A persistent falling motif, a typical expression of grief in Baroque music, is heard throughout in the flutes in this plaintive aria for the soprano. The tritone, the interval of the augmented fourth – the exact midpoint division of any octave – was regarded in music from the middle ages onwards as the diabolus in musica (the devil in music). It is used to illustrate sinister moments, or evil acts, or emotions such as fear, jealousy and hatred. The opening phrase of this aria has a rising motif built on a sequence of augmented fourths coupled with some prolonged syncopation. In the final phrase before the da capo (the return to the beginning), the word Schlange (snake or serpent), to which Judas is compared, is set to a long melismatic phrase with twisting, winding contours which presents us with a perfect visual and aural image of the snake. This phrase also contains the augmented fourth between the A and the D#.

diabolus in musica

8

Soprano
Aria da capo

Blute nur, du liebes Herz! Ach! Ein Kind, das du erzogen, das an deiner Brust gesogen, droht den Pfleger zu ermorden, denn es ist zur Schlange worden;

Bleed, dear heart. Ah! A child you have raised, which sucked at your breast, threatens to murder its nurse, for it has become a serpent.

Here begins the narrative of the last supper. Note the setting of the word verraten (betray), with a short melisma and unsettled harmony. As the situation takes a turn for the worse between numbers 9c and 9d, Christ predicting his own betrayal, the music sinisterly drops a tone in pitch and changes from major to minor. Techniques like this were used by Monteverdi in the 17th century to enhance the drama in his operas. There are staggered, imitative entries from the disciples as they ask the fundamental question in 9e. Bach sets the words Herr bin ichs? (Lord, is it I?) eleven times in this short anguished chorus – one for each of eleven disciples.  The twelfth, who is present, remains silent.

9a

Evangelist

Aber am ersten Tage der süßen Brot taten die Jünger Jesu und sprachen zu ihm:

Now the first day of the feast of the unleavened bread the disciples came to Jesus saying unto him:

9b

Chorus

“Wo, wo, wo willst du, daß wir dir bereiten, das Osterlamm zu essen?”

“Where wilt thou, that we prepare for thee to eat the Passover?”

9c

Evangelist 

Er sprach:

And he said:

 

Jesus

“Gehet hin in die Stadt zu einem und sprecht zu ihm: Der Meister läßt dir sagen: Meine Zeit ist hier, ich will bei dir die Ostern halten mit meinen Jüngern.”

“Go into the city to such a man and say unto him, the Master saith my time is at hand; I will keep the passover at thy house with my disciples.”

 

Evangelist

Und die Jünger täten, wie ihnen Jesus befohlen hatte, und bereiteten das Osterlamm. Und am Abend satzte er sich zu Tische mit den Zwölfen. Und da sie aßen, sprach er:

And the disciples did as Jesus had appointed them; and they made ready the passover. Now when the even was come he sat down with the twelve. And as they did eat he said:

 

Jesus

“Wahrlich, ich sage euch: Einer unter euch wird mich verraten.”

“Verily I say unto you, that one of you shall betray me.”

9d

Evangelist

Und sie wurden sehr betrübt und huben an, ein jeglicher unter ihnen, und sagten zu ihm:

And they were exceeding sorrowful, and began every one of them to say unto him

9e

Chorus

“Herr, bin ichs?”

“Lord, is it I?”

The connection between the gospel text and the poetic chorale is perfectly made. The opening line (It is I who should atone) gives an answer to the immediate events of number 9, whilst the continuation of the chorale provokes contemplation in retrospect. The words are the fifth stanza of a hymn by Paul Gerhardt, and were written in 1647. The melody is by Henry Isaac. Bach sets this chorale at a high pitch in order to exploit the most effective register of the lower voices. The discordant suspension at the end of the first line draws attention to the word büßen (atone).

10

Chorus

Chorale

Ich bins, ich sollte büßen,
an Händen und an Füßen,
gebunden in der Höll.
Die Geißeln und die Banden
und was du ausgestanden,
das hat verdienet meine Seel.

It is I – I am the one who should atone,
bound hand and foot in hell.
 
The scourges and the bonds,
and all that you endured,
my soul has well deserved.

Commentary by Peter Parfitt © Aberdeen Bach Choir 2012

back home forward