First performance
22 September 1726, Leipzig

Librettist
Psalm 50, 23 (movement 1); Luke 17:15–16 (movement 4); Johann Gramann (movement 7); unknown poet (perhpas Herzog Ernst Ludwig v. Sachsen-Meiningen: movements 2, 3, 5, 6)

Cantata BWV 17 “Wer Dank opfert, der preiset mich” (Who thanks giveth, he praiseth me) also belongs to the two-part “Meiningen-style cantatas” that Bach composed in 1726. In contrast, however, to his otherwise rather sombre and melancholic compositions for the Fourteenth Sunday after Trinity (BWV 25 and 78), the theological focus of BWV 17 lies on the sacrifice of praise owed to God for his healing and comfort and thus embraces a music of brighter tones.

Set in the clear key of A major, the introductory chorus opens with an instrumental setting of interweaving oboe and violin parts over a quaver continuo line, ere a motet style emerges with the fugue-like entries of the choral voices. As the movement progresses, free counterpoint and brief interludes meld to realise a complete setting, whose unhurried length transforms a lifelong obligation to offer thanks (taken from Psalm 50) into an inviting prospect.

“Luft, Wasser, Firmament und Erden” (air, water, firmament and earth) – in the alto recitative, the whole of creation is called upon to witness God’s majesty. Through its balance of descriptive declamation and consoling contemplation, the movement aptly sets the stage for the touching vibrance of the soprano aria, “Herr, deine Güte reicht, so weit der Himmel ist” (Lord, thy goodwill extends as far as heaven is), a hymnic, inspiring text that no doubt would have captivated every baroque composer. And Bach was no exception. His setting, in a radiant E major key, indeed showcases both his skill and unique style: the entry of the soloist is preceded by an intense trio setting for two violins and continuo, which, when joined by the thematically equal soprano melody, evolves into a full quartet – the compositional form that in Telemann’s opinion constituted the true “touchstone” of musical art.

True to form, the second part of the cantata opens with a passage from the New Testament: the gospel on cleansing ten lepers. With exceptional artistry, Bach transforms this tenor recitative into a dramatic short story culminating in the exemplary expression of thanks offered by just one among the cured, a Samaritan – and it indeed seems to be that particular soul, ready to receive mercy, who, in the ensuing tenor aria, extols the wealth of favours bestowed. Featuring long echoing passages and a merrily circling bass figure, the dance-like movement is set in three sections in line with the form of the text. Because the head motive is unusually catchy, Bach scholar Hans-Joachim Schulze suggested it may stem from an – as yet undiscovered – popular folk tune; beneath the humble folkloric style there is certainly no shortage of musical confidence. Given the context of singing praises of thanks, perhaps no further explanation is required.

The themes of accepting the limits of human possibility and appreciating the liberating presence of mercy are further addressed in the bass recitative, a setting that interprets the healing mentioned in the gospel as a promise of future splendour. In contrast, the closing chorale “Wie sich ein Vatr erbarmet” (As hath a father mercy), is less a triumphant conclusion than a prayer pervaded by the burdens of life and premonitions of death; its text, the third stanza of the hymn “Nun lob, mein Seel, den Herren” (Johann Gramann, 1530), composed in 12-line stanzas, is of unusual length. In this recording, we have interspersed organ interludes throughout the setting – a delicate undertaking that can be understood as a reference to Bach’s introspective double-chorus treatment of the same text in the middle movement of the motet “Singet dem Herrn” BWV 225.