’en then will I enfold thee Within my arms and lap.

Recitative

Evangelist Da kam Jesus mit ihnen zu einem Hofe, der hieß Gethsemane, und sprach zu seinen Jüngern: Jesus Setzet euch hie, bis daß ich dort hingehe und bete. Evangelist Und nahm zu sich Petrum und die zween Söhne Zebedäi und fing an zu trauern und zu zagen. Da sprach Jesus zu ihnen: Jesus Meine Seele ist betrübt bis an den Tod, bleibet hie und wachet mit mir.

Evangelist Then came Jesus with them to a garden, known as Gethsemane, and said to his disciples:Jesus Sit ye down here, while I go over there and pray. Evangelist And taking Peter with him and the two sons of Zebedee, he began to mourn and to be troubled. Then said Jesus unto them: Jesus Now my soul is sore distressed, even to death; tarry here and keep watch with me.

Recitative and Chorale

Chorus I and II O Schmerz! Hier zittert das gequälte Herz; Wie sinkt es hin, wie bleicht sein Angesicht! Alto Was ist die Ursach aller solcher Plagen? Chorus I and II Der Richter führt ihn vor Gericht. Da ist kein Trost, kein Helfer nicht. Alto Ach! meine Sünden haben dich geschlagen; Chorus I and II Er leidet alle Höllenqualen, Er soll vor fremden Raub bezahlen. Alto Ich, ach Herr Jesu, habe dies verschuldet Was du erduldet. Chorus I and II Ach, könnte meine Liebe dir, Mein Heil, dein Zittern und dein Zagen Vermindern oder helfen tragen, Wie gerne blieb ich hier!

Chorus I and II O pain! Here trembleth the tormented heart; How it doth sink, how pale his countenance! Alto What is the reason for all these great torments? Chorus I and II The judge conveys him to the court. Alto Here is no hope, and helper none. Chorus I and II Alas, my sins, they have thee sorely stricken; Alto He suffers all of hell’s own torture, He must for others’ theft make payment. Chorus I and II I, ah Lord Jesus, have this debt encumbered Which thou art bearing. Ah, would that now my love for thee, My health, thy trembling and thy terror Could lighten or could help thee carry. How gladly would I stay!

Aria and Chorus

Tenor Ich will bei meinem Jesu wachen, Chorus II So schlafen unsre Sünden ein. Tenor Meinen Tod Büßet seine Seelennot; Sein Trauren machet mich voll Freuden. Chorus II Drum muß uns sein verdienstlich Leiden Recht bitter und doch süße sein.

Tenor I will be with my Jesus watching,Chorus II That slumber may our sins enfold. Tenor Mine own death Is redeemed by his soul’s woe; His sorrow filleth me with gladness. Chorus II Thus for us his most worthy passion Most bitter and yet sweet must be.

Recitative

Evangelist Und ging hin ein wenig, fiel nieder auf sein Angesicht und betete und sprach: Jesus Mein Vater, ist’s möglich, so gehe dieser Kelch von mir; doch nicht wie ich will, sondern wie du willt.

Evangelist He went on a little, fell down upon his face and, having prayed, he said:Jesus My Father, if possible, allow this cup to pass from me; but not as I will, rather as thou wilt.

Recitative

Bass Der Heiland fällt vor seinem Vater nieder; Dadurch erhebt er mich und alle Von unserm Falle Hinauf zu Gottes Gnade wieder. Er ist bereit, Den Kelch, des Todes Bitterkeit Zu trinken, In welchen Sünden dieser Welt Gegossen sind und häßlich stinken, Weil es dem lieben Gott gefällt.

Bass The Savior falls before his Father prostrate; Thereby he raiseth me and all men From our corruption Aloft again to God’s dear mercy. He is prepared The cup, the bitterness of death, To drink now, In which the sins of this our world Have been infused, now loathsome reeking, Because God wills it so to be.

Aria

Bass Gerne will ich mich bequemen, Kreuz und Becher anzunehmen, Trink ich doch dem Heiland nach. Denn sein Mund, Der mit Milch und Honig fließet, Hat den Grund Und des Leidens herbe Schmach Durch den ersten Trunk versüßet.

Bass Gladly would I be most willing Cross and chalice to accept now, Drinking from my Savior’s cup. For his mouth, Which with milk and honey floweth, Hath the earth, And all sorrow’s bitter taste With the very first draught sweetened.

Recitative

DRAMATIC, INTENSE “Bach is a dramatic composer. The fact that that drama doesn’t have to be either in real time or shown to you visually doesn’t mean that there’s not a drama, in the same way that a radio play is drama; it just happens inside your head. It’s imagined. I think that it is, dramatically, incredibly intense from beginning to end.”– Nicholas McGegan, Saint Paul Chamber Orchestra, Baroque Series Director
Evangelist Und er kam zu seinen Jüngern und fand sie schlafend und sprach zu ihnen: Jesus Könnet ihr denn nicht eine Stunde mit mir wachen? Wachet und betet, daß ihr nicht in Anfechtung fallet! Der Geist ist willig, aber das Fleisch ist schwach. Evangelist Zum andernmal ging er hin, betete und sprach: Jesus Mein Vater, ist’s nicht möglich, daß dieser Kelch von mir gehe, ich trinke ihn denn, so geschehe dein Wille.		Evangelist And he came to his disciples and found them sleeping and said unto them:Jesus Could ye then not watch with me even for one hour? Watch ye and pray, that ye not fall into temptation! The spirit is willing, but the flesh is weak. Evangelist A second time he went off, prayed and said: Jesus My Father, if it cannot be that this cup pass from me, unless I have drunk it, then let thy will be done.

Chorale

Chorus I and II Was mein Gott will, das g’scheh allzeit, Sein Will, der ist der beste, Zu helfen den’n er ist bereit, Die an ihn gläuben feste. Er hilft aus Not, der fromme Gott, Und züchtiget mit Maßen. Wer Gott vertraut, fest auf ihn baut, Den will er nicht verlassen.

Chorus I and II What my God will, be done alway, His will, it is the best will; To help all those he is prepared Whose faith in him is steadfast. He frees from want, this righteous God, And punisheth with measure: Who trusts in God, on him relies, Him will he not abandon.

Recitative

Evangelist Und er kam und fand sie aber schlafend, und ihre Augen waren voll Schlafs. Und er ließ sie und ging abermal hin und betete zum drittenmal und redete dieselbigen Worte. Da kam er zu seinen Jüngern und sprach zu ihnen: Jesus Ach! wollt ihr nun schlafen und ruhen? Siehe, die Stunde ist hie, daß des Menschen Sohn in der Sünder Hände überantwortet wird. Stehet auf, lasset uns gehen; siehe, er ist da, der mich verrät. Evangelist Und als er noch redete, siehe, da kam Judas, der Zwölfen einer, und mit ihm eine große Schar mit Schwerten und mit Stangen von den Hohenpriestern und Altesten des Volks. Und der Verräter hatte ihnen ein Zeichen gegeben und gesagt: »Welchen ich küssen werde, der ist’s, den greifet!« Und alsbald trat er zu Jesu und sprach: Judas Gegrüßet seist du, Rabbi! Evangelist Und küssete ihn. Jesus aber sprach zu ihm: Jesus Mein Freund, warum bist du kommen? Evangelist Da traten sie hinzu und legten die Hände an Jesum und griffen ihn.

Evangelist And he came and found them once more sleeping, and now their eyes were heavy with sleep. And he left them and went off once again a third time and said again the very same words. Then came he to his disciples and said unto them:Jesus Ah, would ye now sleep and rest? Lo now, the hour is come when the Son of man is delivered over to the hands of sinners. Rise ye up, let us be going; see there, he is come, who doth betray me. Evangelist And while he was speaking still, behold, there came Judas, one of the twelve, and with him came a great crowd with swords and with clubs from the chief priests and elders of the people. And the betrayer had given them a signal already and had said: “He whom I shall kiss, is he, him take ye!” At that he went up to Jesus and said: Judas My greetings to thee, Rabbi! Evangelist And gave him a kiss. Jesus, though, said to him: Jesus My friend, wherefore art thou come here? Evangelist Then came the others forth and, laying their hands upon Jesus, they captured him.

Duet and Chorus

Soprano and Alto So ist mein Jesus nun gefangen. Chorus II Laßt ihn, haltet, bindet nicht! Soprano and Alto Mond und Licht Ist vor Schmerzen untergangen, Weil mein Jesus ist gefangen. Chorus II Laßt ihn, haltet, bindet nicht! Soprano and Alto Sie führen ihn, er ist gebunden.

Soprano and Alto Thus hath my Jesus now been taken.Chorus II Free him, hold off, bind him not! Soprano and Alto Moon and light Are in sorrow set and hidden, For my Jesus hath been taken. Chorus II Free him, hold off, bind him not! Soprano and Alto They lead him off, he is in fetters.

Chorus I and II

Sind Blitze, sind Donner in Wolken verschwunden? Eröffne den feurigen Abgrund, o Hölle, Zertrümmre, verderbe, verschlinge, zerschelle Mit plötzlicher Wut Den falschen Verräter, das mördrische Blut!

Hath lightning, hath thunder in clouds fully vanished? Lay open thy fire’s raging chasm, O hell, then, Now ruin, demolish, devour, now shatter With suddenmost wrath The lying betrayer, that murderous blood!

Recitative

THE “HALO” EFFECT: Bach sets Jesus’ own words apart from all the other recitatives by accompanying them with strings. This has been likened to a halo in sound.Significantly, there is one place where the halo drops out—at Jesus’ last words on the cross.
Evangelist Und siehe, einer aus denen, die mit Jesu waren, reckete die Hand aus und schlug des Hohenpriesters Knecht und hieb ihm ein Ohr ab. Da sprach Jesus zu ihm: Jesus Stecke dein Schwert an seinen Ort; denn wer das Schwert nimmt, der soll durchs Schwert umkommen. Oder meinest du, daß ich nicht könnte meinen Vater bitten, daß er mir zuschickte mehr denn zwölf Legion Engel? Wie würde aber die Schrift erfüllet? Es muß also gehen. Evangelist Zu der Stund sprach Jesus zu den Scharen: Jesus Ihr seid ausgegangen als zu einem Mörder, mit Schwerten und mit Stangen, mich zu fahen; bin ich doch täglich bei euch gesessen und habe gelehret im Tempel, und ihr habt mich nicht gegriffen. Aber das ist alles geschehen, daß erfüllet würden die Schriften Evangelist Da verließen ihn alle Jünger und flohen.		Evangelist And lo now, one of that number, who were there with Jesus, did stretch out his hand then and struck the slave of the chief priest and cut off his ear. Then said Jesus to him:Jesus Put back thy sword into its place; for all who take the sword must by the sword perish. Or dost thou then think that I could not appeal unto my Father that to me he send forth more than twelve legions of angels? How would the scripture, though, be fulfilled? It must be this way. Evangelist At this hour said Jesus to the many: Jesus Ye are now come forward as against a murderer, with swords and with clubs now to take me; but I have daily been sitting with you and have been there teaching in the temple, and ye did not ever seize me. But all this is now come to pass, to bring fulfillment to the scriptures of the prophets. Evangelist Then did all the disciples flee and forsake him.

Chorale

Chorus I and II O Mensch, bewein dein Sünde groß, Darum Christus seins Vaters Schoß Äußert und kam auf Erden; Von einer Jungfrau rein und zart Für uns er hie geboren ward, Er wollt der Mittler werden. Den Toten er das Leben gab Und legt darbei all Krankheit ab, Bis sich die Zeit herdrange, Daß er für uns geopfert würd, Trüg unsrer Sünden schwere Bürd Wohl an dem Kreuze lange.

Chorus I and II O man, bewail thy sins so great, For which Christ did his Father’s lap Reveal and came to earth here; And of a virgin pure and mild For us he here to birth did come To be the Intercessor. Unto the dead he granted life And put off all infirmity Until the time pressed forward That he for us be sacrificed; He bore our sins’ most grievous weight Upon the cross, long suff’ring.

PART TWO

Aria and Chorus

Original German courtesy of Walter F. Bischof		English translation courtesy of Z. Philip Ambrose
Chorus I Ach! nun ist mein Jesus hin! Chorus II Wo ist denn dein Freund hingegangen, O du Schönste unter den Weibern? Ist es möglich, kann ich schauen? Wo hat sich dein Freund hingewandt? Ach! mein Lamm in Tigerklauen, Ach! wo ist mein Jesus hin? So wollen wir mit dir ihn suchen. Ach! was soll ich der Seele sagen, Wenn sie mich wird ängstlich fragen? Ach! wo ist mein Jesus hin?		Chorus I Ah, now is my Jesus gone!Chorus II Where is then thy friend now departed, O thou fairest of all the women? Is it granted, can I see him? Where hath he thy friend gone away? Ah, my lamb in tiger’s clutches, Ah, where is my Jesus gone? We will with thee now go and seek him. Ah, what shall I say to my spirit When it doth in anguish ask me: Ah, where is my Jesus gone?

Recitative

Evangelist Die aber Jesum gegriffen hatten, führeten ihn zu dem Hohenpriester Kaiphas, dahin die Schriftgelehrten und Ältesten sich versammlet hatten. Petrus aber folgete ihm nach von ferne bis in den Palast des Hohenpriesters und ging hinein und satzte sich bei die Knechte, auf daß er sähe, wo es hinaus wollte. Die Hohenpriester aber und Ältesten und der ganze Rat suchten falsche Zeugnis wider Jesum, auf daß sie ihn töteten, und funden keines.

Evangelist But those, however, who had seized Jesus led him away to the chief priest, who was Caiphas, there where the learned scribes and the elders already had assembled. Peter, though, had followed him from a distance up to the palace of the chief priest and went inside and sat himself near the servants, that he might see what the outcome would be. The chief priests, though, and also the elders and the whole assembly sought untrue witness against Jesus in order to kill him, and they did find none.

Chorale

Chorus I and II Mir hat die Welt trüglich gericht’ Mit Lügen und mit falschem G’dicht, Viel Netz und heimlich Stricke. Herr, nimm mein wahr in dieser G’fahr, B’hüt mich für falschen Tücken!

Chorus I and II The world hath judged me with deceit, With lying and with false conceit, With nets and snares in secret. Lord, me regard In this distress, Guard me from false deceptions.

Recitative

Evangelist Und wiewohl viel falsche Zeugen herzutraten, funden sie doch keins. Zuletzt traten herzu zween falsche Zeugen und sprachen: Alto and Tenor Er hat gesagt: Ich kann den Tempel Gottes abbrechen und in dreien Tagen denselben bauen. Evangelist Und der Hohepriester stund auf und sprach zu ihm: Bass Antwortest du nichts zu dem, das diese wider dich zeugen? Evangelist Aber Jesus schwieg stille.

Evangelist And although there came there many false witnesses, they still did find none. At last entered therein two false informants and said:Alto and Tenor He hath declared: “God’s temple can I fully demolish and within three days’ time I can rebuild it.” Evangelist And the chief priest then stood up and said to him: Bass Replies thou nought to that which they have witnessed against thee? Evangelist But Jesus kept silent.

Recitative

Tenor Mein Jesus schweigt Zu falschen Lügen stille, Um uns damit zu zeigen, Daß sein Erbarmens voller Wille Vor uns zum Leiden sei geneigt, Und daß wir in dergleichen Pein Ihm sollen ähnlich sein Und in Verfolgung stille schweigen.

