The Duet As Metaphor in Selected Sacred Cantatas by J. S. Bach Greer

Embracing Faith: The Duet as Metaphor in Selected Sacred Cantatas by J. S.
Bach
Author(s): Mary Greer
Source: Bach, Vol. 34, No. 1 (2003), pp. 1-71
Published by: Riemenschneider Bach Institute
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Embracing Faith:
The Duet as Metaphor in Selected

Sacred Cantatas by J. S. Bach1
MaryGreer
I.
is well knownthatthedialoguesbetweentheSoul and Jesusin

Cantatas21, 32, 49, 57, 140, 145, 152, and 172 areallegoriesof
It thebeliever'squest forgreaterfaith.2In mypaperI proposethat
the allegoricalrepresentationof the processof acquiringfaithis not
limited to settings of dialogue texts, but is also central to
approximately thirtycantatasthatcontainduets.3Bach graspedthe
metaphoricalpotentialaffordedby the inherentcontrastbetween
two-voicesettingsand solo movementsand employedthe broader
paletteof texturalcombinationsofferedby two-voiceformat4as a
meansof projectingdifferent stagesin thebeliever'ssearchforfaith.
Cantatasin whichduetformatappearsto playa metaphoricalroleare
listedin Table 1:
1This version
paperisa revised atthe2002American
ofonedelivered BachSociety
meetinginHouston.
InCantata172thesoloists theSoulandtheHolySpirit.
represent
I employtheterm whenreferring
"duet" tomovements inwhich thetwosoloists
singthesametextthroughout,asopposedtodialogues,inwhich theydo not.
include
Thesepossibilities similar melodic
ordissimilar alternation,
lines, imitation,
motion,
parallel andarriving at cadences,
simultaneously ornot.Theterms that
JosephKerman employstocharacterize
the of
interrelationship soloist
and in
tutti
concertos,
"polarity," and"coalesce,"
"reciprocity," arealsousefulinthecontext
of
andduets( Kerman,
dialogues Concerto
Conversations
[Cambridge, MA:Harvard U.
Press,
1999]).

2 Bach
Table 1. Cantataswitha Duet CloselyAssociated

withFaith
BWV Title Occasion

3 AchGott,wiemanchesHerzeleid 2.p.Epiphany
9 Es istdas Heil unskommen
her 6.p.Trinity
28 Gottlob!nungehtdasJahrzu Ende 1.p.Xmas
33 Alleinzu dir,HerrJesuChrist 13.p.Trinity
36 Schwingt euchempor
freudig 1.Advent
37 Werda glaubetundgetauft
wird Ascension
59 Wermichliebet,derwirdmeinWort Pentecost
halten
80 Ein festeBurgistunserGott Reformation

80a Alles,wasvonGottgeboren Oculi
91 Gelobetseistdu,JesuChrist ChristmasDay
113 HerrJesuChrist,
du höchstes
Gut 11.p.Trinity
120a HerrGott,Beherrscher
allerDinge wedding
122 Das neugeborne
Kindelein* 1.p.Xmas
124 MeinenJesumlaß ichnicht l.p.Epiphany
125 MitFriedundFreudichfahrdahin Purification
136 Erforsche
mich,Gott,underfahre 8.p.Trinity
meinHerz
154 Meinliebster
Jesusistverloren 1.p.Epiphany
155 MeinGott,wielang,achlange? 2.p.Epiphany
157 Ichlassedichnicht,du segnest
mich funeral
(after
denn! 1750:
Purification)
159 Sehet,wirgehnhinaufgenJerusalem Estomihi

Duet as Metaphor in Sacred Cantatas 3
162 Ach!ichsehe,itzt,da ichzurHochzeit 20.p.Trinity

gehe
163 Nurjedemdas Seine! 23.p.Trinity
173 FleischundBlut
Erhöhtes 2.Pentecost
186 Argredich,о Seele,nicht 7.p.Trinity
186a Argredich,о Seele,nicht 3.Advent
190 SingetdemHerrneinneuesLied NewYear's/
Circumcision
194 Höchsterwünschtes
Freudenfest of
Consecration
Störmthal
church& organ
248/IH Herrscher erhöre

desHimmels, das 3.Xmas
Lallen
248/V Ehreseidir,Gott,gesungen* l.p.NewYear's
* indicates
a cantatawitha terzet
The premisethatthe twenty-nine cantataslistedin Table 1 maybe

construed,as leastin part,as allegoriesof faithis supportedby:
1. Sharedtraitsofduetsand dialoguesbetweentheSoul andJesus

(or, in thecase of BWV 172/5,theHoly Spirit);
to "Glaube" ("belief'or "faith")or a cognatein one

2. References
or moremovementsof thecantata
ofMartinLuther(1483-1 546) and two

3. Biblicalcommentaries
prominent seventeenth-century Lutheran theologians,
AbrahamCalov (1612-1686) andJohannesOlearius(161 1-
5
1684).
5Overthecourse anextensive
Bachassembled
ofhislifetime personal of
collection
works
theological byLuther andother Lutheran
prominent He owned
theologians.
twofullsetsofLuther's aswellas Calov'sedition
writings oftheBible(Wittenberg,
1681-1682), whichquotes from
extensively Luther's Bach'spersonal
commentaries.
annotatedcopyof theCalovBiblehassurvived housedat the
andis presently

4 Bach
In Bach's cantatas,allegoricalrepresentationsof the believer's

questforgreaterfaithgenerallyfallbetweenone of twopoles,one of
whichplacesgreaterweighton perceptiblespiritualgrowth,and the
otheron the ongoing natureof the process.The dual elementsof
progressand processare presentin nearlyall of the cantatasunder
consideration,but in varyingdegrees.There is a clear spiritual
progression fromweak faithto strengthened faithoverthecourseof
Cantatas32 and 154. In "LiebsterJesu,meinVerlangen"(BWV 32),
which is conceived as a dialogue between the Soul and Jesus
throughout, the sopranosoloistrepresenting the Soul expressesher
longing to be united with Jesus in faith in one or more solo
movements.Near theend of theworkthetwofigurescelebratetheir
union in a spiriteddialogue duet, "Nun verschwinden alle Plagen"
("All torments now in
vanish"). Similarly, "Mein liebsterJesusist
verloren"(BWV 154), which has no dialogue movements,the
speaker'sanxiousquestforfaithculminatesin thejoyfulduet,"Wohl
mir,Jesusistgefunden"("Happy am I, Jesusis found"),whichplays
an analogousroleto thedialoguein Cantata32. In bothworkssolo
movementsare associatedwithfaithactivelysoughtand weak faith
tested,whilethejoyfuldialogueorduetthatimmediately precedesthe
closing choraleconnotes strong faith.
The metaphoricalrepresentationof the believer's spiritual

formin Cantata 140, which has two
pilgrimagetakes a different
dialogues with sharplycontrastingaffects.In the firstdialogue
(movementthree),in which the Soul and Jesusare separatedand
express their yearning to be united, the two voices are not
synchronizedand never arrive at cadences simultaneously(see
examplel).6
ConcordiaSeminary Libraryin St.Louis,Missouri.

He alsopossessed
Johannes
Olearius's
erudite
BiblischeErklärung("Biblical or Explanation,"
Interpretation
1678-81).Therecanbelittle
Leipzig, doubtthatBachturned tothesewriters
for
ashecomposed
guidance church cantatas
ona weeklybasisinLeipzig in
beginning
themiddleof1723,andperhaps inWeimar aswell.
6Thiscorresponds
towhatKerman terms inhischaracterization
"polarity" ofthe
of and
soloist
interrelationship in
orchestra concertos.

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6 Bach
In the second dialogue (movement6), in which the two figures

expresstheirmutualjoy at being united,the two partsproceed in
imitation,invertiblecounterpoint,or parallelmotion,and always
come togetherat cadences(see example2)7
The textsof the dialogueariasin "Ich hatteviel Bekümmernis"

(BWV 21) and "Erschallet,ihr Lieder" (BWV 172) imply that a
spiritualprogressionhas occurredoverthecourseof the movement,
but Bach's musicalsettingsalso highlighttheongoingnatureof the
processofacquiringfaith.In theextended"A" sectionofBWV IMS ,
a dialoguebetweentheSoul andJesus,theSoul expressesheryearning
forJesusand is beset by recurringdoubts,while the affectof the
abbreviated"B" section,whichcomprisesonlythe two finallinesof
text,is joyfuland animated:
Figure1. "Komm,meinJesu,underquicke" (BWV2'I%)
Soul
Dialogue: (S), Jesus(В)
"А": "А":
Komm, meinJesu, underquicke Come,myJesus andrefresh
Ja,ichkomme underquicke Yes,I comeandrefresh
Underfreu mitdeinemBlicke! Anddelight withyourglance!
Dichmitmeinem Gnadenblicke. Youwithmyglance ofgrace.
DieseSeele, Thissoul,
DeineSeele, Yoursoul,
Diesollsterben Itshallperish
Diesollleben Itshalllive
Undnicht leben, Andnotlive,
Undnicht sterben, Andnotperish,
Undinihrer Unglückshöhle Andinitscavern ofmisfortune
Hierausdieser Wunden Höhle Herefrom thiscavern
ofafflictions
Ganzverderben. Completely go toruin.
Solltduerben Youshallinherit
Ichmußstets inKummer I must everhover insorrow,
schweben, Salvationthrough thisnectar
of
Heildurch diesen
SaftderReben, grapes,
Ja,achja,ichbinverloren, Yes,ahyes,I amlost,
Nein,achnein,dubisterkoren, No,ahno,youarechosen,
Nein,achnein,duhassest mich. No,ahno,youhateme.
Ja,achja,ichliebedich. Yes,ahyes,I loveyou.
7InKerman's
parlance, and"coalesce".
"reciprocity"

"B": "B":
durchsüße
Ach,Jesu, Ah,Jesus,sweeten
mirSeeleundHerze! myspiritandheart!
ihrSorgen,
Entweichet, Flee,youtroubles,
duSchmerze!
verschwinde, yousorrows!
vanish,
Bach signalsthe shiftin mood fromlongingand doubt to joy by

changingfromtheprevailing 4/4 meterto 3/8at thewords"Ach,Jesu,
durchsüße mir Seele und Herze! / Entweichet, ihr Sorgen,
verschwinde,du Schmerze!" However, rather than ending the
movementon this spiritednote, which would have connoted the
joyfulculminationof a spiritualpilgrimage,he reintroducesthe
beginningof the"A" section,therebyimplyingthatfaithis a process
thatis constantlybeingchallengedand renewed.
The text of the fifthmovementof Cantata 172, a dialogue

between the Soul and the Holy Spirit,also expressesa spiritual
evolution.At thestartof thedialoguetheSoul impatientlyexpresses
her desireforfaith,and at the end she joyfullywelcomesthe Holy
Spiritinto her heart.The textconsistsof threestropheswith the
rhymeschemeABAB:
Figure2. "Komm,laß michnichtlängerwarten"(BWV172/5)

Dialogue:Soul (S), HolySpirit(A)
Soprano:
1: Komm, laßmichnicht warten, Come,letmewaitnolonger,
länger
Komm, dusanfterHimmelswind, Come,thougentle ofheaven,
breeze
Wehedurch denHerzensgarten! Waftthrough thegarden ofmyheart!
Alto:
Icherquickedich,meinKind. I shallrefreshyou,mychild.
Soprano:
Liebe,diesosüße,
2: Liebste Dearest, sweetest love,
AllerWollustÜberfluß, Joy'sabundant store
Ichvergeh,wennichdichmisse. I shalldieifI do nothaveThee.
Alto:
NimmvonmirdenGnadenkuß. Takefrom methekissofgrace.
Soprano:
3: SeiimGlauben mirwillkommen, I bidTheewelcome infaith,
Höchste Liebe,komm herein! Mostprecious love,enterin!
Du hastmirdasHerzgenommen. Thouhasttaken myheart fromme.
Alto:
Ichbindein,unddubistmein! I amyours, andyouaremine!

8 Bach
While severalaspectsof Bach's musicalsettingmirrorthe spiritual

transformation conveyedby the text,othersemphasizethe ongoing
natureofthesearchforgreaterfaith.Bymakingthesettingofthethird
strophequalitativelydifferentfromthat of the first,and in his
treatment of cadences in the thirdsectionof the movement,Bach
reinforcestheelementofspiritualgrowth.At timesthevocal linesin
the third section border on rapture,heighteningthe overall
impressionof progressfroma stateof yearningto one of joy. In
addition,in keepingwiththeHoly Spirit'saffirmation, "I am yours,
and you aremine,"thetwovoicescome together at cadencestwicein
thetwentymeasuresdevotedto thethirdstrophe,in measure39, on
theminordominant,and at theend ofthefinalvocalphrase(measure
45), on the tonic. In the firstinstancethe two voices are an octave
apart,and at thefinalcadence,as RenateSteigerhaspointedout in her
illuminating articleon the theologicalbackgroundof Cantata 172,
they come togetheron a unisonforthefirsttime.8
However,threeotherelementsof Bach's settingplace greater

emphasison the ongoing process of acquiringstrongfaith.The
Pentecosthymn,"Komm heiligerGeist,HerreGott" ("Come Holy
Spirit,Lord God") runsthroughout themovementin twoforms:as a
highly ornamented cantus firmus playedbyan oboe or therighthand
of the organ,9and in the basso ostinatofigure,whose top notesare
derivedfromtheopeningphraseofthehymn.The successivephrases
of the chorale melody and the repeatedstatementsof the basso
ostinatoare surelyintendedto serveas remindersof the on-going
natureof thestruggleforstrongfaith.
Furthermore, Bach rearrangestheorderofthe"Soul's" threelines

oftextin thefinalstrophe.She initially
presentsthemin thesequence
prescribedby the poet:
Johann
8"'Gnadengegenwarť: Sebastian
BachsPfingstkantate
BWV172'Erschallet,
ihrLieder, ihr
erklinget, Saiten!'"
DieQuellen Sebastian
Johann Bachs
Bachs: Musikim
Gottesdienst.
Bericht
überdasSymposium4.-8.Oktober1995inderInternationalen
Bachakademie Mantius
Heidelberg:
Stuttgart. 1998,15-57,48.
Verlag,
Bachinitially thecantus
assigned toanoboe(d'amore?),
firmus totheright-
andlater
handpartoftheorgan.

