Text
Poet unknown

Text No. 1, 4, 9
Paul Gerhardt, 1647

First performance
Septuagesima Sunday,
28 January 1725

Composed for 28 February 1725, Cantata BWV 92 forms part of Bach’s chorale cantata cycle. Even by the standards of this largescale project, the cantata’s underlying chorale by Paul Gerhardt features particularly frequently and in various different forms throughout the libretto.

The introductory chorus is set in the key of B minor. Although the head motif is broody and contemplative, the oboes d’amore radiate a confident tone, engaging in a charming concertante exchange with the tutti ensemble. The ensuing musical dialogue between the orchestra and the choir, with the cantus firmus in the soprano voice, exudes a gentle tenor of rueful concession – Christians must learn to bear their share of the Saviour’s inheritance and are obliged to repeatedly renew their debt.

In the following recitative, the hymn melody is present from the outset in the continuo part; indeed, Bach specifically designates the melody as an intensely expressive musical layer (“chorale”). In this setting, the interplay of the chorale with the recitative text demonstrates with rare clarity that the recitatives of the chorale cantata cycles are in principle paraphrases of the Protestant hymns that, for their part, transformed the gospels into singable verse. The import of the text, illustrated by references to biblical figures such as Jonah and Peter, culminates in the home message that it is God’s will to save and give strength to those of true faith.

After this dense outline of the theological issue at hand, the desired explanation emerges in the tenor aria “Seht, seht, wie reißt, wie bricht, wie fällt, was Gottes starker Arm nicht hält” (Mark, mark! it snaps, it breaks, it falls, What God’s own mighty arm holds not). A veritable ocean storm at sea ensues: with a broken-chord ostinato figure underscoring a chain of short, buffeted phrases and gusting storm winds, the music spells out what lies in store for those out of favour with God. In the middle section, the long pedal notes represent the congregation that has gained strength from God’s power, ere the true enemy – Satan and his “Wüten, Rasen, Krachen” (fury, raving, raging) – is revealed and ultimately overcome. Through Bach’s consummate skill, this combative setting is rendered as a work of triumphant fortitude; an abbreviated da capo concludes this unexpectedly heroic movement.

In the next setting, the chorale forms the structure of the movement. Written in the style of an organ arrangement, the cantus firmus (alto voice) is embedded in a captivating trio of two oboes d’amore and continuo; the ornate elegance of the accompanying voices accentuates by way of contrast the clarity and pious simplicity of the chorale melody.

This inspires an energetic recitative in which the tenor resolves to reject anxiety and insecurity and instead embrace the trials of human existence. In this setting, the sighing figures of the closing phrase illustrate how Jesus’ humility in the face of his crucifixion can serve as a model for abandoning fear and prevailing under duress.

Accompanied solely by the continuo, the bass aria “Brausen von den rauhen Winden” (The raging of the winds so cruel) sustains this argument with vivid imagery, returning to the metaphors of the storm and force of nature to present a pacey and complex interpretation of the human path to salvation: good comes to bear only through struggle and resistance; indeed, it is the test of the cross that yields fruit in the Christian, and without these trials, there can be no joyous harvest or spiritual fulfilment. In this perpetuum mobile setting on existential concerns, the listener is implored to submit to the wisdom of God and to welcome the discipline of Christ’s teachings (“Kü.t seines Sohnes Hand, verehrt die treue Zucht” – Kiss ye his own Son’s hand, revere his faithful care).

The chorale then returns in the form of a four-part recitative set as a type of litany with interpolated verses. Upon hearing the opening chordal phrase, listeners could easily mistake the setting for the closing chorale, but because Bach breaks up the second line of each chorale quote with a florid figure originating in the bass part, it becomes clear that the setting is an additional artistic variation. The newly texted interpolations speak of the Saviour’s “Brudersinn” (brotherhood) and present a series of images of trust and beatitude. In doing so, a “neues Lied” (new refrain) is prepared for Jesus, the Prince of Peace; in the following aria, this song emerges as a tender soprano cantilena over pizzicato strings. In this direct encounter of the faithful soul and the Saviour, all worldly experience is forgotten to make way for a tender moment of mutual commitment, ere the delicate polonaise on trust in God culminates in a death-defying apotheosis of faith: “Amen, Vater nimm mich an!” (Amen, Father take me now!).

The closing chorale brings a return to the opening key of B minor and, by travelling over many a “Bahn und Steg” (road and path), is replete with moving imagery of life’s journey. After the various experiments on form and the chorale in the preceding movements, the simply declaimed prayer of this masterly unpretentious movement is most especially poignant.