The Spirit is Willing but the Flesh is Week the Journey from Disease to

Redemption in BWV 48

In the last century, the compositions of Johann Sebastian Bach have become

integral components of musical training. String players are almost universally required to

perform sonatas, partitas, or dance suites at auditions, competitions, and concerts; pianists

are expected to have learned several preludes and fugues from The Well Tempered

Clavier, as well as the keyboards suites and partitas; likewise, organists will find their

standard repertoire severely truncated at the exclusion of Bachs works. Indeed,

knowledge of Bachs writing has become as indispensable to the musician as knowledge

of geometry is to the architect.

Nowhere is this more evident than in the common theory classroom, where the

teaching of almost every important theoretical discipline from counterpoint, to four-part

writing, to keyboard harmony is based on the understanding of Bachs compositional

methods. It is for this reason that theorists and pedagogues must investigate as many of

Bachs works as possible in an effort to comprehend and codify his most frequently used

techniques. Yet perhaps even more significant than an understanding of these common

techniques is an understanding of the anomalies of Bachs style; for just as knowledge of

the customary contributes to the students craftsmanship, knowledge of the exceptional

brings him or her ever closer to true, artistic expression.

Bachs music is not lacking in idiosyncrasies. With a catalog of over a thousand

works, a composer would have to have been rather insipid to avoid peculiarities

altogether. Certain pieces, however, stand out as striking examples of Bachs undaunted

ingenuity. This paper will focus on one such piece, the cantata Ich elender Mensch, wer

wird mich erlsen (BWV 48), which in a scant twenty minutes, displays more extreme

writing than can be found in entire volumes of Bachs works. Replete with surprising

harmonies and shocking chromatic excursions, this piece clearly conveys a more

profound message than many of its contemporaries, and implores us to thoroughly

examine its language and meaning.

Ich elender Mensch, wer wird mich erlsen was written for the nineteenth Sunday

after Trinity, and was probably performed in October of 1723 in Leipzig. It is scored for

two oboes, trumpet, strings, continuo, chorus and alto and tenor soloists, and consists of

seven movements: a chorale-fantasia, two chorales, two recitatives, and two arias.

Historically, recitatives provided the narrative of the cantata, while arias may have

functioned as commentary (as they do in BWVs 38 and 78 as well as in this cantata). As

a result, the most compelling compositional and rhetorical elements are often found in the

recitative movements of a cantata. Similarly, the chorale is the corpus of the cantata the

essence of its theological meaning and is consequently the locus of magnificent,

musical events. For these reasons, this paper will focus on the chorale and recitative

movements of this cantata.

The anonymous text of Ich elender Mensch, wer wird mich erlosen prominently

alludes to the story told in Matthew, 9:1-8:

And behold, they brought to him a man sick of the palsy, lying on a bed: and

Jesus seeing their faith said unto the sick of palsy, Son be of good cheer; thy sins are

forgiven. And behold certain of the scribes said within themselves, This man

blasphemeth. And Jesus knowing their thoughts said, Wherefore think ye evil in your

hearts? For which is easier, to say , Thy sins are forgiven; or to say, Arise, and walk?

But that ye may know that the Son of man hath authority on earth to forgive sins (the

saith he to the sick of the palsy) Arise, and take up thy bed, and go unto thy house. And he

arose and departed to his house. But when the multitudes saw it, they were afraid, and

glorified God, who had given such authority unto men.

and directly refers to Romans, 7:24:

Wretched man that I am! Who shall deliver me out of the body of this death?

This single line which is also the text of the entire opening choral-fantasia provides

some insight into the exceptional nature of this piece. Though the Lutheran liturgy does

not suffer from a deficit of dismal images, one would be hard-pressed to find more

morbid words than these. Clearly, this kind of language requires a setting quite different

from those of more uplifting texts; however, many of Bachs cantata texts are equally

grim, so what is it about this one in particular that warrants such a unique treatment?