Tenor My Jesus keeps Amidst false lies his silence, To show us by example That his dear mercy’s full intention For us to suffer now inclines, In order that within such pain We should resemble him, In persecution keep our silence.

Aria

Tenor Geduld! Wenn mich falsche Zungen stechen. Leid ich wider meine Schuld Schimpf und Spott, Ei, so mag der liebe Gott Meines Herzens Unschuld rächen.

Tenor Forbear, Though deceiving tongues may sting me! Though I suffer, innocent, Mocking scorn, Ah, then may the Lord above Give my guiltless heart its vengeance.

Recitative

Evangelist Und der Hohepriester antwortete und sprach zu ihm: Bass Ich beschwöre dich bei dem lebendigen Gott, daß du uns sagest, ob du seiest Christus, der Sohn Gottes? Evangelist Jesus sprach zu ihm: Jesus Du sagest’s. Doch sage ich euch: Von nun an wird’s geschehen, daß ihr sehen werdet des Menschen Sohn sitzen zur Rechten der Kraft und kommen in den Wolken des Himmels. Evangelist Da zerriß der Hohepriester seine Kleider und sprach: Bass Er hat Gott gelästert; was dürfen wir weiter Zeugnis? Siehe, itzt habt ihr seine Gotteslästerung gehöret. Was dünket euch? Evangelist Sie antworteten und sprachen:

Evangelist And the chief priest then, answering, spake thus to him:Bass I adjure thee in the name of the living God, that thou shouldst tell us, if thou art the Christ, the Son of God. Evangelist Jesus said to him: Jesus Thou sayest. But I say to you: from henceforth it will happen that ye shall behold the Son of man sitting at the right hand of power and coming in the clouds of heaven. Evangelist Thereupon the chief priest rent his clothes asunder and said: Bass God hath he blasphemed; what need we of further witness? See here, now have ye heard his blasphemy against God. What is your judgment? Evangelist They answerèd and said:

Chorus I and II

Er ist des Todes schuldig!

He is of death deserving!

Recitative

Evangelist Da speieten sie aus in sein Angesicht und schlugen ihn mit Fäusten. Etliche aber schlugen ihn ins Angesicht und sprachen:

Evangelist Then did they spit upon his countenance and struck him with their fists. Some, though, there were who struck him upon his face and said:

Chorus I and II

Weissage uns, Christe, wer ist’s, der dich schlug?

Foretell it us, Christ Lord, tell us who struck thee!

Chorale

Chorus I and II Wer hat dich so geschlagen, Mein Heil, und dich mit Plagen So übel zugericht’? Du bist ja nicht ein Sünder Wie wir und unsre Kinder; Von Missetaten weißt du nicht.

Chorus I and II Who hath thee thus so smitten, My health, and thee tormented, So evilly abused? Thou art indeed no sinner Like us and our descendants; Of evil deeds thou knowest not.

Recitative

Evangelist Petrus aber saß draußen im Palast; und es trat zu ihm eine Magd und sprach: Soprano Und du warest auch mit dem Jesu aus Galiläa. Evangelist Er leugnete aber vor ihnen allen und sprach: Peter Ich weiß nicht, was du sagest. Evangelist Als er aber zur Tür hinausging, sahe ihn eine andere und sprach zu denen, die da waren: Soprano Dieser war auch mit dem Jesu von Nazareth. Evangelist Und er leugnete abermal und schwur dazu: Peter Ich kenne des Menschen nicht. Evangelist Und über eine kleine Weile traten hinzu, die da stunden, und sprachen zu Petro:

Evangelist Peter, meanwhile, sat outside in the court; and there came to him a maid and said:Soprano And thou was also with Jesus of Galilee. Evangelist But he then denied this before them all and said: Peter I know not what thou sayest. Evangelist But when he went out to the porch, he was seen by another maid, who said to those who were there: Soprano This man was also with Jesus of Nazareth. Evangelist And once more did he deny it and with an oath: Peter I know nothing of the man. Evangelist And when a little time had passed, there came to him those who were present and said to Peter:

Chorus II

Wahrlich, du bist auch einer von denen; denn deine Sprache verrät dich.

Truly, thou art one of those men also; for thine own speech doth betray thee.

Recitative

Evangelist Da hub er an, sich zu verfluchen und zu schwören: Peter Ich kenne des Menschen nicht. Evangelist Und alsbald krähete der Hahn. Da dachte Petrus an die Worte Jesu, da er zu ihm sagte: Ehe der Hahn krähen wird, wirst du mich dreimal verleugnen. Und ging heraus und weinete bitterlich.

Evangelist Then he began to invoke a curse upon himself and to swear:Peter I know nothing of the man. Evangelist And at this moment the cock crew. Then Peter thought back to the words of Jesus, when he said unto him: “Before the cock shall have crowed, wilt three times thou have denied me.” And he went out and wept with great bitterness.

Aria

EMOTIONAL OUTPOURING “For me, the emotional high point is the aria “Erbarme dich” with the violin solo weeping away with the mezzo. It’s just one of the finest arias ever written.” “One thing about the arias is, essentially, the singers all speak about themselves. It’s how I feel about Christ’s passion. It’s always ‘Save me—not the planet.’ And so what you have is this extraordinary personal outpouring of emotion in all the arias, and this one is the high point.” – Nicholas McGegan, Saint Paul Chamber Orchestra, Baroque Series Director
Alto Erbarme dich, Mein Gott, um meiner Zähren willen! Schaue hier, Herz und Auge weint vor dir Bitterlich.		Alto Have mercy Lord, My God, because of this my weeping! Look thou here, Heart and eyes now weep for thee Bitterly.

Chorale

Chorus I and II Bin ich gleich von dir gewichen, Stell ich mich doch wieder ein; Hat uns doch dein Sohn verglichen Durch sein’ Angst und Todespein. Ich verleugne nicht die Schuld; Aber deine Gnad und Huld Ist viel größer als die Sünde, Die ich stets in mir befinde.

Chorus I and II Though I now have thee forsaken, I will once again return; For thy Son hath reconciled us Through his agony and death. I deny no whit my guilt; But thy mercy and thy grace Are much greater than the failings Which I ever find within me.

Recitative

Evangelist Des Morgens aber hielten alle Hohepriester und die Ältesten des Volks einen Rat über Jesum, daß sie ihn töteten. Und bunden ihn, führeten ihn hin und überantworteten ihn dem Landpfleger Pontio Pilato. Da das sahe Judas, der ihn verraten hatte, daß er verdammt war zum Tode, gereuete es ihn und brachte herwieder die dreißig Silberlinge den Hohenpriestern und Ältesten und sprach: Judas Ich habe übel getan, daß ich unschuldig Blut verraten habe. Evangelist Sie sprachen:

Evangelist When morning came, however, all the chief priests and the elders of the people took council concerning Jesus, that they might put him to death. And binding him, they led him away and handed him over unto the governor Pontius Pilatus. And when Judas saw this, the one who had betrayed him, that he had been condemned to death, it gave him great remorse, and, bringing back again the thirty silver pieces unto the chief priests and elders, he said:Judas I have committed a sin, for I have innocent blood here betrayed. Evangelist They said:

Chorus I and II

Was gehet uns das an? Da siehe du zu!

How doth that us concern? See to it thyself!

Recitative

Evangelist Und er warf die Silberlinge in den Tempel, hub sich davon, ging hin und erhängete sich selbst. Aber die Hohenpriester nahmen die Silberlinge und sprachen: Bass Es taugt nicht, daß wir sie in den Gotteskasten legen, denn es ist Blutgeld.

Evangelist And he cast the silvers pieces in the temple, rose up from there, went forth and then hanged himself at once. But the chief priests took the silver pieces and said:Bass We cannot lawfully put them in the temple treasury, for this is blood money.

Aria

Bass Gebt mir meinen Jesum wieder! Seht, das Geld, den Mörderlohn, Wirft euch der verlorne Sohn Zu den Füßen nieder!

Bass Give back this my Jesus to me! See the price, this murder’s wage, Thrown by this the fallen son At your feet before you!

Recitative

Evangelist Sie hielten aber einen Rat und kauften einen Töpfersacker darum zum Begräbnis der Pilger. Daher ist derselbige Acker genennet der Blutacker bis auf den heutigen Tag. Da ist erfüllet, das gesagt ist durch den Propheten Jeremias, da er spricht: »Sie haben genommen dreißig Silberlinge, damit bezahlet ward der Verkaufte, welchen sie kauften von den Kindern Israel, und haben sie gegeben um einen Töpfersacker, als mir der Herr befohlen hat.« Jesus aber stund vor dem Landpfleger; und der Landpfleger fragte ihn und sprach: Bass Bist du der Jüden König? Evangelist Jesus aber sprach zu ihm: Jesus Du sagest’s. Evangelist Und da er verklagt war von den Hohenpriestern und Ältesten, antwortete er nichts. Da sprach Pilatus zu ihm: Bass Hörest du nicht, wie hart sie dich verklagen? Evangelist Und er antwortete ihm nicht auf ein Wort, also, daß sich auch der Landpfleger sehr verwunderte.

Evangelist So they took counsel once again and bought with them a potter’s field set aside for the burial of strangers. Therefore is this selfsame field also known as the Field of Blood from then to this very day. Thus is fulfillèd what was told before by the prophet Jeremiah, when he saith: “And they have accepted thirty silver pieces, with which to pay the price of one purchased, whom they had purchased from the children of Israel, and they have given it to buy a potter’s field, as the Lord hath commanded me.” Jesus meanwhile stood before the governor; and the governor questioned him and said:Bass Art thou the King of the Jews? Evangelist Jesus then replied to him: Jesus Thou sayest it. Evangelist And when he was charged by the chief priests and the elders, he made no reply. Then said Pilate unto him: Bass Hearest thou not how harshly they accuse thee? Evangelist And he answerèd him to never a word, such that the governor was also much amazed at him.

Chorale

Chorus I and II Befiehl du deine Wege Und was dein Herze kränkt Der allertreusten Pflege Des, der den Himmel lenkt. Der Wolken, Luft und Winden Gibt Wege, Lauf und Bahn, Der wird auch Wege finden, Da dein Fuß gehen kann.

Chorus I and II Commend thou all thy pathways And all that grieves thy heart To the most Chorus II keeping Of him who ruleth heav’n. To clouds and air and breezes He gives their course to run, He will find pathways also Whereon thy foot may walk.

Recitative

Evangelist Auf das Fest aber hatte der Landpfleger Gewohnheit, dem Volk einen Gefangenen loszugeben, welchen sie wollten. Er hatte aber zu der Zeit einen Gefangenen, einen sonderlichen vor andern, der hieß Barrabas. Und da sie versammlet waren, sprach Pilatus zu ihnen: Bass Welchen wollet ihr, daß ich euch losgebe? Barrabam oder Jesum, von dem gesaget wird, er sei Christus? Evangelist Denn er wußte wohl, daß sie ihn aus Neid überantwortet hatten. Und da er auf dem Richtstuhl saß, schickete sein Weib zu ihm und ließ ihm sagen: Soprano Habe du nichts zu schaffen mit diesem Gerechten; ich habe heute viel erlitten im Traum von seinetwegen! Evangelist Aber die Hohenpriester und die Ältesten überredeten das Volk, daß sie um Barrabam bitten sollten und Jesum umbrächten. Da antwortete nun der Landpfleger und sprach zu ihnen: Bass Welchen wollt ihr unter diesen zweien, den ich euch soll losgeben? Evangelist Sie sprachen: Chorus I and II Barrabam! Evangelist Pilatus sprach zu ihnen: Bass Was soll ich denn machen mit Jesu, von dem gesagt wird, er sei Christus? Evangelist Sie sprachen alle:

Evangelist But upon this feast the governor had the custom of setting free a prisoner to the people, whom they had chosen. He had, however, on this occasion a prisoner, who stood out above the others, whose name was Barabbas. And when they had come together, Pilate said unto them:Bass Which one would ye have that I release unto you? Barabbas or Jesus, of whom it is said that he is the Christ? Evangelist For he knew full well that it was for envy that they had delivered him. And as he sat upon the judgment seat, his wife sent unto him and gave this message: Soprano Have thou nothing to do with this righteous man; for I today have suffered much in a dream because of him! Evangelist Nevertheless the chief priests and the elders had now persuaded the crowd, that they should ask for Barabbas and destroy Jesus. And in answer now, the governor said unto them: Bass Which one would ye have of these two men here, that I set free to you? Evangelist And they said: Chorus I and II Barabbas! Evangelist And Pilate said unto them: Bass What shall I then do with Jesus, of whom is said that he is Christ? Evangelist And they all said:

Chorus I and II

Laß ihn kreuzigen!

Have him crucified!

Chorale

Chorus I and II Wie wunderbarlich ist doch diese Strafe! Der gute Hirte leidet für die Schafe, Die Schuld bezahlt der Herre, der Gerechte, Für seine Knechte.

Chorus I and II How awe-inspiring is indeed this sentence! The worthy shepherd for his flock now suffers; The debt he pays, the master, he the righteous, For all his servants.

Recitative

Evangelist Der Landpfleger sagte: Bass Was hat er denn Übels getan?

Evangelist The governor said then:Bass Why, what evil hath this man done?

Recitative

Soprano Er hat uns allen wohlgetan, Den Blinden gab er das Gesicht, Die Lahmen macht er gehend, Er sagt uns seines Vaters Wort, Er trieb die Teufel fort, Betrübte hat er aufgericht’, Er nahm die Sünder auf und an. Sonst hat mein Jesus nichts getan.

Soprano He hath us all so richly blessed, The blind he hath returned their sight, The lame he leaveth walking, He tells us of his Father’s word, He drives the devil forth, The troubled hath he lifted up, He took the sinners to himself. Else hath my Jesus nothing done.

Aria

Soprano Aus Liebe, Aus Liebe will mein Heiland sterben, Von einer Sünde weiß er nichts. Daß das ewige Verderben Und die Strafe des Gerichts Nicht auf meiner Seele bliebe.

Soprano For love now, For love now would my Savior perish, Of any sin he knoweth nought. That eternal condemnation And the sentence of the court Not upon my soul continue.

Recitative

Evangelist Sie schrieen aber noch mehr und sprachen:

Evangelist They cried again even more and said:

Chorus I and II

Laß ihn kreuzigen!

Have him crucified!

Recitative

Evangelist Da aber Pilatus sahe, daß er nichts schaffete, sondern daß ein viel großer Getümmel ward, nahm er Wasser und wusch die Hände vor dem Volk und sprach: Bass Ich bin unschuldig an dem Blut dieses Gerechten, sehet ihr zu. Evangelist Da antwortete das ganze Volk und sprach:

Evangelist But when Pilate saw that he could prevail nothing, rather that a much greater disturbance grew, he took water and washed his hands before the crowd and said:Bass I am not guilty for the blood of this just person, see ye to it. Evangelist Thereupon answered all the people and said:

Chorus I and II

Sein Blut komme über uns und unsre Kinder.

His blood come upon us then and on our children.

Recitative

Evangelist Da gab er ihnen Barrabam los; aber Jesum ließ er geißeln und überantwortete ihn, daß er gekreuziget würde.

