Ihr, die ihr euch von Christo nennet (BWV 164) based on a poem in Salomo Franck’s collection of cantata texts Evangelisches Andachts-Opffer published in 1715, was composed in Leipzig for August 16, 1725. It deals with the Imitatio Christi, which is illustrated by the use of imitative counterpoint. This is matched by an appropriately strong element of chamber music in the work. In the opening aria the vocal line is integrated into the rich string texture, the key being confirmed by a powerful leap of a fifth.
All the more effective is the inversion of the subject at the words ”Wo bleibet die Barmherzigkeit?... Sie ist von euch, ach, allzuweit” (Where is that mercy now revealed?... From you 'tis fled, ah far afield); they relate to the melisma on the Word ”Barmherzigkeit” in the recitative (No. 2) which, by describing the Priest and the Levite as pitiless Christians, alludes to the parable of the Good Samaritan. In the alto aria ”Nur durch Lieb und durch Erbarmen” (By our love and tender mercy) the concept of the Imitation of Christ is expressed by two flutes, Bach’s favoutite instrument for this idea. After the emphasis placed on pity in No. 2, love is the focal point in the accompanied rocitative No. 4. Arioso elements prepare the way for the expressive duet for soprano and bass in movement No. 5, accompanied by strings and winds. This movement, another canon, reverts to the basic concept ofthe opening aria, thereby creating a strong musical link throughout the cantata, which is rounded off by a simple four-part chorale.
O heilges Geist- und Wasserbad (BWV 165) was probably composed in Weimar for Trinity Sunday, 1715, and may have been performed again with slight changes on Trinity Sunday of 1724 in Leipzig; the reservations arise from the nature of the source material. The text is once again from Salomo Franck's collection of 1715 (cf. BWV 164). The opening aria is a striking example of the freedom with which Bach treated forms and expressive values. Its structure is that of a fugue, its form a rondo; some of its sections contain free inversions of the basic theme. The string figures and the formal arrangement contribute to a symbolic interpretation of the text, e.g. the inversion at the words "O Flut, die alle Missetat   ertränket und uns das neue Leben schenket” (O Fount, which swallows sin and pride, ...our strength and hope and life renewing). No. 2, a recitative with arioso declamation on certain words characteristic of the Weimar cantatas, and No. 3, a moving, prazer-like alto aria with continuo, refer to Man's redemption through baptism. An expressive accompanied recitative, No. 4, containing arioso passages which are so free as to be almost improvisations, introduces a tenor aria ("Jesu, meines Todes Tod"), in which the violins and violas in unison powerfully support the salvation of those who are baptised and turn to Christ. The string figures are inspired by the "Heilschlänglein" (the snake of salvation), in contrast to the venomous snake in the Garden of Paradise. The words of the final chorale "sein Wort, sein Tauf, sein Nachtmahl" (Thy Word, communion, sacrament) are closely linked to Franck's original text.
Wo gehest du hin? (BWV 166) was written in Leipzig for May 7, 1724, the Fourth Sunday after Faster, to the words of an unknown author. In the first movement, a cross between an aria and an arioso, the bass with string accompaniment is clearly intended to be the voice of Christ; this is also obvious from the following movements. The words “Where goest Thou Lord, ah where?" are set with expressive figures illustrating both the question and the idea of going; the word "where" is used repetitively and the interrogative motif also dominates the instrumental writing. For the following aria ”lch will an den Himmel denken” (All my thoughts to Heav’n are turning) the solo violin pail has been reconstructed. Although a violin and obbligato oboe in a cantata aria is comparatively rare, it is implied by the whole substance of the work in which the emotive content of the second and third movements is provided by Heaven, that of the fourth and fifth by the World. Mutual imitation by the oboe, symbol of heaven, and the violin, symbol of Man turning to God, is enhanced by the text ”Ich will an den Himmel denken” (All my thoughts to Heav’n are turning); the melisma on ”schenken" (give) emphasises the word, even though it is negated. This also applies to the fifth movement, in which worldly pleasures determine the emotional content, though they too are renounced. It is a fact of life in baroque music that the sentiments of ideas and concepts are not impaired by being expressed in musically contradictory terms. The contrast between Heaven and the World reinforces the intention of the movement. The tenor aria is followed by a chorale concerto, the seriousness of which is emphasized by the long note values; the violins and violas, playing in unison, syrnbolise the concept of Man turning to God, just as they do in the fifth movement of Cantata No. 165. The cantata ends with the chorale ”Wer weliß, wie nahe mir mein Ende” (Who knows how near is my last hour), which is as powerful as the opening aria and the chorale concerto in the middle of the work.
