The following chorale melody is the same as for nos 3 and 19. Here, however, Bach harmonises it in a more chromatic way, the rising chromatic bass line in the opening line expressing the concept of increasing wonderment.
|
46 |
Chorus |
Wie wunderbarlich ist doch diese Strafe! |
How wondrous this punishment is! |
|
47 |
Evangelist Pilate |
Der Landpfleger sagte: “Was hat er denn Übels getan?” |
And the governor said: “Why, what evil hath he done?” |
Pilate’s question is answered by the soprano. She intervenes as if a character witness for Jesus. The aria which follows is pensive and wistful. With the aria scored for two oboes and flute, Bach again dispenses with the continuo – its absence suggesting desertion. The extreme economy of means in this aria, performed by just four people, is an absolute masterclass of poise, suspension and concentration. Bach writes a number of pauses into the music, which give both space and depth to the aria and also add a sense of timelessness, allowing for true contemplation.
|
48 |
Soprano |
Er hat uns allen wohlgetan, den Blinden gab er das Gesicht, die Lahmen machte er gehend, er sagte uns seines Vaters Wort, er trieb die Teufel fort, Betrübte hat er aufgerichtet, er nahm die Sünder auf und an. Sonst hat mein Jesus nichts getan. |
He has done good for us all. He has given sight to the blind, he helped the lame to walk, he told us the word of his Father, he drove out the devils, he gave heart to those who were troubled, he accepted the sinners. My Jesus has done nothing else. |
|
49 |
Soprano |
Aus Liebe will mein Heiland sterben, von einer Sünde weiß er nichts, daß das ewige Verderben und die Strafe des Gerichts nicht auf meiner Seele bliebe. |
My Saviour, who knows nothing of any sin, is to die for love, so that eternal damnation and the judgement of the court do not remain in my soul. |
The Evangelist’s cry returns us brutally to the action after the moment of peaceful contemplation. Throughout this movement the angry exchanges between Pilate and the people gain in intensity. The chorus repeat their cry of “Laß ihn kreuzigen!” The music is the same as before, but this time a tone higher, giving the chorus a more urgent edge, and ending, symbolically, on the chord of C# major. The feelings of the crowd are given further vent in 50d, the final few bars being an ascending sequential passage which takes the sopranos up to the top of their vocal range.
|
50a |
Evangelist |
Sie schrieen aber noch mehr und sprachen: |
But they cried out the more, saying: |
|
50b |
The Crowd |
“Laß ihn kreuzigen!” |
“Let him be crucified!” |
50c |
Evangelist |
Da aber Pilatus sahe, daß er nichts schaffete, sondern daß ein viel größer Getümmel ward, nahm er Wasser und wusch die Hände vor dem Volk und sprach: |
When Pilate saw that he could prevail nothing, but that rather a tumult was made, he took water and washed his hands before the multitude, saying: |
|
Pontius Pilate |
“Ich bin unschuldig an dem Blut dieses Gerechten, sehet ihr zu!” |
“I am innocent of the blood of this just person, see ye to it!” |
|
Evangelist |
Da antwortete das ganze Volk und sprach: |
Then answered all the people and said: |
50d |
The Crowd |
“Sein Blut komme über uns und unsre Kinder!” |
“His blood be on us and on our children!” |
50e |
Evangelist |
Da gab er ihnen Barrabam los: aber Jesum ließ er geißeln und überantwortete ihn, daß er gekreuziget würde. |
Then released he Barrabas unto them: and when he had scourged Jesus, he delivered him to be crucified. |
Commentary by Peter Parfitt © Aberdeen Bach Choir 2012