Evangelist To them he then set Barabbas free; but he had Jesus scourged and then delivered him up, that he might be crucifièd.

Recitative

Alto Erbarm es Gott! Hier steht der Heiland angebunden. O Geißelung, o Schläg, o Wunden! Ihr Henker, haltet ein! Erweichet euch Der Seelen Schmerz, Der Anblick solches Jammers nicht? Ach ja! ihr habt ein Herz, Das muß der Martersäule gleich Und noch viel härter sein. Erbarmt euch, haltet ein!

Alto Have mercy, God! Here stands the Savior, bound and fettered. Such scourging this, such blows, such wounding! Ye hangmen, stop your work! Do ye not feel Your spirit’s grief, The vision of such pain and woe? Ah yes! Ye have a heart Which must be like the whipping post And e’en much harder still. Have mercy, stop your work!

Aria

Alto Können Tränen meiner Wangen Nichts erlangen, O, so nehmt mein Herz hinein! Aber laßt es bei den Fluten, Wenn die Wunden milde bluten, Auch die Opferschale sein!

Alto If the tears upon my cheeks can Nought accomplish, Oh, then take my heart as well! But then let amidst the streaming Of the wounds abundant bleeding Be the sacrificial cup!

Recitative

Evangelist Da nahmen die Kriegsknechte des Landpflegers Jesum zu sich in das Richthaus und sammleten über ihn die ganze Schar und zogen ihn aus und legeten ihm einen Purpurmantel an und flochten eine dornene Krone und satzten sie auf sein Haupt und ein Rohr in seine rechte Hand und beugeten die Knie vor ihm und spotteten ihn und sprachen:

Evangelist And then did the governor’s soldiers take Jesus into the praetorium and gathered before him there all the troops, and they did strip him and put upon him a purple robe and plaited a crown of thorns and set it upon his head, and a reed in his right hand and then they bent their knees before him, both mocking him and saying:

Chorus I and II

Gegrüßet seist du, Jüdenkönig!

All hail now to thee, King of the Jews!

Recitative

Evangelist Und speieten ihn an und nahmen das Rohr und schlugen damit sein Haupt.

Evangelist And spat upon his face and, taking the reed, they struck him upon his head.

Chorale

Chorus I and II O Haupt voll Blut und Wunden, Voll Schmerz und voller Hohn, O Haupt, zu Spott gebunden Mit einer Dornenkron, O Haupt, sonst schön gezieret Mit höchster Ehr und Zier, Jetzt aber hoch schimpfieret, Gegrüßet seist du mir! Du edles Angesichte, Dafür sonst schrickt und scheut Das große Weltgerichte, Wie bist du so bespeit; Wie bist du so erbleichet! Wer hat dein Augenlicht, Dem sonst kein Licht nicht gleichet, So schändlich zugericht’?

Chorus I and II O head of blood and wounding, Of pain and scorn so full, O Head, for spite now fettered Beneath a crown of thorns, O head, once fair and lovely, With highest praise adorned, But highly now insulted, All hail to thee, I say! Thou countenance so noble, At which should shrink and quail The mighty world’s great burden, How spat upon thou art; How pale thou art become now! Who hath thine eyes’ bright light, Alike no other light once, So shamefully abused?

Recitative

Evangelist Und da sie ihn verspottet hatten, zogen sie ihm den Mantel aus und zogen ihm seine Kleider an und führeten ihn hin, daß sie ihn kreuzigten. Und indem sie hinausgingen, funden sie einen Menschen von Kyrene mit Namen Simon; den zwungen sie, daß er ihm sein Kreuz trug.

Evangelist And after they had mocked and scorned him, they removed the robe from him and put his own raiment upon him and led him away, that they might crucify him. And after they went out, they found a man who came from Cyrene, whose name was Simon; and they compelled him to bear his cross.

Recitative

Bass Ja freilich will in uns das Fleisch und Blut Zum Kreuz gezwungen sein; Je mehr es unsrer Seele gut, Je herber geht es ein.

Bass Yea truly, would in us our flesh and blood Be forced upon the cross; The more it doth our spirit good, The grimmer it becomes.

Aria

Bass Komm, süßes Kreuz, so will ich sagen, Mein Jesu, gib es immer her! Wird mir mein Leiden einst zu schwer, So hilfst du mir es selber tragen.

Bass Come, O sweet cross, thus I’ll confess it: My Jesus, give it evermore! Whene’er my burden be too grave, Then thou thyself dost help me bear it.

Recitative

Evangelist Und da sie an die Stätte kamen mit Namen Golgatha, das ist verdeutschet Schädelstätt, gaben sie ihm Essig zu trinken mit Gallen vermischet; und da er’s schmeckete, wollte er’s nicht trinken. Da sie ihn aber gekreuziget hatten, teilten sie seine Kleider und wurfen das Los darum, auf daß erfüllet würde, das gesagt ist durch den Propheten: »Sie haben meine Kleider unter sich geteilet, und über mein Gewand haben sie das Los geworfen.« Und sie saßen allda und hüteten sein. Und oben zu seinen Häupten hefteten sie die Ursach seines Todes beschrieben, nämlich: »Dies ist Jesus, der Jüden König.« Und da wurden zween Mörder mit ihm gekreuziget, einer zur Rechten und einer zur Linken. Die aber vorübergingen, lästerten ihn und schüttelten ihre Köpfe und sprachen:

Evangelist And when they came unto a place with the name of Golgotha, which is to say, the place of a skull, they did give him vinegar to drink which had been mixed with gall; and when he tasted it, he refused to drink it. But after they had crucified him, they divided his garments by casting lots for them, that it might be accomplished what had once been said by the prophet: “They have divided all my garments among them and over mine own vesture did they cast lots.” And they sat all around and guarded him there. And over his head they fastened the reason for his death in writing, namely: “This is Jesus, the King of the Jews.” And with him were two murderers also crucified, one on the right hand, another on the left. And those who there passed by derided him both wagging their heads before him and saying:

Chorus I and II

Der du den Tempel Gottes zerbrichst und bauest ihn in dreien Tagen, hilf dir selber! Bist du Gottes Sohn, so steig herab vom Kreuz!

Thou who dost God’s own temple destroy and buildest it within three days’ time, save thyself now! If thou art God’s Son, then climb down from the cross!

Recitative

Evangelist Desgleichen auch die Hohenpriester spotteten sein samt den Schriftgelehrten und Ältesten und sprachen:

Evangelist In like wise did also the chief priests ridicule him and together with the scribes and elders say:

Chorus I and II

Andern hat er geholfen und kann sich selber nicht helfen. Ist er der König Israel, so steige er nun vom Kreuz, so wollen wir ihm glauben. Er hat Gott vertrauet, der erlöse ihn nun, lüstet’s ihn; denn er hat gesagt: Ich bin Gottes Sohn.

Others brought he salvation and can himself yet not save now. Is he the King of Israel? Let him climb down from the cross and we will then believe him. In God hath he trusted, let him save him then now, if he will, for he hath declared: “I am Son of God.”

Recitative

Evangelist Desgleichen schmäheten ihn auch die Mörder, die mit ihm gekreuziget waren.

Evangelist In like wise did the murderers also mock him, who with him had been crucified.

Recitative

Alto Ach Golgatha, unselges Golgatha! Der Herr der Herrlichkeit muß schimpflich hier verderben Der Segen und das Heil der Welt Wird als ein Fluch ans Kreuz gestellt. Der Schöpfer Himmels und der Erden Soll Erd und Luft entzogen werden. Die Unschuld muß hier schuldig sterben, Das gehet meiner Seele nah; Ach Golgatha, unselges Golgatha!

Alto Ah Golgotha, unhappy Golgotha! The Lord of majesty must scornfully here perish, The saving blessing of the world Is placed as scorn upon the cross. Creator of both earth and heaven From earth and air must now be taken. The guiltless must here die guilty, The pierceth deep into my soul; Ah Golgotha, unhappy Golgotha!

Aria and Chorus

EYE OF THE MIND: The language that Bach sets to music is sometimes more graphic than we’re used to in a piece of sacred music. Here, for example, humanity is compared to a flock of chicks without a mother hen.
Alto Sehet, Jesus hat die Hand, Uns zu fassen, ausgespannt, Kommt!—(Chorus II) Wohin?—(Alto) in Jesu Armen Sucht Erlösung, nehmt Erbarmen, Suchet!—(Chorus II) Wo?—(Alto) in Jesu Armen. Lebet, sterbet, ruhet hier, Ihr verlass’nen Küchlein ihr, Bleibet—(Chorus II) Wo?—(Alto) in Jesu Armen.		Alto See ye, Jesus hath his hand, Us to capture, now outstretched, Come!—(Chorus II) Where to?—(Alto) In Jesus’ bosom Seek redemption, take his mercy, Seek it—(Chorus II) Where?—(Alto) in Jesus’ bosom! Living, dying, rest ye here, Ye forsaken little chicks, Bide ye—(Chorus II) where?—(Alto) in Jesus’ bosom.

Chorus

MORTALITY: At this point, the “halo” that has accompanied Jesus drops out. It is not Jesus’ divinity, but his human mortality that Bach wants to communicate here.
Evangelist Und von der sechsten Stunde an war eine Finsternis über das ganze Land bis zu der neunten Stunde. Und um die neunte Stunde schriee Jesus laut und sprach: Jesus Eli, Eli, lama asabthani? Evangelist Das ist: Mein Gott, mein Gott, warum hast du mich verlassen? Etliche aber, die da stunden, da sie das höreten, sprachen sie:		Evangelist And from the sixth hour on there was a darkness over all the land until the ninth hour. And about the ninth hour Jesus cried aloud and said:Jesus Eli, Eli, lama asabthani? Evangelist That is: “My God, my God, wherefore hast thou me forsaken? But there were some who stood about there who, when they heard that, spake thus:

Chorus I

Der rufet dem Elias!

He calleth to Elias!

Recitative

Evangelist Und bald lief einer unter ihnen, nahm einen Schwamm und füllete ihn mit Essig und steckete ihn auf ein Rohr und tränkete ihn. Die andern aber sprachen:

Evangelist And straightway one of them ran forth, who took a sponge and, filling it with vinegar, and placing it upon a reed, gave him to drink. The others said, however:

Chorus II

Halt! laß sehen, ob Elias komme und ihm helfe?

Stop! Let us see if Elias will come forth and save him.

Recitative

Evangelist Aber Jesus schriee abermal laut und verschied.

Evangelist But Jesus cried again aloud and was dead.

Chorale

Chorus I and II Wenn ich einmal soll scheiden, So scheide nicht von mir, Wenn ich den Tod soll leiden, So tritt du denn herfür! Wenn mir am allerbängsten Wird um das Herze sein, So reiß mich aus den Ängsten Kraft deiner Angst und Pein!

Chorus I and II When I one day must leave here, Yet do thou not leave me; When I my death must suffer, Come forth thou then to me! And when most anxious trembling Have once my heart possessed, Then free me from my anguish Through thine own fear and pain!

Recitative

Evangelist Und siehe da, der Vorhang im Tempel zerriß in zwei Stück von oben an bis unten aus. Und die Erde erbebete, und die Felsen zerrissen, und die Gräber täten sich auf, und stunden auf viel Leiber der Heiligen, die da schliefen, und gingen aus den Gräbern nach seiner Auferstehung und kamen in die heilige Stadt und erschienen vielen. Aber der Hauptmann und die bei ihm waren und bewahreten Jesum, da sie sahen das Erdbeben und was da geschah, erschraken sie sehr und sprachen:

Evangelist And lo, behold: the curtain of the temple was rent in twain from the top to the bottom. And the earth was filled with quaking, and the cliffs split asunder, and the graves themselves opened up, and there rose up the bodies of many saints who were sleeping, and they came out of the graves after his resurrection and came into the holy city and appeared to many. But the centurion and those who were with him and were watching over Jesus, when they witnessed the earthquake and all that there occurred, were sore afraid and said:

Chorus I and II

Wahrlich, dieser ist Gottes Sohn gewesen.

Truly, this man was God’s own Son most truly.

Recitative

Evangelist Und es waren viel Weiber da, die von ferne zusahen, die da waren nachgefolget aus Galiläa und hatten ihm gedienet, unter welchen war Maria Magdalena und Maria, die Mutter Jacobi und Joses, und die Mutter der Kinder Zebedäi. Am Abend aber kam ein reicher Mann von Arimathia, der hieß Joseph, welcher auch ein Jünger Jesu war, der ging zu Pilato und bat ihn um den Leichnam Jesu. Da befahl Pilatus, man sollte ihm ihn geben.

Evangelist And there were many women there, who looked on from a distance, having followed after him from Galilee and ministered unto him, in whose number was Mary Magdalene and Mary, the mother of James and Joseph, and the mother of the children of Zebedee. At evening, though, there came a wealthy man of Arimathea, whose name was Joseph, who was also a disciple of Jesus, who went to Pilate and asked him for the body of Jesus. Then Pilate ordered that it be given to him.

Recitative

Bass Am Abend, da es kühle war, Ward Adams Fallen offenbar; Am Abend drücket ihn der Heiland nieder. Am Abend kam die Taube wieder Und trug ein Ölblatt in dem Munde. O schöne Zeit! O Abendstunde! Der Friedensschluß ist nun mit Gott gemacht, Denn Jesus hat sein Kreuz vollbracht. Sein Leichnam kömmt zur Ruh, Ach! liebe Seele, bitte du, Geh, lasse dir den toten Jesum schenken, O heilsames, o köstlichs Angedenken!

Bass At eventide, when it was cool, Was Adam’s fall made manifest; At eventide the Savior overwhelmed him. At eventide the dove returneth, Its mouth an olive branch now bearing. O time so fair! O evening hour! The pact of peace is now with God complete, For Jesus hath his cross fulfilled. His body comes to rest, Ah, thou my spirit, hearken thou, Go, let them give thee Jesus’ lifeless body, How healing this, how precious this memorial!

Aria

Bass Mache dich, mein Herze, rein, Ich will Jesum selbst begraben. Denn er soll nunmehr in mir Für und für Seine süße Ruhe haben. Welt, geh aus, laß Jesum ein!

Bass Make thyself, my heart, now pure, I myself would Jesus bury. For he shall henceforth in me More and more Find in sweet repose his dwelling. World, depart, let Jesus in!

Recitative

Evangelist Und Joseph nahm den Leib und wickelte ihn in ein rein Leinwand und legte ihn in sein eigen neu Grab, welches er hatte lassen in einen Fels hauen, und wälzete einen großen Stein vor die Tür des Grabes und ging davon. Es war aber allda Maria Magdalena und die andere Maria, die satzten sich gegen das Grab. Des andern Tages, der da folget nach dem Rüsttage, kamen die Hohenpriester und Pharisäer sämtlich zu Pilato und sprachen:

Evangelist And Joseph took the body and wrapped it in a pure shroud of linen and laid it in his own new tomb, which he had had hewn within a rock, and rolled up a heavy stone in front of the door of this tomb and went away. In this place was Mary Magdalene and the other Mary, who sat themselves next to the tomb. On the day after, the one after the Preparation, came the chief priests and the Pharisees together unto Pilate and said:

Chorus I and II

Herr, wir haben gedacht, daß dieser Verführer sprach, da er noch lebete: Ich will nach dreien Tagen wieder auferstehen. Darum befiehl, daß man das Grab verwahre bis an den dritten Tag, auf daß nicht seine Jünger kommen und stehlen ihn und sagen zu dem Volk: Er ist auferstanden von den Toten, und werde der letzte Betrug ärger denn der erste!