Soul
1 Sei imGlaubenmirwillkommen,
2 HöchsteLiebe,kommherein!
3 Du hastmirdas Herzgenommen.
but,in thecourseofthemovement,almostimperceptibly,Bach shifts

theorderofthelinesso that,neartheend,herphrasesbeginwiththe
thirdline ratherthanthefirstone:10
Soul (Soprano)
3 Du hastmirdas Herzgenommen.
1 Sei imGlaubenmirwillkommen,
2 HöchsteLiebe,kommherein!
On theone hand,thissubtlechangepermitsthetwovocal parts

to end on the rhymingwords "herein"and "dein," enhancingthe
senseof unityachievedby theallegoricalfiguresof theSoul and the
Holy Spiritat theend ofthemovement.A further consequenceofthe
reordering of the lines is that the soprano closes with a renewed
invocationof theHoly Spirit:"kommherein!"This both recallsher
openingphrase,"Komm,laß michnichtlangerwarten,"and provides
a linkto thefirst
lineoftheclosingchorale,"Von Gottkömmtmirein
Freudenschein," and,liketherecurring referencesto "Komm heiliger
Geist,"highlights theongoingnatureof thequest forfaith.11
Bach's seeminglyanomaloussettingof an earlierpassagein this

dialogue not only atteststo the subtletyof his treatmentof vocal
texture- the ways in which the two voices interrelate - but also
stronglysuggeststhat he consciouslyemployedvocal texturefor
metaphoricalends, a topic I pursue at greaterlengthlaterin this
article. As I mentioned above, the soprano and alto arrive
simultaneously at a cadenceon theoctaveor theunisonin measures
39 and 45, whichfall,respectively,
two-thirdsofthewaythroughthe
settingof the finalstropheand at the end of it. These two pointsof
inmeasure
10Beginning 37,Bachalsoinverts
theorder
ofthetwoclauses
ofthealto's
final from
phrase, "Ichbindein,
unddubistmein!"to"Dubistmein
undichbindein!"
1 discusses
thetheological oftherepetitions
oftheinvocation,
Steiger significance
"komm" inherarticle
onCantata 172,p. 29ff.

io Bach
conjunctionarenot unexpectedin lightoftheprogression

in thetext
alludedto above.
However,the two voices arrivesimultaneously

on a cadence on
the tonic much earlierin the movement,in measure21, midway
throughthesettingof thesecondstrophe:
Example3. BWV 172/5,mm.19-22
Furthermore, thisis theonlypassagein themovementin which

thetwovoicesproceedin parallelmotionfortwo fullmeasures.12
Highlighting and intensifyingan emotionally(and erotically)
charged
sectionof textby settingit in parallelmotionis hardlyunusualand
12The
twovoices inparallel
proceed motion inthemelodically
briefly static
measure
tothesoprano
6,whenthealtoresponds forthefirst
time.

Duet as Metaphor in Sacred Cantatas il
followsin a long traditionof sacredand seculardialoguesbetween

lovers:
Soprano:LiebsteLiebe,dieso süße,alleWollustUberfluß ...

(Dearest, sweetest
love,Joy'sabundant store
. . .)
Alto: NimmvonmirdenGnadenkuß.
(Takefrommethekissofgrace.)
However,froma formalstandpoint,thisisolatedpassagein parallel

motionappearsincongruous,particularly in viewof thefactthatthe
twovoicesneverproceedin parallelmotionin thethirdsection,when
in keepingwiththecontentofthetext:and in line
itwould be entirely
withBach's practicein otherdialogues.13
Soprano: Du hasmirdas Herzgenommen

(Thou hasttakenmyheartfromme)
Alto: Ich bindein,unddu bistmein.
(I amyours,andyouaremine.)
I proposethatBach's decisionto setthisparticularpassage- and

none of the surroundingones- in parallelmotion,and to have the
two voices arrivesimultaneously on the tonic halfway throughthe
sectionof text(in the middleof measure21) was promptedby the
imageof the faithful heart("deinergläubigenHerz") mentionedin
the thirdphraseof the choralethatsounds in the instrumental line
preciselyat thispoint.At leastin thecontext of thismovement, Bach
- -
apparentlyassociateda specificvocal texture parallelmotion and
thesimultaneousarrivalat a cadence(at an unlikelystructuralpoint)
withtheconceptof faith.
13As inBWV152/6,
a pointofcomparison, a dialogue
betweentheSoulandJesus
that offaith,
isalsoanallegory thetwovoices
proceedinparallel
motion onlyoncein
theentiremovement, inthetwofinal
measuresofthevocalsection.

12 Bach
Parallels Between Dialogues and Duets
Sharedfeatures of thetextsofdialoguesand duets,similarities in

Bach's settingsof thesetwo groupsof texts,and thehighproportion
of dialogues and cantatas with duets associated with the same
liturgicaloccasionsattestto theirunderlying affinity.Cantataswith
dialogues between the Soul and Jesusand ones with duets thatwere
intendedforthesame liturgicaloccasionare listedin Table 2. Two-
thirdsof theworksthatcontainone or moredialoguesareassociated
with four major church seasons: Christmas,Epiphany,Easter or
Pentecost.It is tellingthatBach composeda cantatawitha dialogue
and at leastone witha duet forthe Sundaysimmediatelyfollowing
Christmas, New Year's,and Epiphany,respectively, forthethirdday
of Easter, and for Pentecost;this practicestronglysuggeststhat
whateverpromptedthelibrettist to casta textas a dialoguein most
cases the content of the assigned Gospel or Epistle reading or
commentaries on them- also promptedBach to setcertaintextsfor
twovoices.
ImageryCommonto Cantatas
With Dialogues and Duets
The factthatthetextsofdialoguesbetweentheSoul andJesusand

many cantatas with duets often draw upon the same body of
metaphoricallanguage constitutesa furtherlink between them.
Shulamith'ssearchforherloverdepictedin theSong ofSolomon and
theparableoftheroyalweddingfeastrecountedin thetwenty-second
chapter of Matthew are among the themes that figure most
prominentlyin cantataswith dialoguesand duets. Expressionsof
longingforthe absentbeloved,belongingto each other,not being
partedfromeach other,and embracingor holdingJesustightarealso
recurringelements in both groups of cantatas (please see the
Appendix).

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Duet as Metaphor in Sacred Cantatas i5
The centralimportanceof the Song of Solomon as a sourceof

imageryforseventeenth- and eighteenth-century dialoguesbetween
the Soul and Jesus has been pointed out by several authors.14
However,itssignificance forBach's sacredcantatas,specifically
those
withduets,has been underappreciated. In his Germantranslation of
the Song of Solomon publishedin 1545, Lutherequates the love
betweenSolomon and Shulamitewithspirituallove,writingin the
marginbychapter8:6 ("Love is strongas death;jealousyis cruelas the
grave:thecoals thereofarecoals offire,whichhatha mostvehement
flame"),thefollowingnote:15
(Flame)Hereoneseesthatin thissongSolomonis singing about

love
spiritual thatGod givesand also manifests
in all of his
blessings.
(Flamme)Hie sihetmanwol das Salomoin diesemLiedevon

Liebesinget
geistlicher /dieGottgibt/undunsaucherzeigt
inalle
seinenwolthaten.
In hiscommentary on chapter6: 1, whichreads,"My belovedhas

gone down to his garden,to thebeds ofspices,to pasturehis flockin
thegardens,and to gatherlilies"("Mein Freundisthinabgegangenin
seinen Garten,zu den Würtzgärtlein, daß er sich weide unterden
Garten,und Rosen breche"), Calov citesa New Testamentverse,
Matthew18:20: "Iftwoofyouagreeon earthaboutanything youask,
itwillbe done foryoubymyFatherin heaven.Forwheretwoor three
14See
Wolfgang Herbst,"JohannSebastian
BachunddieLutherische
Mystik,"Ph.D.
diss.,Friedrich-Alexander-Universität,
Erlangen,1958;Hans-Olaf Hudemann,
"Die protestantsicheDialogkompositionim 17. Jahrhundert," Inaugural-
Christian-Albrecht-Universität
Dissertation, zu Kiel,1941( DruckFreiburg im
Breisgau);JonahClarenceKliewer, "The GermanSacredDialoguesof the
Seventeenth Century,."Ph.D. diss., USC, 1970 and Die protestantische
in
Dialogkomposition Deutschland
zwischen
HeinrichSchützundJohann Sebastian
Bach:Einestilkritische
Studie.
Kirchenmusikalische 2. Habilitation,
Studien, Leipzig
1995);andMichael
(Köln:Studio, Märker,"DieTraditiondesJesus-Seele-Dialoges
undihrEinfluß aufdasWerkBachs," inBeiträge
zurBach-Forschung9/10(1991),
235-41.
15MartinLuther,marginnoteinBibliaGermanica HansLufft,
(Wittenberg: 1545),
349verso.

16 Bach
aregatheredin myname,I am thereamongthem."He explains,16
to thelittlespicegardens/ (thesearethespecialcongregations,
smallincomparison tothechurch asa whole;wheretwoorthree
are
gatheredinhisnameandenterintohisdeargardenofpleasure and
spices,whichhe hasprepared through wordandsacrament as his
joyfulGarden-littlebed, and wandersin the midstof them.)
[emphasis added]
zu denWürtzgärtlein/ (alsda sinddie sonderbarenGemeinen/

kleingegendieallgemeineKirche;denneristbeyallenundjeden
ungetrennet/ undungeschieden / woauchnurzweyoderdreyin
seinemNamenversamlet seynI undhältsievorseineliebliche
Lust-
undWürtzgärtlein /welcheerihmdurchsWortundSacramenta
zu seinenlustigen
Garten-Bettlein hat/ undwandelt
zugerichtet
mittenunterdenselben
.)
The followingverse,Song ofSolomon 6:2, reads,"I am mybeloved's

and mybelovedis mine"("Mein Freundistmeinund ich bin seyn")
which seventeenth-and eighteenth-century Lutheran writers
construedas an allegoricalrepresentation of thejoiningof the Soul
and Jesusin faith.It is well establishedthatthisis the underlying
themeof dialoguesbetweenthe Soul and Jesus;I suggestthatit is
centralto manyduetsas well.
Calov's citationof Matthew 18:20 ("Where two or threeare

gatheredtogether") in thecontextofhiscommentary on theSong of
Solomon lends credenceto the propositionthat Bach mighthave
adoptedtwo-or three-voice formatin associationwiththeallegorical
representation of faith. It is telling that in "Am Abend aber
desselbigen Sabbats" ( BWV 42), where Matthew 18:20 is quoted
verbatimin thethirdmovement, "Wo zweiund dreiversammlet sind/
In JesuteuremNamen, Da stelltsichJesusmittenein / Und spricht
darzudas Amen,"Bach setsthechoraleversethatfollows,"Verzage
nicht,о Häufleinkein"("Do notdespair,О littleflock"),as a duetfor
soprano and tenor.The sheer presenceof two choristerssinging
16Calov,ed.,Die Bibelnach
S.HerrnD. Martini ,3 vols.(Wittenberg:
Lutheri
heilige
Christian 1681-82),1:1181(boldfaceforbiblical
Schrödter, text,regular
typefor
Calov'scommentary).

togetherin thecontextof a worshipservice,whichwould appearto

meet the condition of the firstclause- "where two or threeare
-
gatheredin my name" seems therebyto affirmthe reassuring
messageof thesecond: "I am thereamong them."
In manyof Bach's sacredcantataswithduets,imageryfromthe

Song of Solomon, wedding imagery,and expressionsof mutual
belonging,all of which are closelyassociatedin dialogueswith the
unionoftheSoul andJesusin faith,oftenappearin combinationwith
references to "Glaube" ("belief'or "faith").As Table 3 indicates,the
textsofovertwentycantataswithduetscontainone or morementions
of theword"Glaube." In ninecantatasthereis a reference to faithin
thetextoftheduetitself.In at leasttwelveinstancesthereisan allusion
to believingin themovementthatcomesjustbeforea duetand which
setsthestageforit. For instance,thebass recitative thatimmediately
precedestheduetin Cantata 136 explicitly refersto beingunitedwith
Jesusthroughfaith:"werdurchJesuBlutgereinigt, /Im Glaubensich
mitihmvereinig ("he who is cleansedthroughtheblood ofJesus/
And unitedwithHim throughfaith")which,as notedabove,was a
centralthemeof dialoguesbetweenthe Soul and Jesus.In BWV 80
and 80a, 125, and 154, thereisa furtherallusionto "belief'in theduet
itself.Six cantatas,BWV 3, 9, 113, 122,17155, and 157, containan
additionalreference to believingin the movementthatimmediately
followstheduet,and whichrespondsdirectlyto it. The factthatthe
word"Glaube" occursmostfrequently in themovementprecedinga
duet or in the duet itself,lends supportto the premisethat Bach
employed two-voice format in association with the allegorical
representation of thequest forfaith.
17BWV122/4isa terzet.

