The countertenor addresses the executioners. The orchestral writing for the strings has a constant snapping rhythm which puts us in mind of the lashes from a whip, whilst the tonal centre of the music is constantly shifting; in only twelve bars the music passes through ten different keys, in addition to which Bach uses a diminished chord on seven separate occasions. The aria which follows also has dotted rhythms as a main feature.
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51 |
Countertenor |
Erbarm es Gott! Hier steht der Heiland angebunden. O Geißelung, O Schläg, O Wunden! Ihr Henker, haltet ein! Erweichet euch der Seelen Schmerz, der Anblick solches Jammers nicht? Ach ja! Ihr habt ein Herz, das muß der Martersäule gleich und noch viel härter sein. Erbarmt euch, haltet ein! |
May God have mercy! The Saviour stands here chained. Oh, flagellation, Oh beatings, Oh wounds, Stop, you executioners! Do the pain of souls and the sight of such suffering not soften your hearts? Oh, yes! You have a heart, which must be like the martyr’s pillar and even harder. Have pity, stop! |
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52 |
Countertenor |
Können Tränen meiner Wangen nichts erlangen, O, so nehmt mein Herz hinein! Aber laßt es bei den Fluten, wenn die Wunden milde bluten, auch die Opferschale sein! |
If the tears of my cheeks can achieve nothing, Oh, then take my heart. But, among the floods of tears, let it be the sacrificial cup when your wounds softly bleed! |
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53a |
Evangelist Chorus Evangelist |
Da nahmen die Kriegsknechte des Landplfegers Jesum zu sich in das Richthaus und sammleten über ihn die ganze Schar und zogen ihn aus und legeten ihm einen Purpurmantel an und flochten eine dornene Krone und satzten sie auf sein Haupt und ein Rohr in seine rechte Hand und beugeten die Knie vor ihm und spotteten ihn und sprachen: “Gegrüßet, seist du, Jüdenkönig!” Und speieten ihn an und nahmen das Rohr und schlugen damit sein Haupt. |
Then the soldiers of the governor took Jesus in the common hall, and gathered unto him the whole band of soldiers. And they stripped him, and put on him a scarlet robe. And when they had platted a crown of thorns, they put it upon his head, and a reed in his right hand, and they bowed the knee before him, and mocked him, saying: “Hail, King of the Jews!” And they spit upon him, and took the reed, and smote him on the head. |
This, the fourth appearance of the Passion Chorale, reaches back to the last words spoken by the Evangelist – und schlugen damit sein Haupt (and smote him on his head) and is a meditation on the cruelty and flagellation to which Christ has been subjected. Bach places the melody in a very high register. The believers react to Christ’s humiliation by the musical elevation of this melody. The chorale melody both closes the previous scene and also prepares us for the crucifixion.
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54 |
Chorus |
O Haupt voll Blut und Wunden |
Oh head all bloodied and wounded, |
Twice in this movement Bach uses the musical figure which represents the cross. It comes in the continuo part when the Evangelist delivers the word kreuzigten (crucified) to a poignant falling melisma, and again in the continuo for the closing four notes of the movement.
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55 |
Evangelist |
Und da sie ihn verspottet hatten, zogen sie ihm den Mantel aus und zogen ihm seine Kleider an und führeten ihn hin, daß sie ihn kreuzigten. Und indem sie hinausgingen, funden sie einen Menschen von Kyrene mit Namen Simon; den zwungen sie, daß er ihm sien Kreuz trug. |
And after that they had mocked him, theytook the robe off from him, and put his own raiment on him, and led him away to crucify him. And as they came out, they found a man of Cyrene, Simon by name; him they compelled to bear his cross. |
Commentary by Peter Parfitt © Aberdeen Bach Choir 2012