Sire, we have taken thought how once this deceiver said when he was still alive: “I will in three days’ time again stand here arisen.” Therefore, command that now the tomb be guarded until the three days pass, so none of his disciples come forth and steal him hence and to the people say: “He is risen from the dead,” for thus will the final deceit be worse than the first one!

Recitative

Evangelist Pilatus sprach zu ihnen: Bass Da habt ihr die Hüter; gehet hin und verwahret’s, wie ihr’s wisset! Evangelist Sie gingen hin und verwahreten das Grab mit Hütern und versiegelten den Stein.

Evangelist And Pilate said unto them:Bass Ye have your watchmen; go ye forth and secure it as best ye can! Evangelist So they went forth and made safe the tomb with watchmen and did seal in the stone.

Recitative and Chorus

Bass Nun ist der Herr zur Ruh gebracht. Chorus II Mein Jesu, gute Nacht! Tenor Die Müh ist aus, die unsre Sünden ihm gemacht. Chorus II Mein Jesu, gute Nacht! Alto O selige Gebeine, Seht, wie ich euch mit Buß und Reu beweine, Daß euch mein Fall in solche Not gebracht! Chorus II Mein Jesu, gute Nacht! Soprano Habt lebenslang Vor euer Leiden tausend Dank, Daß ihr mein Seelenheil so wert geacht’. Chorus II Mein Jesu, gute Nacht!

Bass Now is the Lord brought to his rest.Chorus II My Jesus, now good night! Tenor The toil is o’er which all our sins have laid on him. Chorus II My Jesus, now good night! Alto O thou, most blessed body, See how I weep with grief and sorrow for thee, That thee my fall to such distress hath brought! Chorus II My Jesus, now good night! Soprano Have all my life For thy great passion countless thanks, That thou my spirit’s health such worth did pay. Chorus II My Jesus, now good night!

Chorus I and II

Wir setzen uns mit Tränen nieder Und rufen dir im Grabe zu: Ruhe sanfte, sanfte ruh! Ruht, ihr ausgesognen Glieder! Euer Grab und Leichenstein Soll dem ängstlichen Gewissen Ein bequemes Ruhekissen Und der Seelen Ruhstatt sein. Höchst vergnügt schlummern da die Augen ein.

We lay ourselves with weeping prostrate And cry to thee within the tomb: Rest thou gently, gently rest! Rest, O ye exhausted members! This your tomb and this tombstone Shall for ev’ry anguished conscience Be a pillow of soft comfort And the spirit’s place of rest. Most content, slumber here the eyes in rest.

Poet unknown.

6. Philipp Nicolai, verse 7 of “Wie schön leuchtet der Morgenstern,” 1599, with interpolated aria.

3 November 1726, Leipzig.

BG 10; NBA I/25.

Dialogue

1. Sinfonia

2. Aria (B) Jesus

I go and search for thee with longing,
Thee, O my doveling,(1) fairest bride.
Tell me, where art thou left and gone now
That thee my eye no more can find?

3. Recit. and Arioso (B, S) Jesus, Soul

(Jesus)
My feast is now prepared,
And this my marriage table ready,
But still my bride is not yet in attendance.

(Soul)
My Jesus speaks of me;
O voice that maketh me so glad!

(Jesus)
I go and seek for thee with longing,
Thee, O my doveling, fairest bride.

(Soul)
My bridegroom dear, I fall before thy feet now.

(Jesus, Soul)
Come, fairest, come and let me kiss thee,
Thou shalt my
{ } sumptuous meal(2) enjoy now.
Let me thy
Come, O my bride, and
{ } hasten now,
My bridegroom dear, I
The wedding raiment to put on.

4. Aria (S) Soul

I am glorious, I am fair,(3)
And my Savior I’ve impassioned.
His salvations’s righteousness
Is my cloak of honor bright;
And in it will I be dressed
When I unto heaven go.

5. Recit. (S, B) Soul, Jesus

(Soul)
My faith now holds me with such deep emotion.

(Jesus)
As to thee bides my heart’s devotion,
So will I plight to thee
For evermore my troth and pledge of marriage.(4)

(Soul)
How well for me!
For heaven is to me provided:
Its majesty doth call and sends its very servants(5)
So that the fallen generations
To heaven’s hall
At our salvation’s meal
As guests may come to dine,
I’m here now, Jesus, let me in!

(Jesus)
So keep till death thy faith,
And I’ll to thee the crown of life bequeath.(6)

6. Aria (B) and Choral (S) Jesus, Soul

(Jesus)
Thee have I loved with love eternal,(7)

(Soul)
How am I now so truly glad
My treasure is the A and O,
Beginning and the ending.
And therefore draw thee unto me.
He’ll me, indeed, to his great praise
Receive into his paradise;
For this I’ll clap my hands now.
I’m coming soon,
Amen! Amen!
I stand before the door,(8)
Come, thou lovely crown of gladness, do not tarry.
Unlock it, mine abode!
I await thee with great longing.
Thee have I loved with love eternal,
And therefore draw thee unto me.

Notes

1. Cf. S. of S. 5:2; 6:9.
2. Cf. Is. 25:6.
3. Cf. Mt. 22:11-14.
4. Hos. 2:21.
5. Cf. Mt. 22:2.
6. Cf. Rev. 2:10.
7. Cf. Jer. 31:3.
8. Cf. Rev. 3:20.

Translated by Z. Philip Ambrose

See also:

1. I find my joy in thee
2. Alone to Thee, Lord Jesus Christ
3. Draw Me Unto Thee
4. Hiding in Thee

Poet unknown.

1. Romans 7:24, with the chorale melody of “Herr Jesu Christ,” Freiburg, 1620; 3. Martin Rutilius, verse 4 of “Ach Gott und Herr,” 1604 (Fischer-Tümpel, I, #52); 7. verse 12 of “Herr Jesu Christ,” Freiburg, 1620 (Fischer-Tümpel, I, #574).

3 October 1723, Leipzig.

BG 10; NBA I/24.

Mobile Link

1. Chorus [Dictum] with instr. chorale

A poor man am I; who will set me free from the body of this dying?

2. Recit. (A)

Such pain, such sorrow strike at me
While poison born of sin
Within my breast and veins is raging:
My world a house of death and sickness is,
My flesh must all its torments
Into the very grave bear with it.
But yet the soul perceiveth the poison most
With which it is infected;
Thus, when by pain the flesh of death is struck
And soul tastes cross’s bitter chalice,
That cup doth force from it a fervent sigh.

3. Chorale (S, A, T, B)

If it need be
That judgment’s pain
Our sins must ever follow,
Continue on,
Refine me there
And let me here do penance.(1)

4. Aria (A)

Ah, put off that Sodom from my sinful members,
Whenever thy purpose it bringeth to ruin!
Refine, though, my soul now and render it pure,
Before thee a hallowéd Zion to be.

5. Recit. (T)

But here doth work the Savior’s hand
Amidst the very dead its wonders.(2)
If thy soul nigh to death appeareth,
Thy body weak and fully broken,
Yet we shall Jesus’ power know:
He can the weak in spirit,
The body sound, the soul robust yet render.

6. Aria (T)

Forgive me Jesus my transgressions,
So shall my flesh and soul be well.
He can the dead to life awaken
And shows his power in our weakness;(3)
He keeps the long contracted bond,
That we in faith shall find salvation.

7. Chorale (S, A, T, B)

Lord Jesus Christ, my only help,
In thee will I take refuge;
My heart’s distress is thee well known,
Thou canst and wilt dispel it.
Upon thy will let all depend,
Deal, O my God, as thou dost please:
Thine am I now and ever.

Notes

1. I.e., there in heaven and here on earth.

2. Cf. Ps. 88:11.

3. Cf. 2 Cor. 12:9.

See also:

1. Christ Has Made You Free!
2. On Praise of the Law & Free Will
3. Dearest Jesus, My Desiring
4. Free Resource from CPH

Johann Friedrich Helbig, Auffmunterung Zur Andacht (Eisenach, 1720); Facs: Neumann T, p. 304.

1. Lk. 14:11 and 18:14; 5. verse 11 of “Warum betrübst du dich, mein Herz?,” ca. 1560 (Wackernagel, IV, #90).

13 October 1726, Leipzig.

BG 10; NBA I/23.

1. Chorus [Dictum] (S, A, T, B)

Who himself exalteth, he shall be made to be humble, and who doth make himself humble, he shall be made exalted.

2. Aria (S)

He who would be called true Christian
Must to meekness give much practice;
Meekness comes from Jesus’ realm.

Haughty pride is devil’s fare,
God treats all those with his hatred
Who their pride do not abandon.

3. Recit. (B)

Mankind is dirt, stench,(1) earth and ashes;
How could it be by arrogance,
Born of the devil’s brood,
Still yet so fascinated?
Ah, Jesus, God’s own Son,
Creator of all nature,
Became for our sake humble and most lowly,
Enduring spite and scorn;
And thou, thou wretched worm, wouldst thou be boastful?
Beseemeth such as this a Christian?
Go, shame thyself, thou prideful creature man,
Repent and follow Christ’s own path;
Prostrate thyself to God with faithful spirit!
In his own time he shall again exalt thee.

4. Aria (B)

Jesus, humble yet my spirit
Under thy most mighty hand,
That I not salvation forfeit
As a foretaste of hell’s fire.
Let me thine own meekness follow
And on pride set condemnation;
Give to me a humble heart,
That I may thy favor find!

5. Chorale (S, A, T, B)

All temporal praise would I glad forsake
If thou me but eternity give,
Which thou hast won for us
Through thine own painful, bitter death.
This do I ask, my Lord and God.

Notes

1. OSt emends Stank ‘stench’ to Staub ‘dust.’

See also:

1. A Christian Home
2. The Lord is Now My Shepherd True
3. Called To Freedom
4. The Gentiles Called to the Kingdom

Poet unknown.

1. Lam. 1:12; 6. Johann Matthäus Meyfart, a supplemental verse 9 added in 1633 to Balthasar Schnurr’s “O großer Gott von Macht” (Fischer-Tümpel, III, #321).

1 August 1723, Leipzig; Parody: 1 —> Mass in B Minor, BWV 232/8.

BG 10; NBA I/19.

1. Chorus [Dictum] (S, A, T, B)

Look indeed and see then if there be a grief like to my grief which hath stricken me. For the Lord hath me with sorrow made full on that day of his furious wrath.

2. Recit. (T)

Then cry aloud, thou fallen town of God,
Thou wretched heap of stone and ashes!
Let brimming streams of tears be flowing,
For thee hath stricken now
An irreplaceable loss
Of that most precious grace
Which thou must do without
Through thine own fault.
Thou wast just like Gomorra sternly dealt with,
Albeit not destroyed.
Oh, better hadst thou been leveled low
Than that the foe of Christ should blaspheme now in thee.
Though thou wouldst Jesus’ tears not heed,
Yet heed thou still the tidal wave of passion
Which thou upon thyself dost summon,
For God, who long forbears,
The rod of judgment wields.

3. Aria (B)

Thy tempest gathered from great distance,
But now its fires at last break loose

And must thee surely overwhelm,
For surfeit of transgression
Shall lightning’s wrath enkindle
And send its certain doom upon thee.

4. Recit. (A)

And yet thou must, O sinner, not suppose
That now Jerusalem alone
Is more than others filled with error!
To you already one may read this judgment:
Since ye shun amendment
And daily your sins are increasing,
Ye shall ev’ry one meet that dreadful destruction.(1)

5. Aria (A)

Yet Jesus shall e’en midst the judgment
The righteous’ shield and helper be,
He gathers them as his own sheep now,
As his own chicks, so dear, to him.(2)
When tempests of vengeance are sinners rewarding,
He helps the righteous dwell securely.

6. Chorale (S, A, T, B)

O faithful God, so great,
Before thee none hath weight
But thy Son Jesus Christ,
Who thy great wrath hath stilled;
So gaze upon those wounds of his,
His torment, fear and grievous pain;
And for his sake protect us,
Nor for our sins repay us

Notes

1. Cf. Lk. 13:5.

2. Cf. Mt. 23:37.

See also:

1. Be Thou Indeed A Jesus To Me
2. O Jesus, Lamb of God Thou Art
3. Thou Didst Leave Thy Throne
4. Jesus Thou Who This My Spirit

Poet unknown (Christoph Helm?);(1) PT (Rudolstadt, 1726).

1. Mic. 6:8; 4. Mt. 7:22-23; 7. Johann Heermann, verse 2 of “O Gott, du frommer Gott,” 1630 (Fischer-Tümpel, I, #355).

11 August 1726, Leipzig.

BG 10; NBA I/18.

First Part

1. Chorus [Dictum] (S, A, T, B)

It hath thee been told, Man, what is good and what the Lord of thee asketh, namely: God’s word to hold fast and love to practise, to be humble before this thy God.

2. Recit. (T)

The Highest lets me know his will and purpose
And what him pleaseth well;
His word he gave to be a guide for life,
By which my foot shall be most careful
At all times to proceed
With fear, with rev’rence and with love now
As tests of the obedience which I practise,
That I his servant true in days to come be proved.

3. Aria (T)

I know God’s true justice,
What it is which me can help
When from me as his own servant
He demands strict reckoning.
Spirit, ponder thy salvation,
To obedience comes reward;
Pain and scorn
Threaten thee in thy transgression!

Second Part

4. Arioso [Dictum] (B)(2)

There will be many who will say unto me on that day: Lord, Lord, have we then not in thine own name been prophesying, have we then not in thine own name been exorcising devils, have we then not in thine own name performed many labors?
Then unto them all shall I say this: I recognize not one of you, get ye all hence from me, ye evildoers.

5. Aria (A)

Who God doth own
With honest heart’s intent
Will he in turn acknowledge.(3)

For he shall burn forever
Who merely with the mouth
Doth call him Lord.

6. Recit. (A)

Thus will the heart and mouth themselves my judges be,
And God will the reward which I have sought allot me:
Should now my conduct his commandments not fulfill,
Who would thereafter heal my soul’s misfortune?
Why do I make mine own impediment?
The Lord’s desire must be fulfilled,
But his support is also sure,
That he his work through me might see in full accomplished.

7. Chorale (S, A, T, B)

Grant that I do with care
What I to do am given,
To that which thy command
Me in my station leadeth!
Grant that I do it quick,
Just at the time I ought;
And when I do, then grant
That it may prosper well!

1. Helm is suggested by W. Blankenburg, BJ (1977).

2. Representing the vox Christi.

3. Cf. Mt. 10:32.

Poet unknown.

1. Is. 60:6; 2. Johann Spangenberg, verse 4 of &Ein Kind geborn zu Bethlehem& (the German version of “Puer natus in Bethlehem”), 1545 (Wackernagel, III, #1110); 7. Paul Gerhardt, verse 10 of “Ich hab in Gottes Herz und Sinn,” 1647 (Fischer-Tümpel, III, #393).

6 January 1724, Leipzig.

BG 16; NBA I/5.

1. Chorus [Dictum] (S, A, T, B)

They shall from out Sheba all be coming, gold and incense bringing, and the Lord’s great praise then tell abroad.