Perhaps further exploration of the liturgy will provide us with clues. If we read

the line that follows the title text of the cantata (Romans 7:25):

So then I of myself with the mind, indeed, serve the law of God; but with the flesh,

the law of sin.

we will discover that it presents a theological dichotomy: the text elicits the image of a

diseased body, plagued by sin and suffering, and its antithesis the mind joyously

serving the law of God. This contrast, though not emphasized by the text, is extremely

revealing. The earthly body is a weak entity which offers little resistance to evil and sin,

but is transcended by the lofty spirit, which must then strive for deliverance. Between

these two concepts lies a great disparity, one which the faithful soul must traverse in

order to achieve redemption. This journey encompasses a transformation from sickness to

health, from sin to morality, from the earthly to the heavenly. I believe that the most

remarkable of Bachs compositional methods displayed in this piece are a representation

of these antitheses, their transformation, and their reconciliation.

I.

The first movement opens with a despondent ritornello played by strings and

continuo, and is characterized by a yearning, rising, eighth-note figure in the violins. The

sopranos and altos enter in canon with the subject an upwards leap of a minor sixth

followed by a stepwise descent. After an intermediary ritornello, the tenors and basses

sing the same subject in canon, just as the upper voices did. This process is repeated

throughout this lengthy movement, at times with only two voices, at others with all four.

The canonic vocal entrances never follow the same order, and sets of entrances are

separated by repetition of the opening ritornello.

Shortly after the first appearance of the subject in the sopranos, the trumpet makes

a seemingly incongruous entrance and is followed by the oboe in canon two measures

later (Fig. 4a). The winds are particularly noticeable, as the ritornello has been played

solely by strings thus far. The trumpet and oboe melody is actually a statement of the

melody from the final chorale of the cantata, Herr Jesu Christ, einiger Trost, which uses

the same melody as the famous chorale Herr Jesu Christ, du Hochtes Gut (Fig 3). The

winds play a phrase of this chorale with each vocal entrance of Ich elender Mensch until

the entire melody has been played (including repeats), at which point the first movement

comes to a close.

Herr Jesu Christ, du Hochtes Gut is a chorale melody that was very well known

during Bachs time. Bach set this melody in many different cantatas and other religious

works, and we can expect that upon hearing it in BWV 48, congregants would have

understood the reference. As it is played by the winds, the chorale heralds forth God's

glory and acts as a response to the question asked by the vocalists: "Who shall deliver me

out of the body of this death?" This hopeful apparition so early in the piece informs us

that deliverance is somewhere in store, and presents a glimmer of hope in the midst of an

otherwise despairing movement.

A noteworthy aspect of this movement is the abundance of dominant seventh

chords in third inversion (4/2 chords). These chords play a prominent role in the opening

ritornello (Fig 4b), which is then repeated many times throughout the movement. Though

4/2 chords are not unusual in Bach's compositions, they appear early and frequently in

this movement, foreshadowing their significant role in the rest of the cantata.

II.

The second movement is a recitative for solo alto accompanied by strings and

continuo. In this movement, we will encounter some of the most extreme chromatic

moments in the piece, and perhaps in all of Bach's writings. The text is roughly as

cheerful as that of the rest of the cantata (Fig. 1). Accordingly, the entire recitative is

rather chromatically adventurous; the setting of the phrase Allein die Seele fhlet den

strksten Gift, however, is especially shocking. The previous phrase ends in an authentic

cadence in Bb minor and in fewer than three measures, the harmony solidly arrives in E

major, a tritone away! This sudden shift is prepared by a Bb 4/2 chord; the Ab in the bass

leaps down a tritone to D and the Bb rises to a B, creating a diminished seventh chord.

The Ab in the alto part is then enharmonically reinterpreted as a G#, the bass leaps up a

perfect forth to A, and the rest of the instruments make the proper adjustments in order to

transform the diminished chord into a B 4/2 chord (Fig. 5).

This change is so jarring that even the unengaged listener must notice it. The

question then arises: why should such a bold harmonic shift occur on the word gift? The

word is certainly no more significant than schmerz, elend, or todes, all of which also

appear in the text of this recitative. The answer can be found by investigating the rest of

the phrase: the word Seele (soul) in this text is associated with an excerpt from Psalms,

73:26 (Fig .2):

My flesh and my heart faileth: But God is the strength of my soul and my portion

forever.