18 Bach
to "Glaube"in Cantataswitha Duet

Table3. References
Cantata Earlier Mvt. Duet Mvt. Later
No. Mvt. Immediately ImmediatelyMvt.
Preceding Following
Duet Duet
3 X X
9 X X X X
28 X
33 X
36 X
37 X X (wedding X X
imagery)
59 NA X
80/80a X X
ИЗ X X
122 X X
124 X
125 X X
136 X
154 X X
155 X X
157 NA X
162 X X
173 X
186 X X
190 X
248/IH X
NA= NotApplicable

Duet as Metaphor in Sacred Cantatas i9
The wordplaythat is a hallmarkof dialogues betweenlovers,

includingtheinterchangeableuseofthepersonalpronouns"mir"and
"dir,"and "mich" and "dich" is also a featureof severalduets.The
of "mir"and "dir"in thefifthmovementof Cantata 163, a
interplay
duet for soprano and alto, resembles the treatmentof the
complementary personalpronounsin the second dialogue between
theSoul and Jesusin Cantata 140:
Figure3. В WV163/5andВ WV140/6
BWV 163/5Duet: BWV 140/6Dialogue:

Soprano,Alto Soul (Soprano),Jesus(Bass)
Nimm, mitmir , Soul: MeinFreundistmein,

Undgibmichdir, Jesus: Und ichbinsein,
NimmmichmirundmeinemWillen,Both: Die Liebesollnichts
DeinenWillenzu erfüllen; scheiden.
Gib dichmirmitdeinerGüte, Soul: 1 Ichwillmitdir
Daß meinHerzundmeinGemüte Jesus: J Du sollst
mitmir
In dirbleibefürundfür, Both: inHimmels Rosenweiden,
Nimmmitmir,
Undgibmichdir!
Takeme,
Andmakemeyours! Soul: My friend is mine.
Takemeandmywill, Jesus: And I am his.
To fulfill
yourwill; Both: Nothingshallseparate
Giveyourself
to mewithyour love.
goodness, Soul: ì I willwithyou.
So thatmyheartandmyspirit Jesus:J You shallwithme
Mayabideinyouevermore, Both: feedamongheaven's roses,
Take me Therefullness ofjoy,there
Andmakemeyours! rapture shallbe.
Furthermore, althoughthesopranoand alto singidenticalwordsin

"Nimmmitmir,und gib michdir"{BWV 163/5),thevocal textureis
equallysuitedto a settingof a truedialogue:

20 Bach
>
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s
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'5b
-a
С
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S3
II
g
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^ 40
rH
<u^
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&

Both the syntaxand Bach's settingof the text contributeto the

blurringof thelinesbetweenthegenresof duet and dialogue.
The factthatat leasttwosacredduets,"Wir dankenund preisen

dein brünstigesLieben" ("We thankand praiseyourferventlove")
from Cantata 134 (see Fig. 4), and "Herr, dein Mitleid, dein
Erbarmen"("Lord,Thy compassion,Thy mercy")fromthethirdpart
oftheChristmas Oratorio(see Fig. 5), areparodiesofmovementsthat
were initiallyconceivedas dialogues,underscoresthe fundamental
equivalenceofcertainduetsand dialogues.Bach's decisionto employ
thedialogue betweenHerculesand Virtue(BWV 213/11) in which
theyjoyfullyexclaim,"Ich bin deine /Du bistmeine"("I am yours/
You are mine") as the basis fora duet based on a singletext,"Herr,
dein Mitleid,dein Erbarmen,"atteststo theirunderlying affinity.

22 Bach
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24 Bach
Furthermore, in the alto aria thatfollows"Herr,dein Mitleid"

(afteran interveningrecitative),the speakerexplicitlyrefersto the
strengtheningof faith:
meinHerze,diesseligeWunder"(2?WV248/III/31)
Figure6. "Schließe,
8. (31)AriaAlto 8 (31).Aria
meinHerze,
Schließe, diesselige
Wunder Enclose,myheart, miracle
thisblessèd
Festindeinem ein!
Glauben Fastwithinyourfaith!
LassediesWunder, Letthismiracle
diegöttlichen
Werke, ofdivine
works
Immer zurStärke Everstrengthen
Deinesschwachen
Glaubenssein! Yourfeeblefaith!
II.
The nextsectionof thispaper is devotedto a discussionof five

duets,BWV 154/7,9/5, 157/1,59/1,and 173/4,thatexemplify the
premise thatBach employed two-voiceformat to the
embody concept
ofincreasingfaith.I discussCantata 154 in conjunctionwithCantata
32, a dialoguebetweentheSoul and Jesus,in orderto demonstrate
thattheduetin Cantata 154 and thedialogueariain Cantata32 not
only occupy the same positionwithinthe overallstructureof the
respectiveworks,but also playan analogousmetaphoricalrole.
Comparisonof Cantatas 32 and 154
As a juxtapositionofthetextsof"LiebsterJesu,meinVerlangen"
{BWV 32) and "Mein liebsterJesusistverloren"{BWV 154) reveals,
therearenumerousparallelsbetweenthecontentand structure ofthe
twoworks:

Figure7. Two CantatasfortheFirstSundayafterEpiphany:

BWV32 and 154
Liebster meinVerlangen,
Jesu, Meinliebster istverloren
Jesus (BWV
Dialogus(BWV32) 154)
Soul(Soprano), (Bass)
Jesus
1. AriaSoprano 1. AriaTenor
Liebster
Jesu,meinVerlangen
, Meinliebster istverloren
Jesus :
Sagemir , wofindichdich
? О Wort,dasmirVerzweiflung
Sollichdichsobaldverlieren bringt,
Undnicht ?
beimirspüren
ferner О Schwert,
dasdurchdieSeele
Ach!mein Hort, mich
erfreue , dringt,
Laßdichhöchst vergnügtumfangen. О Donnerwortinmeinen Ohren.
2. Recitative
Bass 2. Recitative
Tenor
Wasists,
daßdumich ?
gesuchet Wo treffichmeinen Jesum an,
Weißtdunicht, daßichseinmußin Werzeiget mirdieBahn,
dem,dasmeines ist?
Vaters Womeiner Seelebrünstiges ,
Verlangen
MeinHeiland, hingegangen?
KeinUnglück kannmichsoempfind-
lichrühren,
Alswenn ichJesum sollverlieren.
3. Chorale
Jesu,meinHortundErretter
...
WieverlangetmeinemHerzen,
nachdirmitSchmerzen!
Jesulein,
Komm, achkomm, ichwarte
dein,
Komm, о liebstes
Jesulein!
3. AriaBass 4. AriaAlto
Hier,inmeines Vaters
Stätte, laßdich
Jesu, finden...
Findtmich einbetrübter
Geist. dichbaldwieder
Stelle ein!
Da kannstdumichsicher
finden
UnddeinHerzmitmirverbinden, 5.Arioso Bass
WeildiesmeineWohnungheißt. Wisset ihrnicht,
daßichseinmußin
dem,dasmeines Vaters ist?
4. Recitative Soul(Soprano), 6. Recitative

(Dialogue) Tenor
Jesus(Bass) Diesist
dieStimmemeinesFreundes
,
Soprano: Gott Lobund Dank!
Ach!heiliger
undgroßer Gott, MeinJesu,mein Hort,
getreuer
Sowillichmir LäßtdurchseinWort
Dennhierbeidir Sichwiedertröstlich
hörem
Trost
Beständig undHilfe
suchen. IchwarvorSchmerzen krank...

26 Bach
Bass: Nunaberwirdmein Glaubewiederstark,

WirstdudenErdentand
verfluchen Nunbinichhöchst erfreut;
UndnurindieseWohnung gehn, DennicherblickemeinerSeeleWonne ,
Sokannst
duhierunddort ...
bestehn DenHeiland, meine Sonne. . .
Durchseinen Glanzmein Herze fröhlich
macht.
Auf,Seele
, machedichbereit!
Du mußtzuihm
InseinesVatersHaus,hininden
Tempel ziehn;
Da läßtersichinseinemWort erblicken,
Da willerdichimSakrament ;
erquicken
Doch,willstduwiirdiglich
seinFleisch
undBlutgenießen,
Somußt duJesum auchinBüßund
Glauben küssen.
5.AriaDuetSoprano,
Bass 7. Aria(Duetto)Alto,Tenor
Both: NunverschwindenallePlagen, Wohl mir istgefunden,
,Jesus
NunverschwindetAchund Nunbinichnicht mehr betrübt.
Schmerz. Der, denmeineSeeleliebt,
Sop.: Nunwillichnichtvondir ZeigtsichmirzurfrohenStunden.
lassen, Ichwilldich,mein nunnimmermehr
Jesu,
Bass: Undichdichauchstets
umfassen,lassen,
Sop.: Nunvergnüget
sichmein Herz IchwilldichimGlauben beständig
Bass: Undkannvoller
Freude :
sagen umfassen.
Both: NunverschwindenallePlagen,
NunverschwindetAchund
Schmerz!
6. Chorale 8. Chorale
mirdiePforten
MeinGott,öffne MeinenJesumlaßichnicht
,
Solcher
GnadundGütigkeit. GehihmewiganderSeiten ...
BothworkswerecomposedforthefirstSundayafterEpiphany,and
bothdepicta spiritualprogression fromsearchingforJesus- seeking
- at the startof the cantatato joy at
increasedfaith findinghim-
-
achievingstrongfaith in theirpenultimatemovement,a dialoguein
thecase of Cantata 32, and a duet in Cantata 154.
The Gospel readingassignedto the firstSundayafterEpiphany,

Luke 2:41-52, recountstheincidentofthetwelve-year-oldJesuswho
hasjourneyedwithhisparentstoJerusalem forthefestival
ofPassover
and, unbeknownstto them,has remainedbehindin Jerusalem while

theyreturnedhome.Afterseveraldaysof desperately tryingto locate

him, theyreturnto Jerusalemand findhim in the temple.In their
commentarieson the Song of Solomon 3:1-2, 18both Calov and
Olearius link Shulamith'sanxioussearchforher loverwith Mary's
anguishedhunt forher missingson. Calov writesafter"I sought"
("Ich suchte"):19
. . . heldonawaiting
theappearance
ofthesalvation thatisfullofgrace
anddidnotletup withfaithful prayer. . . butI did notfindhim"
"hieltan umbGnadenreiche heilwärtige

Erscheinung/undließnichtab
mitgläubigem Gebeth. . . aberichfandihnnicht."
Followingthewords,"I sought,but did not findhim" ("Ich suchte/

aber ich fandihn nicht"),Calov explains,20
He was stillconcealedfrommyeyes. . . and in thisformtheholy

VirginMarysoughthimwithdistress, Luke 2:44-45, 48, as she
missedhimina physical sense,thenmyheartwasinflicted withstill
greater
pain.
(Erwarnochverborgenfürmeinen Augen. . . wieihnsolcher

Gestalt
die heiligeJungfrau
Maria mit Schmertzen suchete/ da sie ihn
leiblicher
Weisevermissete
/Luc.II. 44-45,48. da wardmeinHertz
nochmehrmitSchmertzen verwundet.)
In his commentaryon Song of Solomon 3:1-2, Olearius, like

Calov, connects this passage to Mary's anxious search for Jesus
recountedin Luke 2:41-52, theassignedGospel readingforthefirst
SundayafterEpiphany,and also highlightstheongoingnatureofthe
1 ofSolomon "Isought
3:1-2reads: himwhom I sought
8Song mysoulloves; but
him,
foundhimnot;I calledhim,buthegavenoanswer. I willrisenowandgoaboutthe
inthestreets
city, andinthesquares;I willseekhimwhommysoulloves.I sought
him,butfound himnot"("Ichsuchte desNachts inmeinem BettedenmeineSeele
liebet
/ichsuchte
aberichfandihnnicht.Ichwilaufstehen undinderStadtauff
den
Gassen/undStrassen /undsuchen /denmeine Seeleliebet").
19Calov,1:1163.
20Calov,1:1164.

28 Bach
questforfaith.He offers
thefollowinginterpretation
oftheseverses:21
I soughtceaselessly
. . . the repetition
is directedat the heartfelt
prayerwhichshowsthebeginning, continuation,and resultofthis
search.Did notfindhim. . . The samecondition seenin theVirgin
Mary,Luke2, whenshehadlostherdearsonandsoughthimwith
distress.
Ich suchteunablässig. . . dieWiederholung

zieletaufdashertzliche
Gebet/ Psal.77 / 3, welchesderAnfang/ Fortgang undAusgang
diesesSuchensweiset.Fandihnnicht. . . Der gleichen Zustandan
derJungfrauen Maria zu sehen/ Luc.2. als sie den liebenSohn
verlohrenhatte/undIhnmitSchmertzen suchte.
The overallformofthetextofCantata32 mirrors theprogression

conveyedby itscontent. In the first
three movements,thefiguresof
theSoul andJesusalwaysappearseparately; in theopeningmovement
the Soul asksJesuswhereto findhim and, in the two subsequent
movements, Jesusinquireswhyshe is seekinghimand tellsherwhere
he is to be found.The two figuresappeartogetherin thefourthand
fifthmovements, a dialoguerecitative and dialoguearia,respectively.
In the recitative(movement4), however,the rolesof the Soul and
Jesusaresharplydifferentiated. Anothernotableelementofthetextis
thereference to thehere-and-nowand theworldto come. The bass,
representing Jesus,sings,"So kannstdu hierund dortbestehn"("You
can farewellbothhereand there").Allusionsto thepresentas wellas
the hereafter figureprominently both in cantataswithduetsand in
dialogues between the Soul and Jesus.
For instance,the second dialogue in "Wachet auf, ruftuns die

Stimme"{BWV'A0) concludeswitha finalvisionofthehereafter: the
Soul and Jesus joyfullyproclaim, "I shall partakewith You of
Heaven's rosypastures,Wherejoy in abundance,whereblisswillbe!"
("Ich willmitdirin HimmelsRosenweiden,/Da Freudedie Fülle,/
Da Wonne wirdsein"). The inferenceis thatbliss,approximatedin
Biblische
2101earius, 5vols.(Leipzig:
Erklärung, Johann 1678-
Tarnoven,
Christoph
81),CommentaryonSongofSolomon 3:1-2;vol.1:1111.

therelationship anticipatedin the

oftwolovers,is a stateto be joyfully
but is unattainablein thislife.
hereafter,
In the followingmovement in Cantata 32, a dialogue aria

