The striking orchestration of the chorale-based Cantatas No. 128, No. 129 and No. 130 is of symbolic significance relating to the Sundays and Holy Days for which they were intended. From the beginning of the seventeenth to the middle of the eighteenth century three trumpets and timpani constituted a musical dimension which couid be added as a unit to the orchestra, often to symbolise sovereignty; Bach rnakes use of this connotation for the Trinity and for the "Kingdom that is not of this world” (BWV 129 and 130). A single trumpet, on the other hand, represents individual sovereignty (BWV 128, No. 3). Horns, although they are also brass wind instruments, play a less important part in this symbolic language (BWV 128) and can therefore contribute towards differentiation. The woodwind, on the other hand, describes the Divine as seen by Man; the flute stands for the imitation of Christ, the oboe and particularly the oboe d’amore emphasise even more strongly the human element. The strings represent Man looking up in entreaty to God (violins), or lament (violas, viola da gamba). The great importance of the thorough bass, the "beginning and end," as Bach put it, takes on a symbolic significance whenever the continuo is treated as a solo part (BWV 130). As the Passions and other cantatas indicate, in the final analysis the symbolism contained in both the orchestration and figuration is embodied in the textual and musical relationships.
Auf Christi Himmelfahrt allein (BWV 128) was composed for May 10, 1725. The text by the poetess Christiane Mariane von Ziegler draws its substance from the first stanza of the hymn on which the opening chorus is also based; in contrast to the principle on which other chorale cantatas are constructed, none of the other stanzas is used. In the large-scale opening chorus the text of the chorale is, in motet style, worked line by line into the concertante writing, rather like a Chorale prelude. The chorus and orchestral parts are developed in a manner which is symbolic. The striking contrast between ”Himmelfahrt" (Ascension) and ”meine Nachfahrt” (my salvation) (bar 19 ff,) is taken up and elaborated by the horns and the continuo. Since the text has not yet confirmed Christ’s reign, and mankind (”Nachfahrt”) is not entitled to trumpets, this movement employs horns, After a recitative, No. 2, there follows a richly-figured bass aria, No. 3, in which the solo trumpet indicates that Christ has entered into His Kingdom. The linking recitative which precedes the instrumental da capo section is probably Bach's own alteration of the text, since it does not agree with Christiane Mariane von Ziegler's version published in 1728. In both, the text epitomises the relationship between the aria and the duet, No. 4, and highlights the contrast. The duet is clearly introverted; the use of the oboe d'amore suggests that Man is turning to Christ. In the concluding chorale to the tune of "O Gott, du frommer Gott,” the two horn parts are independent.
Gelobet sei der Herr, mein Gott (BWV 129) was probably written for Trinity 1726 or 1727 and exchanged for Cantata No. 176 (which is not a chorale cantata) in the annual cycle of chorale cantatas for 1724/25. This work, based on a hymn by Johannes Olearius (1665) to the tune of ”O Gott, du frommer Gott,” is a chorale cantata of the older type in which the text of all the stanzas is retained, but each is differently set, with the cantus firmus running through them all. Bach has utilised the division by stanzas and thus of content for varied symbolism. In the opening chorus, which is similar in form to that of Cantata No. 128, there are no horns. Three independent trumpet parts and timpani convey the symbolism. The trumpets are restrained, to show up the declamatory repeats in motet style describing the variety of creation and the varied praise of the Creator; figuration only occurs at ”Leben" (life-bar 27f., also third movement, bars 22-26), and "alle augenblick'" (ever, ever). The second movement though derived from the sacred concerto, displays the characteristics of an aria in the prelude and instrumental da capo section. The interplay of the bass voice and the continuo obbligato indicates that God’s Son is the foundation of the faith of the New Testament, just as the thorough bass is the "beginning and end" of music. In the quartet for soprano, flute, violin and continuo obbligato, Man (the soprano voice) praises the Spirit of God; the flute is the symbol of willingness to follow Christ’s example, the violin, prayer and comfort, the continuo, faith founded in Christ. This movement bears all the hallmarks of chamber music. Compared with this the following alto aria with oboe d’amore and continuo is much less sophisticated: an inward-looking movement in which Man praises the Trinity. The final chorus, its spaciousness exceptional in Bach’s cantatas, exalts the Trinity with its brilliant trumpet writing to which is added yet another triune symbol: the division of the orchestra into trumpets and timpani - woodwind - strings. This is used to summarise the preceding movements.
Herr Gott, dich loben alle wir (BWV 130) was written for Michaelmas Day (September 29) 1724. The unknown poet has used the first, eleventh and twelfth stanzas of Paul Eber’s hymn (1554, after Philipp Melanchton) for the first, fifth and sixth movement of the cantata and adapted the other stanzas. The powerful opening chorus is similar in form to those of Cantatas No. 128 and No. 129, the trumpets representing the Kingdom of Heaven whose (symbolic) champion is the Archangel Michael. The melisma on ”loben” describes men and angels praising God. After the recitative, No. 2, the richly figured bass aria with three trumpets, timpani and continuo takes up the symbolism of the opening chorus: Michael conquers Heaven's bitterest enemy. In the accompanying recitative, No. 4, the faithful souls, in a reference to Daniel in the lions’ den, forge the link to the tender aria No. 5 which deals with the Imitation of Christ. The concluding chorale with its timpani and trumpets reinforces the basic theme of the stanzas.
Aus der Tiefe rufe ich, Herr zu dir (BWV 131) is Bach’s earliest extant cantata. The reference at the very end to the commission: ”Set to music at the request of Dr. Georg Christ. Eilmars by. Joh. Seb. Bach, organist at Mühlhauson” also indicates some tension there: Eilmar was the parish priest at St Mary's, Bach was organist at St Blaise. Like Actus tragicus (BWV 106), this Cantata was written in 1707, presumably for a penitential service after a fire. The chamber music texture of the orchestration - one violin and two violas (one written in alto clef, the other in tenor clef) indicates the link with the music for the gamba; the scoring is completed by an oboe. As far as the form is concerned, there are no independent arias, recitatives or, except for the rather old-fashioned Sinfonia, extended instrumental movements. The structure and arrangement are conditioned by the work’s origin in the motet and sacred concerto. It is fascinating to observe, with hindsight, that the particular musical quality of this (probably) first cantata is the result of a desire for symmetry and the conflict between the "no longer” of the motet and sacred concerto on the one hand, and the "not yet" of the later cantatas on the other. The following analysis also shows clearly the finale nature of the ending.
Sinfonia, leading to the chorus:
"Aus der Tiefe rufe ich" (From the deep, Lord, cried I), Lento
"Herr, höre meine Stimme" (Lord, O harken to my calling), Vivace; = motet
Bass solo with oboe and continuo: "So du willst, Herr" (If thou, Lord, shouldst), Andante; = sacred concerto with cantus firmus chorale
Chorus: "Ich harre des Herrn" (I wait for the Lord), Adagio
"Meine Seele harret" (my soul is waiting), Largo; = motet
Tenor solo with continuo: "Meine Seele wartet” (there my soul is waiting), sacred concerto with cantus fimus chorale
Chorus: "Israel", Adagio
"hoffe auf den Herrrn" (hope ye in the Lord), un poc'allegro
"denn bei dem Herrn ist Gnade” (for with the Lord there is mercy), Adagio; oboe obbligato
"und viel Erlöung bei ihm” (and full retemption with Him), Allegro; figurations
"und er wird Israel erlösen" (and unto Israel retemption), final fugue