2. Chorale (S, A, T, B)

The kings from out Sheba came then forth,
Gold, incense, myrrh did they then bring forth.
Alleluia!

3. Recit. (B)

What there Isaiah did once foretell,
That is in Bethlehem fulfilled.
Here gather round the wise men
At Jesus’ manger now,
And seek him as their very king to honor.
Gold, incense, and myrrh are
The rare and costly presents
With which they this the Jesus-child
In Bethlehem’s poor stall do honor.
My Jesus, if I now my duty well consider,
Must I myself before thy manger venture
And likewise show my thanks:
For this one day I deem a day of gladness,
When thou, O Prince of life,
The light of nations
And their Redeemer art.
But what could I bring thee, thou King of heaven?
If thou my heart deem not too little,
Accept it with thy grace,
No nobler gift could I bring thee.

4. Aria (B)

Gold from Ophir(1) is too slight,
Off, be off with empty off’rings,
Which ye from the earth have torn!
Jesus seeks the heart to own now,
Offer this, O Christian throng,
Jesus thank for the new year!

5. Recit. (T)

Disdain then not,
Thou light unto my soul,
My heart, which I now humbly to thee offer;
It doth indeed such objects
Within it now contain
Which of thy Spirit are the fruits.
The gold of faith, the frankincense of pray’r,
The myrrh of patience, these now are my off’rings,
Which thou shalt, Jesus, evermore,
Have as thy property and as my presents.
But give thyself as well to me,
And thou shalt make me earth’s most wealthy mortal.
For, having thee, I must
The most abundant store of wealth
One day above in heav’n inherit.

6. Aria (T)

Take me for thine own now hence,
Take my heart as my true present,
All, yes, all that now I am,
All I utter, do and ponder,
Shall, my Savior, be alone
To thy service offered now.

7. Chorale (S, A, T, B)

Ah now, my God, I fall here thus
Consoled into thy bosom.
Take me and deal thou thus with me
Until my final moment,
As thou well canst, that for my soul
Thereby its good be fostered
And thy true honor more and more
Be in my soul exalted.

Notes

1. Cf. Is. 13:12. Ophir is a region thought of in the Old Testament as a source of gold, cf. Kg. 10.11.

See also:

1. The Coming Reality
2. Christ Coming To Us

4. Substitute verse to Johann Gramann’s “Nun lob, mein Seel, mein
Seel, den Herren,” Königsberg, 1548 (Wackernagel, III, #968ff.)

Probably 17 September 1730, Leipzig.

BG 12, 2; NBA I/22.

1. Arias (S)

Praise ye God in ev’ry nation!
All that heaven and the world
Of created order hold
Must be now his fame exalting,
And we would to this our God
/ With the angels let’s today /(1)
Likewise now present an off’ring
/ To our God a song of praise sing/(2)
For that he midst cross and woe
/ For that he midst spite and pain /(3)
Always hath stood close beside us.

2. Recit. (S)

In prayer we now thy temple face,(4)
Where God’s own honor dwelleth,(5)
Where his good faith,
Each day renewed,
The purest bliss dispenseth.
We praise him for what he for us hath done.
Although our feeble voice before his wonders stammers,
Perhaps e’en modest praise to him will yet bring pleasure.

3. Aria (S)

Highest, make thy gracious goodness
Henceforth ev’ry morning new.
/ E’en in our dominion new. /(6)

Thus before thy father’s love
Should as well the grateful spirit
Through a righteous life show plainly
That we are thy children truly.

4. Chorale (S)

Now laud and praise with honor
God Father, Son, and Holy Ghost!
May he in us make increase
What he us with grace hath pledged,
So that we firmly trust him,
Entirely turn to him,
Make him our true foundation,
That our heart, mind and will
Steadfast to him be cleaving;
To this we sing here now:
Amen, we shall achieve it,
This is our heart’s firm faith!

5. Aria (S)

Alleluia!(7)

1. This line is found in the OSt as an alternate text to the
immediately preceding line.

2. This line is found in the OSt as an alternate text to the
immediately preceding line.

3. This line is found in the OSt as an alternate text to the
immediately preceding line.

4. Cf. Ps. 138:2.

5. Cf. Ps. 26:8.

6. This line is found in the OSt as an alternate text to the
immediately preceding line.

7. Bach adds the Alleluia, probably as an etymology of the opening
words of the cantata: in Hebrew hallelu-yah means ‘praise ye Jehovah,”
i.e., Jauchzet Gott.

See also:

1. Lord God, We Give Thee Praise
2. Admonition to Praise the Messiah.
3. Praise God, for Now the Year is Ending
4. On Praise of the Law & Free Will

New Year’s Day (Feast of the Circumcision)

Poet unknown.

1. Johannes Herman, verse 1 of the hymn, 1593; 2-5. based freely on verse 2; 6. 6th and final verse of the hymn.

1 January 1725; again after 1732 (Neumann Hb).

BG 10; NBA I/4.

1. Chorus [Verse 1] (S, A, T, B)

Be praised now, O Lord Jesus,
At this the newborn year
For thy help which thou showest
In all our dread and stress,(1)
That we ourselves have witnessed
The new and joyful age
Which full of blessing bideth,
And lasting happiness;
That we in goodly stillness
The old year have completed.
Ourselves we’d(2) thee surrender
For now and evermore,
Protect(3) life, soul and body
Henceforth through all the year!(4)

2. Aria (S)

Let us, O highest God, the year accomplish
That it be ended even as it was begun.

Beside us let thy hand abide,
That later, when the year hath closed,
We be midst blessing’s rich excess,
As now, a hallelujah singing.

3. Recit. (A)

Ah, thine own hand, thy blessing must alone
The A and O, beginning and the ending be!
Our whole life holdest thou within thy hand,
The number of our days with thee stands written;
Thine eye doth watch o’er town and land;
Thou tellest all our weal and knowest all our sorrow,
Ah, give from both now,
Whate’er thy wisdom will, wherever thy great mercy thee hath prompted.

4. Aria (T)

For just as thou hast noble concord
To this our flesh and state allotted,
So grant my soul as well thy gracious, healing word.

If us this health befalleth,
We shall be here most blessed
And thine elected there!(5)

5. Recit. (B) and Chorus (S, A, T, B)

(B)
But since the foe both day and night
To do us harm doth watch
And our tranquillity would ruin,
May it please thee, O Lord our god, to hear us
When we in sacred congregation beg thee:

(S, A, T, B)
That Satan underneath our feet be trampled.(6)

(B)
And we’ll forever to thy praise
As thine elect belong to thee
And also after cross and passion
From here depart into great glory.

6. Chorale (S, A, T, B)

Thine is alone the honor,
Thine is alone the praise;
To bear the cross now teach us,
And rule our ev’ry deed,
Till we depart with rapture
To heav’n's eternal realm,
Into true peace and gladness,
The saints of God made like.
With us deal in the meanwhile
According to thy pleasure:
Thus sing today in earnest
The Christ-believing throngs
And wish with voice and spirit
A new and blessed year.

1. Where necessary, in the lower parts read “In all our dread and distress.”

2. Where necessary, in the lower parts read “Ourselves we would thee surrender.”

3. Where necessary, in the lower parts read “Protect our life, soul and body.”

4. From the Litany of Martin Luther, 1528/29.

5. I.e., both here on earth and there in heaven.

6. From the Litany of Martin Luther, 1528/29.

See also:

1. Be Praised Now, O Lord Jesus
2. Lord Our Father, Thanks to Thee
3. Lord Our Father Thanks to Thee
4. Alone to Thee, Lord Jesus Christ

Poet unknown.

1. Kaspar Ziegler, verse 1 of the hymn, 1697 (Fischer-Tümpel, I, #567); 2-3. based freely on verse 2; 4-5. based freely on verse 3; 6. 4th and final verse of the hymn.

27 December 1724, Leipzig; Neumann Hb: again after 1735.

BG 28; NBA I/3.

1. Chorus [Verse 1] (S, A, T, B)

I find my joy in thee
And bid thee hearty welcome,
My dearest Jesus-child!
Thou hast here undertaken
My brother dear to be.
Ah, what a pleasing sound!
How friendly he appears,
This mighty Son of God!

2. Aria (A)

Take hope! A holy body holds
Almighty God’s mysterious being.

I have now God—how well for me this moment!—
From countenance to countenance regarded.
Ah, this my soul must now recover.

3. Recit. (T)

An Adam may when filled with terror
From God’s own countenance
In paradise seek hiding!(1)
But here Almighty God himself doth come to us:
And thus no fear oppresseth now my heart:
It knoweth his forgiving disposition.
Of his unbounded kindness
He’s born a tiny babe
Who’s called my Jesus-child.(2)

4. Aria (S)

How lovely to my ears it ringeth,
This word: for me is born my Jesus!
How this doth reach into my heart!

Who Jesus’ name can’t comprehend,
He whom it strikes not to the heart,
He must of hardest rock be made.

5. Recit. (B)

Well then, to fear and pain of death
No thought will give my strengthened heart.
If he from heaven would
The road to earth now journey,
Then will he, too, of me
Within my tomb be mindful.
Who Jesus truly knows
Will die not when he dies,
If he calls Jesus’ name.(3)

6. Chorale (S, A, T, B)

Lead on, ’tis my desire
To cleave to thee, O Jesus,
E’en though the world should break
Into a thousand pieces.
O Jesus, thou, just thou,
Thou art my life alone;
In thee, alone in thee,
My Jesus, will I sleep.

1. Cf. Gen. 3:8.

2. This and the preceding line are verbatim from verse 2 of the hymn.

3. This and the two preceding lines are verbatim from verse 3 of the hymn.

See also:

1. Alone to Thee, Lord Jesus Christ
2. Hiding in Thee
3. In deep distress, I cry to thee
4. All glory to thee, Jesus Christ

Poet unknown.

1-2. Jn. 16:2; 4. Martin Moller, verse 1 of “Ach Gott, wie manches Herzeleid,” 1587; 7. Paul Fleming, final verse of “In allen meinen Taten,” 1642 (Fischer-Tümpel, I, #489).

21 May 1724, Leipzig.

BG 10; NBA I/12.

1. Aria [Dictum] (T, B)

In banishment they will cast you.(1)

2. Chorus [Dictum] (S, A, T, B)

There cometh, yea, the time when he who slays you will think that he doeth God a good deed in this.

3. Aria (A)

Christians must, while on earth dwelling,
Christ’s own true disciples be.

On them waiteth ev’ry hour
Till they blissfully have conquered
Torment, ban and grievous pain.

4. Chorale (T)

Ah God, how oft a heartfelt grief
Confronteth me within these days.
The narrow path is sorrow-filled
Which I to heaven travel must.

5. Recit. (B)

Now doth the Antichrist,
That huge and mighty monster,
With sword and fire
Hound Christ’s own members with oppression,
Since what they teach to him is odious.
He is, indeed, meanwhile convinced
That all his actions God’s approval have.
But yet, the Christians are so like the palm tree branches,
Which through their weight just all the higher tower.(2)

6. Aria (S)

It is and bides the Christians’ hope
That God o’er this his church doth watch.

For when so quick the tempests tower,
Yet after all the storms of sorrow
The sun of gladness soon doth laugh.(3)

7. Chorale (S, A, T, B)

Thyself be true, O spirit,
And trust in him alone now
Who hath created thee.
Let happen what may happen,
Thy Father there in heaven
Doth counsel in all matters well.

1. I.e., excommunicate you.

2. Detlef Gojowy, “Zur Sprache in Bachs Kantaten,” Das Kantatenwerk, Vol. 10, pp. 3-4, with English translation, pp. 8-9, explains that these lines refer to a common view that weights applied to palm branches make them grow higher. This theory is represented in an emblem printed by Andrea Alciate and may be seen in Albrecht Schöne, Emblemata. Handbuch zur Sinnbildkunst des XVI and XVII Jahrhunderts (Stuttgart: Metzler, 1967), p. 68.

3. The transformation of tempest to sunshine is a common motif of the cantatas for Jubilate Sunday. This motif is also represented in the emblematic tradition (see note 2, above), and specifically in a collection by Johann Mannich, Sacra Emblemata, Nürnberg, 1624, p. 15 (shown in Das Kantatenwerk, Vol. 10, p.6). Cf. BWV 12/6 for Jubilate.

See also:

1. God’s Own Time

Poet unknown.

1. Martin Luther, verse 1 of the hymn, 1524 (Wackernagel, III, #9); 2. verse 2 of the hymn with interpolated recitative; 6. verse 7 of the hymn.

25 December 1724, Leipzig.

BG 22; NBA I/2.

1. Chorus [Verse 1] (S, A, T, B)

All glory to thee, Jesus Christ,
For thou man today wast born,
Born of a virgin, that is sure,
Thus joyful is the angel host.
Kyrie eleis!

2. Recit. and Chorale [Verse 2] (S)

The light of highest majesty,
The image of God’s very being,
Hath, when the time was full,
Himself a dwelling found and chosen.

Th’eternal Father’s only child

Th’eternal light of light begotten,
Who now in the crib is found.

Ye mortals, now behold
What here the pow’r of love hath done!
Within our wretched flesh and blood,

And was this flesh then not accursed, condemned, and fallen?
Doth veil itself eternal good.

Yet is it, yea, for grace and blessing chosen.

3. Aria (T)

God, for whom earth’s orb is too small,
Whom neither world nor heaven limits,
Would in the narrow crib now lie.

Revealed to us this lasting light,
Thus henceforth will us God not hate,
For of this light we are the children.

4. Recit. (B)

O Christian world,
Now rise and get thyself prepared
To thee thy maker now to welcome.
The mighty Son of God
Comes as a guest to thee descended.
Ah, let thy heart by this his love be smitten;
He comes to thee, that he before his throne
Through this deep vale of tears may lead thee.

5. Aria (S, A)

The weakness which God hath assumed
On us eternal health bestowed,
The richest store of heaven’s treasures.

His mortal nature maketh you
The angels’ glory now to share,
You to the angels’ choir appointeth.

6. Chorale [Verse 7] (S, A, T, B)

All this he hath for us achieved,
His great love to manifest;
Rejoice then all Christianity
And thank him for this evermore.
Kyrie eleis!

See also:

1. Alone to Thee, Lord Jesus Christ
2. Lord Our Father, Thanks to Thee
3. Lord Our Father Thanks to Thee
4. In deep distress, I cry to thee

Poet unknown (Christoph Helm?);(1) PT (Rudolstadt, 1726).

1. Ps. 47:6-7; 4. Mk. 16:19; 5-10. based upon the six verses of the poem “Mein Jesus hat nunmehr”; 11. Johann Rist, verses 1 and 13 of “Du Lebensfürst, Herr Jesu Christ,” 1641 (Fischer-Tümpel, II, #188).

30 May 1726, Leipzig.

BG 10; NBA I/12.

First Part
1. Chorus [Dictum] (S, A, T, B)

God goeth up with shouting and the Lord with ringing of trumpets. Sing praises, sing praise to God, sing praises, sing praises to our Lord and King.

2. Recit. (T)

Now would the Highest his own vict’ry-song make ready,
For he captivity himself hath captive led.(2)
Who haileth him? Who is it who the trumpets sound?
Who goeth at his side now?
Is it not God’s own host,
Which for his name’s great praise,
Strength, fame, rule, pow’r and might with open voices singeth
And him now evermore a hallelujah bringeth.