(movement5), in sharpcontrastto theprecedingrecitative, thetwo
figuressharethe firstpair of lines,whichfromthe outsetservesas a
signalthattheyare united.In the remainderof the textLehms,the
does not distinguishthetwo charactersfromeach otherin
librettist,
anyway. The figuresoftheSoul andJesussharehalfofthelinesoftext
and theotherhalfcould be assignedto either.ByhavingboththeSoul
andJesussingtogether in thefifth
movementthepoetimpliesthatthe
twofigures whowereseparatedat thebeginningofthecantataarenow
unitedin faith.The allusionto "Freude"("joy") in thethird-to-last
lineoftext,"Und kannvollerFreudesagen"("And can saywithjoy"),
which is mirroredby the joyful mood of Bach's setting,is
characteristicof manyduets.The joyfulaffectof the dialogue (and
many duets that connote the union of the Soul and Jesusin faith)
appears to be closelyconnectedto thereferenceto "hereand there"in
theprecedingmovement.
While therearenumerousparallelsbetweentheformand content

of Cantatas 32 and 154 I do not wish to implythat thereis no
differencebetweenworkswith dialogues and ones with duets. In
Cantata 32, whichis conceivedas a dialoguethroughout, thefigures
of the Soul and Jesus always address each other directly,which
contributesto themoreintimatetoneofthiswork.In Cantata 154, by
contrast, speakersometimesrefers
the to Jesusin thethirdperson,as
in the openingline of the firstmovement,"Mein liebsterJesusist
verloren"("My dearestJesusis lost") and in theopeningline of the
second movement,"Wo treff ich meinenJesuman" ("Wherewill I
meetmyJesus").In thethirdmovement,however,thealto employs
directaddress,imploring,"Jesu,laß dich finden"("Jesus,letyourself
be found").A tellingdistinctionbetweenthetwocantatasis thatLuke
2:49 is quoted verbatimin the fifthmovementof Cantata 154,
"Wissetihrnicht,daß ich sein muß in dem, das meinesVatersist?"
("Do you not know thatI must be about my Father'sbusiness?"),
while in the second movementof Cantata 32 Lehms changesthe
personalpronounfrom"ihr"to the moreintimate"du": "Was ists,

30 Bach
daß du michgesuchet?Weißt du nicht,daß ichseinmuß in dem,das

meinesVatersist?"
In Cantata 154 thespeaker'ssearchforJesusis conveyedin three

solo movements thatBach assignsto a tenor(movements1 and 2) and
an alto (movement4). In thesixthmovementthetenor,responding
to theprecedingmovement,"Wissetihrnicht,daß ich sein muß in
dem,das meinesVatersist?"22 exclaims,"Dies istdie Stimmemeines
Freundes"("This is the voice of my friend").This is an implicit
confirmation thathe believesthatJesusis present,if unseen. The
themeofJesus'presencealso appearsto be relatedto thethird-to-last
line of text:"Da will er dich im Sakramenterquicken"("There He
would restore youin thesacrament"),a reference to theEucharistthat
followedthesermonin theLeipzigliturgy.
The ninthlineoftextofthesixthmovementreads,"Nun aberwird

mein Glaube wiederstark"("Now, though,my faithgrowsstrong
again"). Five lines laterthe tenorsings,"Durch seinenGlanz mein
Herze fröhlichmacht" ("Makes my heart joyful through His
brightness").The affectof the duet thatfollowsand manyothersis
exceptionallyjoyful.It is significant
thatthereferencesto thepresence
ofJesus,thesacrament, thestrengthening offaith,andjoyoccurin the
movementthatimmediately precedestheduet.As mentionedabove,
many duets, including the one in Cantata 154, appear to have a
particularlyclose connection to the concept of strongfaithor the
of
strengthening faith,and have a veryjoyfulaffect.
In theduet(movement7), thespeakerinitially referstoJesusin the

thirdperson,"Wohl mir,Jesusistgefunden"("Happy am I, Jesusis
found"),thenshiftsto directaddressin thefinaltwo lines,"Ich will
dich,meinJesu,nun nimmermehr lassen,/Ich willdichim Glauben
beständig umfassen"
("I shallnevermore leaveThee, myJesus,I shall
embraceThee constantly in faith"),implyingthatJesusis a present,if
tacit, listenerand that the speaker has undergone a spiritual
transformation.
22Inthefifth
movement 154 thebassrepresents
ofCantata thevoxChristi.

BWV9I5, 157/1,and 59/1
The duetsin "Es istdas Heil unskommenher"(BWV 9), "Ich lasse

dichnicht,du segnestmichdenn" (BWV 157), and "Wermichliebet,
derwirdmeinWort halten"(BWV 59) are settingsof threedifferent
typesof texts,all ofwhichconcernfaith.The textof "Herr,du siehst
stattguterWerke"(.BWV 9/5),whichBach setsas a duetforsoprano
and alto,is a poeticparaphraseof a choraleverseand containsthree
referencesto theword"Glaube." The duetcomesneartheend of the
work,themosttypicalpositionforduetarias.23 The textof "Ich lasse
dich nichtdu segnestmichdenn" is takenfroma passagein theOld
Testament,Genesis32:26, whichrecountsJacob'sstrugglewiththe
angel,and "Wer mich liebetderwirdmeinWort halten"is derived
fromtheGospel accordingto John14:23: "Those who love me will
keep myword,and my Fatherwill love them,and we will come to
themand makeourhomewiththem."The duetsin Cantatas157 and
59 are both openingmovements,an atypicalpositionforaria duets,
but not uncommonfortwo-voicesettingsof biblicaltexts.
"Es ist das Heil uns kommenher" (BWV 9)
The centraltheme of "Es ist das Heil uns kommen her" is

by faith,whichis contrastedwiththecondemnationof
justification
thelaw. The word"Gesetz"("law") appearsfourtimesand theword
"Glaube" ("faith")sixtimesin thecourseofthecantata;therearethree
referencesto believingin theduet itself:
Figure8. "Es istdas Heil unskommenher"(BWV9)
1. Chorus 1. Chorus(S,A,T, B)
Es istdasHeilunskommenher Salvation
hascometous
VonGnadundlauter Güte. Through graceandpuregoodness.
DieWerk, diehelfen
nimmermehr, Goodworks nolonger availus,
Siemögen behüten.
nicht Theycannot protectus.
DerGlaubsieht JesumChristum
an, FaithlookstoJesusChrist,
Derhatg'nugfürunsallgetan He hasdoneenough forusall,
EristderMittlerworden. He ishasbecome ourintercessor.
"TheSacred
J.Greer,
23Mary DuetsandTerzets
ofJohann Bach:A Study
Sebastian
ofGenre
andMusical
TextInterpretation,"
(Ph.D.diss.Harvard 1996),
University,
139.

32 Bach
2. Recitative
Bass 2. Récit.(В)
GottgabunseinGesetz , dochwaren wir Godgaveusa law, butweweretooweak
zuschwach,
Daß wireshätten haltenkönnen. To beabletokeepit.
Wirgingen nurdenSünden nach, Wemerely pursued oursinfulways,
KeinMensch warfromm zunennen; No mancouldbecalledgodly;
DerGeistbliebandemFleische kleben Thespirit clungtotheflesh
Undwagte nichtzuwiderstreben. Anddarednotresist it.
WirsollteninGesetzegehn Weweresupposed toabidebythelaw
Unddortalswieineinem sehn, Andseethere
Spiegel asina glass,
Wieunsere Naturunartig sei; Howwicked ournatures be;
Unddennoch bliebenwirdabei. Andyetwedidnotchange.
Auseigner Kraft
warniemand fähig, No onewasable,ofhisownaccord,
DerSünden Unart zuverlassen, To abandon sinful
wickedness,
Ermöcht auchalleKraftzusammen- Eventhough hesummoned allhis
fassen. strength.
3. AriaTenor 3. Aria(T)
Wirwaren gesunken, Wehadalready
schonzutief sunktoodeep,
DerAbgrund schluckt
unsvölligein, Theabyss swallowed
uscompletely,
DieTiefedrohte
schondenTod, Thedepthsthreatened
death,
Unddennoch könntinsolcherNot Andyet,eveninsuchdistress,
UnskeineHandbehilflich
sein. No handcouldhelpus.
4. Recitative
Bass 4. Recit.(B)
Dochmußte dasGesetz werden;Butthelawhadtobefulfilled;
erfüllet
Deswegen kamdasHeilderErden, Andsosalvation cametoearth,
DesHöchsten Sohn,derhatesselbst TheSonoftheHighest Himselffulfilled
erfüllt thelaw
Undseines VatersZorngestillt. Andappeased HisFather'sanger.
Durchseinunschuldig Sterben Through Hisinnocent Death
LießerunsHilferwerben. He letuswinsalvation.
Wernundemselben traut, Theywhoputtheir inHim,
trust
WeraufseinLeiden baut, AndbuildonHissuffering,
Dergehet nicht verloren. Shallnotperish.
DerHimmel istfiir
denerkoren, Heavenisreserved forthose
Derwahren Glauben mitsichbringt Whobring truefaithwiththem
Undfest umJesu Arme schlingt. And hold Jesus intheir
tightly arms.
5.Aria(Duetto) Alto
Soprano, 5.AriaDuet(S,A)
dusiehst
Herr, statt Werke
guter oflooking
Lord,instead ongoodworks,
AufdesHerzensGlaubensstärke
, Thoudostlooktothestrength
ofour ,
faith
NurdenGlauben nimmstduan. Andacknowledge butfaith.
naught
NurderGlaube macht
gerecht, Naughtbutfaithcreates
virtue,

Allesandre
scheint
zuschlecht, Allelseseems
tooslight
Alsdaßesunshelfen
kann. To beofhelptous.
6. Recitative
Bass 6. Récit.(B)
WennwirdieSíindausdemGesetz Whenthrough lawwerecognize
sin,
erkennen,
So schlägt
esdasGewissen nieder; Ourconscience
strikes
itdown;
Dochistdasunser Trostzunennen, Butourconsolation
is,
Daß wirimEvangelio ThatbytheGospel
Gleichwieder
froh Wemayatoncetakeheart again
Undfreudigwerden: Andbejoyful-.
Diesstärket
unsernGlauben wieder. Thisstrengthens
ourfaithagain.
Drauf wirderZeit,
hoffen Wecanlookforwardtothattime
Die GottesGütigkeit WhichGodinhisgoodness
Unszugesagethat, Hasallotted
us,
Dochaberauchausweisem Rat Theexacthourofwhich
Die Stundeunsverschwiegen. He haswisely
concealed.
Jedoch,wirlassen
unsbegnügen, Andyetweshallbecontent,
Erweißes,wennesnötig ist, ForHe knowswhenitisnecessary,
Undbrauchet keineList Andneedstopracticenodeceit
Anuns;wirdürfen aufihnbauen On us;wecanbuildonHim
Undihmalleinvertrauen. AndtrustinHimalone.
7. Chorale 7. Choral(S,A,T, B)
alswollternicht,
Ob sichsanließ, Though itmayatfirstseemHe isnot
willing,
Laßdichesnicht erschrecken; Letthatnotdismay you;
Dennwoeristambesten mit, Forwhere Heismost beside you,
Da willersnicht
entdecken. Heiswont nottorevealit.
SeinWortlaßdirgewissersein, Bemorecertain ofhisWord,
UndobdeinHerzsprach lauter
Nein, Andthough yourheartsayonly"No,"
So laßdochdirnichtgrauen. Do notbefilledwithdread.
The Gospel readingassignedto theSixthSundayafterTrinity,for

whichCantata 9 is intended,is Matthew5:20-26. In his exegesisof
verse20 ("For I tellyou,unlessyourrighteousnessexceedsthatofthe
scribesand Pharisees,youwillneverenterthekingdomofheaven"),24
Olearius both distinguishesbetweenouterand innerrighteousness
and highlightsthecentralroleoffaithin attainingrighteousness
and,
thereby,eternallife:25
24"Dennich sageeuch:Es seydenneuerGerechtigkeit

besser/ dennder
/undPhariseer
Schriftgelehrten ihrnicht
/sowerdet indasHimmelreich
kommen."
5:36-7.
Olearius,

34 Bach
Outwardrighteousness is good, innerbetter.. . . And thisbetter

righteousness is 1. attainedthrough faith... 2. demonstrated in
life. . . andmadewholethrough love Fortherighteous shallhave
lifeeverlasting.
Die euserliche
Gerechtigkeit besser. . . Und
is gut/ die innerliche
diesebessere wird1. erlanget
Gerechtigkeit durchdenGlauben... 2.
imLeben. . . undwirdinderLiebevölligwerden Denn
erweiset
dieGerechten gehenin dasewigeLeben.
The reference to faithand thedistinctionhe drawsbetweenexternal

and inwardrighteousness tellingwith respectto the
is particularly
duetin Cantata9. To a remarkable degreethemovement'sstructure
and affectembodyand projecttheabstracttheologicalconceptsand
imagerythatappear in the textof the cantataas well as Olearius's
commentary on the Gospel reading.In listeningto thismovement
one is immediately struckbythequalityofserenejoy itprojects- one
is almost surprisedto find that Bach employsstrictimitation.In
AnalyzingBach Cantatas, Eric Chafe draws attentionto this very
quality,highlighting the contrastbetweenthe rigorof the canonic
writing and itsbeauty,writing,26
The canonicA majorduet aria. . . affirms the basic Lutheran

doctrine byfaith
ofjustification alone. . . bymeansofa doublecanon
between fluteandoboed'amoreontheonehandandthesopranoand
alto voiceson the other.But what is most interesting in this
movement is thattheveryattractivemelodicsurface of thecanon
beliesitsdogmatic messagebyofferinga moving simplicityoftoneto
indicate thecomfort thatparticular
doctrine providesforthebeliever.
Canonicdevices oftenbeartheassociation ofstrictness
andtheLawin
Bach's work.... In thiscase, however,the coveringup of the
learnedness withan unusually appealing intertwiningofthemelodic
ideasis theforemost "message"ofthemovement, breathing lifeand
warmth intowhatmightotherwise appear as an abstract
theological
dogma.
thanChafeand arguethatthismovementnotonly
I wouldgo further
affirmsthe doctrineof justificationby faith,but is a metaphorical
embodimentof strongfaithand thejoy associatedwithit.
26(New Oxford
YorkandOxford: 2000),155.
Press,
University

