Mache dich, mein Geist, bereit (BWV 115), written for the 22nd Sunday after Trinity 1724 (November 5), is one of the large group of chorale cantatas in which both the words and tune of the Sunday hymn are retained for the first and last stanzas; in the present case the melody is that of "Straf mich nicht in deinem Zorn” (Do not punish me in thy wrath). The inner stanzas, on the other hand, are paraphrased in the style of a rnadrigal, condensed (a few lines at most are quoted, e.g. the seventh stanza at the beginning of the second aria) and quite freely set. In his treatment of the anonymous, traditional text Bach places particular emphasis on the reminder, indeed the urgent exhortation, to repentance and prayer. This can already be observed in the opening chorus with its chamber music texture in which the characteristic octave leap ofthe ritornello is taken up by the three lower voices not singing the hymn tune; here the chromatic progression and short modulation to G minor paint the words ”fleh’ und bete” (implore and pray) with particular explicitness. The two arias - adagio in E minor and molto adagio in B minor - concentrate both on sleep and, vividly depicted, on the sudden onset of punishment, as well as on prayer and entreaty. The first aria is a siciliano, evoking associations of a lullaby, the sleep of the ”schläfrige Seele" (slumbering spirit); after a sudden allegro at the beginning of the middle section, the return of the siciliano theme vividly illustrates the close association between the sleep of the sleepy soul and the ”Schlaf des ewigen Todes” (sleep of everlasting death). The second aria, with its emphasis on prayer and entreaty, looks back to the opening chorus; appropriately, as in the chorus and in contrast to the first aria, the accompaniment has the texture of chamber music-solo flute and violoncello piccolo, an instrument that Bach had used once before, in Cantata No. 180 written two weeks earlier- into which the vocal line entwines itself after its sighing prayer and pleading motifs. The final chorale is very simple indeed; in spite of the awe-inspiring words of the last lines it is in straightforward G major, as was the opening chorus.
Du Friedefürst, Herr Jesu Christ (BWV 116) was written for the 25th Sunday after Trinity of the same year, i.e. three weeks after Cantata No. 115 (November 26, 1724); the layout of text and music is similar, and it may be assumed that both hymns are by the same anonymous poet. The composition, however, is much more elaborate and the contrast between the outer (chorale) stanzas and the inner (paraphrased) stanzas is even more pronounced. The opening chorus derives its inspriration above all from the concept of the Prince of Peace; both the promise of peace and His supremacy are emphasised by the key of A major and the majestic cast of this extended, splendidly sonorous movement with its remote resemblance to a French overture. By complete contrast, both the alto aria in F sharp minor and the trio in E major deal with fear and guilt. The former is a duet between the alto and the oboe d'amore, heavy with sighs, culminating in the truly terror-stricken chromaticism of the middle section ("Kaum, daß wir noch in dieser Angst..." - Hardly can we in our fear). The trio, which is accompanied only by the continuo, is remarkably compact in spite of its coritrapuntal refinement (the middle section is written extensively in triple counterpoint with permutations); its almost modern, almost "scenic" effect derives mainly from its straightforward structure and the change from major to minor in accordance with the requirements of the text. The recitatives are also unusual: the continuo part of the tenor recitative refers twice to the opening line of the chorale, thereby making the link with the text "daß du ein Fürst des Friedens heißest” (that Prince of Peace thy people call thee); the string accompaniment of the alto recitative is remarkably intense, and at the end both the vocal line and the continuo hark back to the melody and rhythm of the opening chorus, once again on the word ”Friede” (peace). The tnncluding chorale in A major is as straightforward as is that of Cantata No. 115.
Sei Lob und Ehr dem höchsten Gut (BWV 117) was probably written for an unknown occasion between 1728 and 173l; the scope and scoring of the cantata lead one to believe that it must have been a particularly important celebration, possibly a service of thanksgiving. The form is that of a later chorale cantata per omnes versus, i.e. the text of all hymn stanzas is unaltered and set either as chorus, recitative or aria, although the hymn tune is not retained throughout; in the present example the melody of ”Es ist das Heil uns kommen her” (Our salvation is now at hand) is used in the opening and concluding choruses and in the fourth stanza, a simple chorale which may well have preceded the sermon. The stanzas are further unified by the fact that each one of them is summed up, as it were, by the same closing line: ”Gebt unserm Gott die Ehre" (To Him be all the glory). In accordance with its importance as a refrain in terms of both form and content, this line is given special prominence, each time it occurs, although this is achieved by different means on every occasion. Finally, Bach reinforced the internal and external unity of the work by setting the last stanza as a repeat of the opening chorus and creating thematic links between the three arias. The arrangement of movements between the two resplendent choruses is in accordance with the two principles of contrast and intensification: recitative (refrain treated as an arioso) - tenor aria in E minor with two oboes d’amore - chorale in G major - accompanied recitative in D major (refrain treated as an arioso) - bass aria with violin solo in B minor- alto aria with flute and strings in D major - recitative in B minor-G major. Beyond that, the Arias increase in intensity from the amiable stciliamo of the first, via the virtuosity and rich imagery of the second, the refrain of which musically harks back to the last line of the preceding accompanied recitative, to finally reach the positively ecstatic dance rhythm of the third aria. Even Bach only rarely set a text, which in itself is rather monotonous, to such an abundance of musical forms, or gave it such an allusive and complex overall structure.
Preise, Jerusalem, den Herrn (BWV 119) was written for the Leipzig City Council election on August 30, 1723, in Bach’s first year of office there. As had been customary since the sixteenth century for such services on secular or semi-secular occasions, the text draws heavily on the Psalms, with some lines from Luther’s German translation of the Te Deum providing the final chorale. Equally in accordance with tradition is the opulent orchestration (four trumpets, timpani, two flutes, three oboes, strings) which removes any doubt that the authoritz celebrated here is really ”in the image of God", as stated in the text. The opening chorus is incorporated into a French overture, the tenor aria and the subsequent recitative, with their dotted and triplet rhythms and joyful wind instruments, hark back to the symbolic style of music at the court of an absolute monarch; the huge choral movement "Der Herr hat Guts an uns getan” (The Lord is bountiful to us), the fugal section of which recalls the hymn "Nun danket alle Gott" (Now thank we all our God), is also introduced by a positively martial orchestral ritornello. Up to that point, Leipzig is celebrated as a miniature Versailles; thereafter, both in the austere recitative and the strict four-part setting of the final chorale, the "arm Gebet" (poor prayer) of the congregation is eloquent: spiritual rather than secular authoritz has the last word.