The narrative has now ended. Matthew has no more to say. The entombment is complete, the stone is in place and a watch has been set. In the east it is customary for close friends and relatives each to say a word or two at the graveside of a deceased person. This arioso recitative features such closing statements from each of the soloists, from lowest to highest. These, the four passive members of the cast, who have followed the story with us, observing and commenting, now bid their farewells. The bass recalls the sentiment of no 64, and the tenor reminds us of the pain and suffering that have been endured. When the countertenor (the voice of lament) enters, the emotional effect of this movement changes from one of consolation to one of affliction. The key changes from major to minor to prepare us for the final movement. The soprano’s final line is, perhaps, the most beautiful of all. The gentle interjections of the choir are truly moving. The disciples, the chief priests, the protagonists and the angry crowds are long gone. Only the faithful believers now remain.


67

Bass

Chorus

Tenor

Chorus

Countertenor
 

Chorus

Soprano
 

Chorus

Nun ist der Herr zur Ruh gebracht.

“Mein Jesu, mein Jesu, gute Nacht!”

Die Müh ist aus, die unsre Sünden ihm gemacht.

“Mein Jesu, mein Jesu, gute Nacht!”

O selige Gebeine, seht, wie ich euch mit Buß und Reu beweine, daß euch mein Fall in solche Not gebracht!

“Mein Jesu, mein Jesu, gute Nacht!”

Habt lebenslang vor euer Leiden tausend Dank, daß ihr mein Seelenheil so wert geacht’.

“Mein Jesu, mein Jesu, gute Nacht!”

Now the Lord has been laid at rest.

My Jesus, my Jesus, good night!

The trouble which our sins caused him is over.

My Jesus, my Jesus, good night!

Oh blessed bones, see how I mourn you with penitence and regret that my fall brought you to such distress.

My Jesus, my Jesus, good night!

A thousand lifelong thanks for your suffering that you so highly value the salvation of my soul.

My Jesus, my Jesus, good night!


Once again the full orchestral and choral forces are brought into play for this chorus, the final pillar of this colossal work, as the Christian community calls for rest and peace in the tomb. Structurally the movement is in the form of a da capo aria (ABA) and is modelled on the dignified, minor-key, Baroque dance known as the Saraband. The choral parts do not behave antiphonally this time, but are united in their grief, stating the text homophonically, or together. The tone of affliction and grief is maintained to the very end, with even the final chord having an agonising suspension, causing a dissonance on a major 7th.

68

Chorus


Wir setzen uns mit Tränen nieder und rufen dir im Grabe zu: Ruhe sanfte, sanfte ruh, ruhe sanfte, sanfte ruh! Ruht, ihr ausgesognen Glieder! Ruhet sanfte, ruhet wohl! Euer Grab und Leichenstein soll dem ängstlichen Gewissen ein bequemes Ruhekissen und der Seelen Ruhstatt sein.Höchst vergnügt, schlummern da die Augen ein. Wir setzen uns mit Tränen nieder und rufen dir im Grabe zu: Ruhe sanfte, sanfte ruh, ruhe sanfte, sanfte ruh!

We sit down in tears and call to you in the grave: rest in peace, peacefully rest,rest in peace, peacefully rest! Rest your exhausted limbs! Rest in peace! Your grave and tombstone will be a comfortable pillow and a resting place for the soul and for the fearful mind. Filled with pleasure, the eyes can sleep there. We sit down in tears and call to you in the grave. Rest in peace, peacefully rest, rest in peace, peacefully rest!


Commentary by Peter Parfitt © Aberdeen Bach Choir 2012

back home