Herr, gehe nicht ins Gericht mit deinem Knecht, BWV 105

History and text#

Bach composed the cantata in 1723 in his first year in Leipzig for the Ninth Sunday after Trinity. It is likely that the anonymous librettist was a theologian from the city; the text begins with the second verse of Psalm 143, “And enter not into judgment with thy servant: for in thy sight shall no man living be justified” (). The psalm is one of Martin Luther’s Bußpsalmen, his German translations of the seven penitential psalms, first published in Wittenberg in early 1517, half a year before the Ninety-five Theses. After being reprinted and even pirated all over Germany, there was a revised edition in 1525. The prescribed readings for the Sunday were from the First Epistle to the Corinthians, a warning of false gods and consolation in temptation (), and from the Gospel of Luke, the parable of the Unjust Steward (). The theme of the cantata is derived from the Gospel: since mankind cannot survive before God’s judgement, he should forswear earthly pleasures, “the mammon of unrighteousness,” for the friendship of Jesus alone; for by His death mankind’s guilt was absolved, opening up “the everlasting habitations.” That part of the libretto covers the fourth and fifth movements (the second recitatives and arias). The alto recitative draws from biblical allusions in —“Cast me not away from thy presence”— and —“I will come near to you to judgment; and I will be a swift witness against the sorcerers, and against the adulterers.” The text of the soprano aria is borrowed from —“while accusing or else excusing one another.” There is a reference to Paul’s epistles in the second recitative, —“Blotting out the handwriting of ordinances that was against us” and “nailing it to his cross.” The closing chorale is the eleventh verse of the hymn Jesu, der du meine Seele, written by Johann Rist in 1641.

Scoring and structure#

The cantata in six movements is scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, corno, two oboes, two violins, viola, and basso continuo. # Chorus: (Lord, enter not into judgment with thy servant) # Recitative (alto): (My God, cast me not away) # Aria (soprano): (How they quiver and waver, the thoughts of sinners) # Recitative (bass): (Happy is he who knows his protector) # Aria (tenor): (If I can but make Jesus my friend) # Chorale: (Now I know that Thou will calm my conscience that torments me.)

Musical description of movements#

The cantata opens with a chorus in two parts, a form of prelude and fugue, corresponding to the first two phrases of Psalm 143, “Lord, enter not into judgment with thy servant / for in thy sight shall no man living be justified.” As William G. Whittaker writes, “The chorus is so masterly that even a close analysis can only do scant justice to it.” The monumental first part, marked adagio, starts in G minor with a sombre harmonically complex orchestral eight-bar ritornello. The throbbing repeated quaver beats of the figured bass play ceaselessly in the prelude. The ritornello has a penitent mood, its slow canon full of tortured chromatic modulations and suspended sevenths, which develop into sighing, mournful motifs in the violins and oboes. Similar chromaticism has been used elsewhere by Bach to illustrate the crucifixion, for example for the section of the Credo in the Mass in B minor and for the last stanza, “trug uns’rer Sünden schwere Bürd’ wohl an dem Kreuze lange”, in the choral prelude O Mensch, bewein dein Sünde groß, BWV 622. After the first ritornello, the instruments remain silent except for the pulsating basso continuo; the chorus sings in canon for six bars with new independent material in polyphonic motet style. First the alto starts singing a detached crotchet “Herr” followed by semiquavers motifs for “gehe nicht ins Gericht”; two beats later the tenor starts similarly, then the soprano and then the bass. The four voices continue singing the musical phrase “Herr, gehe nicht in Gericht” in an outpouring of imitative diminutions, until reaching a cadence on “mit deinem Knecht.” There is then a reprise of the solemn eight-bar ritornello, now in the dominant key with the upper parts interchanged. The six-bar chorus episode is repeated, with the alto responding to the soprano, and then the bass to the tenor. The chorus is now accompanied by the orchestra in double counterpoint, employing motifs derived from the first episode for chorus. After a cadence in the chorus, the orchestra briefly continues the double counterpoint, until there is a third freely composed episode for chorus. Now the sopranos lead the altos, and then the tenors lead the basses. The third episode lasts twelve bars and is richly scored, combining all the musical ideas from the chorus and orchestra: after less than three bars into the episode, in a moment of pathos, the original orchestral ritornello is played in counterpoint with the chorus for the first time. As Spitta writes, “at last it gives out its own penitential cry, going through it completely in the middle range of compass, as if it flowed straight from the hearts of singing hosts.” The prelude concludes gracefully on a pedal point, with a coda similar to the brief orchestral interlude. The second part of the first movement is a spirited permutation fugue, marked allegro, initially scored for only the concertante singers and continuo, but eventually taken up by the whole ripieno choir, doubled by the orchestra. The tone of the text is condemnatory: “Denn vor dir wird kein Lebendiger gerecht”—“For in thy sight shall no man living be justified.” The subject of the fugue theme commences resolutely with detached crotchets for “Denn”, sung initially by the tenor accompanied by the basso continuo. The following fugal entry is sung by the bass, with the tenor now taking up the countersubject derived partly on the continuo quaver figures at the very beginning of the fugue. The lower voices are joined by successive fugal entries in the soprano and alto. After 21 bars of tightly scored choral singing, the tutti entries begin commencing with the basses doubling the continuo, followed by the tenors doubling the violas, the altos the second violins and oboe and the sopranos the first violins, oboe and corno. The extended fugue, with its increasingly fraught mood of denunciation, draws to a close after a further 50 bars. As André Pirro has commented, in the music for Bach’s prelude, “neither the description, the drama nor the particular reference to words matter; instead it is the substance that has to be expressed, soberly, without gesticulation, but with a sense of authority, like a herald proclaiming a law or a philosopher declaring the principles of his system.” Of the fugue, Pirro writes, “It is not simply a matter of bowing to the just judge, but of showing the inevitable severity of justice. … Not only does the repetitive motif of the fugue multiply the overwhelming sentence, but the infallible development of the composition predicts that the punishment will follow from the sin. Bach uses the logic of his art to reveal, amongst its horrors, the axioms of his religion.” The short but expressive alto recitative is followed by one of Bach’s most original and striking arias, depicting in musical terms the anxiety and restless desperation of the sinner. Throughout the cantata, Bach’s use of “word painting” is prevalent, but in the final chorale it is particularly imaginative. The sopranos and the altos play the chorale reinforces by the corno and oboes, while the accompanying tremolo string motif returns. With each successive stanza, the tremolo gradually becomes less rapid and dissonant—the repeated semiquavers change to triplets, then quavers, then tied triplets and finally steady crotchets for the brief coda. Musically the chorale echoes the calming of man after conciliation with his Maker, bringing to an end a cantata that the musicologist Alfred Dürr has described as one of “the most sublime descriptions of the soul in baroque and Christian art”.

