While not strictly written for season of Advent (it’s actually for the week before), Bach’s cantata Wachet auf, ruft uns die Stimme (Awake, calls the voice to us) BWV140 is always closely associated with Christmas.
It’s a relatively late addition to his incredible set of over 200 (surviving) church cantatas, written as part of his project to create “a well-regulated or orderly church music to the glory of God.” As a man of deep Christian faith, Bach felt strongly his calling from God as a musician, and so as soon as he arrived in Leipzig in 1723, where he was to spend the rest of his life, he started on a bout of furious cantata composing. For three years he came up with a new work for the church service every Sunday, as well as several Passions and a variety of other music. It was an unprecedented creative burst which left a lasting legacy.
For this cantata Bach turned to a hymn from the theologian Philipp Nicolai. The epistle for the day – 1 Thessalonians 5:1-11 – is about preparation for the Last Judgment, but the service focusses on the Gospel reading from Matthew 25:1-13, and the parable of the ten virgins or bridesmaids, with Jesus’ reminder to his disciples that they should be ready and waiting for his coming again in glory.
The parable concerns a wedding and ten bridesmaids, five wise and five foolish, who take their lamps and go to meet the bridegroom – a picture of Jesus himself. The foolish ones take their lamps, but no oil – a mistake the wise ones don’t make. The bridegroom keeps them waiting; they all grow tired and fall asleep. Around midnight there is a shout: “Look, the bridegroom comes.” The foolish bridesmaids’ lamps have burned out and they have no oil to fill them. So while the foolish girls set off to buy more oil, they miss the arrival of the bridegroom himself. Only the five wise ones remain to join the feast, and for the rest the door to the Kingdom of Heaven remains shut.
Bach’s librettist expanded Nicolai’s three-verse hymn by adding recitative and aria texts. After the opening chorus, where we are invited to wake up, prepare, and search for the bridegroom’s return, Bach leads us in a dance with two of the most beautiful love duets in music – not between couples united in earthly love, but rather with Jesus as the bridegroom (bass) and the faithful Soul as the bride (soprano). These beautiful movements, really trios for two soloists and instrumental obbligato, draw from the Song of Solomon, considered in Lutheran and Puritan tradition as an allegorical love song between Christ and the Church. The final chorale combines praise of God with a vision of the joy that awaits the faithful in the heavenly Jerusalem – complete with twelve pearly gates!
Truly in this cantata Bach provides us with some of his most wonderful music -and from what we know the cantata is one of the few that continued to be popular immediately after his death. It’s inspired by the Joy of Christmas, where we celebrate God with us, Jesus, Emmanuel, and the hope of his return in Glory, when his invitation to His true love to join the dance is finally fulfilled. With Bach, as it can with us, the dance starts now.
This performance is from eminent Bach interpreter Ton Koopman, and you can follow text and translation here. Worship with Bach’s congregation this Christmas (but in the warmth of your own home and without the lengthy sermon in German that would have followed this!)
Bach later took one of the movements and arranged it for organ, as he did with 5 other cantata movements to form the 6 Schubler Chorale Preludes.