The firstverseof theEpistlereadingassignedto theSixthSunday

afterTrinity,Romans6:3-1 1, reads,"Do you notknowthatall ofus
who have been baptized into ChristJesuswere baptized into his
death?"27In his commentary on thisverseOleariuswrites,28
hiscommand,in hisname,tobelieve
Baptizedfollowing in him, to
clothe withhim; baptized/... to dailydietosin,thatherewe
oneself
withhim. . . andthere
shouldsuffer havelifeeverlasting.
GetauftaufseinenBefehl /inseinemNamen/anIhnzuglauben /Ihn

anzuziehen /. . . derSündentäglich
. . . Getauft abzusterben
/daßwir
hiermitIhmleiden. . . unddortewigleben.
He makes explicitreferenceto believing,the principalmessageof

Cantata 9. He also pairsthenotionof suffering withChristhereon
earthand enjoyingeternallife,a dialecticexpressedin manycantatas
withduetsand dialogues,includingBWV 32/4,discussedabove.
As in manycantatasin whichtheduetoccupiesthepenultimateor
antepenultimateposition, including Cantata 154, which was
discussedearlier,thereis a clearprogression overthecourseof "Es ist
das Heil uns kommen her." The cantata's centralpremise,that
salvationhas come to us throughgrace,and that good worksare
inadequateforredemption, is setforthin theopeningmovement.The
second and thirdmovements,a recitativeforbass and a tenoraria,
respectively,focuson thelaw and our inabilityto keep fromsinning.
The tonebeginsto shiftin thefourthmovement,a second recitative
forbass,in whichthespeakerassertsthatheavenis reservedforthose
who believeinJesus.The emotionalpinnacleofthecantatais theduet
thatfollows,whichaffirms themessageoftheopeningchoralestanza,
thatone is justifiednot by good works,but by faithalone. The fact
thattheword"Glaube" is mentionedthreetimesin thecourseof the
movementmakesitscentralthemeunmistakable.
Severalthemesthatare touchedon in thesixthmovement,which

followstheduet and respondsdirectlyto it,are further
examplesof
ones mentionedabove in connectionwithCantatas32 and 154: joy,
27"Wisset /daßalle/diewirinJesum
ihrnicht Christ sind/diesindin
getauffet
seinenTodtgetaufft?"
5:1065.
Olearius,

36 Bach
thestrengthening offaith,and futurehappiness.In thefifth

and sixth
linesoftext,thespeakeralludesto thejoy theGospel engendersin us:
ThatbytheGospel
We mayat oncetakeheartagain
Andbejoyful.
(Daß wirimEvangelio
Gleichwiederfroh
Undfreudigwerden.)
The references capturethemood of the

to gladnessand joy perfectly
and,as notedearlier,arecharacteristic
duetthatprecedestherecitative
of manydialoguesand duets.
The bass continues,"This strengthens our faithagain" ("Dies

stärketunsernGlauben wieder"),whichis highlyreminiscent of the
line "Now though,my faithgrowsstrongagain" ("Nun aber wird
meinGlaube wiederstark")highlighted in thediscussionofthesixth
movementof Cantata 154. Finally,he looks ahead to a futuretime,
"We can look forward to thattime/WhichGod in hisgoodness/Has
allottedus" ("DraufhoffenwirderZeit,/Die GottesGütigkeit/Uns
zugesagenhat"), a referenceto futurejoy that was mentionedin
connectionwith Cantatas 32 and 140. In the fifthmovementof
Cantata9, as in manyduetsand dialoguesbetweentheSoul andJesus,
thereappearsto be a strongassociationbetweenan extremely joyful
affectand the anticipationof greathappinessin the hereafter, as
mentionedabove in thediscussionof Cantatas32 and 140.
Two linesin theclosingmovementof thecantata,a settingof the

stanzaof thechorale"Es istdas Heil uns kommenher,"also
twelfth
appear referback to theduet.The thirdand fourlinesexpressthe
to
paradox,
ForwhereHe is mostbesideyou
He iswontnotto revealit.

(Dennwo eristam bestenmit,

Da willersnichtentdecken.)
This maybe construednot onlyas a generalstatementof faith,but

also as an oblique reference
to the"realpresence"ofChristsymbolized
in the sacramentsof baptism and communion. The theme of
inhabitado - the
indwellingof the Holy Spiritin the heartof the
believer - is also centralto "Erschallet,ihr Lieder,
erklinget,ihr
Saiten" (BWV 172), which was discussedearlier,and "Wer mich
liebet,der wird mein Wort halten"{BWV 59), which is discussed
below.
"Ich lasse dich nicht, du segnest michdenn" {BWV 157)
The textof"Ich lassedichnicht,du segnestmichdenn"("I willnot

let you go, unlessyou blessme") is derivedfromGenesis 32:26. In
theircommentaries on thispassageboth Calov and Oleariusexplain
thatthecentralmessageofthispassageis thepowerofsteadfast faith.
Calov writes,29
Who strengthens
you thus?Answer:Faith,thepromise.Eventhe
weakness
offaith.And in thiswayGod willbe conquered,
namely
whenfaithdoesnotcease,doesnotgrowtired,
butalwayshangson.
Werstärcktdichdennalso?Antwort:
derGlaube/dieVerheissung.
Jaebendie Schwachheit
desGlaubens.Und auffsolcheWeisewird
GOtt überwunden / nemlich/wennderGlaubenichtauffhöret /
nichtmüdewird/sondernimmeranhält.
In hiscommentary followingthewords,"I shallnotletyou go" ("Ich

lassedich nicht"),Oleariusexclaims,30
Thatisa greatfaith.... The powerofprayer

isattested
tohere,how
andfaith
prayer canhold,keep,sustain,andnotletalmighty
Godgo.
Das ist ein grosserGlaube.... Von dieserKrafft deß Gebetsist

Nachricht . . . wie das Gebetund GlaubedenAllmächtigenGOtt
könnehalten/behalten /erhalten
/undnichtlassen.
1:254.
29Calov,
1:251.
30Olearius,

38 Bach
In his summaryof the entirethirty-second chapterof Genesis

Oleariusunderscoresthecentralmessageof faithbygivingtheword
"Glauben" thelastword. CitingLutherhe writes,31
Jacobhearda terrifying
voiceandwasgreatly . . . thatisinboth
afraid
bodyand soul,and onlythrough faithand prayerachievedvictory
.... As he prayedbefore:
Dear God,ifitcannotbe otherwise, then
me and
give greatpatience strong faith.
JacobeineerschrecklicheStimmegehöret/ingrosserAngstgewesen
/ . . . undzwaram LeibeundSeelezugleich/undalleindurchden
GlaubenunddasGebetdenSiegerhalten .... Da Erzuvorgebetet:
LieberGOtt/kanesnichtandersseyn /sogiebdu mirgrosseGeduld
undstarcken Glauben.
As Melvin Unger points out in his Handbook to Bach's Sacred

Cantata Texts
,32thereis a connectionbetweenGenesis 32:26, the
sourceofthetextofBWV 157/1,and theSong ofSolomon3:4, which
reads:
I foundhimwhommysoulloves.I heldhim,andwouldnotlethim
gountilI brought
himintomymother'shouse,andintothechamber
ofherthatconceivedme.
da fandich,denmeineSeeleliebt.Ich halteihnundwillihnnicht
lassen, inmeiner
bisichihnbringe Mutter Haus,indieKammer der,
diemichgeboren hat.
In theircommentarieson Song of Solomon 3:4 both Calov and

Oleariusallude to the imageof graspingwiththehand of faith,and
bothciteGenesis32:26.
Following,"I foundhimwhommysoul loves"("da fandihn/den

meineSeele liebet"),Calov writes,33
(thenherevealedhimselftomeandmySoulwasfilled withthemost
joy;forthenI wasfilled
exalted withcomfort, joy,andbliss
salvation,
byhispresence,whois myheart'sonlycomfort,onlysalvation,
only
joyandcrown. . . andsoI grasped
himwiththehandoffaith.)
31Olearius,
1:254.
Lanham, Press(1996),541.
MD: Scarecrow
1:1165.
33Calov,

(da offenbaret
er sichmirmitiiberschwencklicherFreudemeiner
Seelen;dennda wardichmitTrost/Heil /FreudundWonnevon
dessenGegenwart erfüllet
/ der meinesHertzenseinigerTrost/
Heil/einigeFreude
einiges undKroneist. . . darumbso ichihn
ergrief
mitderHanddesGlaubens.)
Afterthenextphrase,"I heldhim,and would notlethimgo" ("ich

halteihn / und wil ihn nichtlassen"),Calov writes,"as Jacobsays,
Lord,I will not letyou go Genesis32:26" ("wieJacobsaget/HErr /
ich lassedich nicht1. Mos.XXXII. 26"). 34
Olearius'sexplicationof"hold on to him" (Song ofSolomon 3:4)

also includesa reference
to holdingwiththehand of faith:35
I holdhim/... as God takesusbythehandandholdsit .... Holds

withtruefaith
whatyouhave.1. In Life. . . through
prayer. . . 2. In
Death.
Ich halteIhn/. . . wieunsGottbeyderHand nimmtundhält. . .

Halt/mitwaremGlaubenwasdu hast. . . derFortsatz dieseshaltens
geschiehtgläubig ... 1. Im Leben. . . durchsGebet... 2. Im
Sterben.
Afterthe phrase,"I will not let him go" ("Ich wil Ihn nicht
lassen"),Olearius,like Calov, mentionsGen. 32:26, writing:"Gen.
32:26. I shall not leave you . . . That I shall inseparablyabide with
him eternally"("1. Mos. 32/26. Ich laß dich nicht. . . Da ich werde
ewigungeschiedenbeyihm bleiben").36
Calov continues,writingafter"untilI bringhim,"
(andhe me,forI holdontohim,andamhenceforth onespiritwith

himlikea spiritualbridesaysabove,so I run)intomymother's
house,and intomymother's house.(Intotheheavenly Jerusalem,
whichis themotherof us all . . . justas a brideholdson to her
bridegroom,untilshegoeshomewithhim,andisinseparably joined
withhim.)
1:1165.
34Calov,
3:1112.
3501earius,
3:1112-13.
Olearius,

40 Bach
biß ichihnbringe(undermich;dennichhangeihman /undbin

nunmehr ein Geistmitihm. . . wie die geistliche Brautdroben
saget... inmeiner MutterHauß /in meiner Mutter Kammer. (Ins
himmlische /da unserallerMutterist. . . gleichwieeine
Jerusalem
Brautan ihremBräutigam hanget/biß siemitihmheimgefuhret /
undohnscheiden vereinbaret
wird.)
Oleariusassociatesthewords,"My Mother'sChamber" (Song of

Solomon. 3:4) withJohn14, writing,37
myheart. . . thathe mightdwellin myheart. . . John14 . . . That

I . . . might
beunitedwithhiminthebridalchamber . . . andholdon
tohim. . . becomeonespiritwithhim,andalwaysremain withhim
in theheavenly Jerusalem.
meinesHertzens . . . daß Er in meinemHertzenmögewohnen. . .

Joh.14 . . . Daß ich. . . michmitihmvereinigen in derBraut-
Cammer. . . undIhmanhangen /einGeistmitIhmwerden. . . und
allwegebeyIhmbleiben... in demhimmlischen Jerusalem.
By citingJohn 14, the sourceof the textof the duet in "Wer mich
liebet,derwirdmeinWort halten"(BWV 59) in thecontextof "Ich
lassedichnicht,du segnestmichdenn!"{BWV 157), Oleariusreveals
the underlyinginterconnectednessof the themes of the two
movements.
The second movementof Cantata 157, which immediately

followstheduet,openswiththewords"Ich haltemeinenJesumfeste"
("I shall keep firmhold of my Jesus").The fourthmovementof
Cantata9, whichimmediately precedestheduet,concludeswiththe
lines,
Der Himmelistfïirdenerkoren,
Der wahrenGlaubenmitsichbringt
Und festumJesuArmeschlingt.
(Heavenis reserved
forthose
Who bringtruefaithwiththem
AndholdJesustightlyin theirarms.)
3:1113.
3701earius,

In lightof thefactthatboth Calov and Oleariusevoke the imageof

graspingwith the hand of faithin theircommentarieson Genesis
32:26 and theSong ofSolomon,itis noteworthy thatthetextsofeight
cantataswithduets(BWV 9, 80, 113, 124, 125, 154, 157, and 190)
and two dialogue arias (BWV 32/5 and 152/6) contain imageryof
embracingor holding on to Jesus.38 The penultimateline of the
recitativethatimmediatelyprecedes duetin Cantata 113 explicitly
the
refersto embracingwiththearmsof faith:
Wennichdabei
Dich stetsin LiebundTreu
MitmeinemGlaubensarm umfasse
(WhenI
EmbraceThee forever
more
In loveandtrust
Withmybelieving arms.)
Bachapparently employedtheinterrelationshipoftwovocallinesthat
can proceedindependently of each other,alternatewitheach other,
imitateone another,or proceed in parallelmotion, to serveas a
musicalmetaphorforthe dynamicrelationshipof two loversor the
oftheSoul andJesus,who longto be unitedin faith.
allegoricalfigures
The strongresemblanceof the openingfigureof "Ich lasse dich

nicht,du segnestmichdenn!"(BWV 157) and theopeningmotiveof
theduet in "Es istdas Heil uns kommenher" (BWV 9) maynot be
coincidental:
intheappendix.
areprovided
38Excerpts

42 Bach
Example5a. "Ichlassedichnicht,du segnest

michdenn!"
{BWV157/1)Duet:Tenor,Bass
Example5b. "Herr,du siehststattguterWerke"{BWV9/5)

Duet:Soprano,Alto
While "Herr,du siehststattguterWerke"{BWV 9/5) is in thekeyof

A majorand is scoredfora sopranoand alto accompaniedby a flute
and oboe d'amore,and thesettingof"Ich lassedichnicht"is in thekey
of В minor- appropriateto a work intendedfor a funeral - and
scoredfortenorand bass,accompaniedbya flute,oboe d'amoreand

soloviolin,thetwoduetsmaybe construedto represent oppositesides

ofthesamecoin.The originalbiblicalcontextofthephrase,"Ich lasse
dich nicht"- the wordsJacob addressesto the angel as he wrestles
with him (Genesis 32:26) - suggeststhat this duet concernsthe
struggleto believe,while the joyfulaffectof the duet in Cantata 9
evokesthehappinessthebelieveranticipatesin thehereafter.
"Wer michliebet, der wird meinWort halten"

(.BWV59II )
The openingmovementofthePentecostwork,"Wermichliebet,
derwirdmeinWorthalten"(BWV 59), is a settingofthefirst verseof
theassignedGospel reading:John14:23-31: "Wer michliebet,der
wird mein Wort halten;und mein Vaterwird ihn lieben,und wir
werdenzu ihmkommenund Wohnungbei ihmmachen"("He who
lovesme willkeepmyword,and myFatherwilllovehim,and we will
come to him and makeour home withhim"). This is,of course,the
quintessentialstatementof inhabitatio, the indwellingof the Holy
Spiritin thesoul ofthe in
believer, theentire New Testament.While
volumesofexegesishavebeenwrittenabout thissingleverse,I would
liketo highlightan elementto whichallusionwas madeearlierin my
discussionof Cantatas32, 140, and 9: the factthattwo tensesare
employedin thepassage:"He who lovesme [presenttense]willkeep
myword,and we will come to him and make our home withhim"
[futuretense].
In hiscommentary on John14:23, Oleariusconnectsthekeyword

of thepassage,love,to faith,writing,"Loves,agapâ. That is thetrue
fruitof faith. . . whichflowsfromthe faithful recognitionof godly
love"("Liebet,agapâ.Das istdiewareGlaubens=Frucht.. . welcheaus
gläubigerErkentnis derGöttlichenLiebe herfleußt"[italicsadded]).39
He thenalludes to the presentgrace-filled union of God with the
faithful heart("die gnadenreichegegenwertige VereinigungGottes/
mitdem gläubigemHertzen"),a conceptthatis centralto dialogues
betweentheSoul andJesus.40 He also makestworeferences to thereal
presenceof God, writinglater,"And make our dwelling,which
5:738.
3901earius,
40Ibid.