3. Aria (T)

Yea, thousands on thousands in convoys of wagons,(3)
The great King of Kings shall sing praises, proclaiming
That both earth and heaven beneath him now bend,
And all he hath conquered now fully submits.

4. Recit. (S)

And the Lord, once that he amongst them had finished speaking, was there lifted up into heaven and sitteth at the right hand of God.

5. Aria (S)

My Jesus hath henceforth
Salvation’s work completed
And makes now his return
To that one who had sent him.
He ends his earthly course,
Ye heavens, open wide
And take him once again!

Second Part
6. Recit. (B)

The hero’s hero comes,
Who Satan’s prince and terror,
Who even death did fell,
Erased the stain of error,
Dispersed the hostile horde;
Ye powers, come with haste
And lift the victor up.

7. Aria (B)

‘Tis he who all alone
The wine press hath betrodden(4)
Of torment, pain and woe,
The lost to bring salvation
Through purchase at great price.
Ye thrones all, stir yourselves
And on him laurels set!

8. Recit. (A)

The Father hath him, yea,
A lasting kingdom given:
Now is the hour at hand
When he the crown receiveth
For countless hardship borne.
I stand here by the path
And to him gladly gaze.

9. Aria (A)

I see within my soul
How he at God’s own right hand
Doth all his foes strike down
To set free all his servants
From mourning, woe and shame.
I stand here by the path
And on him yearn to gaze.

10. Recit. (A)

He would beside himself
A dwelling for me ready,
In which for evermore
I shall stand close beside him,
Made free of “woe and ah!”
I stand here by the path
And to him grateful call.

11. Chorale (S, A, T, B)

Thou Prince of life, Lord Jesus Christ,
Thou who art taken up now
To heaven, where thy Father is
And all the faithful people,
How shall I thy great victory,
Which thou through a most grievous strife
Hast merited, praise rightly
And thy full honor pay thee?
Draw us to thee and we shall run,
Give us of faith the pinions!
Help us our flight from here to make
To Israel’s true mountains!
My God! When shall I then depart
To where I’ll ever happy dwell?
When shall I stand before thee,
Thy countenance to witness?

1. Helm is suggested by W. Blankenburg, BJ (1977).

2. Cf. Ps. 68:18 and Eph. 4:8.

3. Cf. Dan. 7:10 and Ps. 68:17.

4. Cf. Is. 63.3.

See also:

1. God Goeth Up with a Shout

2. Jn. 20:19; 4. Jakob Fabricius, verse 1 of “Verzage nicht, o Häuflein klein,” (ascribed to M. Altenburg in Fischer-Tümpel, II, #56); 7. Martin Luther, verse 1 of “Verleih uns Frieden gnädiglich” (“Da pacem Domine”), 1529 (Wackernagel, III, #35ff.) with the traditional supplement based on 1 Tim. 2:2, “Gib unsern Fürsten und aller Obrigkeit” by Johann Walter, 1566.

8 April 1725, Leipzig; re-performance 1731 and after 1735 (Neumann Hb).

BG 10; NBA I/11.

1. Sinfonia
2. Recit. [Dictum] (T)

The evening, though, of the very same Sabbath, the disciples assembled, and the doors had been fastened tightly for fear of the Jews when Jesus came and walked among them.
3. Aria (A)

Where two and three assembled are(1)
For Jesus’ precious name’s sake,
There cometh Jesus in their midst
And speaks o’er them his Amen.
For that which love and need have caused
Doth not the Highest’s order break.
4. Aria (S, T)

Do not despair, O little flock,
E’en though the foe may well intend
Thee fully to destroy
And seek a way to bring thee down,
Wherefore thou shalt know fear and dread:
It shall not long be lasting.
5. Recit. (B)

One can from this a fine example summon,
From that which in Jerusalem did happen;
When the disciples had assembled that day
In gloomy shadows
Because they feared the Jews then,(2)
There came my Savior in their midst
To witness that he for his church its shield would be.
Thus, leave the foe his fury!
6. Aria (B)

Jesus shall now shield his people
When them persecution strikes.
For their sake the sun must shine forth
With the golden superscript:
Jesus shall now shield his people,
When them persecution strikes.
7. Chorale (S, A, T, B)

Now grant us concord graciously,
Lord God, in our own season;
For there indeed no other is
Who for us could do battle
Than thou, our God, thou only.

Give to our princes and all magistrates
Peace and good governance,
So that we beneath them
A most peaceful and quiet life may lead forever
In godliest devotion and honesty.

Amen.

See also:

1. Law & Gospel: The Second Evening Lecture
2. Dearest Jesus, My Desiring

New Year’s Day (Feast of the Circumcision)

Poet unknown.

1. Johannes Herman, verse 1 of the hymn, 1593; 2-5. based freely on verse 2; 6. 6th and final verse of the hymn.

1 January 1725; again after 1732 (Neumann Hb).

BG 10; NBA I/4.

1. Chorus [Verse 1] (S, A, T, B)

Be praised now, O Lord Jesus,
At this the newborn year
For thy help which thou showest
In all our dread and stress,(1)
That we ourselves have witnessed
The new and joyful age
Which full of blessing bideth,
And lasting happiness;
That we in goodly stillness
The old year have completed.
Ourselves we’d(2) thee surrender
For now and evermore,
Protect(3) life, soul and body
Henceforth through all the year!(4)

2. Aria (S)

Let us, O highest God, the year accomplish
That it be ended even as it was begun.

Beside us let thy hand abide,
That later, when the year hath closed,
We be midst blessing’s rich excess,
As now, a hallelujah singing.

3. Recit. (A)

Ah, thine own hand, thy blessing must alone
The A and O, beginning and the ending be!
Our whole life holdest thou within thy hand,
The number of our days with thee stands written;
Thine eye doth watch o’er town and land;
Thou tellest all our weal and knowest all our sorrow,
Ah, give from both now,
Whate’er thy wisdom will, wherever thy great mercy thee hath prompted.

4. Aria (T)

For just as thou hast noble concord
To this our flesh and state allotted,
So grant my soul as well thy gracious, healing word.

If us this health befalleth,
We shall be here most blessed
And thine elected there!(5)

5. Recit. (B) and Chorus (S, A, T, B)

(B)
But since the foe both day and night
To do us harm doth watch
And our tranquillity would ruin,
May it please thee, O Lord our god, to hear us
When we in sacred congregation beg thee:

(S, A, T, B)
That Satan underneath our feet be trampled.(6)

(B)
And we’ll forever to thy praise
As thine elect belong to thee
And also after cross and passion
From here depart into great glory.

6. Chorale (S, A, T, B)

Thine is alone the honor,
Thine is alone the praise;
To bear the cross now teach us,
And rule our ev’ry deed,
Till we depart with rapture
To heav’n's eternal realm,
Into true peace and gladness,
The saints of God made like.
With us deal in the meanwhile
According to thy pleasure:
Thus sing today in earnest
The Christ-believing throngs
And wish with voice and spirit
A new and blessed year.

Where necessary, in the lower parts read “Ourselves we would thee surrender.”

Where necessary, in the lower parts read “Protect our life, soul and body.”

From the Litany of Martin Luther, 1528/29.

I.e., both here on earth and there in heaven.

From the Litany of Martin Luther, 1528/29.

See also:

1. Lord Our Father, Thanks to Thee
2. Lord Our Father Thanks to Thee
3. Alone to Thee, Lord Jesus Christ
4. Dearest Jesus Draw Near to Me

Poet unknown.

1. 1 Jn. 3:8; 3. Kaspar Füger, verse 3 of “Wir Christenleut,” 1592; 6. Paul Gerhardt, verse 2 of “Schwing dich auf zu deinem Gott,” 1653 (Fischer-Tümpel, III, #445); 10. Christian Keymann, “Freuet euch, ihr Christen alle,” 1646 (Fischer-Tümpel, IV, #8).

26 December 1723, Leipzig; Parody: 1 —> Mass in F Major, BWV 233/6.

BG 7; NBA I/3.

1. Chorus [Dictum] (S, A, T, B)

For this is appearéd the Son of God, that he destroy all the works of the devil.

2. Recit. (T)

The word was flesh and dwelleth in the world,(1)
The world’s true light doth shine throughout the earth now,
The mighty Son of God
Hath left the throne of heav’n,
And in his majesty would be
A little child of human nature.
Give thought to this exchange, all ye who thought possess:
The king a subject is become,
The Lord as servant doth appear
And for this mortal race of man
—O sweetest word to all who hear it—
Is born to heal and comfort.

3. Chorale (S, A, T, B)

Though sin brings pain,
Our Christ brings joy,
For as our comfort he this world hath entered.
With us is God
Now in our need:
Who could us now as Christians bring damnation?

4. Aria (B)

Hell’s very serpent,
Art thou not anxious?
He who thy head as a victor shall dash
Is to us born now,
And all the fallen
Shall in eternal repose be made glad.

5. Recit. (A)

The serpent that in paradise
Upon all Adam’s children
The bane of souls did cause to fall
Brings us no danger more;
The woman’s seed is manifest,(2)
The Savior is in flesh appearéd
And hath from it(3) removed all venom.
Take comfort then, O troubled sinner!

6. Chorale (S, A, T, B)

Shake thy head now and declare:
Flee, thou ancient serpent!
Why renewest thou thy sting
For my fear and anguish?
Now indeed thy head is dashed,
And I’ve through the passion
Of my Savior fled from thee
To the hall of gladness.

7. Aria (T)

Christian children, now rejoice!

Raging now is hell’s domain,
You would Satan’s fury frighten:
Jesus, who can rescue bring,
Would embrace his little chicks
And beneath his wings protect them.(4)

8. Chorale (S, A, T, B)

Jesus, take now these thy members
Henceforth with thy loving grace;
Pour out all that we could ask
To the comfort of thy brethren;
Give to all the Christian throng
Concord and a blessed year!
Gladness, gladness after gladness!
Christ shall ward off ev’ry sadness.
Rapture, rapture after rapture!
For he is the sun of favor.

1. Cf. Jn. 1:14.

2. Cf. Gen. 3:15.

3. I.e., the serpent.

4. Cf. Mt. 23:37.

Poet unknown, Christoph Helm?; (1) PT (Rudolstadt, 1726).

1. Is. 58:7-8; 4. Heb. 13:16; 7. David Denicke, verse 6 of “Kommt, laßt euch den Herren lehren,” 1648 (Fischer-Tümpel, II, #404).

23 June 1726, Leipzig.

BG 7; NBA I/15.

First Part

1. Chorus [Dictum] (S, A, T, B)

Break with hungry men thy bread and those who in want are found take in thy house! If thou dost a man see naked, then cover him and withdraw thyself not from thy flesh.
And then shall thy light through all break forth like the rosy morning, and thy recovery shall wax quickly, and thine own righteousness shall go forth before thee, and the majesty of the Lord God shall receive thee.

2. Recit. (B)

The bounteous God casts his abundant store
On us, those who without him were not even breathing.
His is all that we are; he gives us but the use,
But not that us alone
Should these his treasures comfort.
They as a touchstone serve
By which he hath revealed
That he to poor men also need hath freely given,
And hath with open hand,
Whate’er the poor require, to us so richly proffered(2).
We are required for all the wealth he lends
No interest into his barns to carry;
But mercy which is to one’s neighbor shown
Can more than any gift be to his heart compelling.

3. Aria (A)

One’s creator while on earth yet
Even dimly to resemble
Is a foretaste of true bliss.
His compassion’s way to follow
Scatters here the seeds of blessing
Which in heaven we shall reap.

Second Part

4. Aria [Dictum] (B)

To do good and share your blessings forget ye not; for these are off’rings well-pleasing to God.

5. Aria (S)

Highest, my possessions
Are but what thou givest.
If before thy countenance
I with what I have now
Grateful seek to venture,
Thou wouldst not an off’ring have.

6. Recit. (A)

How shall I then, O Lord, sufficiently repay thee
All that for flesh and soul thou hast bestowed on me?
Yea, what I yet receive, and that by no means seldom,
Since I at ev’ry hour still can thy praises tell?(3)
I own nought but my soul which I to thee may offer,
To neighbor nought but hope that I shall serve him well,
To poor men, all thou me hast giv’n within my lifetime,
And, if it be thy will, my feeble flesh to earth.
I’ll offer what I can, Lord, let it find thy favor,
That I all thou hast pledged from them e’en yet may gather.

7. Chorale (S, A, T, B)

Blessed those who through compassion
Bear the weight of others’ woe,
Who with pity for the wretched
Pray steadfast for them to God.
They who helpful are in word,
And if possible in deed,
Shall in turn receive thy succor
And themselves obtain compassion.

1. Helm is suggested by W. Blankenburg, BJ (1977).

2. I.e., God has created the poor to test our generosity and compassion: He gives us what we should pass on to the poor.

3. This is punctuated as a rhetorical question expecting an affirmative response.

See also:

1. Taking a Break

Poet unknown.

1. Martin Luther, verse 1 of the hymn, 1524 (Wackernagel, I, #188), after Ps. 130; 2-3. based freely on verses 2-3; 4. based loosely on verse 3 and 4 and Jn. 4:47-54, with the chorale melody; 5. based freely on verse 4; 6. verse 5 of the hymn.

29 October 1724, Leipzig.

BG 7; NBA I/25.

1. Chorus [Verse 1] (S, A, T, B)

In deep distress I cry to thee,
Lord God, hear thou my calling;
Thy gracious ear bend low to me
And open to my crying!
For if thou wilt observance make
Of sin and deed unjustly done,
Who can, Lord, stand before thee?

2. Recit. (A)

In Jesus’ mercy will alone
Our comfort be and our forgiveness rest,
Because through Satan’s craft and guile
Is mankind’s whole existence
‘Fore God a sinful outrage found.
What could then now
Bring peace and joy of mind to us in our petitions
If Jesus’ Spirit’s word did not new wonders do?

3. Aria (T)

I hear amidst my very suff’ring
This comfort which my Jesus speaks.

Thus, O most anguished heart and spirit,
Put trust in this thy God’s dear kindness,
His word shall stand and never fail,
His comfort never thee abandon!

4. Recit. (S) with instr. chorale

Ah!
That my faith is still so frail,
And that all my reliance
On soggy ground I must establish!
How often must I have new portents
My heart to soften!
What? Dost thou know thy helper not,
Who speaks but one consoling word,
And then appears,
Before thy weakness doth perceive,
Salvation’s hour.
Just trust in his almighty hand and in his mouth so truthful.

5. Aria (S, A, B)

When my despair as though with fetters
One sorrow to the next doth bind,
Yet shall no less my Savior free me,
And all shall sudden from me fall.
How soon appears the hopeful morning
Upon the night of woe and sorrow!

6. Chorale [Verse 5] (S, A, T, B)

Though with us many sins abound,
With God is much more mercy;
His hand’s assistance hath no end,
However great our wrong be.
He is alone our shepherd true,
Who Israel shall yet set free
Of all his sinful doings.

See also:

1. Alone to Thee, Lord Jesus Christ
2. Draw Me Unto Thee
3. Lord God, We Give Thee Praise
4. Lord Our Father, Thanks to Thee

Poet unknown.