Here, just as in the opening phrase from Romans 7:24, the dichotomy of body and

spirit is indicated. Though the flesh and heart are too weak to resist sin and temptation,

the soul exists in a more elevated realm where it is strengthened by God; it alone feels the

pain and carries the burden of the sinful body. The sudden transformation from flats to

sharps illustrates this stark disparity.

A similar harmonic motion occurs several bars later in the setting of the phrase

Wenn ihr der Kreuzkelch bitter schmecket. The bass note of a 4/2 chord leaps down a

tritone to become a diminished seventh chord, just as it did in the previously-discussed

phrase (Fig. 5). Although the resolution is less startling this time, this harmonic motion

conveys a similarly powerful affect. Once again, the explanation is rather cryptic: the

operative word in the phrase is Kreuzkelch where, kelch means cup and is a

reference to Peters betrayal of Jesus after the last supper, as described in Matthew,

26:37-39 (Fig. 2):

And he went forward a little, and fell on his face, and prayed, saying, My Father,

if it be possible, let this cup pass away from me: nevertheless, not as I will, but as thou

wilt. And he cometh unto the disciples, and findeth them sleeping, and saith unto Peter,

What could ye not watch with me one hour? Watch and pray, that ye enter not into

temptation: the spirit is willing, but the flesh is weak.

Yet again, we find that the unexpected resolution of a 4/2 chord coincides with the

divergence of body and soul.

III.

The third movement is the first chorale proper of the cantata, and is rather short,

but for what it lacks in quantity, it compensates in quality. No more than a single,

complete measure into this intense movement, our familiar 4/2 chord makes its

appearance and resolves in a surprising manner. This time, the, 4/2 properly resolves to a

6/3 chord, but it is a minor 6/3 rather than the anticipated major harmony (Fig 6). This

modal shift foreshadows the dramatic final phrase of the chorale, where, Bach inserts a

series of rising, dominant 6/5 chords that proceed from one to the next without even

attempting to resolve, painfully dragging the listener through sharps and flats up to the

chorales final climax. Whatever solace we may experience at the brief resolution of

these rising dominant chords will surely disappear when we hear the melisma that

follows. This melisma is composed of multiple suspensions and features two consecutive

resolutions of 4/2 chords to minor rather than major 6/3 chords, temporarily arriving in

Eb minor (6 flats!) (Fig 6). By now, it does not require a stretch of the imagination to

guess that this is another illustration of the conflicting body and soul. The choral phrase

in question is Und la mich hie wohl ben, and the melisma occurs on the word ben

(penanace). This phrase alludes to Peter 4:1-2 (Fig. 2):

Forasmuch then as Christ suffered in the flesh, arm ye yourselves also with the

same mind; for he that hath suffered in the flesh hath ceased from sin; that ye no longer

should live the rest of your time in the flesh to the lusts of me, but to the will of God.

The body remains as deceitful as ever, but through penance, the soul fulfills Gods will.

The realms of the physical and the metaphysical are so disjunct that one must journey

from the flat to the sharp extremes of the tonal system in the quest for redemption.

Let us now backtrack to the penultimate phrase of the chorale. In stark contrast to

the final phrase, the preceding one ends with plain and simple resolutions of dominant

chords in root position to their respective tonics. In the context of the cantata, these law-

abiding dominants are almost as shocking as their mischievous, maverick counterparts.

The proper resolutions set the phrase Und schone dort, a reference to Malachi 3:17 (Fig.

2) in the old testament:

And they shall be mine, saith Jehovah of hosts, even mine own possession in the

day that I make; and I will spare them, as a man spareth his own son that serveth him.

This coincidence of comforting aspects of the liturgy with the almost-too-conventional

use of dominant seventh chords contextualizes and validates our understanding of the

unconventional use of dominant harmonies. Furthermore, this single, proper cadence

ephemerally reminds us of the hope of redemption which was hinted at by the chorale

melody in the winds in the opening movement.

V.

The fifth movement is a recitative for tenor, accompanied by strings, and

represents a turning point in the cantata. In previous movements, the prospect of

deliverance was only fleetingly suggested; in this movement, however, it seems that the

souls desires will come to fruition. This brief recitative contains three 4/2 harmonies (a

relatively large fraction of the movement, considering that it is only 9 measures long), all

of which resolve with customary voice leading in the anticipated mode. The second of

these harmonies emerges out of a diminished seventh chord, where the seventh of the

chord in the solo tenor moves down a half-step to become the root of the dominant 4/2

chord (Eb dim. 7 becomes C 4/2) (Fig. 7). This process is a reversal of the one we

encountered in the alto recitative, where 4/2 chords become diminished seventh chords.