44 Bach
meansGod is withyouwithin"("Und Wohnungmachen. . . daß es

heist:GOttistbeyihrdrinnen"[italicsadded]). Commentingon John
14:25, whichreads,"I have said thesethingsto you while I am still
withyou" ("SOlches habe ich zu euch geredt/ weil ich bey euch
gewesenbin"), he writes,41
Withyou / livingvisiblyfora time... in a stateof humility

...
henceforth
however you will. . . feel
powerfully myinvisible
presence.
Beyeuch/ sichtbarlich wohnendeineZeitlang... im Standeder

Erniedrigung. . . forthinaber werdet ihr meine unsichtbare
. . . kräftig
Gegenwart empfinden.
These allusionsrecallthereference to thehiddenpresenceof God in

thefinalchoraleof "Es istdas Heil uns kommenher"(BWV 9): "For
whereHe is mostbesideyou /He is wontnotto revealit" ("Denn wo
er istam bestenmit,/ Da will ersnichtentdecken").
Close to theend ofhis summationofJohn,Chapter14, Olearius

refers to the "way"of faithand to theincreaseof faith:42
specifically
I amtheway. . . holdmetightwithfaithandwithallcertainty
ofheart
. . . Andthislife'swalkbeginswithbaptism.Andas longas faithis
present, one alwayscontinuesforthon thesameroad.... Andthe
stronger faithis,themoreassuredly Forthis
thiswaywillbetraversed.
goingis noneotherthanalwaysincreasing in faith.
IchbinderWeg/. . . haltedichmitfestem Glauben/undmitaller

Zuversicht deßHertzensan mich... UnddieserLebens=Gang fähet
sichan in derTauffe.Und dieweilderGlaubeda ist/ fehret der
Menschimmerfortaufderselbigen der
Strasse/ . . . Undie stärcker
Glaubeistf ie gewisser
dieserWeggegangen wird.... Denndieses
Gehenheistnichtsanders/alsimmer indemGlauben zunehmen /und
werdendeß ewigenLebensin Christo.
ie längerie gewisser
to theway of faith("Weg," "Lebens-

Olearius'srepeatedreferences
Gang," and "Strasse")appear have a directmusicalanalog in the
to
"walkingbass" in the continuo line of the opening movementof
5:739.
4l01earius,
5:743.
4201earius,

Cantata 59. There is a nearly-unbroken

successionof even eighth
notesthroughouttheentiremovement,whichis surelyintendedas a
musicalmetaphorforthe "walkof faith."
to "alwaysincreasingin faith"speaksdirectly
Olearius'sreference
to theheartofBach's settingoftheopeningmovement.The factthat
thereis a distinct"progression"in theway in which the two voices
relateto one anotheris a musicalmetaphor.
Figure9. "Wermichliebet,derwirdmeinWorthalten"(BWV59)
Bass
1.DuetSoprano, 1.Aria[Dictum]
Wermichliebet,derwirdmeinWort He who loves me will keep my
undmeinVaterwirdihnlieben, commandments,
halten, andmyFather,
too,will
undwirwerden zu ihmkommen und lovehim,andweshalluntohimcome
Wohnung beiihmmachen. then
andmake ourdwelling
withhim.
2. Recitative
Soprano 2. Recit.(S)
O, wassinddasvorEhren, Oh,whatglories arethese
WorzuunsJesus setzt? ThatJesus setsbefore us?
Derunssowürdig schätzt, He findssuchworth inus,
Daß erverheißt, Thathehaspromised
SamtVaterunddemheiigen Geist With theFather andtheHolyGhost
In unsern
Herzen einzukehren... Tomake Hisdwelling inourhearts.
...
Wienun? Whatthen?
DerAllerhöchstespricht, TheLordAlmighty speaks,
Erwillinunsern Seelen He willelect
DieWohnung sicherwählen. To makeHisdwelling inoursouls
Ach,wastutGottes Liebenicht? Ah,whatdoesGod'slovenotdo?
Ach,daßdoch,wieerwollte, Ah,wouldthat, asHe wanted,
Ihnaucheinjederlieben sollte. Eachofusshould lovehim.
3. Chorale 3.Chorale(S,A,T, B)
Komm, Heiliger Herre
Geist, Gott, Come,HolySpirit,О LordGod,
Erfüll
mitdeiner GnadenGut Andfill
with Thy most precious
grace
DeinerGläubigenHerz,MutundSinn. Theheart,
willandmind ofThybelievers.
Deinbrünstig inihn'n.
Liebentzünd Thineardent
Ignite loveinthem.
О Herr,durch Lichtes
deines Glanz О Lord,
throughThine ownbrilliant
light,
Zu demGlauben versammlet
hast Thouhastassembled
tobelieve
Das VolkausallerWelt
Zungen... from
People every
tongue ...
andclime
4. AriaBass 4. Aria(B)
DieWelt. . . Theworld ...
Kanndieser Herrlichkeit
nicht
gleichen, Cannot compare withthissplendor
Womit unsunser
Gotterfreut: Withwhich ourGodgladdensus:

46 Bach
Daß erinunsernHerzen thronet inourhearts,

enthroned
Sitting
Undwieineinem Himmel wohnet. Anddwellingasina heaven.
AchGott,wieselig
sindwirdoch
, AhGod,howblessedweare,
Wieselig
werdenwirerstnoch, Howblessedweshallbecome,
Wenn wirnachdieser
ZeitderErden When time
this
afier onearth
BeidirimHimmel wohnenwerden. Weshalldwell
withTheeinheaven.
A laterversein the assignedreadingforPentecost,John 14:29,

mentionsbelieving:"AndI havesaidthistoyou . . . thatyou
explicitly
mightbelieve" ("Und nun habe ichs euch gesagt/ ... daß ihr
glaubet").The word "Glaube" or its cognate,"Gläubigen,"appears
twicein thethirdmovementofCantata59, a four-partsettingofthe
opening stanza of Luther'shymn "Komm, Heiliger Geist, Herre
Gott."The factthatBach settheopeningmovementofCantata59 for
a pairofsopranoand basssoloists,thetwo-voicepartsassociatedmost
closelywiththefiguresof theSoul and Jesusin dialogues,mayhave
beena deliberateattemptto createan associationin thelistener's
mind
withdialoguesof thistypeand, by analogy,withtheconceptof the
union of the Soul with Jesusthroughfaith.The clear shiftfrom
imitativevocal textureto homophonictextureoverthecourseof the
movementappearsto be a metaphoricalrepresentation of spiritual
growth.
Olearius'scommentary on theEpistlereadingforPentecost,Acts
2:1-13, may also provide insightsinto the layout of the duet in
Cantata 59. He begins by tracingthe derivationof the word
Pentecost,which,he explains,is derivedfromthe Greek "Pente,"
meaningfive:. . . thefiftieth
day aftertheAscensionof theLord . . .
. . . derfünfzigste
. Pentecostes
Pente, five. ("Pfingsten Tag nach der
Aujferstehung deß HERRN . . . Pente,quinqué.")43
The factthattherearefivedistinctvocal sectionsin BWV 59/1in
which both voices statethe textin its entiretyis, I think,directly
relatedto the root of the word Pentecost.However,thereis a very
pronouncedchange in the vocal textureat a specificpoint in the
movement.In thefirstfourparts(mm.8-1 5, 16-23, 27-35, 37-45),
thetwovoicesproceedimitatively and thereisan obviousreturnto the
tonic key of С major at the close of the fourthsection. From a
5:820.
4301earius,

structuralstandpoint,it would have been possible to conclude the

movementsimplywitha finalritornello, but Bach includeda fifth
section(mm.46-5 1) in whichthetwovoicesforthefirsttimepresent
the text simultaneously,proceedingin parallel sixthsratherthan
followingeach other.(See example6a and 6b.)
In thesolo movementthatfollows,thespeakerrespondsdirectly to
theopeningmovementand affirms in poetictermsthebiblicaldictum
thatappearsin theduet:"He haspromised... To makeHis dwelling
in our hearts"("er verheißt... in unsernHerzen einzukehren").In
thismovement,as in thefirst, thereareallusionsto thepresenttime:
"erverheißt"("he promises"),as wellas thefuture:"in unsernHerzen
einzukehren"("to enterintoourhearts").While thebelievercan take
comfortin thepromiseof beingunitedwithGod, whichis assured,
thispromisewill be fulfilledonly in the future.Here, as in several
cantatasmentionedabove {BWV 32, 140 and 9), thethemeofjoyful
anticipationof a futureblissfultimefiguresprominently.
In the fourthand final movement,a bass aria, the speaker

celebratesthesplendorGod givesus,whichbringsusjoy. Byusingthe
conditionalconstruction, "Daß er in unsernHerzen thronet/ Und
wie in einemHimmel wohnet"("That he maybe enthronedin our
heartsand dwellas in a heaven"),and by once again referring
to the
timeframesof thepresent - "wie sindwirdoch" ("How blessed
selig
we arethen")- as wellas thefuture- "Wie seligwerdenwirerstnoch
/Wenn wirnachdieserZeit derErden/Bei dirim Himmelwohnen
werden"("How blessedshallwe be when afterthistimeon earthwe
shall dwell with Thee in heaven"), he also provides a possible
explanationforthe underlyingsignificanceof the structureof the
duet: the imitativetextureof the firstfour statementsmay be
construedas a metaphorfortheprocessofactivelyseekingfaith,and
the homophonic,tonallystablefinalstatementas a glimpseof the
unitingin faithwithJesusthatawaitsthebelieverin thehereafter.

48 Bach
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Althoughthe duet in "Wer mich liebet,der wird mein Wort

halten"(BWV 59) is thestarting pointratherthantheculminationof
theworkas it is in "Es istdas Heil uns kommenher" {BWV 9), and
thereis not a progressiontoward,but a responseto thismovement
overthecourseoftheshortcantata,thereareseveralparallelsbetween
the two works,includingthe explicitreferenceto a futureblissful
time,whichis expressedas followsin thesixthmovementof Cantata
9: "DraufhoffenwirderZeit,/Die GottesGütigkeit/Uns zugesaget
hat" ("We can look forward to thattimeWhich God in His goodness
Has allottedus").
III.
The concludingsectionofthisarticleis devotedto twoanomalous

movements,the "progressive" duet in "ErhöhtesFleischund Blut"
{BWV 173/4), and the dialogue in the fifthpart of the Christmas
Oratorio{BWV 248/V/51).While the structureof all of the duets
discussedabove are typical,thesetwo are highlyununsual.
"ERHÖHTESFLEISCHUND BLUT"(BWV173)
"ErhöhtesFleischund Blut," designatedforthe Second Day of

Pentecost, is a parody of the secular cantata "Durchlauchster
Leopold" {BWV 173a). The fourthmovementof thework,"So hat
Gott die Welt geliebt"("For God so lovedtheworld"),is a settingof
threesuccessivestrophes,thefirstofwhichis sungbya bassand is in
thekeyof G majorwithstringaccompaniment.The secondstrophe
("Sein verneuterGnadenbund")is assignedto a soprano;thissection
is in thekeyof D major,and thestringsarejoined bya pairof flutes
movingin eighthnotes.The thirdand finalstrophe("Nun wirlassen
unsre Pflicht")is set for both soprano and bass, who proceed in
parallelmotionthroughout, in thekeyofA major,accompaniedby
both stringsand a pair of flutes,with the firstviolin moving in
sixteenthnotes.
in fourrespects:
The movementis "progressive"
1. Vocal scoring:The firsttwo sectionsare set fora singlevocal

soloist,whilethethirdis set fora pairof singers;