1. Mk. 16:16; 3. Philipp Nicolai, verse 5 of “Wie schön leuchtet der Morgenstern,” 1599; 6. Johann Kolrose, verse 4 of “Ich dank dir, lieber Herre,” ca. 1535 (Wackernagel, III, #114).

18 April 1724, Leipzig.

BG 7; NBA I/12.

1. Chorus [Dictum] (S, A, T, B)

He who trusteth(1) and is baptized, he shall have salvation.

2. Aria (T)

Belief doth guarantee the love now
Which Jesus for his people keeps.

Thus hath he from pure love’s emotion,
When he into life’s book enrolled me,
On me this precious gem bestowed.

3. Chorale (S, A)

Lord God, Father, my champion strong!
Thou hast me e’er before the world
In thine own Son belove’d.
Thy Son hath me himself betrothed,
He is my store, I am his bride,
Most high in him rejoicing.
Eia!
Eia!
Life in heaven shall he give to me supernal;
Ever shall my heart extol him.

4. Recit. (B)

Ye mortal folk, do ye now long
With me
God’s countenance to see before you?
Then ye should not be on good works dependent;
For though a Christian ought
Indeed in good works ever labor,
Because this is the solemn will of God,
Yet doth our faith alone assure
That we ‘fore God be justified and saved.

5. Aria (B)

Belief provides the soul with pinions,
On which it shall to heaven soar,
Baptism is the seal of mercy
Which us God’s saving blessing brings;
And thus is called the Christian blest
Who doth believe and is baptized.

6. Chorale (S, A, T, B)

Belief bestow upon me
In thy Son Jesus Christ,
My sins as well forgive me
While I am in this life.
Thou wilt not e’er deny me
What thou hast promised me,
That he my sin shall carry
And loose me of its weight.

Notes

1. The central theme of this cantata is der Glaube ‘belief.’ Where the music allows, I have translated it with “belief,” but have substituted “trust” or “faith” where necessary.

First Sunday in Advent.

Perhaps Picander.

2. Martin Luther, verse 1 of “Nun komm, der Heiden Heiland” (the translation of “Veni redemptor gentium”), 1524 (Wackernagel, III, #16); 4. Philipp Nicolai, verse 6 of “Wie schön leuchtet der Morgenstern,” 1599; 6. verse 6 of “Nun komm, der Heiden Heiland”; 8. final verse of the preceding.

2 December 1731, Leipzig; Parody: 1, 3, 5, 7 <— BWV 36c/1, 3, 5, 7.

BG 7; NBA I/1.

First Part

1. Chorus (S, A, T, B)

Soar joyfully aloft amidst the starry grandeur,
Ye voices, ye who now in Zion gladly dwell!
No, wait awhile! Your sound shall not have far to travel,
To you draws nigh himself the Lord of majesty.

2. Chorale (S, A)

Come now, the nations’ Savior,
As the Virgin’s child made known,
At this marvels all the world,
That God this birth gave to him.

3. Aria (T)

Now love doth draw with gentle paces
Its true belove’d more and more

Like as it brings the bride enchantment
When she the bridegroom near beholdeth,
E’en so the heart doth Jesus seek.

4. Chorus (S, A, T, B)

Raise the viols in Cythera
And let now charming Musica
With joy and gladness echo,
That I may with my Jesus-child,
With this exquisite groom of mine,
In constant love e’er journey.
Sing now,
Dance now,
Jubilation cry triumphant, thank the Lord now!
Great is the king of all honor.

Second Part

5. Aria (B)q

O welcome, dearest love!
My love and faith prepare a place
For thee within my heart that’s pure,
Come dwell in me!

6. Chorale (S, A, T, B)

Thou who art the Father like,
Lead the conquest o’er the flesh,
That thy God’s eternal pow’r
May by our sick flesh be held.

7. Aria (S)

E’en with our muted, feeble voices
Is God’s great majesty adored.

For sound nought but our soul alone,
This is to him a mighty shout,
Which he in heav’n itself doth hear.

8. Chorale (S, A, T, B)

Praise to God, the Father, be,
Praise to God, his only Son,
Praise to God, the Holy Ghost,
Ever and eternally!

See also:

1. Alone to Thee, Lord Jesus Christ
2. Weeping, Wailing, Grieving, Fearing
3. Were God Not With Us
4. Praise God, for Now the Year is Ending

Twelfth Sunday after Trinity.

Georg Christian Lehms, Gottgefälliges Kirchen-Opffer (Darmstadt, 1711); Facs: Neumann T, p. 261.

8 September 1726, Leipzig; 1 <— a concerto from the Cöthen period, of which a fragment survives in a version for harpsichord, BWV 1059.

BG 7; NBA I/20.

First Part

1. Concerto

2. Aria (A)
Soul with spirit is bewildered
When it thee, my God, beholds.(1)

For the wonder which it seeth
And the folk with triumph telleth
Hath it deaf and dumb now made.

3. Recit. (A)

I am amazed;
For ev’rything we see
Must give us cause to marvel.
Regarding thee,
Thou precious Son of God,
From me
My reason and my sense do flee.
Thou art the reason
That even miracles next thee so wretched seem.
Thou art
In name and deed and office truly wonderful,
There is no thing of wonder on the earth like thee.
For hearing givest thou the deaf,
The dumb thou dost return their speaking,
Yea, more than this,
Dost open the lids of eyes unseeing.
These, these are works of wonder,
And to their power
Doth e’en the angel choir lack strength to give expression.

4. Aria (A)

God hath all so well achieved.
His devotion, his good faith
We see ev’ry day renewed.
When both fear and toil oppress us,
He hath ample comfort sent us,
For he tendeth us each day.
God hath all so well achieved.

Second Part

5. Sinfonia

6. Recit. (A)

Ah, mighty God, let me
Then this alway remember,
And then I can
Content within my soul implant thee.
For me let thy sweet Hephata (2)
My heart so obstinate now soften;
Ah, lay thou but upon mine ear thy gracious finger,
Or else I soon must perish.
Touch, too, my tongue’s restraint
With thine own mighty hand,
That I may all these signs of wonder
In sacred worship praise now,
Myself thine heir and child revealing.

7. Aria (A)

I seek alone with God to live now,
Ah, would that now the time were come,
To raise a glad hallelujah
With all the angels in rejoicing.
My dearest Jesus, do release
This sorrow-laden yoke of pain
And let me soon within thy bosom
My life so full of torment finish.

Hephata Hebr. ‘be opened!’

See also:

1. Soul with Spirit is Bewildered
2. Deck Thyself, My Soul, With Gladness
3. Jesus Thou Who This My Spirit
4. Pour Out Thy Spirit From On High

Poet unknown.

1. Konrad Hubert, verse 1 of the hymn, 1540 ; 2-3. based loosely on verse 2; 4-5. based loosely on verse 3; 6. verse 4 of the hymn.

3 September 1724, Leipzig.

BG 7; NBA I/21.

1. Chorus [Verse 1] (S, A, T, B)

Alone to thee, Lord Jesus Christ,
My hope on earth regardeth;
I know thou art my comforter,
I have no other comfort.
Since time began, was nought ordained,
On earth there came no man to birth,
Who from my woe could help me flee.
I call to thee,
In whom I have placed all my trust.

2. Recit. (B)

My God and judge thou, by the law if thou wert me to question,
I could no way,
For that my conscience would forbid,
Once in a thousand answer.
In strength of spirit poor am I, of love left bare,
And all my sin is grave and very great,
But since for them my heart repenteth,
Thou wilt, my God and shield,
Through a forgiving word
Again to me bring gladness.

3. Aria (A)

How fearful wavered then my paces,
But Jesus heareth my petition
And doth me to his Father show.
Though grievous weight of sin depressed me,
Again hath Jesus’ word assured me
That he for me enough hath done.

4. Recit. (T)

My God, reject me not,
Although against thy law I daily have offended,
From this thy countenance!
The smallest law for me to keep is much too hard;
But, if I for no more
Than Jesus’ comfort pray now,
There shall no war of conscience rise
Of confidence to rob me;
Give me but of thy mercy’s store
A faith both true and Christian!
And it shall come with rich rewards to me
And then through love its work achieve.

5. Aria (T, B)

God, thou who art love now called,
Ah, enkindle this my soul,
Let for thee before all matters
This my love be strongly yearning!
Grant that I with pure devotion
As myself my neighbor cherish;
Should the foe disturb my rest,
Then to me assistance send!

6. Chorale [Verse 4] (S, A, T, B)

Now praise God on the highest throne,
The Father of all goodness,
And Jesus Christ, his dearest Son,
Who us alway protecteth,
And God the Holy Spirit, too,
Who us his help alway doth give,
That we may ever him obey,
Here within this time
And then in all eternity.

Cf. Ps. 51:13.

This and the preceding line are almost verbatim from the hymn.

Cf. Gal. 5:6.

The meter of this and the preceding line is heterodyne.

See also:

1. Lord Our Father, Thanks to Thee
2. Lord Our Father Thanks to Thee
3. Lord God, We Give Thee Praise
4. The Lord is Now My Shepherd True

Georg Christian Lehms, Gottgefälliges Kirchen-Opffer (Darmstadt, 1711); Facs: Neumann T, p. 258.

2. After Lk. 2:49; 6. added by Bach: Paul Gerhardt, verse 12 of “Weg, mein Herz, mit den Gedanken,” 1647 (Fischer-Tümpel, III, #382), to the melody of “Freu dich sehr, o meine Seele” (cf. BWV 70/7).

13 January 1726, Leipzig.

BG 7; NBA I/5.

Dialogue: Soul (S), Jesus (B)

1. Aria (S) Soul

Dearest Jesus, my desiring,
Tell me now where I’ll find thee.
Shall I then so quickly lose thee
And no longer by me feel thee?
Ah, my shield, now gladden me,
Let my fondest joy embrace thee.

2. Recit. [Dictum] (B) Jesus

But why wast thou looking for me? Know’st thou not that I must be about my Father’s business now?(1)

3. Aria (B) Jesus

Here, within my Father’s dwelling,
Findeth me a downcast soul.

Here canst thou most surely find me
And thy heart to me bind firmly,
For this is my dwelling called.

4. Recit. (S, B) Soul, Jesus

(Soul)
Ah, holy and most mighty God,
Thus I’ll for me
Then here with thee
Seek constant help and consolation.

(Jesus)
If thou of earthly trash art scornful
And only to this dwelling go,
Thou canst both here and there fare well.(2)

(Soul)
How lovely is, though, this thy dwelling,
Lord, mighty Sabaoth;(3)
My spirit longs
For that which only in thy court doth shine.
My soul and body are made glad
Within the living God:(4)
Ah! Jesus, this my heart loves thee alone alway.

(Jesus)
Thou canst then happy be,
If heart and soul
With love for me be now with passion filled.

(Soul)
Ah! This reply, which shall henceforth
My heart from Babel’s borders tear,
I shall adoring bind within my spirit now.
5. Aria (S, B) Soul, Jesus

(Both)
Now shall vanish ev’ry torment
Now shall vanish “Ah and woe.”

(Soul)
Now I will not ever leave thee,

(Jesus)
And I’ll also e’er embrace thee.

(Soul)
Now contented is my heart

(Jesus)
And can filled with gladness utter:

(Both)
Now shall vanish ev’ry torment
Now shall vanish “Ah and woe!”

6. Chorale (S, A, T, B)

My God, open me the portals
Of this grace and kindliness,
In all times and in all places
Let me thy dear sweetness taste!
Love me, too, and lead me on,
That I may as best I can
Once again embrace and love thee
And may now no more be saddened.

Notes

1. The fact that the Biblical text is from the boyhood of Jesus does not affect the conventional assignment of the Vox Christi to a bass.
2. “Here and there” means “on earth and in heaven.”
3. Sabaoth Hebr. ‘armies.’ One might substitute “Lord of hosts.”
4. Ps. 84:2-3.

See also:

1. Dearest Jesus Draw Near to Me
2. Abide, O Dearest Jesus
3. O Jesus, Lamb of God Thou Art
4. Dearest God

Salomo Franck, Evangelisches Andachts-Opffer … in geistlichen Cantaten (Weimar, 1715); Facs: Neumann T, p. 278; PT (Leipzig, 1724); Facs: Neumann T, p. 428; PT (Leipzig, 1731); Facs: Neumann T, p. 438.

8. Chorale melody of Nikolaus Herman’s “Wenn mein Stündlein vorhanden ist” (“When my hour is at hand”), 1569 (Wackernagel, I, #499); 9. supplementary verse of the preceding, Bonn, 1575.

21 April 1715, Weimar; 9 April 1724?, Leipzig; 25 March 1731, Leipzig.

BG 7; NBA I/9.

1. Sonata

2. Chorus (S, A, T, B)

The heavens laugh! The earth doth ring with glory,
And all she bears within her lap;
Our Maker lives! The Highest stands triumphant
And is from bonds of death now free.
He who the grave for rest hath chosen,
The Holy One, sees not corruption.(1)

3. Recit. (B)

O welcome day! O soul, again be glad!
The A and O,(2)
The first and also last one,
Whom our own grievous guilt in death’s own prison buried,
Is now torn free of all his woe!
The Lord was dead,
And lo, again he liveth;
As lives our head, so live as well his members.
The Lord hath in his hand
Of death and also hell the keys now!(3)
He who his cloak
Blood-red did splash within his bitter passion,(4)
Today will put on finery and honor.

4. Aria (B)

Prince of being, mighty warrior,
High-exalted Son of God!

Lifteth thee the cross’s ladder
To the highest honor’s throne?
Will what thee once held in bondage
Now thy finest jewel be?
Must all these thy wounds of purple
Of thy radiance be the beams?(5)

5. Recit. (T)

So therefore now, O soul to God devoted,
With Christ in spirit rise!
Set out upon the new life’s course!
Rise, leave the works of dying!(6)
Make thine own Savior in the world
Be in thy life reflected!
The grape vine which now blooms
Puts forth no lifeless berries!
The tree of life now lets its branches flourish!
A Christian flees
Full speed the tomb and dying!
He leaves the stone,
He leaves the shroud of error
Behind him
And would with Christ alive abide.

6. Aria (T)

Adam must in us now perish,(7)
If the new man shall recover,
Who like God created is.
Thou in spirit must arise now
And from sin’s dark cavern exit
If of Christ the limbs thou art.

7. Recit. (S)

For since the head his limbs
By nature takes with him,
So can me nought from Jesus sever.
If I with Christ must suffer,
So shall I also in due time
With Christ again be risen
To glorious majesty
And God in this my flesh then witness.(8)

8. Aria (S) with Instrum. Chorale

Final hour, break now forth,
These mine eyes to close in darkness!
Let me Jesus’ radiant joy
And his brilliant light behold then,
Let me angels then be like!
Final hour, break now forth!

9. Chorale (S, A, T, B)

So forth I’ll go to Jesus Christ,
My arm to him extending;
To sleep I’ll go and rest so fine,
No man could ever wake me,
For Jesus Christ, of God the Son,
He will the heav’nly door unlock,
To life eternal lead me.

Notes

1. Cf. Ps. 16:10.

2. Cf. Rev. 1:8.

3. Cf. Rev. 1:18.

4. Cf. Is. 13:1-2.

5. Two stylistic motifs typical of Franck are combined in this movement: words of adornment and the ameliorative metamorphosis.

