Lobe den Herrn, meine Seele (BWV 69a) was Composed for the 12th Sunday after Trinity (August 15) 1723 while Bach was still in his first year as Cantor at Leipzig. With a series of further cantatas of this annual cycle (BWV 136, 105, 46, 179, 77, 25, 109, 89 and104), it belongs to a forrn which tries to unite the "modern” Italian cantata forrn (regular alternation of recitatives and arias based upon newly written texts) with central Gorman traditions (choral settings of Scripture and chorales). The Gospel for that particular Sunday refers to the healing of the deaf-mute; the cantata text paraphrases this rniracle as an example of God's omnipotence and goodness with verses of psalms (chorus), chorale verse (concluding chorale) and madrigal-type poetry by an unknown author. The generally jubilant nature of the text, which turns from the Gospel reading to become more general, gave Bach an opportunity to give free rein to instrumental splendour: the opening chorus features concertante wind settings (trumpets, kettledrums and oboes), while the arias are scored for recorder, oboe da caccia and oboe d’amore, each with its own unique tonal colour. The magnificent opening chorus (D major) is constructed symmetrically: instrumental ritornello - free repetition with chorus ("Lobe den Herrn...”) - first choral
fugue ("Lobe den Herrn...”) - second choral fugue (”und vergiss nicht...”) - double fugue on both themes - free repetition oi the first choral section, but with the entire text - repetition of the ritornello. A simple secco recitative leads on to the tenor aria (C major), a "joyful song of thanksgiving," the almost exuberant dance style of which takes on an innocent, pastoral flavour due to the instrumentation. The second recitativo, towards the end in solemn aria-like style, moves to the bass aria (B minor), which on the one hand quite strikingly highlights the textual contrasts (the cross and suffering vs. joys), while on the other represents by the martial signal motifs the higher unity which the text signifies: the cantata has its theological, exegetical focal point in this aria. The simple concluding chorus (in G major) is taken from Cantata No. 12.
In later years Bach frequently reused and rearranged the work - at first only by transposing the tenor aria for alto, oboe and violin into G major. Then, in his last years, he carried out a deeply incisive adaptation into a cantata for the usual festive church service following election of the Leipzig town council (BWV 69). The recitative and chorale were newly composed; since the first aria in the original version was used, the tenor was now given the second recitative (so that the quartet of soloists remained intact). The essentially new emphasis is placed by this recitative, which, by way of a solemn accompagnato, develops from an unpretentious secco to a magnificent arioso, the conclusion of which establishs the direct relationship to the next aria. The final chorus reverts to the key and setting of the opening chorus; the trumpet chorus at first only traces out the line endings, but then, in paying vocal tribute to the Trinity, endows the chorale setting with the brilliant mantle of deus rex et triumphator.
Wachet! beter! betet! wachet! (BWV 70) has its origins in Bach's Weimar period and was intended for the Second Sunday in Advent. In Leipzig it was rearranged for the 26th Sunday after Trinity (November 21) l723. Bach was able to take over the original text by Salomo Franck and his composition (movements l, 3, 5, 8, 10 and 11 of the Leipzig version) en bloc, since the Gospels of both Sundays deal with the end of the world and with the coming of Christ. Furthermore, by the insertion of recitatives - the Weimar version being without recitatives - and of an additional chorale verse, the work was expanded into the large, two-part Leipzig form. The subsequently composed movements lack nothing ot the impetuosly dramatic style of the movements composed in Weimar.
The opening chorus (C major) - a da capo aria in form - in its virtuoso, light choral setting, emphasises the contrast between ”Wachet" (watch) and ”betet” (pray) in ever new paraphrases, while in the orchestral setting trumpets sound the signal motifs of the Last Judgement. The accompagnato which follows intensifies this motif to the state of a territying vision, contrasting with the joy of the redeemed soul.The alto aria (A minor), soprano aria (E minor) and chorale (G major) subsequently complete in individualized and moderate style the emotional impact of these first two movements: in the rousing call to the sleeping souls in energetically dotted 3/4 rhythm with triplets, in the intensified, richly instrumentally painted image of the supreme Judge, devoid of all horrors (”auf den Wolken, in den Höhen" - in the clouds, on the heights), and finally in the heartfelt joy of the simple chorale movement. The tenor aria (also in G major) enhances the vision of paradise by an almost ecstatic cantabile-like style and the colourfulness oft he oboe part, With the seventh-chord outcry of the following accompagnato, however, the horrors of Doomsday are once more conjured up, with the individual now having to decide (the text not beginning to spealk in the first person until this point): tremolo and ”co|lapsing" string cascades, signal motifs, the chorale "Es ist gewisslich an der Zeit” in the trumpet part, and, finally, sighing motifs confronting the “joyful” coloratura of the bass part with the suffering of the Saviour through which final joy is attained, all depict the insoluble interaction of suffering and redemption. Scenic treatment, so to speak, is applied in the following aria, the visionary adagio cantilenas (C major) which provide the framework for the painting of an apocalyptic ruin. Finally, to the crowning effect of the full orchestral setting, the vision of the individual is answered by the final chorus, here representing those redeemed.
Gott ist mein König (BWV 71) is Bach's oldest council election cantata (Mühlhausen 1708), altogether one of his earliest cantatas, and from the point of view of style an almost completely antiquated piece. The text consists of quotations also applicable to the inauguration of the council and tree city’s secular lord, Emperor Joseph I (last movement), while the composition is a sequence of motet-like or concertante miniatures, emphasising with the greatest care and simple conciseness every rhetorical detail. The treatment of the orchestra too, with its fourchoir element, and division of the chorus into ripienist ensemble vocalists and soloists are in the Middle German tradition. Nevertheless the work is rich in small, often insignificant individual traits: for instance the gentle endings of the outer movements, the intensive text interpretation of the chorale embellishments in the second movement, the veritably coloratura thoroughhass figuration and the psalmody-like conclusion of the penultimate movement. And no less worthy of note - as the "most modern” part of the work - the magnificent fugue for vocal soloists in the last chorus.
Alles nur nach Gottes Willen (BWV 72) for the Third Sunday after Epiphany originates from 1726, but uses a text by the Weimar court poet Salomo Franck already published in 1715. The opening words speak of the Gospel as Franck perceived its message (the healing of the leper, Matthew 8: l-l3): the suhmission of the Christian to God’s will and mercy in good and in bad times. The composition harmonizes completely with the restrained tone of the poetry avoiding all sharp accents and drastic imagery. It paraphrases the basic concept of the text in delicate turns which are poetic and subtle at once. This is apparent in the ”quiet" centre section of the first chorus, in the threefold intensification of the recitative, arioso (where the rnelodious opening phrase "Herr, so du willt” (Lord if Thou wilt) is treated with ever new musical and rhetorical refinements) and aria; finally also in the second aria, the light-hearted dance style (polonaise) and gentle reflective attitude are peculiarly held in balance until the contemplative gesture of the conclusion gives way to the simple chorale.