The words of this aria, which is laced with interjections from the chorus, are almost unadulterated Brockes. The music is conceived on two levels – a solo bass voice with orchestra and a three part chorus (SSA) interrupting periodically, as if from afar. As for the word folge (follow) in movement 13, the word Eilt (hasten) is always set to ascending scales which give the music a sense of forward movement and urgency. Like much of Bach’s instrumental music, and indeed many of the arias and choruses in the passions, cantatas, masses and motets, this movement is constructed on the ritornello principle. This is when almost all of the melodic material in the movement is derived from the opening phrase, which is subsequently repeated, fragmented, transposed and inverted to generate the music for the remainder of the movement. Another feature of this movement is the constant trick Bach uses of displacing the natural beat by means of a hemiola. This happens in the upper string parts as early as bar 4, and in all of the choral interjections, where these parts temporarily appear to be in duple time but the continuo part and bass soloist remain firmly in triple time. In no. 49 Pilate’s provocation of the Jews continues. Bach illustrates this by setting Pilate’s written words to a much slower tempo and in a major key, when the surrounding harmony either is in a minor key or is tonally ambiguous and often diminished. To perpetuate the palindrome, the music of no. 50 is almost identical to the chorus of mocking which was movement 33. The common factor of Jüden könig dominates both movements. This chorus completes section B2 of the palindrome.



Aria with chorus

Eilt ihr angefochtnen Seelen,
geht aus euren Marterhöhlen

Hasten, you troubled souls,
leave your martyrs’ caves

  Chorus “Wohin, wohin?” “Where shall we go, where shall we go?”

Eilt nach Golgatha!

Nehmet an des Glaubens Flügel, flieht zum Kreuzes-hügel, eure Wohlfahrt blüht allda!

Hasten to Golgotha!

Put on the wings of faith, flee to the hill of the cross, your salvation blossoms there.

  Chorus “Wohin, wohin?” “Where shall we go, where shall we go?”


49 Evangelist Allda kreuzigten sie ihn, und mit ihm zween andere zu beiden Seiten, Jesum aber mitten inne. Pilatus aber schrieb eine Überschrift und satzte sie auf das Kreuz, und war geschrieben: "JESUS VON NAZARETH, DER JÜDENKÖNIG." Diese Überschrift lasen viel Jüden, denn die Stätte war nahe bei der Stadt, da Jesus gekreuziget ist. Und es war geschrieben auf ebräische, griechische und lateinische Sprache. Da sprachen die Hohnpriester der Jüden zu Pilato:   Where they crucified him, and two others with him, on either side one, and Jesus in the midst. And Pilate wrote a title and put it on the cross., and the writing was; “JESUS OF NAZARETH, THE KING OF THE JEWS.” This title then read many of the Jews, for the place where Jesus was crucified was nigh to the city, and it was written in Hebrew and Greek and Latin. Then said the chief priests of the Jews to Pilate: 
50 Chorus “Schreibe nicht; 'der JüdenKönig', sondern daß er gesaget habe; 'Ich bin der JüdenKönig.'”   “Write not; ‘The King of the Jews’, but that he said: `I am the King of the Jews'”
51 Evangelist Pilatus antwortet:   Pilate answered:
  Pilate “Was ich geschrieben habe, das habe ich geschrieben.”   “What I have written, I have written.”