6. Bach changes Franck’s text from von den todten Wercken. Cf. Luther’s translation of Heb. 9:14: wieviel mehr wird das Blut Christi, der sich selbst als ein Opfer ohne Fehl durch den ewigen Geist Gott dargebracht hat, unser Gewissen reinigen von den toten Werken, zu dienen dem lebendigen Gott! RSV: “how much more shall the blood of Christ, who through the eternal Spirit offered himself without blemish to God, purify your conscience from dead works to serve the living God.”

7. Cf. Eph. 4:24 and 1 Cor. 15:42ff.

8. Cf. Job. 19:26.

Poet unknown, probably Picander.

6. Johann Olearius, verse 3 of “Tröstet, tröstet meine Lieben,” 1671 (Fischer-Tümpel, IV, #42).

24 June 1738 or in one of the following years, Leipzig; Parody: 1, 3, 5, 8, 9, 10, 12 – BWV 30a. BG 5, 1; NBA I/29.

First Part

1. Aria (S, A, T, B)

Joyful be, O ransomed throng,
Joyful be in Zion’s dwellings.

Thy well-being hath henceforth
Found a sure and solid means
Thee with bliss and health to shower.

2. Recit. (B)

We now have rest,
The burden of the law
Has been removed.
Nought shall from this repose distract us,
Which our belove’d fathers oft
Had sought with yearning and with hope.
Come forth,
Be joyful all, whoever can,
And raise to pay their God due honor
A song of praise,
And all the heav’nly choir,
Yea, sing in glad accord!

3. Aria (B)

All praise be to God, all praise for his name’s sake,
Who faithfully keepeth his promise and vow!

His faithful servant hath been born now,
Who long had for this been elected,
That he the Lord his way prepare.

4. Recit. (A)

The herald comes and sounds the king’s approach,
He calls; so tarry not
And get ye up,
And with a lively pace
Rush to this voice’s call!
It shows the way, it shows the light
By which we on those blessed pastures
At last may surely gaze with wonder.

5. Aria (A)

Come, ye sorely tempted sinners,
Haste and run, O Adam’s children,
This your Savior calls and cries!
Come ye, all ye errant sheep now,
Rise ye up from sin-filled slumber,
For now is the hour of grace!

6. Chorale (S, A, T, B)

There a voice of one is crying
In the desert far and wide,
Leading mankind to conversion:
For the Lord the way prepare,
Make for God the pathway smooth,
All the world should now arise,
Ev’ry valley be exalted,
That the mountains may be humbled.

Second Part

7. Recit. (B)

If thou dost then, my Hope, intend
That law which thou didst make
With our own fathers to uphold now
And in thy gracious power to rule o’er us,
Then will I set with utmost care
On this my purpose:
Thee, faithful God, at thy command
In holiness and godly fear to serve now.

8. Aria (B)

I will detest now
And all avoid now
Which thee, my God, doth cause offense.
I will thee not cause sadness,
Instead sincerely love thee,
For thou to me so gracious art.

9. Recit. (S)

And even though the fickle heart
In human weakness is innate,
Yet here and now let this be said:
So oft the rosy morning dawns,
So long one day the next one lets ensue,
So long will I both strong and firm
Through thine own Spirit live,
My God, entirely for thine honor.
And now shall both my heart and voice
According to thy covenant
With well deservéd praise extol thee.

10. Aria (S)

Haste, ye hours, come to me,
Bring me soon into those pastures!
I would with the holy throng
To my God an altar raise,
In the tents of Kedar offered,(1)
Where I’ll give eternal thanks.

11. Recit. (T)

Forbear, the loveliest of days
Can no more far and distant be,
When thou from ev’ry toil
Of imperfection’s earthly burdens,
Which thee, my heart, doth now enthrall,
Wilt come to have thy perfect freedom.
Thy hope will come at last,
When thou with all the ransomed spirits,
In that perfected state,
From death here of the body wilt be freed,
And there thee no more woe will torment.

12. Aria (S, A, T, B)

Joyful be, O hallowed throng,
Joyful be in Zion’s pastures!
Of thy joyful majesty,
Of thy full contentment’s bliss
Shall all time no end e’er witness.

Erdmann Neumeister, Geistliche Poesien (Eisenach, 1714); Facs: Neumann T, p. 293.

2. Johann Gramann, verse 1 of the hymn, 1530 (Wackernagel, III, #968ff.); 3. Jer. 32:41; 6. Paul Eber, final verse of “Helft mir Gotts Güte preisen,” ca. 1590 (Wackernagel, IV, #7).

30 December 1725, Leipzig.

BG 5, 1; NBA I/3.

1. Aria (S)

Praise God! For now the year is ending,
The new year draweth quickly nigh.
Consider, O my spirit, this,
How much thee these thy God’s own hands have
Within the old year richly blest!
Raise him a happy song of thanks;
And he will further thee remember
And more in this new year reward thee.

2. Chorale (S, A, T, B)

Now praise, my soul, the Master,
All I possess, his name give praise!
His kindness he will increase,
Forget it not, O heart of mine!
He hath thy sin forgiven
And heals thy weakness all,
He saves thy life so wretched,
Takes thee in his embrace;
With comfort rich anoints thee,
Made young with eagle strength.
The King is just and guardeth
Those suff’ring within his realm.(1)

3. Recit. and Arioso (B)

Thus saith the Lord: It shall to me bring pleasure that I unto them give favor, and them will I within this land in faith establish, with all my heart now and with all my spirit.

4. Recit. (T)

God is a spring, where nought but kindness wells;
God is a light, where nought but mercy shineth;
God is a store, which nought but blessing gives;
God is a Lord, with loyal, heartfelt purpose.
All him in faith who love, in childlike love adore,
His word sincerely heed
And from all wicked pathways turn,
He gives himself with ev’ry blessing.
Who God hath must have ev’ry treasure.

5. Aria (A, T)

God hath us in this very year brought such blessing,
That good deed and good health each other encounter.
We praise him sincerely and ask in addition
That he might a happy new year also give us.
Our hope springs from his own unswerving compassion,
We praise him already with most grateful spirit.

6. Chorale (S, A, T, B)

We praise all thy compassion
Father on heaven’s throne,
Which thou to us hast proven
Through Christ who is thy Son,
And further ask of thee:
Give us a peaceful year now,
From ev’ry woe defend us
And us with kindness feed.

1. Although the PT has Die leid’n in seinem Reich (“They suffer in his realm”), Bach has Die leiden in seinem Reich.

See also:

1. Lord God, We Give Thee Praise
2. On Praise of the Law & Free Will

Poet unknown.

1. Ämilie Juliane von Schwarzburg-Rudolstadt, verse 1 of the hymn, 1686 (Fischer-Tümpel, V, #631) with interpolated recitative; 6. Johann Georg Albinus, verse 1 of the hymn, 1649 (Fischer-Tümpel, IV, #312).

6 October 1726, Leipzig.

BG 5, 1; NBA I/23.

1. Chorale (S, A, T, B) and Recit. (S, A, T)

(S, A, T, B)
Who knows how near to me my end is?

(S)
This knows the Lord above alone,
If this my pilgrimage on earth be
Short, or if longer it may be.
Hence fleeth time, here cometh death,

(A)
And at the last the point is reached
When they will surely meet each other.
Ah, with what swiftness and adroitness
Can come to me the trial of death!

(T)
Who knows if e’en today
My mouth its final word might speak.
Thus shall I always pray:
My God, I pray through Christ’s own blood,
Allow but that my end be good!

2. Recit. (T)

My lifetime hath no other goal
Than that I may in death be blessed
And this my faith’s reward inherit.
Thus shall I always live
For death’s grave ready and prepared;
As for the work my hands now do
It is as though I were full certain
That I today were meant to perish:
For all is well that endeth well!

3. Aria (A)

“O welcome!” will I utter
Then when death my bed doth near.

Gladly will I follow(1)
To the tomb;
All of mine afflictions
Will I bring.

4. Recit. (S)

Ah, would I were in heaven now!
It is my wish to leave now(2)
And with the lamb,
Of all the righteous bridegroom true,
Find in my blessedness a pasture.
Wings come now!
Ah, would I were in heaven now!

5. Aria (B)

O farewell, thou worldly tumult!

Now I’ll take of thee my leave;
I stand e’en now with one foot
Nigh our good Lord God in heaven.

6. Chorale (S, A, T, B)

World, farewell! Of thee I weary,
I would unto heaven go,
Where I’ll find that perfect quiet
And eternal, glorious rest.
World, with thee are war and strife,
Nought but utter vanity,
But in heaven endlessly
Peace and joy and happiness.

1. OP and OSt also have fröhlich folge ich for compositional reasons. There translate “gladly following.”

2. Cf. Phil. 1:23.

Poet unknown.

1. Michael Franck, verse 1 of the hymn, 1652 (Fischer-Tümpel, IV, #254); 2. based on verse 2; 3. based loosely on verses 3-9; 4. based on verse 10; 5. based on verses 11- 12; 6. verse 13 of the hymn.

19 November 1724, Leipzig.

BG 5, 1; NBA I/27, 31.

1. Chorus [Verse 1] (S, A, T, B)

Ah, how fleeting, ah, how empty
Is the life of mortals!
As a mist which quickly riseth
And again as quickly passeth,
Even thus our life is, witness!

2. Aria (T)

As fast as rushing waters gush,
So hasten on our days of living.
The time doth pass, the hours hasten,
Just as the raindrops quickly break up
When all to the abyss doth rush.

3. Recit. (A)

Our joy will be to sadness turned,
Our beauty falleth like a flower,
The greatest strength will be made weak,
Transformed will be good fortune all in time,
Soon is the end of fame and honor,
What scholarship and what mankind contriveth
Will at the last the grave extinguish.

4. Aria (B)

Upon earthly treasure the heart to be setting
Is but a seduction of our foolish world.
How easily formed are the holocaust’s embers,
What thunder and power have waters in floodtime
Till all things collapse into ruin and fall.

5. Recit. (S)

The highest majesty and pomp
Are veiled at last by death’s dark night.
Who almost as a god was honored
Escapes the dust and ashes not,
And when the final hour striketh
In which he to the earth is carried
And his own height’s foundation falls,
Is he then quite forgotten.

6. Chorale [Verse 13] (S, A, T, B)

Ah, how fleeting, ah, how empty
Are all mortal matters!
All that, all that which we look at,
That must fall at last and vanish.
Who fears God shall stand forever.

Poet unknown.

1. Ps. 38:4 with the chorale melody “Herzlich tut mich verlangen nach einem selgen End” (cf. BWV 161/1)(1); 6. Johann Heermann, last verse of “Treuer Gott, ich muß dir klagen,” 1630 (Fischer-Tümpel, I, #347).

29 August 1723, Leipzig.

BG 5, 1; NBA I/23, 81.

1. Chorus [Dictum] (S, A, T, B) with instr. chorale

There is nought of soundness within my body, for thou art angry, nor any quiet within these my bones now, for I am sinful.

2. Recit. (T)

Now all the world is but a hospital,
Where mortals in their numbers passing count
And even children in the cradle
In sickness lie with bitter anguish.
The one is tortured in the breast
By raging fever’s angry lust;
Another lieth ill
From his own honor’s odious foul stench;
The third is torn by lust for gold,
Which hurls him to an early grave.
The first great fall hath ev’ryone polluted
And with its rash of sinfulness infected.
Ah, this great bane doth gnaw as well my members.
Where is a cure for wretched me?
Who will by me within my suff’ring stand?
My healer who, who will restore me?

3. Aria (B)

Ah, where shall this wretch find help?
All my rashes, all my cankers
Can no herb or plaster cure now
But the balm of Gilead.(2)
Healer mine, Lord Jesus, thou
Know’st alone my soul’s best cure.

4. Recit. (S)

O Jesus, O dear Master,
To thee I flee:
Ah, strengthen thou my weakened vital spirits!
Have mercy now,
Thou help and doctor of all ailing,
O thrust me not
Hence from thy countenance!
My Healer, make me clean from my great rash of sin,
And I will thee
Give all my heart in turn
In lasting sacrifice
And through my life for all thy help be grateful.

5. Aria (S)

Open to my songs so meager,
Jesus, thy most gracious ear!
When I there in choirs above
Shall be with the angels singing,
Shall my thankful song sound better.

6. Chorale (S, A, T, B)

I will all my days forever
Glorify thy mighty hand,
That thou all my drudge and mourning
Hast so graciously repelled.
Not alone in mortal life
Shall I tell thy glory wide:
I will e’en hereafter tell it
And there evermore extol thee.

1. Dürr, p. 431, suggests that the congregation, in hearing this melody, would have thought of its alternative text: “Ach Herr, mich armen Sünder” upon which BWV 135 (for the Third Sunday after Trinity) is based.

2. Cf. Jer. 8:22 and 46:11.

Erdmann Neumeister, Geistliche Poesien (Eisenach, 1714); Facs: Neumann T, p. 297.

3. Mt. 7:12; 6. Johann Heermann, verse 1 of the hymn, 1630 (Fischer-Tümpel, I, #355).

20 June 1723, Leipzig.

BG 5, 1; NBA I/17.

1. Aria (A)

An undisguised intention
Of native(1) faith and kindness
Doth us ‘fore God and man make fair.

For Christians’ work and commerce
Throughout their whole life’s compass
Should on this kind of footing stand.

2. Recit.

Sincerity
Is one of God’s most gracious blessings.
The fact that in our time
There are but few who have it
Comes from not asking God for it.
For of itself proceeds our heart’s contrivance
In nought but evil ways;
If it would set its course on something worthy,
Then must it be by God’s own Spirit governed
And in the path of virtue guided.
If God as friend thou seekest,
Thou must thyself no foe be to thy neighbor
Through cunning, ruse and craft!
A Christian(2)
Should strive the way of doves to copy
And live without deceit and malice.
Upon thyself impress the form
Which thou wouldst have thy neighbor own.

3. Chorus [Dictum] (S, A,T, B)

All things now that ye wish to be done by people unto you, that do ye to them.

4. Recit. (B)

Hypocrisy
Is of the brood which Belial(3) concocteth.
Who self behind its mask concealeth
Doth wear the devil’s livery.
What? Do, then, even Christians
Such things as these now covet?
O God, forfend! Sincerity is precious.
And many fiendish monsters
Appear in angel’s guise.
We bring the wolf within,
Sheep’s clothing don without.
What could be worse than this?
For slander, spite and judgment,
Damnation and destruction
Are ev’rywhere now found.
It is the same, both there and here.
May God above protect me now from this.

5. Aria (T)

Trust and truth should be the base
Of thy every purpose;
As thine outward word and speech,
Be the heart within thee.
Being kind and virtuous
Makes us God and angels like.

6. Chorale (S, A, T, B)

O God, thou righteous God,
Thou fountain of all blessings,
Without whom nought exists,
From whom is all our treasure,
My body grant good health,
And let within my flesh
An uncorrupted soul
And conscience pure e’er dwell.

1. Literally, “Of German faith and kindness.” Deutsch has a sense similar to that in the idiom mit jemandem deutsch reden ‘to speak frankly.’ Indeed, ‘frankly’ is a parallel concept in its ethnic connotation.

2. This translation adds one syllable to the line. One may prefer to translate “A man / Of Christ should strive the doves to copy…”

3. Belial Hebr. ‘without use or profit’ is identified with Satan in the New Testament.