Text No. 1, 6
Konrad Huber, 1540

Text No. 2–5
Poet unknown

Year of composition
1724

The introductory chorus, a boldly spirited A-minor concerto, is characteristic of the type that Bach composed with inexhaustible inventiveness throughout his chorale cantata cycle of 1724/25. The orchestra plays the dominant role in the movement’s structure, with block-style choir passages inserted into the instrumental material of strings and oboes. In a developmental-style section, these compact chorale lines enhance the sense of an excited acceleration of events, an impression already evident in the sequence of entries in the opening ritornello. Indeed, throughout the text of this early Protestant chorale, the irascible Thomas Cantor can almost literally be heard thundering down the stairs, gearing himself up for a further battle in his lifelong crusade for better working conditions – with little in the way of negotiating skills or supporters, and armed solely with the motto “Jesu juva” and his fierce artistic pride …
In contrast, the bass recitative expresses an open-hearted confession of sin and the humble awareness of one’s own fallibility. In recounting the lack of “love” and “strength of spirit” inherent to human beings, it becomes increasingly apparent that only Christ can warrant hope in the face of judgement, grant forgiveness, and bestow the “gladness” captured in the embellished arioso section.
The alto aria has a particularly distinctive style, characterised by pizzicato broken chords in the bass, a sparse layer of pizzicato strings, and the incessant sighing of the first violin (muted, in accordance with the marking of “col surdino” on the autograph score) to create a picture of despondency that equally expresses utter humility and pure, childlike trust. Where human power has been exhausted, the only hope remaining is that someone will carry the “weight of sin” (interpreted by Bach in a succession of sharp notes) – although this passage embodies comfort more as the remembrance of love than as keen relief. As the saints in late medieval altarpieces protectively present kneeling benefactors, Jesus must play the role of intercessor with the stern father. Here, the seemingly plain music reveals a topos of sorrow that materialises as a spiritual exercise of penitence. In particular, the word “depressed” is presented as a strong undertow, while the “fearful wavering” of steps is trapped in an indecisive circular movement. The length of the aria itself may also be interpreted as a reference to the duration of penance, which according to Luther’s first thesis on indulgence should span the entire lifetime of the faithful.
The following tenor recitative “My God, reject me not” relates a further aspect of penance with fervent contrition. In this imploring entreaty to withstand the test of God’s countenance, the Protestant doctrine of justification by faith is succinctly revealed: from the “faith both true and Christian” found in Jesus’ comfort, the good deeds of mercy must follow.
In keeping with Bach’s preferred type of cantata in Leipzig, a further aria, “God, thou who art love now called”, would be expected. But in fact, an instrumental prelude ensues, whose modular purposefulness and ostinato bass figure make it more akin to a ritornello of a figured closing chorale. The consonant duet passages for tenor and bass, resembling ornate hymn lines, also demonstrate a chorale-like character. Combined with the captivating timbre of love from the oboe, an insistent yet appealing song emerges that fluctuates between the humble search for fellowship and the desire for spiritual rapture.
After this bold, personal appeal to God, the closing verse of Konrad Hubert’s hymn, a doxological chorale to the praise of the Holy Trinity, offers a profound and equally objectified conclusion to a cantata that presents an individual’s chosen way of life, theology, doctrine and, finally, the church as the fruit of hopeful love found in true faith.