This final great chorus of Part 1 is an elaborate chorale fantasia and a meditation on the opening stanza of Heyden’s chorale of 1525, O Mensch Bewein dein’ Sünde groß (O man bewail thy grievous sins). As in the opening chorus, Bach makes much use of pedal points. The chorale melody is sung in augmented note values by the sopranos at the top of the texture – a technique Bach often used in his chorale preludes for organ. The fast semiquaver couplet motif heard throughout in the orchestra, and particularly in the closing few bars, represents the fearful disciples fleeing the scene and deserting Christ in order to save their own skins. The movement, and thus the first part, ends with a single suspended bass note – a low E and the note with which the work began – symbolising Christ left all alone.
29 |
Chorus |
O Mensch, bewein dein’ Sünde groß, |
Oh mankind, weep for your great sin |
Part 2
As with Part 1, Part 2 also begins with a dialogue, this time in arioso recitative between the countertenor and the choir. This is an allegorical dialogue between the chorus of faithful believers and the daughter of Zion, represented here by the countertenor. The question asked by the choir remains unanswered and, without this answer, the music refuses to return to the tonic key, the movement ending with a suspended imperfect cadence.
30 |
Countertenor Chorus Countertenor Chorus Countertenor Chorus Countertenor |
Ach! Nun ist mein Jesus hin! Wo ist denn dein Freund hingegangen, Ist es möglich, kann ich schauen? Wo hat sich dein Freund hingewandt? Ach! Mein Lamm in Tigerklauen. So wollen wir mit dir ihn suchen. Ach! Was soll ich der Seele sagen, wenn sie mich wird ängstlich fragen? Ach! Wo ist mein Jesus hin? |
Ah! Now my Jesus has gone! Where has your friend gone, Is it possible, can I look? Where has your friend gone? Ah! my lamb in tiger’s claws. We will look for him with you. Ah! what shall I say to my soul if it should anxiously ask me? Ah! where has my Jesus gone? |
This recitative immediately provides the missing answer to the question asked by the faithful believers in number 30, and the harmony is immediately resolved back to the tonic key.
31 |
Evangelist |
Die aber Jesum gegriffen hatte, führeten ihn zu dem Hohenpriester Kaiphas, dahin die Schriftgelehrten und Ältesten sich versammlet hatten. Petrus aber folgete ihm nach von ferne bis in den Palast des Hohenpriesters und ging hinein und satzte sich bei die Knechte, auf daß er sähe, wo es hinaus wollte. Die Hohenpriester aber und Ältesten und der ganze Rat suchten falsche Zeugnis wider Jesum, auf daß sie ihn töteten, und funden keines. |
And they that had laid hold on Jesus led him away to Caiaphas the High Priest where the scribes and the elders were assembled. But Peter followed him afar off unto the High Priest’s palace, and went in, and sat with the servants, to see the end. Now the chief priests, and elders, and all the council, sought false witness against Jesus, to put him to death, but found none. |
This chorale is the fifth stanza of the hymn In dich hab ich gehoffet, written in 1533 by Adam Revsner. The consecutive diminished chords on the word Lügen (lies) are notable. For the second part, which is in essence a gentle prayer, Bach retreats into much more settled and conventional harmony.
32 |
Chorus |
Mir hat die Welt trüglich gerichtet |
The world has deceived me |
Commentary by Peter Parfitt © Aberdeen Bach Choir 2012