Transcriptions#

*Albrecht Mayer (oboe), The English Concert, Trinity Baroque, Concerto for Oboe and Strings (BWV 105/v, 170/i and 49/i), Decca, 2010.

Selected recordings#

• Herr, gehe nicht ins Gericht: Cantate pour le 9e dimanche après la Trinité, BWV 105, Berliner Motettenchor, Berlin Philharmonic Orchestra, Fritz Lehmann, Gunthild Weber, Lore Fischer, Helmut Krebs, Hermann Schey, Archiv-Gallica 1952
• Les Grandes Cantates de J.S. Bach Vol. 16, Fritz Werner, Heinrich-Schütz-Chor Heilbronn, Pforzheim Chamber Orchestra, Agnes Giebel, Claudia Hellmann, Helmut Krebs, Erich Wenk, Erato 1963
• J. S. Bach Cantatas BWV 103, 104 and 105, Nikolaus Harnoncourt, Tölzer Knabenchor, Concentus Musicus Wien, Wilhelm Wiedl, Paul Esswood, Kurt Equiluz, Ruud van der Meer, Teldec 1979
• J. S. Bach Cantata BWV 105, Helmuth Rilling, Bach-Collegium Stuttgart, Arleen Augér, Gabriele Schreckenbach / Helen Watts, Adalbert Kraus, Walter Heldwein, Hänssler 1978 / broadcast Alpirsbach Abbey 1983
• J. S. Bach Kantaten: BWV 73, 105 and 131, Philippe Herreweghe, Collegium Vocale, Barbara Schlick, Gérard Lesne, Howard Crook, Peter Kooy, Virgin Records 1990
• Leipzig Cantatas: BWV 25, 138, 105 and 46, Philippe Herreweghe, Collegium Vocale Gent, Hana Blažíková, Damien Guillon, Thomas Hobbs, Peter Kooij, PHI 2012
• J. S. Bach: Complete Cantatas Vol. 7, Ton Koopman, Amsterdam Baroque Orchestra & Choir, Lisa Larsson, Elisabeth von Magnus, Gerd Türk, Klaus Mertens, Antoine Marchand 1997
• J. S. Bach: The Sacred Cantatas, Vol. 10, Masaaki Suzuki, Bach Collegium Japan, Miah Persson, Robin Blaze, Makoto Sakurada, Peter Kooij, BIS
• J. S. Bach Cantatas: BWV 94, 105 and 168, John Eliot Gardiner, The English Baroque Soloists, The Monteverdi Choir, Katharine Fuge, Daniel Taylor, James Gilchrist, Peter Harvey, Archiv 2000

References#

• • • • • • • • • • • • . The compositional process of BWV 105/6 is described in detail based on Bach’s changes to the autograph score. * * * * * * *

External links#

• Herr, gehe nicht ins Gericht, BWV 105: performance by the Netherlands Bach Society (video and background information)
• Herr, gehe nicht ins Gericht BWV 105; BC A 114 / Sacred cantata (9th Sunday after Trinity) Bach Digital
• Cantata BWV 105 Herr, gehe nicht ins Gericht mit deinem Knecht history, scoring, sources for text and music, translations to various languages, discography, discussion, bach-cantatas website
• BWV 105 – “Herr, gehe nicht ins Gericht mit deinem Knecht” English translation, Emmanuel Music
• BWV 105 Cantata notes, Emmanuel Music
• BWV 105 Herr, gehe nicht ins Gericht mit deinem Knecht English translation, University of Vermont
• Chapter 11 BWV 105 Herr, gehe nicht ins Gericht mit deinem Knecht / Lord, do not enter into judgement with Your servant. Julian Mincham, 2010