Notes & Translations pp

Arie Es ist vollbracht! O Trost vor die gekränkten Seelen! Die Trauernacht Läßt nun die letzte Stunde zählen. Der Held aus Juda siegt mit Macht Und schließt den Kampf. Es ist vollbracht! Aria It is finished! O comfort for the ailing soul! The night of sorrow now measures out its last hour. The hero out of Judah conquers with might and concludes the battle. It is finished!

Occasion: Third Sunday after Easter (Jubilate) Readings of the Day: 1 Peter 2:11-20; John 16:16-23 Text: Acts 14:22 (Mvt. 3); Samuel Rodigast (Mvt. 7); Salomo Franck ? (Mvts. 2, 4-6) Chorales: Jesu, meine Freude; Was Gott tut, das ist wohlgetan

This cantata was composed in Weimar just after Bach’s promotion to concertmaster in March 1714 and revived by him a decade later on April 30, 1724 on the Third Sunday of Easter during Bach’s first season in Leipzig. The text describes the afflictions of the Christian and exhorts hearers to remain faithful in the midst of suffering. It begins with a ravishing, mournful sinfonia. The oboe’s plaintive song sets the scene for the opening choral movement, one of the most impressive and deeply affecting cantata movements Bach ever composed. It depicts four words–weeping, wailing, lamenting, fearing–indicative of Jesus’ suffering and of the believer’s life. One is struck by the starkness and searing pathos of this movement, which later became the “Crucifixus” in the creedal movement of the B minor Mass. Each word, a heart-rending sob, is stretched over the bar line and a passacaglia bass. The trial and tribulation with which this cantata is imbued (and which has been evidenced in the pandemic and the war in Ukraine) is countered by the solo trumpet tune of the tenor aria. Bach places the tenor’s tortuous melodic line against a consoling Lutheran hymn-tune, “Jesus, Priceless Treasure, ” to indicate God’s continuing presence in the midst of tribulation. The final chorale, “What God does is well done, ” affirms God’s gracious will even and especially during times of upheaval and suffering. A central passage of the Gospel reading on which this cantata is based is John 16:20-22:

20 Very truly, I tell you, you will weep and mourn, but the world will rejoice; you will have pain, but your pain will turn into joy. 21 When a woman is in labor, she has pain, because her hour has come. But when her child is born, she no longer remembers the anguish because of the joy of having brought a human being into the world. 22 So you have pain now; but I will see you again, and your hearts will rejoice, and no one will take your joy from you. 23 On that day you will ask nothing of me. Very truly, I tell you, if you ask anything of the Father in my name, he will give it to you.

1 Sinfonia 2 Coro

Weinen, Klagen, Sorgen, Zagen, Angst und Not Sind der Christen Tränenbrot, Die das Zeichen Jesu tragen.

3 Recitativo A

Wir müssen durch viel Trübsal in das Reich Gottes eingehen.

4 Aria A

Kreuz und Krone sind verbunden, Kampf und Kleinod sind vereint. Christen haben alle Stunden Ihre Qual und ihren Feind, Doch ihr Trost sind Christi Wunden.

5 Aria B

Ich folge Christo nach, Von ihm will ich nicht lassen Im Wohl und Ungemach, Im Leben und Erblassen. Ich küsse Christi Schmach, Ich will sein Kreuz umfassen. Ich folge Christo nach, Von ihm will ich nicht lassen.

6 Aria T

Sei getreu, alle Pein Wird doch nur ein Kleines sein. Nach dem Regen Blüht der Segen, Alles Wetter geht vorbei. Sei getreu, sei getreu!

7 Choral

Was Gott tut, das ist wohlgetan Dabei will ich verbleiben, Es mag mich auf die rauhe Bahn Not, Tod und Elend treiben, So wird Gott mich Ganz väterlich In seinen Armen halten: Drum lass ich ihn nur walten.

1 Sinfonia 2 Chorus [S, A, T, B]

Weeping, lamentation, worry, apprehension, anxiety and distress are the bread of tears of Christians who bear the mark of Jesus.

3 Recitative [Alto]

We must enter through much tribulation into God's kingdom.

4 Aria [Alto]

Cross and crown are joined together struggle and treasure are united. Christians have at all hours their anguish and their enemy, but Christ's wounds are their consolation.

5 Aria [Bass]

I follow after Christ, I do not want to leave him in prosperity and adversity in living and dying I kiss Christ's shame, I want to embrace his cross. I follow after Christ, I do not want to leave him.

6 Aria [Tenor]

Be faithful, all pain will then be only a little thing. After the rain blessing blossoms, all bad weather passes by. Be faithful, be faithful!