50 Bach
2. Tonality:The threesectionsproceedaroundthecircleof fifths

in thesharpdirection;
in boththe
3. Scoring:Bach increasesthenumberof instruments
secondand thethirdstrophes;
4. Rhythm:Bach employsrhythmic diminutionin each successive

to increasedanimation.
section,contributing
FleischundBlut"{BWV173)
Figure10. "Erhöhtes
3.Aria[A] 3. Aria[A]
OhrundBlicke . . . Mouthandheart,
. . . MundundHerze, earandgaze
Können beidiesem
nicht Glücke Cannot restamidsuchfortune
Undsoheiiger Freude
ruhn. Andsuchholyjoy.
4. AriaDuetto[S,В] 4. Duet
Soprano: Soprano:
Gnadenbund
Seinverneuter Hisnewcovenantofgrace
Istgeschäftig Is atwork
Undwird kräftig Andgrowsinstrength
InderMenschen HerzundMund, Inhuman hearts
andvoices,
Ehre
Daß seinGeistzuseiner ThatHisSpirit them
mayinstruct
Gläubigzu ihm lehre.
rufen to
Faithfully to
appeal Him forHishonor.
Both: Both:
Nunwirlassen Pflicht
unsre Weshallnowdoourduty
Opferbringen, Andbring offerings,
Dankend singen, Andexpressourthanksinsong,
Licht
Da seinoffenbartes SinceHisrevealed
light
Kindern
Sichzuseinen neiget Inclines toHischildren
itself
Undsichihnen zeiget.
kräftig Andshows itself tothem.
strongly
to joy, faith,and gainingstrength

The explicitreferences in theonly
sacred
surviving cantatain which there is a that
progression progresses
fromone-voicetextureto two,suggeststhatBach associatedsuch a
progression whetherwithina singlemovementor overthe
in texture,
courseofseveralmovements, withthejoyassociatedwithstrongfaith.
The readingsassignedto the Second Day of Pentecostare John

3:16-21, and theActsoftheApostles10:42-48 (conclusionofPeter's

sermonbeforeCorneliusand baptismofthegentiles).John3:16, the

sourceof the duet's text,containsan explicitreference to believing:
"For God so loved the world that he gave his only Son, so that
everyonewho believesin him may not perishbut may have eternal
life" ("Also hat Gott die Welt geliebt,daß er seinen eingeborenen
Sohn gab, auf daß alle, die an ihn glauben,nichtverlorenwerden,
sonderndas ewigeLeben haben").
Luther'scommentary on thispassage,whichis citedbybothCalov

and Olearius,describesthispassageas one of the most magnificent
ones in theBible,writing,44
ForGod so lovedtheworld.[Itwouldbe wellworthit]to inscribe

[this]intheheartwithgoldenletters
/andevery Christian shouldread
and contemplate it in his prayers,
reciteit to himself, in orderto
his
strengthenfaith. For thesearewordsthatcan make thesad gladand
a deadpersonliveagain,iftheheartfirmly believesit.
AlsohatGOttdieWeltgeliebt [Eswärewolwerth] mitgüldenen

Buchstaben ... insHertzzuschreiben/ undbilligsolteeinesjeden
Christen
täglichLectionund Betrachtung seyn/ in seinenGebet/
ihmselbstfiirzusprechen
/seinen
Glaubenzustärcken Dennessind
Wort/ die da könnenaus traurigen frölich/ aus einemtodten
lebendigmachen / so nur das Hertz daran glaubet,
festiglich
[emphasisadded]
Bach may have intended the progressivetextureof the fourth

movementof Cantata 173 to serveas a musical metaphorforthe
strengthened faithLutheralludesto in hiscommentary. As mentioned
above,thethemeofthestrengthening offaithfiguresalso in thethird
partof theChristmasOratorio(BWV 248/III) as well as in Cantatas
32, 154, 9, and 157.
Furthermore,thereferenceto joy aftersuffering

in thetextof the
fourthmovementof Cantata 173a, "UnterseinemPurpursaum/ Ist
die Freude/ Nach dem Leide" ("Beneathhis purplecloak /There is
joy aftersuffering"),
which served as the model for the parallel
movementin the sacredcantata,recallsLuther'sobservation,"For
44Cited
herebyCalov,3:732-3;seealsoOlearius,
5:630.

52 Bach
thesearewordsthatcan makethesad glad" ("Denn es sindWort/die

da könnenaus traurigenfrölich. . . machen").
In Calov's commentary on thefinalverseoftheGospel readingfor

theSecond Day of Pentecost,John3:21: "But thosewho do whatis
truecome to thelight,so thatit maybe clearlyseen thattheirdeeds
havebeendone in God" ("Weraberdie Wahrheittut,derkommtan
das Licht,daß seineWerkeoffenbar werden;denn sie sind in Gott
getan"),we again encounter the conceptof "thosewho are united
with God in faith"and the notion of indwelling("in whom God
dwellsin a spiritualsense")("vondenen/die mitGOtt vereiniget sind
durchden Glauben/in welchenGottwohnetgeistlicher Weise /und
durchden heiligenGeistwircket").45
"Ach, wenn wird die Zeit erscheinen?"(5WV248/V/9)
Althoughonlytwopersonaeareimpliedbythetextofthedialogue
in thefifthpartof theChristmasOratorio(see Fig. 11), Bach setsit
forthreevoices- soprano,alto and tenor- ratherthantwo.
Ach,wennwirddieZeiterscheinen? Ah!whenshallthetimeappear?
Ach,wennkömmt der
TrostderSeinen? Ah!whenwillthecomfort of his
come?
people
eristschon
Schweigt, hier!
würklich heisintruth
Bestill, here!
already
achsokomm
Jesu, zumir! ahthencometome!
Jesus,
An examinationof the largercontextof the work is criticalto an

understanding ofthedialogue.In thethirdmovementtheaccountof
the wise men's searchforthe infantJesusrecountedin the Gospel
readingassignedto Epiphanyis employedas a metaphorfor the
believer'squestforfaith:"Wo istderneugeborneKönig derJüden?/
Suchtihn in meinerBrust,/ Hier wohnter,mirund ihm zur Lust!"
("Whereis He thatis bornKing oftheJews?Seek Him in mybreast,
He dwellshere,formydelight,and His!"). The strongimplicationof
45Calov,3:740.

Figure11. "Ehresei dir,gesungen"(BWV 248/V)
3. ChorusandRecitative
Die Weisen: TheWiseMen:
WoistderneugeborneKönigder
Jüden? Where
isHe thatisbornKingofthe ?
Jews
Suchtihninmeiner Brust, SeekHiminmybreast,
Hierwohnt er,mirundihmzur He dwells
here, and
formydelight,
Lust! His!
7. AltoRecitative
Warum wolltihrerschrecken? Whyareyousoafraid?
Kannmeines euch
JesuGegenwart solche Canthe
presence awaken
Jesus
ofmy such
Furcht
erwecken? inyou?
fear
9. Terzetto
Soprano,Alto,Tenor
Ach,wennwirddieZeiterscheinen? Ah!Whenshallthetimeappear?
Ach,wennkömmt Ah!Whenshallthecomfort
derTrostderSeinen? ofHispeopleappear?
Schweigt,eristschonwiirklich
hier! He isintruth
Bestill, here!
already
Jesu,achsokomm zumir! ahthencometome!
Jesus,
10.AltoRecitative
MeinLiebster
herrschet
schon. MydearestBelovedalready
reigns.
EinHerz,dasseineHerrschaft
liebet A heart
thatlovesHisdominion,
Undsichihmganzzueigengibet, Andwhollygives toHim,
itself
Istmeines
JesuThron. Is myJesus'
throne.
Christ'sbeing presentin faithin the words, "Hier wohnt er," is

underscoredby a referenceto Jesus' presence in the seventh
movement,the alto recitativethatimmediatelyprecedesthe terzet:
"Warumwolltihrerschrecken? / Kann meinesJesuGegenwart euch
solcheFurchterwecken?"("Whyareyouso afraid?Can thepresence of
myJesusawakesuch fearin you?")
In thefirsttwolinesofthethedialogue(theninthmovement),the
impliedpersonaasksyearningly, "Ah!When shallthetimeappear?Ah!
When shall the comfortof His people appear?"Asecond speaker
responds,"Be still,He is in truthalreadyhere!"and in thefinallinethe
initialspeakerexclaims,"Jesus,ah thencome to me!"Nothingin the
textimpliesa pluralpersona;ifanythingthephrase"kommzu mir"
suggestsa singlespeaker.Whythen,does Bach setlines 1, 2, and 4 of
thetextforbotha sopranoand a tenor?

54 Bach
While doubling the role of the firstspeakerin the dialogue

intensifiestheaffectoflongingexpressedin thefirsttwolinesoftext,
it also playsa morefundamentalrole.The thirdline of text,"er ist
schonwürklichhier!"notonlyaffirms thebeliever'sfaithbutalso,like
thereferences in thethirdand seventhmovements citedearlier,carries
theimplicationof the "realpresence."
In Bach's setting,thealto initiallyinterjects

thewords,"He is in
truthalreadyhere,"onlywhenthesopranoand tenoraresilent.Only
twicein the 189-measuremovementdoes she singthisphrasewhile
theothertwovoicesaresinging,in measures55-57 and 164-66, the
only two passagesin which the soprano and tenorlines move in
parallelmotion(see Example7).
As mentionedabove, in manydialoguessuch as BWV 140/6and
32/5,parallelmotionbetweenthesopranoand bass(personifying the
Soul and Jesus)connotestheirunion in faith.This detailalso lends
supportto thepremisethatBach employstwo-or three-voice texture
in associationoftheconceptofthe"realpresence"46and mayprovide
of Bach's anomaloussettingof
a keyinsightinto our understanding
thisdialogue.
The recurring themeof two timeframesonce again comes into

playin thisdialogue.The first to thefuture:"Ach,wenn
speakerrefers
wirddie Zeit erscheinen?"("Ah!When shallthetimeappear?"),and
thesecondone responds,"eristschonwürklichhier!"("He is in truth
already here!")- the present. In the movement immediately
followingthe dialogue, the alto affirms,
"Mein Liebsterherrschet
schon"("My dearestBelovedalreadyreigns"),once againreferring to
thepresent.
myearlier
46See ofthesignificance
discussion 18:20:"where
ofMatthew twoorthree
inmyname,
aregathered I amthere
among them."

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Conclusion
In thepresentarticleI haveproposedthatBach employedduetsas

well as dialoguesbetweentheSoul and Jesusin his sacredcantatasas
a musicalmetaphorforacquiringstrongfaith.The sung dialogueis
well suitedto expressingthe conceptof the mysticaljoining of the
ofLutherantheology)foritcan
Soul and Jesusin faith(a cornerstone
be conveyedby simultaneoussinging.There are numerousparallels
betweenthetextand themusicalstructure of dialoguesand cantatas
and, from an acoustical standpoint,the distinctionbetween a
dialoguein whichthetwoallegoricalfiguressharetextand duetsand
one in which the two parts sing identical words is nearly
imperceptible.
The factthatduets mostoftenappear followinga successionof

solo movementsneartheend ofa cantata,47 suggeststhattheseworks
may be construedas a spiritualpilgrimagein which the stagesof
seekinga stronger faith,havingfaithtestedand, in theend,achieving
strong belief, depicted. Parallels between the structuraland
is
metaphoricalroles of the dialogue in Cantata 32 and the duet in
Cantata 154, bothofwhichappearto symbolizetheSoul's successful
questforstrongfaith,lendsupportto thepremisethat,particularly in
cantatasthathighlightthe natureof acquiringstrongerfaithas an
ongoingprocess,Bach employstheintrinsiccontrastbetweena solo
aria and duet formatto serveas a metaphorforincreasedfaith.It is
tellingthatin workssuch as Cantata 154 the positionsof one- and
two-voicemovementsarenotinterchangeable. The factthatthereare
explicitreferences to joy, and
faith, in
growing strength in BWV 173/
4, theonlysurviving movementin whichthereis a progression from
one-voicetextureto two,suggeststhat,althoughthe associationof
two-voicetexturewithincreasedfaithmightappearto be implausibly
simplistic,it shouldnot be dismissedout of hand. The finalwordof
thebass recitative thatimmediately precedestheduetin Cantata 136
recitativeis "Stärke"("strength").48 As I pointedout above, at least
139.
47Greer,
8"ErhatinChristo
doch/Gerechtigkeit
undStärke"
(BWV136/4).

58 Bach
threeotherworkswithduets,BWV 9, 154, and 248/III, containone

of faith.49
or moreallusionsto thestrengthening
The reference to beingunitedwithJesusthroughfaith - a central

themeof dialoguesbetweenthe Soul and Jesus - in this recitative,
"WerdurchJesuBlutgereinigt, /Im Glaubensichmitihmvereinigt"
(BWV 136/4),suggestsa reasonwhyBach adoptedduet formatas a
metaphorforstrongfaith.The literalmeaningof theGermanword
"vereinigen"is "to become one." There is no obvious musical
analogue forthe concept of "becomingone" with a singlevoice,
whereastheinterrelationship betweentwovoicesin a duet- what I
refer to as vocal texture - can be varied and employed for
metaphoricalends. The two soloistsmay sing disjunctlines, sing
complementary phrasesor imitateeach other,or proceedin parallel
motion,creatinga newsonorityinwhichthetwovoicesmergeintoan
amalgam.While it is not myintentionto associatespecificstagesin
the quest for faithwith specificvocal textures,thereare obvious
analogues betweenvocal textureand the interrelationship of two
human
individuals, or divine.
Employingtheterminology Kermanhascoinedforconcertos,one
can constructa continuum that revealshow Bach might have
envisagedtwo-voiceformat,whetherdialogueor duet,to serveas a
metaphorforincreasingfaith:
49Thetwoopening linesoftheduetinCantata 9 read:"Herr, dusiehst statt

guter
'
Werke /AufdesHerzens Glaubensstärke(BWV9/5).Inthemovement that
follows
theduetthespeakerrespondstoit:"DaßwirimEvangelio /Gleich wiederfroh
/Und
'
freudigwerden:/DiesstärketunsernGlauben wieder (BWV9/6).Intherecitative
thatimmediatelyprecedestheduetinCantata 154andthatpavesthewayforit,the
"NunaberwirdmeinGlaube wieder stark" In the
speakerexclaims, (BWV154/6).
thirdpartof the ChristmasOratoriothe altosoloist "responds to thepreceding
movements, a duetanda recitative
fortheEvangelist, "Schließe,meinHerze, dies
Wunder
selige /Festindeinem Glauben ein!/LassediesWunder, diegöttlichen
Werke, /Immer zurStärke /Deinesschwachen Glaubens sein!"(BWV248/III/8).

