Ein feste Burg ist unser Gott (BWV 80), in the present version probably a late cantata for the Feast of the Reformation (1735?), resulted from the rearrangement and expansion of the cantata Alles, was von Gott geboren (BWV 80a), composed in 1715 in Weimar for the Third Sunday in Lent. In view of the fact that this was a ”quiet” Sunday in Leipzig, but on the other hand that the appropriate cantata for this Sunday dealt Wilh Satan’s war against God and, furthermore, that Luther’s hymn "Ein feste Burg" had already been incorporated into the cantata as the traditional hymn, it was inevitable that it should be reused for the Reformation Festival. An initial Leipzig version (1723), which has been preserved in fragmentary form, began with a simple chorale setting on the first verse of the Luther hymn; in view of the importance of the festival and of the cantatas dedicated to it (one only need to recall Cantata No. 79), this was singularly modest, which can probably only be explained by shortage of time when the work was being composed. In the final version the work is also strongly akin to Cantata No. 79 as regards form: an exceptionally artistic and splendid opening chorus and an equally magnificent chorale setting provide the framework for an integrally combined first complex. Following this - possibly after the sermon - just as in the case of Cantata No. 79, there is a recitative, duet and simple concluding chorus. Here, as there, the greatest emphasis is placed on the opening movement - "probably the climax of Bach’s creative choral work” (Alfred Dürr). The choir renders the Luther hymn line by line in motet style, and at the end of each exposition the line is heard additionally in the outer voices of the orchestra (oboe and bass) in unornamented canonic slyle. Lines 1 and 2 as well as lines 3 and 4 are treated in the choral movement as obbligato voices counterpointing each other, so that they are almost always heard simultaneously. On the other hand the rest of the lines which describe the "old evil enemy” are each developed individually and separated by modulation and chromatic treatment. The battle which is the subiect of the hymn and the rest of the cantata is thus quite directly related to the text brought out in the first chorus. The second movement is a chorale duet which is played simultaneously at three levels: the strings set out the battle motif, the soprano, accompanied by the first oboe, sings the lightly embellished chorale verse ”Mit unsrer Macht ist nichts getan”, while the bass renders in rich coloratura and with self-assurance the rnadrigalesque commentary by Salomo Franck. A recitative with an arioso-style conclusion, marked by symbolic canonic beginnings between the singing voice and thoroughbass, leads on to the soprano aria which above all depicts in absolutely fervent coloraturas the yearning of the soul for Jesus. The succeeding chorale turns back to the battle sphere: the choir sings the lines of the chorale in symbolic unisono and, from a gigue-like beginning, the orchestra develops a veritable tumult of battle motifs.
The "second part" of the cantata is, as in Cantata No. 79, almost lightweight compared to the first: again a recitative of secco-arioso sequence leads to the duet which - in long passages both in the solo instruments and in canon by the vocalists - sings of the bliss of the faitful, and only briefly (”und kann die Feinde schlagen" - nor can the foe come nigh him) recalls the battle motifs ofthe earlier movements. The concluding chorus is a simple hzmn movement.
Jesus schläft, was soll ich hoffen? (BWV 81) for the Fourth Sunday after Epiphany (January 30) 1724 is from Bach’s first annual Leipzig cantata cycle. Despite relatively modest means, the work transforms the Sunday Gospel into a highly dramatic and unusually descriptive composition, which in its form and dramatic intensity clearly brings to mind the dialogue of Jesus and the soul. Its descriptive traits just as clearly recall contemporary opera production. The opening movement is, to start with, a highly evocative slumber aria, and admittedly, in its fearfully repeated question which heightens in intensity at the conclusion, also a lament. It continues in the secco recitalive of the tenor which goes on to invoke "the foaming waves of Belial's brooks” in a highly descriptive bravura storm aria, the “rage” of which the brief adagio inserts vainly try to counter. In patently dramatic style this tempest of rage is answered by the bass as vox Christi in an arioso whose occasionally canonic leading of singing voice and thoroughbass symbolically anticipates the reply to the "faint-hearted” questions of the human soul. Almost contrary to the fartherreaching intentions of the text, the second tempest aria - in which Jesus halts the waves - the raging of the elements is depicted almost more splendidly and transparently than the first. Then, as at the beginning of the cantata, the alto takes up the theme, and in a short recitative - once more in practically opera-like drama - provides a summing up. The simple concluding chorus formulates the practical application for the congregation.
Ich habe genung (BWV 82), composed for the Feast of the Purification (February 2) in 1727 and often rearranged after that, is a pure solo cantata, even without a concluding chorus on the pattern of the secular Italian cantata form. It is true that the pointed modesty of the form and of the vocal-instrumental setting is more than made up for by an intensity of text interpretation which does not lot up for an instant. In both its modesty and intensity, there is reflected the introversion and the fervent, mystically hued yearning for death of the text. As early as the first aria the death-sleep symbolism of the tranquil string figures, above which the oboe and the bass weave their dialogue, is almost omnipresent. The recitative which follows is musically as well as textually an abridged reflection of the aria, going as far as the “Joy” coloraturas, and above all in the refrain phrase "ich babe genung,” which is transformed into a closing cadence. The second aria - long since one of Bach’s most popular vocal pieces - is stylised to the purely slumber aria going beyond the analogous elements of the first aria: the proximity to analogous passages of the St Matthew Passion is manifest. A brief recitative leads on to the final aria, which transposes the 3/8 time of the first aria into lively dancing movement, and finally brings out as the theme what had only been hinted at earlier as joyful melisma.
Erfreute Zeit im neuen Bunde (BWV 83) was written for the same church feast as Cantata No. 82 but composed three years earlier (l724). As opposed to the earlier sister work, the death theme - still the central aspect - is outshone by the "bright light" of Christ’s arrival; accordingly the vocal and instrumental demands are greater here and the accent more friendly. The first aria, in grand da capo form, is entirely governed by the contrast between ”erfreute Zeit” - joyful day (main section) and ”letzter Stunde” - last hour (middle section): concertante violins, oboes and horns and the jubilating coloraturas of the alto voice characterise the main section, sighs and (in the violin as well as in the wind parts) the sounding of the death knell marking the middle section. The second movement combines in a singular manner the beginning of the Canticum Simeonis, sung in the 8th psalm tone and framed by a figurative canon of the strings and the thoroughbass, with inserted recitative-like commentaries. The singing voice is the bass, who, also acts here as vox Sirneonis. Once again with no recitative transition, the third aria takes up the consolation of the Canticum Simeonis at this point, paraphrasing the joyful expectation of death in jubilating melismas for tenor and solo violin, After a short alto recitative the conclusion is formed by the fourth verse of Luther’s hymn above the Canticum Simeonis, ”Mit Fried und Freud ich fahr dahin,” with unusually rich harmonies in cantllena style.