7 Chorale [S, A, T, B]

Whatever God does, that is done well. I shall stay with this. It may be that on the rough road I shall be driven by distress, death and misery, yet God will just like a father hold me in his arms: therefore I let only him rule over me.

Occasion: The Twenty-seventh and Last Sunday after Trinity Readings for the Day: 1 Thessalonians 5:1-11; Matthew 25:1-13 Text: Philipp Nicolai (Mvts. 1, 4, 7); Anon. (Mvts. 2, 3, 5, 6)

Cantata 140 is based on Matthew 25:1-13, which dramatically depicts the story of the wise and foolish bridesmaids. The libretto relates to the end of time when Christ will come as a bridegroom to his bride, the church, represented by ten maidens. Some of these bridesmaids were prepared for his final coming by having their lamps ready for lighting, and some of them were not. The entire story forms the gospel reading for the Twentyseventh Sunday after Trinity–the last Sunday in Bach’s church year calendar–when the return of Christ and God’s final judgment were highlighted.

The backbone of the cantata is the poetry of the Hymn of the Day for that Sunday, “Wake,

Awake, for Night Is Flying.

” This hymn, one of the most famous of Lutheran chorales, is called “The King of Chorales. ” Its text and tune depict the gospel account and appear in movements 1, 4, and 7. The lyrics in the other movements describe the coming of the bridegroom and his welcoming reception. Two movements cast as love-duets between Christ and the church are as passionate as any others composed by Bach.

The drama of the cantata is enhanced by the tradition of the hymn itself. Both its text and tune were composed by Lutheran pastor and poet Philipp Nicolai (1556−1608) and appended to his set of pastoral reflections on heaven entitled Mirror of Joy. In 1597 Pastor Nicolai ministered to his parishioners during a plague and buried 1,400 members of his congregation, with funerals for over three hundred during the month of July alone. Despite facing death and devastation, Nicolai’s resilient hymn mirrors the hope of believers in a time of great suffering and transports us to heaven’s gate and the joy of eternal life.

The hymn text (in Mvt. 4 of the cantata) refers to the great wedding feast of heaven as an “Abendmahl, ” the German name for Holy Communion. When centered, the hymn text takes the shape of a communion chalice:

Wachet auf, ruft uns die Stimme Der Wächter sehr hoch auf die Zinne, Wach auf, du Stadt Jerusalem! Mitternacht heißt diese Stunde; Sie rufen uns mit hellem Munde: Wo seid ihr klugen Jungfrauen? Wohlauf, der Bräut’gam kommt, Steht auf, die Lampen nehmt! Halleluja! Macht euch bereit Zu der Hochzeit, Ihr müsset ihm entgegen gehn!

This cantata was performed on November 25, 1731 and is generally revered today as Bach’s most mature and well-known cantata. As a complement to BWV 12, it is imbued with the joy that Jesus promised to the disciples after a period of suffering. In our time of uncertainty, suffering, and death, the music of this cantata fills us with hope in the promise of unending life. The Gospel account on which this cantata is based is from Matthew 25:1-13:

“Then the kingdom of heaven will be like this. Ten bridesmaids took their lamps and went to meet the bridegroom. 2 Five of them were foolish, and five were wise. 3 When the foolish took their lamps, they took no oil with them; 4 but the wise took flasks of oil with their lamps. 5 As the bridegroom was delayed, all of them became drowsy and slept. 6 But at midnight there was a shout, ‘Look! Here is the bridegroom! Come out to meet him. ’ 7 Then all those bridesmaids got up and trimmed their lamps. 8 The foolish said to the wise, ‘Give us some of your oil, for our lamps are going out. ’ 9 But the wise replied, ‘No! there will not be enough for you and for us; you had better go to the dealers and buy some for yourselves. ’ 10 And while they went to buy it, the bridegroom came, and those who were ready went with him into the wedding banquet; and the door was shut. 11 Later the other bridesmaids came also, saying, ‘Lord, lord, open to us. ’ 12 But he replied, ‘Truly I tell you, I do not know you. ’ 13 Keep awake therefore, for you know neither the day nor the hour.

1 Coro

Wachet auf, ruft uns die Stimme Der Wächter sehr hoch auf der Zinne, Wach auf, du Stadt Jerusalem! Mitternacht heißt diese Stunde; Sie rufen uns mit hellem Munde: Wo seid ihr klugen Jungfrauen? Wohl auf, der Bräutgam kömmt; Steht auf, die Lampen nehmt! Alleluja! Macht euch bereit Zu der Hochzeit, Ihr müsset ihm entgegen gehn!

