Herz und Mund und Tat und Leben (BWV 147) was written in its present form for the Feast of the Visitation of Mary (July 2) in the year 1723. Bach had started working on this cantata in Weimar for the Fourth Sunday in Advent 1716, but evidently never completed it. In Leipzig no cantatas were sung on that Sunday, but the passage from the Bible on which this work is based contains the Magnificat and is therefore quite appropriate for a Marian feast day. Rearrangements of the text, additional recltatives and an interpolated chorale stanza (No. 6) produced a cantata in two parts, the inclusion of a trumpet in the otherwise traditional scoring imparting a festive splendour to the work. The opening chorus, the introduction to which is repeated at the end, is in three parts with fugal outer sections. The tenor recitative is followed by an aria for alto (Mary) with a strangely indeterminate rhythm that erratically changes from 3/4 time to an implied 3/2 time. This feature derives from a notion current in the late Middle Ages according to which triple rhythm (but not triple time) was a symbol of the Trinity and thus the musical expression of perfection. In this context the oboe represents the supernatural, while the solo violin in the soprano aria (No. 5) represents Jesus, the Son of Man. The instrumental symbolism is quite obvious from the text. The two chorale stanzas which conclude the sections before and after the sermon are characterised by an independent orchestral accompaniment which also serves as a prelude and has been popularised under the name of "Jesu, joy of Man’s desiring." The dotted notes and triplets, a feature in organ chorales which often symbolises the joy of Christmas, forge the link with the festive season. The second part opens with a tenor aria in which the vocal line is based on the phrase ”Hilf, Jesu, hilf” (Help, Jesus); quite exceptionally the cello and organo in the continue are not kept in unison, the organo playing the decorated line. An expressive alto recitative with two oboes da caccia is followed by a bass aria in which for the first time a solo part is accompanied by the whole orchestra. The words “Ich will von Jesu Wundern singen” (”Of Jesus am I ever singing"; some editions still print the older version in which "Wunder” - marvels - is replaced by "Wunden” - wounds) are eloquently painted by the many coloratura passages.
Bringet dem Herrn Ehre seines Namens (BWV 148), written for the 17th Sunday after Trinity, has as its text a very loose adaptation of Picander's poem for that Sunday "Weg, ihr irdischen Geschäfte” (Begone, earthly matters), published in 1725 in his collection of ”Edifying Thoughts.” Records concerning the cantata suggest a performance as early as September 19, l723, thus perpetuating the mystery of the poem’s relevance to the text of the cantata and with it the precise date of its composition. The subject is the sanctity of the Sabbath and the delight of Christians in it: the scoring-trumpet, three oboes, strings and continuo - is unusually rich for a normal Sunday. After a short Sinfonia the opening chorus enters with a brief homophonic passage, followed by a fugal section with two expositions, the subjects of which derive from the Sinfonia, which is thus crucial for the unity of the movement. During the fugue the trumpet is treated as an independent voice, whereas the other instruments merely support the vocal parts. In the closing section the shortened Sinfonia is combined with choral passages. There follows a tenor aria with violin obbligato ”lch eile, die Lehren des Lebens zu hören” (I hasten to fathom the secret of Heaven) in which the florid writing for the solo instrument expresses the ”haste" as much as the delight in "the secret ot Heaven.” In complete contrast, the accompanied recitative (No. 3) is marked by mystical contemplation and serenity, which are further enhanced in the aria accompanied by two oboes d’amore, an oboe da caccia and continue; it is a noticeable feature that the latter repeatedly falls silent when the voice enters, signifying that the soul is casting oft its links with earthly things. The tinal chorale has come down to us without a text; earlier editions used the stanza ”Führ auch mein Herz und Sinn," but the New Bach Edition has provided the stanza "Amen zu aller Stund” (Direct for me my way).
Man singet mit Freuden vom Sieg (BWV 149), written for the Feast of St Michael, is based on a text by Picander of 1728. The Saint’s victory over Satan inspired Bach to borrow the final movement of the Hunting Cantata, BWV 208, for the opening chorus. The two hunting horns were replaced by three heraldic trumpets and timpani, otherwise the scoring was left intact. The transposition from F to D, although in accordance with character and tuning of the instruments, resulted in the "feel" of the movement being altered. Apart trom the general resemblance in mood, words of similar meaning or derived from the same root, e.g. "freudige Stunden" (joyful hours) replacing the earlier ”mit Freuden” (joyfully), provided the material for an adequate setting of the text in addition to an ettective "parody." The instrumental and vocal figuration of the bass aria (No. 2) reveal a vision of apocalyptic power, in contrast to the dancing soprano aria "Gottes Engel weichen nie” (Heavens Angels watch will keep) which is a tone picture of security. In the duet ”Seid wachsam, ihr heiligen Wüchter” (Be watchful, ye guardian Angels), a bassoon, otherwise hardly ever used by Bach as a solo instrument, represents the sentinels on their rounds. A simple chorale concludes the cantata, with the trumpets entering quite unexpectedly at the end.
Nach dir, Herr, verlanget mich (BWV 150), being written tor an unspecified occasion, has often had its authencity called into question. However, certain features, such as the brief Sinfonia, the scoring and its resemblance to other works suggest that it was composed in 1708/09. The choral movements (Nos. 2 and 4) are structured in short passages in the style of a motet, No. 4, "Leite mich” (Lead Thou me), in which the voices take over from one another, containing remarkable word painting. The choral movement ”Meine Augen sehen stets zu dem Herrn” (Mine eyes ever turn to God) is in two sections, the first one acting as a prelude to the fugue which follows. The final movement is a Ciacona, a form derived from purely instrumental music, which so impressed Johannes Brahms when the complete edition of Bach’s works was published in 1844 that he used the hass line, with slight modifications, for the last movement of his Fourth Symphony, which is also a Chaconne.
Süßer Trost, mein Jesus kömmt (BWV 151), set to a text by the Darmstadt poet Georg Christian Lehms, was written for the Third Day of Christmas. As in other cantatas for the third day of a feast, Bach only used the choir of St Thomas’s, who had been hard at work, in the simple chorale. The opening aria, which has been held in particularly high regard ever since it became known in the nineteenth century, dominates and casts a glow over the whole work. The tension between inner ioy and consolation, the molto adagio and sempre piano of the first part, and the vivace of the central section create an espressivo, the polarities of which Bach usually allotted to two separate arias (e.g. in BWV 147-149). Here spacious melodic phrases and tone colours evocative of chamber music (woodwind and strings) determine its intimate character, which carries over into the alto aria. Tho symbolism of the two recitatives matches tho expressive lines of the arias.