Figure12. Metaphorical ofVariousTwo-voiceTextures

Implications
polarity reciprocity coalescence
affect:
yearning affect:
joy
faith
seeking achieving faith
strong
unrelated
disjunct, imitativetexture, parallelmotion;
lines voicesinterchangeable, sometimes,
roleofleaderand imitation
at theoctave
followeralternate
The vocal textureof thegreatmajorityof duetsconsists,in varying

proportions,of imitationand parallel motion between the two
voices.Nearlyall oftheduetsin thecantataslistedin Table 1 would
fall somewherebetween "reciprocity"and "coalescence" in this
continuum.
The veryflexibility
and fluidity
ofthevocal textureofduetsmakes
it ideallysuited to expressingdialecticand ambiguity.One of the
manydual associationsthatduet formatappearsto encompassis the
here-and-now in juxtapositionwith the hereafter. As pointed out
above, in the dialogue recitativethat immediatelyprecedes the
dialogueariain Cantata32, a dialoguebetweentheSoul andJesus,the
figureof Jesustellsthe Soul, "So kannstdu hierund dortbestehn"
(BWV 32/4). In his commentaryon Matthew 22, "Sondern hier
zeitlich seiner Gnade /, und dort ewig seiner Ehre und Freude
gemessen,"Olearius refersto joy in thislifeand in thehereafter.
Bach's settingof theopeningmovementof thePentecostcantata,

"Wermichliebet,derwirdmeinWorthalten"(BWV 59) constitutes
an unusual case. In this movementthe soprano and bass soloists
imitateeach otherthroughoutthefirstfoursections,(implyingthat
thetwovoicesare in a reciprocalrelationship),whilein thefifthand
finalsectiontheyproceedin parallelmotion(implyingthattheyhave
mergedor coalesced).While thereis undoubtedlya formalaspectto
thischangein vocal texturein theclosingsectionofthemovement,I
believethatitalso playsa metaphoricalrole,and reflects,
amongother
things,perfectharmony where the two voices are completelyin

60 Bach
synchonicity, a briefglimpseofan idealthatis attainableonly

offering
in thehereafter.
Thereappearsto be a strongcorrelationbetweenthejoyfulmood
ofmanyduetsand theimplicationofstrongfaith.The joyfulaffect of
manyof Bach's duet settingsseems to be stronglyassociatedwith
referencesto thehereand now injuxtaposition withthehereafter.The
happiness associatedwiththe closest bondsof lovehumans know, the
relationshipof lovers,
spouses, or between a parentand child,is held
up as a metaphorforthejoy thatwill be experiencedwhen perfect
unionoftheSoul oftheBelieverwithJesusis achievedin thehereafter.
Bachapparently employedtwo-voicetextureas a meansofmakingthe
abstractconcept of faith - in 17th- and 18th-centuryLutheran
with thearmsoffaith - moreconcreteand
parlance,embracingJesus
intuitivelycomprehensible to his listeners.
Althoughvarietyforitsown sake mayhave been one groundfor

introducing a duetintoa churchcantata,50 itdoes notaccountforthe
factthat,in nearlythirty cantatas(listedin Table 1), duet formatis
employedin conjunctionwith one or more mentionsof the word
"Glaube" ("faith"or "belief') or a cognate.In at leasttwo instances
thereis an explicitreferenceto embracingor holdingwiththearmsof
faithin the movementthat immediatelyprecedesa duet, which
suggeststhatthetwo-voicemovementthatfollowswas conceived,at
leastin part,as an allegoricalembodimentof the conceptof strong
faith.The neglectof thepsychologicaland acousticaldimensionsof
theinherentcontrastbetweentwo-voicetextureand solo movements
in nearlyall discussionsofBach's sacredcantatas,in whichtheduetis
treatedsimplyas a variantof thearia,mayhaveled commentators to
overlooktheprofoundmetaphoricalroleof theduetin Bach's sacred
cantatas.
50Bachspeaksofincluding ina church

flutes piece"asveryoftenhappensfor
variety's
sake"inhis"ShortButMostNecessaryDraft
fora Weil-Appointed ChurchMusic"
of1730,anditislikely
thatduets intoa work
wereintroduced forthesamereason.
SeeHansT. David,Arthur
Mendel, andChristophWolff,eds.,TheNewBachReader
(New York and W.
London: W. Norton& Co., 1998),146-47.

Appendix
to "Glaube"("Faith")in Dialogues
Figure1. References
BWV4915Recitative Dialogue:Soprano(Soul),Bass(Jesus)
Soprano
MeinGlaubehatmichselbstsoangezogen.
[chorale-aria
follows]
BWV 152/6Soprano(Soul),Bass(Jesus)
Erkenne
michgläubig
BWV 172/5Chorale-Aria Soprano(Soul),Alto(HolySpirit)

Soprano:Sei imGlaubenmirwillkommen
Figure2. References
to Faith"Glaube"("Faith")
in CantataswithDuets
BWV3/5Duet Soprano,Alto
. . . Drumwillichgläubigsagen:
Es dientzumbestenallezeit.
BWV3/6ChoraleS, A, T, В
ErhaltmeinHerzimGlaubenrein,
ichdirallein.
So lebundsterb
follows
[immediately duet]
. . . Der GlaubsiehtJesumChristum
an. . . .
[Mvt.5 is a duet]
BWV9/4BassRecitative
. . . Der Himmelistfürdenerkoren,
Der wahren Glaubenmitsichbringt
UndfestumJesuArmeschlingt.
[immediately
precedesduet]

62 Bach
BWV9/5Duet Soprano,Alto
Herr,du siehststattguterWerke
AufdesHerzens Glaubensstärke
,
NurdenGlaubennimmst du an.
NurderGlaubemachtgerecht ...
Doch istdasunserTrostzu nennen,
Daß wirimEvangelio
Gleichwiederfroh
Und freudigwerden:
Diesstärket
unsernGlaubenwieder.
follows
[immediately duet]
BWV28/4TenorRecitative
ehrt
WerihnimGlaubenliebt,in Liebekindlich ,
SeinWortvonHerzenhört. . .
Dem gibtersichmitallenGaben.
[duetfollows
immediately]
GibmirnurausBarmherzigkeit
Den wahren Christenglauben!
ein
So stelltersichmitgutenFrüchten
UndwirddurchLiebetätigsein.
[duetfollows immediately]
BWV36/5BassAria
Willkommen, werter
Schatz!
Die LiebundGlaubemachet Platz
Vordichin meinem Herzenrein
,
Ziehbeimirein!
[mvt.2 is duet]
BWV37/1 ChorusS, A,T, В

wird,derwirdseligwerden.
undgetauft
Werda gläubet
BWV3712TenorAria
Der GlaubeistdasPfandderLiebe. . .
[duetfollowsimmediately]

BWV3714BassRecitative
So macht
derGlaubedochallein,
Daß wirvorGottgerecht
undseligsein.
follows
[immediately duet]
BWV37/5BassAria
Der Glaubeschafft derSeeleFlügel
,
Daß siesichin denHimmelschwingt,
. . . Und daherheißteinseigerChrist,
Wergläubetundgetaufet ist.
[Mvt.3 is a duet]
BWV3716ChoraleS, A, T, В
Den Glaubenmirverleihe
An dein'SohnJesumChrist. . .
[Mvt.3 is a duet]
В WV59/3ChoraleS, A, T, В
Komm,HeiligerGeist,HerreGott,
Erftill
mitdeinerGnadenGut
DeinerGläubigen Herz,MutundSinn.
Dein brünstig Liebentziind
in ihn'n.
О Herr,durchdeinesLichtesGlanz
Zu demGlaubenversammlet hast
Das VolkausallerWeltZungen. . .
[Mvt.1 is a duet]
BWV80/7DuetAlto,Tenor
Wie seligsinddochdie,die GottimMundetragen,
Doch seigeristdas Herz,das ihnim Glaubenträgt!
...
5W80a/5 Duet
Wie seligistderLeib,derJesudichgetragen?
Dochseiger istdasHerz, dasdichimGlaubenträgt!
...
BWV 113/6TenorRecitative
. . . Wennichdabei
Dichstets in LiebundTreu
Mitmeinem Glaubensarm ,
umfasse
Hinfort einKinddesHimmelssein.

64 Bach
. . . Und nimmmicheinst,wenndir'sgefällt,
In wahrem GlaubenvonderWelt
Zu deinenAuserwählten!
follows
[immediately duet]
BWV122/4Chorale(Alto)andAria-Duet(Soprano,
Tenor)
О wohluns, diewiran ihnglauben. . .
Gottistmitunsundwillunsschützen.
... O selgeZeit,die nunerfüllt!
О gläubigs Warten, dasnunmehrgestillt!
О Glaube , derseinEndesieht!
О Liebe,dieGottzu sichzieht!. . .
[immediately duet+ chorale]
follows
AlleinmeinGeistsieht
gläubigauf
Und an denOrt,wo GlaubundHoffnung
prangen,
Allwoichnachvollbrachtem Lauf
DichyJesu,ewigsollumfangen.
[immediatelyprecedesduet]
BWV125/3Recitative andChorale,Bass
Da inerfüllter
ZeiteinGlaubensarm
dasHeildesHerrnumfinge
...
ImTod undauchimSterben.
[immediately duet]
precedes
BWV125/4DuetTenor,Bass
Ein unbegreiflichLichterfüllt
denganzenKreis,
Es schallet
kräftigfortundfort
Einhöchsterwünscht Verheißungswort:
Werglaubt, sollseligwerden.
Doch werdurchJesuBlutgereinigt,
Im Glaubensichmitihmvereinigt
...
[immediately duet]
precedes

. . . NunaberwirdmeinGlaubewieder stark. . .
Doch,willstdu wiirdiglichseinFleischundBlutgenießen,
So mußtduJesum auchin BüßundGlaubenküssen.
[immediately
precedesduet]
BWV 154/7DuetAlto,Tenor
Ichwilldich,meinJesu,nunnimmermehr
lassen,
IchwilldichimGlaubenbeständig
umfassen.
BWV 155/2Duet,AltoandTenor
Du mußtglauben,
du mußthoffen
...
BWV 155/3BassRecitative
. . . Herz!glaubefest. . .
[immediatelyfollows duet]
BWV 157/1Duet,Tenor,Bass
Ich lassedichnicht,du segnest
michdenn!
BWV 157/2TenorAria
IchhaltemeinenJesumfeste,
Ichlaß ihnnunundewignicht.
Er istalleinmeinAufenthalt,
DrumfaßtmeinGlaubemitGewalt
Seinsegenreiches ...
Angesicht
[immediatelyfollows
duet]
Wieseligist,denhierderGlaubeleitet
...
[mvt.5 is a duet]
BWV 162/4AltoRecitative
Ach!schenke
mirdesGlaubensHochzeitkleid
...
[immediately duet]
precedes
BWV 186/7BassRecitative
WennChristendurchden Glaubenweisen. . .
[duetfollows
twomovements later]

66 Bach
BWV186/9AltoRecitative
Der Heiland. . .
setztderdenGläubigen die Kroneauf.
[immediately duet]
precedes
BWV190/5Duet Tenor,Bass
SeligsindwirdurchdasWort,
Seligsindwirdurchdas Gläuben>
Seligsindwirhierunddort. . .
BWV248/III/8AltoAria
meinHerze,diesseligeWunder
Schließe,
FestindeinemGlaubenein!
LassediesWunder,diegöttlichen Werke,
ImmerzurStärke
Deinesschwachen Glaubenssein!
[follows after
recitative duet]
in SixCantataswithDuets
to Embracing
Figure3. References
. . . Der Himmelistfiirdenerkoren,
Der wahren Glaubenmitsichbringt
UndfestumJesuArmeschlingt .
[immediately
precedes duet]
BereuedeineSchuldmitSchmerz,
Daß ChristiGeistmitdirsichfestverbinde!
[Mvt. a duet]
7 is
. . . Wennichdabei
Dichstets inLiebundTreu
Mitmeinem Glaubensarm ,
umfasse
Hinfort einKinddesHimmelssein.
[duetfollows
immediately]

AlleinmeinGeistsieht
gläubigauf
Und an denOrt,wo GlaubundHoffnung
prangen,
Allwoichnachvollbrachtem Lauf
Dich,Jesu,ewigsollumfangen.
BWV 125/3BassRecitativeandChorale
Da in erfüllter
ZeiteinGlaubensarm
dasHeildesHerrnumfinge
...
. . .NunaberwirdmeinGlaubewieder stark. . .
Doch,willstdu würdiglich
seinFleischundBlutgenießen,
So mußtduJesum auchinBüßundGlaubenküssen.
[immediately duet]
precedes
BWV154/7DuetAlto,Tenor
Ichwilldich,meinJesu,nunnimmermehr
lassen,
IchwilldichimGlaubenbeständig
umfassen.
BWV157/1Duet Tenor,Bass
Ichlassedichnicht,du segnest
michdenn!
BWV157/2TenorAria
Ichhaltemeinen
Jesumfeste,
Ichlaß ihnnunundewignicht. . .
follows
[immediately duet]
BWV157/4BassAria,Récit.,andArioso
Ja,ja, ichhalteJesumfeste,
SogehichauchzumHimmelein. . .
[Mvt.1 is a duet]
. . . Nureins,einsbittichvondemHerrn. . .
Daß Jesus, meineFreude. . .
Auchdieses Jahrmitseinem Schutzumfasse
Undnimmermehr ausseinenArmen lasse.
[duetfollows
immediately]

68 Bach
Responses in Dialoguesbetween
to Embracing theSoulandJesus:
BWV32/5Soprano(Soul),Bass(Jesus)
. . . Soprano
Nunwillichnichtvondirlassen.
Bass
Undichdichauchstets
umfassen...
BWV152/6Soprano(Soul),Bass (Jesus)
, Liebster
Wiesollichdich derSeelen ?
, umfassen

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The Duet As Metaphor in Selected Sacred Cantatas by J. S. Bach Greer

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Embracing Faith: The Duet as Metaphor in Selected Sacred Cantatas by J. S.

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