BWV 84

The readings for Septaugesima are just the kind of ideas that drove Karl Marx crazy. If ever there were passages that make Christianity the “opiate of the people” it is these words that support being happy with your place in life. Bach’s text here certainly toes the party line and yet in tone is more complex, even loveable.

The most striking thing about the opening aria of our cantata, one of three sacred cantatas for soprano. Is its delicate, even reserved finish and elegance. A quick reading of the text could bring to mind a certain smugness. Bach has an enormous arsenal of characters; smug is not one of them. Rather the delicate dotted rhythms and the glistening, transparent orchestral texture create a magical world beyond human aggression and greed. Altogether, this is one of the most surprising text settings in all of Bach.

The recitative that follows is so skillfully laid out that the reactionary and unpleasant tone of its philosophy is underplayed. The childlike faith is again brought tot the fore.

Saxony, where Bach spent his whole life, isn’t very far from the Alpine countries, so that it’s not surprising to find yodeling effects in Bach’s vocal works. The little whoop that happens on the word “weniges” is one of the many felicities of the second aria in the cantata. Written as a modified trio sonata with solo violin and oboe accompanying the soprano, the work has a delightful energy and spirited delivery that are in contrast to the muted tone of the first aria. The cantata ends with a beautiful harmonization of the chorale “Wer weiss, wie nahe mir mein Ende.”

©Craig Smith