Bach held the position of Thomaskantor in Leipzig from 1723. During his first year, beginning with the first Sunday after Trinity, he wrote a cycle of cantatas for the occasions of the liturgical year. In his second year he composed a second annual cycle of cantatas, which was planned to consist exclusively of chorale cantatas, each based on one Lutheran hymn. Bach composed the chorale cantata Herr Jesu Christ, wahr' Mensch und Gott for Estomihi, the last Sunday before Lent, when Leipzig observed tempus clausum and no cantatas were performed. In 1723, Bach had probably performed two cantatas in Leipzig on that Sunday, Du wahrer Gott und Davids Sohn, BWV 23, composed earlier in Köthen, and Jesus nahm zu sich die Zwölfe, BWV 22, both audition pieces to apply for the post of Thomaskantor in Leipzig. The prescribed readings for the Sunday were taken from the First Epistle to the Corinthians, "praise of love", and from the Gospel of Luke, healing the blind near Jericho. The Gospel also announces the Passion. The text is based on the funeral song "Herr Jesu Christ, wahr Mensch und Gott" in eight stanzas by Paul Eber. The hymn suites the Gospel, stressing the Passion as well as the request of the blind man in the final line of the first stanza: "Du wollst mir Sünder gnädig sein". The song further sees Jesus' path to Jerusalem as a model for the believer's path to his end in salvation. An unknown librettist kept the first and the last stanza and paraphrased the inner stanzas in a sequence of recitatives and arias. Stanzas 2 and 3 were transformed to a recitative, stanza 4 to an aria, stanza 5 to a recitative, stanzas 6 and 7 to another aria. Bach first performed the cantata on 11 February 1725. It is the second to last chorale cantata of his second annual cycle, the only later one being Wie schön leuchtet der Morgenstern, BWV 1, for the feast of Annunciation which was celebrated even if it fell in the time of Lent.
Recitative and aria : Wenn einstens die Posaunen schallen – Fürwahr, fürwahr, euch sage ich
Chorale: Ach, Herr, vergib all unsre Schuld
Music
The opening chorale is structured by an extended introduction and interludes. These parts play on a concertante a motif derived from the first line of the chorale, but also have a cantus firmus of the chorale "Christe, du Lamm Gottes", the Lutheran Agnus Dei, first played by the strings, later also by the oboes and recorders. It appears in a similar way to the chorale as the cantus firmus in the opening chorus of his later St Matthew Passion, "O Lamm Gottes, unschuldig". Its request "erbarm dich unser" corresponds to the request of the blind man. A third chorale is quoted repeatedly in the continuo, "O Sacred Head, Now Wounded". Christoph Wolff notes that on Good Friday of that year Bach would perform the second version of his St John Passion, replacing the opening and the closing movement of the first version by music based on chorales, "O Mensch, bewein dein Sünde groß" which would become the final movement of the first part of the St Matthew Passion, and again "Christe, du Lamm Gottes". Bach chose a rare instrumentation for the first aria, the oboe plays a melody, supported by short chords in the recorders, in the middle section Sterbeglocken are depicted by pizzicato string sounds. Movement 4 illustrates the Day of Judgement. On the text "Wenn einstens die Posaunen schallen", the trumpet enters. The unusual movement combines an accompagnato recitative with an aria, contrasting the destruction of heaven and earth with the security of the believers, the latter given in text and tune from the chorale. John Eliot Gardiner describes it as a "grand, tableau-like evocation of the Last Judgement, replete with triple occurrences of a wild 6/8 section when all hell is let loose in true Monteverdian concitato manner". He compares it to the "spectacular double chorus" from the St Matthew Passion, Sind Blitze, sind Donner in Wolken verschwunden. The closing chorale is a four-part setting with attention to details of the text, such as movement in the lower voices on "auch unser Glaub stets wacker sei" and colourful harmonies on the final line "bis wir einschlafen seliglich".
BWV 127/1 (variant)
A reworked and transposed version of the cantata's opening movement opens the second part of the Passion pasticcioWer ist der, so von Edom kömmt. This version of the cantata's opening movement is known as, or.
Recordings
The selection is taken from the listing on the Bach-Cantatas website.
