Here we have the first example of several where the music is laid out on two levels. The upper level consists of the tenor solo, accompanied by the woodwind of orchestra 1, whilst the lower level consists of the chorus and strings of orchestra 2. This arioso recitative with chorus reflects Christ’s sorrow. The palpitations of his anxious heart are depicted in the fast, repeating, nervous semiquavers in the continuo part. In between the exclamations from the tenor come the four, separated lines of a stanza from the chorale Herzliebster Jesu (see no 3). Here the disciples question what is about to happen, wanting to take Christ’s place. The anguish is displayed by the high tessitura of the tenor part, which is full of wide, jagged intervals. This contrasts with the music of the choir, which is subdued and at a low pitch. The final phrase of the chorale avoids cadential finality by merging into the throbbing bass line in a first inversion chord.
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Tenor Chorus Tenor Chorus Tenor Chorus Tenor |
O Schmerz! hier zittert das gequälte Herz; wie sinkt es hin, wie bleicht sein Angesicht! “Was ist die Ursach aller solcher Plagen?” Der Richter führt ihn vor Gericht. Da ist kein Trost, kein Helfer nicht. “Ach! Meine Sünden haben dich geschlagen.” Er leidet alle Höllenqualen, er soll vor fremden Raub bezahlen. “Ich, ach Herr Jesu, habe dies verschuldet, was du erduldet.” Ach! könnte meine Liebe dir, mein Heil, dein Zittern und dein Zagen vermindern oder helfen tragen, wie gerne blieb ich hier! |
O pain, here trembles the tormented heart. How it falls away, how his face becomes pale! “What is the cause of all these torments?” The judge leads him before the court. No comfort is there, nor any helper. “Ah! My sins are the cause of your suffering.” He suffers all the torments of hell; he is to pay for the sins of others. “I, O Lord Jesus, am to blame for what you have to endure.” Oh, if only my love could lessen your trembling, or help to bear your shaking, my Saviour, how gladly I remain here. |
This movement resumes the appeal made to the disciples to stay and watch. The determination of the tenor, the eager watchman, to watch with Christ is an open profession of faith. To watch with Christ, i.e. to profess one’s Christian faith, is the only way to achieve the remission and forgiveness of sins. This was one of the strongest of all Lutheran doctrines. The structure is the same as the previous recitative, the music being on two levels. The oboe announces the motif which becomes the watchman’s call, and, again, the emotionally charged music for the tenor is a contrast to the subdued music given to the chorus, which has the characteristics of a lullaby.
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Tenor Chorus Tenor Chorus Tenor Chorus |
Ich will bei meinem Jesu wachen. So schlafen unsre Sünden ein. Meinen Tod büßet seine Seelennot; Drum muß uns sein verdienstlich Leiden, recht bitter und doch süße sein. Ich will bei meinem Jesu wachen. So schlafen unsre Sünden ein. |
I will keep watch by my Jesus. So our sins will go to sleep. The distress of his soul atones for my death; Therefore his worthy suffering must be very bitter and yet sweet. I will keep watch by my Jesus. So our sins will go to sleep. |
Three times Jesus turns to his Heavenly Father in prayers of increasing fervour. This, the first of them, is simply set. Note the wide falling interval on the words fiel nieder (fell down).
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Evangelist Jesus |
Und ging hin ein wenig, fiel nieder auf sein Angesicht und betete und sprach: “Mein Vater, ist’s möglich, so gehe dieser Kelch von mir: doch nicht wie ich will, sondern wie du willt.” |
And he went a little further, and fell on his face, and prayed, saying: “O my Father, if it be possible, let this cup pass from me; nevertheless not as I will but as Thou wilt.” |
The falling arpeggio chords provide the image of Christ’s prostration. They persist throughout the movement save for one occasion, on the words “up to God’s grace”, when they symbolically change direction.
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Bass Arioso recit. |
Der Heiland fällt vor seinem Vater nieder; dadurch erhebt er sich 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. |
The Saviour falls down before his Father; in this way he elevates himself, and all of us from our downfall, back up to God’s grace. He is prepared to drink the goblet of death’s bitterness in which the sins of this world have been poured and which stink foully, because it pleases our dear God. |
Commentary by Peter Parfitt © Aberdeen Bach Choir 2012