In the tenor recitative, this harmonic shift occurs while the phrase Doch wird uns Jesu

Kraft bekannt is sung. Kraft (power) alludes to the story of Christs healing of the

palsied man, as told in Luke, 5:17-26 (Fig. 2). The transformation of diminished harmony

to dominant harmony and its proper resolution correspond to the triumph of faith over

flesh. Likewise, the final 4/2 chord of this recitative resolves conventionally to a major

chord in 6/3 (Fig. 7) position under the word gesund (healthy), yet another reference to

the story of Jesus healing the palsied (Fig. 2).

VII.

The seventh and final movement of the cantata is the chorale Herr Jesu Christ,

einiger Trost. This chorale uses the same melody as Herr Jesu Christ, du hchtes Gut,

which was played by the trumpet and oboe in the opening movement. By the time this

movement is performed, the affect of the entire cantata has changed considerably. The

soul has transcended the bodys earthly woes and journeys towards salvation.

Accordingly, this chorale does not contain any 4/2 chords, and all resolutions follow

standard voice leading and harmonic procedures.

This movement does contain its own idiosyncrasies, however. At the end of both

sections of this binary-form chorale, a rising, eighth-note figure appears, reminiscent of

the figure in the first violins in the opening movement. As the first section concludes, this

figure is followed by ascending, stepwise motion in the bass leading to a half cadence

(Fig. 8), while the chorus sings ich mich wenden. Here, wenden (turn to) refers to Isaiah,

45:22 (Fig. 2):

Look unto me, and be ye saved, all the ends of the earth: for I am God, and there

is none else.

The rise to a half cadence illustrates the soul looking unto God, beseeching deliverance.

As the second and final section of the chorale comes to a close, the rising eighth-note

figure appears again, but this time it is followed by descending, stepwise motion in the

bass leading to a perfect authentic cadence (Fig. 8). This time, the setting corresponds to

the phrase dein bin und will ich bleiben (I am yours and want to remain yours). The text

is a reference to Psalms, 119:94 (Fig. 2):

I am thine, save me; for I have sought thy precepts.

Thus, the spirit has resigned itself to God, and is saved through faith and penance. In this

chorale, the question of the opening movement Who will deliver me? is answered,

not by a mere duet of wind instruments, but by a full orchestra and choir.

In Ich elender Mensch, wer wird Mich erlosen, Bach carries us on a grievous

journey from the physical to the metaphysical. Through the trials and tribulations of this

difficult journey, he teaches us several important lessons. The simple congregant learns

of the weakness of the flesh and of the suffering the spirit must endure as a result;

perhaps this cantata will influence the congregant to lead a more righteous life. The

theologian learns of the exegetical uses of music and its ability to strongly convey ideas

that transcend the limits of material, human understanding; perhaps this music will

influence the theologian to search for more effective and artistic means of explaining the

liturgy. The musician learns the most important lesson of all: the significance of his or

her role as interpreter the translator of the prophets words from a foreign tongue. The

musician does not study Bach because decades of pedagogical tradition so dictate, but

because the musician is the medium by which heavenly concepts are delivered to the

earthly world. Perhaps BWV 48 will inspire the performer to convey Bachs message in

as personal and affective a manner as possible, and the composer to create music that is

as informative, as expressive, and as powerful as this piece.

Works Cited:

Meyer, Ulrich. Biblical Quotation and Allusion in the Cantata Libretti of JohannSebastian Bach, ed. Robin Leaver. Lanham, MD: Scarecrow Press, 1997.

Unger, Melvin P. Handbook to Bachs Sacred Cantata Texts: an interlinear translationwith reference guide to Biblical quotations and allusions. Lanham, MD: Scarecrow Press,1996.

Oron, Aryeh. Bach Cantatas Website, updated May 7, 2006. www.bach-cantatas.com(accessed May 8, 2006)