Text
probably Salomo Franck

Text No. 2
John 14:23

Text No. 6
Philipp Nicolai, 1599

First performance
1714, Weimar

The introductory chorus, an elegant da-capo choir aria with a middle-section fugue, is surprisingly tender given its large orchestration; it radiates the fresh charm of Bach’s Weimar cantata oeuvre. Of particular effect are the movement’s speech-like and resplendent trumpet setting of “Resound now, ye lyrics!” and its literal interpretation of “ring out now ye lyres!” (accompanied by strings), not to mention the elongation of the “happiest hours” on the euphonious (!) seventh interval. Following a brief bass recitative with arioso ending, the first aria responds with a festive fanfare, in which the praise of the “most Holy Trinity” is manifested by three trumpets, while the more cantabile middle section captures the text’s shift to an entreating, heartfelt plea.
The ensuing three-voice tenor aria “O paradise of souls” combines a fully instrumented unison string setting (brightened by a flute one octave higher in the 1724 version) with a striding continuo and a vocal cantilena of enticing tenderness. The following duet, for its part, is one of the jewels of Bach’s Weimar cantata movements. Here, the soprano and alto, tacitly personifying the Soul and Jesus, enter into an intimate dialogue over the cantabile cello accompaniment and express a longing for the comfort of the Holy Ghost. This is augmented by the chorale melody “Komm, Heiliger Geist, Herre Gott!” – richly ornamented in the style of Bach’s organ preludes – that articulates a higher dimension, albeit without words. In the original versions, the chorale melody is scored for obbligato organ or oboe (or oboe d’amore); in this recording, however, this “gentle heavenly wind” is lent an earthy timbre through the inclusion of Bach’s much-loved instrument, the viola. Characterised by the text and aura of the Song of Solomon, this arresting moment of unity of soul, saviour and comforter effectively brings time to a halt.
The closing chorale is given a similarly intimate mood through the ascending upper instrumental voice, thereby elucidating the mysterious events of Pentecost: humankind, weak and cold, is raised and transformed through the warming breath of mercy. While the reprise of the introductory chorus is shortened here to its effective opening statement, this interpretation is not only typical of Bach performances in the 19th century, but also corresponds to the baroque modified da-capo technique employed by the composer in the bass aria of this cantata and elsewhere.