Ihr Menschen, rühmet Gottes Liebe (BWV 167) written to a text by an unknown author for the Feast of St John the Baptist (June 24) 1723, is one of Bach's earliest works produced in Leipzig in addition to his compositions for the Sunday services and other duties in connection with the choir school. No doubt the new Cantor of St Thomas’s had to get used to his new and extensive range of duties; this may explain the striking brevity of this cantata which, nevertheless, is very skilful and rich. Although the idyllic opening aria in spacious 12/8 time is only set for tenor, strings and continue, the string writing is highly differentiated. The prelude, interludes and postlude, all fully scored, contrast with varying settings in the string accompaniment. The recitative No. 2 is based on the song of praise of Zacharias - the words of the cantata are in part taken from it. The second part of the recitative, an adagio arioso, is particularly lovely. The duet between soprano and alto, accompanied by an oboe da caccia and continuo, is as compact as a piece of chamber music; the middle section, which starts as a canon, soon changes from duple metre to the faster triple metre. Here Bach made use of a distinction, common since the late Middle Ages, between tempus irnperfectum (duple time) and tempus perfectum (triple time), the latter being sometimes used as a symbol for the Trinity. The symbolism in connection with John the Baptist and his prophecy and the baptism of Jesus is unmistakable. The layout of the final chorale with its independent string writing as well as preludes, postludes and interludes between the lines of text, is of particular interest.
Tue Rechnung! Donnerwort (BWV 168) is composed to a text from Salomo Franck’s collection of 1715, as are Cantatas No. 164 and No. 165. Tradition and the compositional style suggest that it was written during Bach’s time in Leipzig, probably for the Ninth Sunday after Trinity 1725 (July 29). The cantata deals with the parable of the dishonest steward (Luke 16: 1-13). The graphic way in which Franck used business and legal terms is an example of how difficult it sometimes is for present-day listeners to comprehend and accept poetry which was then the order of the day. This applies particularly to the second and third movements. The emotions inherent in the word ”Donnerwort," first expressed by the continuo and then passed on to the other parts, inform the bass aria (No. 1). In the following two movements Bach displays remarkable reticence. The text, and the writing for the two oboes d’amore, make it quite clear that the sinner is standing before God. A simple recitative (No. 4) is followed by a duet for soprano and alto in which darting figures in the continuo illustrate the breaking of Mammon’s fetters. A simple four-part chorale ”Stärk mich mit deinem Freudengeist” (By thine atonement make me strong) concludes the cantata.
Gott soll allein mein Herze haben (BWV 169) to words by an unknown author, was composed for the 18th Sunday after Trinity 1726 (October 20). The subiect of this cantata for alto, chorus, organ and orchestra is love of God and of one’s neighbour. This is an impressive example of Bach's economy of style; by varying the scoring he produced a rich tonal palette, in spite of his comparatively restricted resources. The first movement of the E major Harpsichord Concerto, BWV 1053, was transposed into D major and, with the addition of oboes and an organ used as a solo instrument, became the Sinfonia. An arioso and recitative "Gott soll allein mein Herze haben” (God has my heart, there He abideth) skilfully relates the words and music of the thesis (arioso) to counter-arguments (recitative). The following aria which, with the arioso movement, constitutes the focal point of the cantata, is only accompanied by the organ and the continuo: the organ, a wind instrument by reason of its pipes, symbolises the overflowing heart, while the continuo provides the foundation. The organ part is not unlike a free inversion of the arioso subject, but is, in fact, quite independent. A simple recitative is followed by an aria based on the second movement of the Harpsichord Concerto already referred to. The vocal part and the organ have an equal share in this concerto movement; the instrumental nature of the melody imparts a filigree-like subtlety to the vocal line. The subject of the recitative (No. 6) and the linal chorale is love of one’s fellow beings.