The chorus, now representing the disciples, express indignation. The imitative entries show unanimity amongst them, each part echoing the last in a fugal style.
4d |
Chorus 1 & 2 |
“Wozu dienet dieser Unrat? Dieses Wasser hätte mögen teuer verkauft und den Armen gegeben werden.” |
“To what purpose is this waste? For this ointment might have been sold for much and given to the poor.” |
The short chromatic motif below, which is used on the word begraben (burial) symbolises the cross. Appearing here for the first time, it is used by Bach like an operatic leitmotiv, and it will reappear at numerous times through the work.
|
4e |
Evangelist Jesus |
Da das Jesus merkete, sprach er zu ihnen: “Was bekümmert ihr das Weib? Sie hat ein gut Werk an mir getan. Ihr habet allezeit Armen 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.” |
When Jesus understood it, he said unto them: “Why trouble ye the woman? For she hath wrought a good work upon me. For ye have the poor always with you, but me ye have not always. For in that she hath poured this ointment on my body, she did it for my burial. Verily I say unto you, wheresoever this gospel shall be preached in the whole world, there shall also this, that this woman hath done, be told for a memorial of her.” |
The gentle cyclical undulating motif in the flutes, present throughout number 5, is suggestive of the tender pouring and flowing of the ointment. The countertenor speaks on behalf of the disciples and expresses remorse for their dissent. The music for number 6 is based heavily on the undulating motif. In number 6, the falling of teardrops (Tropfen) is illustrated with falling staccato arpeggios from the flutes. The music has the character, if not the structure, of a minuet, dance forms being prevalent in so much of Baroque music. As we will see through the work, the countertenor’s words nearly always take the form of a plaint or a lament.
5 |
Countertenor Arioso recitative |
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! |
Beloved Saviour, if your disciples so foolishly dispute that this devout woman wishes to prepare your body for the grave with ointment, so grant now that I may anoint your head with the waterfall of tears from my eyes. |
6 |
Countertenor |
Buß und Reu, knirscht das Sündenherz entzwei; daß die Tropfen meiner Zähren angenehme Spezerei, treuer Jesu, dir gebären. |
Penance and remorse break the sinful heart asunder, that my teardrops bring forth a sweet balm to you, sweet Jesus. |
The word verraten (betray) is set to a chord of C# major – the key with the highest possible number of sharps. This chord, which stands out vividly from the surrounding tonal landscape, reappears as a leitmotiv at various later points. Bach uses it to accompany words associated with treason, betrayal, capture and martyrdom.
7 |
Evangelist Judas Evangelist |
Da ging hin der Zwölfen einer mit Namen Judas Ischarioth zu den Hohenpriestern und sprach: “Was wollt ihr mir geben? Ich will ihn euch verraten.” Und sie boten ihm dreißig Silberlinge. Und von dem an suchte er Gelegenheit, daß er ihn verriete. |
Then one of the twelve, called Judas Iscariot, went unto the chief priests and said unto them: “What will ye give me and I will deliver him unto you?” And they covenanted with him for thirty pieces of silver. And from that time he sought opportunity to betray him. |
Commentary by Peter Parfitt © Aberdeen Bach Choir 2012