2 Recitativo T

Er kommt, er kommt, Der Bräutgam kommt! Ihr Töchter Zions, kommt heraus, Sein Ausgang eilet aus der Höhe In euer Mutter Haus. Der Bräutgam kommt, der einem Rehe Und jungen Hirsche gleich Auf denen Hügeln springt Und euch das Mahl der Hochzeit bringt. Wacht auf, ermuntert euch! Den Bräutgam zu empfangen! Dort, sehet, kommt er hergegangen.

3 Aria (Duetto) S B

Sopran: Wenn kömmst du, mein Heil? Bass: Ich komme, dein Teil Sopran: Ich warte mit brennendem Öle Bass: Eröffne den Saal Sopran: Ich öffne den Saal beide: Zum himmlischen Mahl Sopran: Komm, Jesu! Bass: Komm, liebliche Seele!

1 Chorus [S, A, T, B]

Wake up, the voice calls us of the watchmen high up on the battlements, wake up, you city of Jerusalem! This hour is called midnight; they call us with a clear voice: where are you, wise virgins? Get up, the bridegroom comes; Stand up, take your lamps! Hallelujah! Make yourselves ready for the wedding, you must go to meet him!

2 Recitative [Tenor]

He comes, he comes, the bridegroom comes! You daughters of Zion, come out, he hastens his departure from on high to your mother's house. The bridegroom comes, who like a roe deer and a young stag leaps on the hills and brings to you the wedding feast. Wake up, rouse yourselves to welcome the bridegroom! There, see, he comes this way.

3 Aria (Duet) [Soprano (Soul), Bass (Jesus)]

Soul: When are you coming, my salvation? Jesus: I come, your portion. Soul: I wait with burning oil. Jesus: Open the hall Soul: I open the hall Both: to the heavenly feast. Soul: Come, Jesus! Jesus: Come, lovely soul!

4 Choral T

Zion hört die Wächter singen, Das Herz tut ihr vor Freuden springen, Sie wachet und steht eilend auf. Ihr Freund kommt vom Himmel prächtig, Von Gnaden stark, von Wahrheit mächtig, Ihr Licht wird hell, ihr Stern geht auf. Nun komm, du werte Kron, Herr Jesu, Gottes Sohn! Hosianna! Wir folgen all Zum Freudensaal Und halten mit das Abendmahl.

5 Recitativo B

So geh herein zu mir, Du mir erwählte Braut! Ich habe mich mit dir Von Ewigkeit vertraut. Dich will ich auf mein Herz, Auf meinem Arm gleich wie ein Siegel setzen Und dein betrübtes Aug ergötzen. Vergiß, o Seele, nun Die Angst, den Schmerz, Den du erdulden müssen; Auf meiner Linken sollst du ruhn, Und meine Rechte soll dich küssen.

4 Chorale [Tenor]

Zion hears the watchmen sing, her heart leaps for joy, she awakes and gets up in haste. Her friend comes from heaven in his splendor, strong in mercy, mighty in truth. Her light becomes bright, her star rises. Now come, you worthy crown, Lord Jesus, God's Son! Hosanna! We all follow to the hall of joy and share in the Lord's Supper.

5 Recitative [Bass]

So come inside to me you bride that I have chosen for myself, I have betrothed myself to you from eternity to eternity. It is you that I want to set in my heart, on my arm like a seal and to delight your grieved eyes. Forget now, O soul, the anguish, the sorrow that you had to suffer On my left hand you should rest and my right hand should kiss you.

6 Aria (Duetto) S B

Seele: Mein Freund ist mein, Bass: Und ich bin sein, beide: Die Liebe soll nichts scheiden. Seele: Ich will mit dir in Himmels Rosen weiden, Bass: du sollst mit mir in Himmels Rosen weiden, beide: Da Freude die Fülle, da Wonne wird sein.

6 Aria (Duet) [Soprano (Soul), Bass (Jesus)]

Soul: My friend is mine, Jesus: and I am yours, Both: Nothing shall divide our love. Soul: I want to graze on heaven's roses with you, Jesus: You will graze on heaven's roses with me, Both: There will be fullness of joy, there will be delight

7 Choral

Gloria sei dir gesungen Mit Menschen- und englischen Zungen, Mit Harfen und mit Zimbeln schon. Von zwölf Perlen sind die Pforten, An deiner Stadt sind wir Konsorten Der Engel hoch um deinen Thron. Kein Aug hat je gespürt, Kein Ohr hat je gehört Solche Freude. Des sind wir froh, Io, io! Ewig in dulci jubilo.

7 Chorale [S, A, T, B]

May “Gloria” be sung to you with the tongues of men and angels, with harps and with cymbals. The gates are made of twelve pearls, in your city we are companions of the angels on high around your throne. No eye has ever perceived, no ear has ever heard such joy. Therefore we are joyful, Hurray, hurray! for ever in sweet rejoicing.