Johann Sebastian Bach
Herr Jesu Christ, du höchstes Gut
“Lord Jesus Christ, you highest good”
(Cantata BWV 113) 

The Gospel for the Eleventh Sunday after Trinity is St. Luke 18: 9–14, the parable of the Pharisee and the publican.

At that time: Jesus spake this parable unto certain which trusted in themselves that they were righteous, and despised others: Two men went up into the temple to pray; the one a Pharisee, and the other a publican. The Pharisee stood and prayed thus with himself, God, I thank thee, that I am not as other men are, extortioners, unjust, adulterers, or even as this publican. I fast twice in the week, I give tithes of all that I possess. And the publican, standing afar off, would not lift up so much as his eyes unto heaven, but smote upon his breast, saying, God be merciful to me a sinner. I tell you, this man went down to his house justified rather than the other: for every one that exalteth himself shall be abased; and he that humbleth himself shall be exalted.

One of the cantatas that Bach composed to be sung on this Sunday seems to have been prompted by this parable, since its texts stress the necessity of repentance and the comfort of forgiveness. All eight movements of the cantata are from a hymn very familiar to Bach’s Leipzig congregation in 1724: Herr Jesu Christ, du höchstes Gut, one of over 165 hymns written by theologian Bartholomäus Ringwaldt (1530–1599), one of the most prolific hymnists of the sixteenth Century. The words of the hymn’s first stanza are sung in Bach’s opening chorus, and could easily be imagined as an expansion of the publican’s simple plea for mercy.

Lord Jesus Christ, Thou highest good,
Thou fount of all mercies
look down and see how I in spirit
am laden with griefs
and have many darts sticking in me
which in my conscience without end
afflict me, wretched sinner.

Julian Mincham observes that “Encapsulated within these words are two ideas which it might seem impossible to represent within the one piece of music; the greatness and righteousness of the Saviour to whom this wistful prayer is offered and the painfully exposed sins of the seemingly abandoned offender. There is an innate dignity, which suggests the former; but there is also a sense of alienation and isolation in the latter creating images of bearing weighty burdens.”

The music Bach created to express this prayer captures both moods suggested in the text, conveying both tension and serenity. Klaus Hofmann describes its as evoking an “atmosphere of lamenting oppression.” That opening chorus is sung here by the Monteverdi Choir and the English Baroque Soloists, conducted by John Eliot Gardiner.

Four of the cantata’s eight movements use words taken directly from one of the stanza’s of Ringwaldt’s hymn. The other four movements are reworking of texts from the hymn. The highlight of the cantata is a remarkable aria sung by the tenor, accompanied by a virtuoso flute.

Jesus accepts sinners:
sweet word full of consolation and life!
He gives true peace of soul
and calls with comfort to each one:
your sin is forgiven you.

Here is that aria sung by Mark Padmore, with Rachel Beckett, flute, and David Watkin, cello.

The penultimate movement in the cantata features a soprano/alto duet.

Ah Lord, my God, forgive me then,
when I arouse your anger,
break the heavy yoke of sin
which Satan lays upon me,
so that my heart may be contented
and — to your praise and fame from now on
according to your word —
live in childlike obedience.

In the performance embedded below, this duet is sung by soprano Magdalena Kožená and alto William Towers, with the English Baroque Soloists, conducted by John Eliot Gardiner.

The entire cantata is performed below by the Amsterdam Baroque Orchestra & Choir conducted by Ton Koopman. The soloists are Sibylla Rubens, soprano; Annette Markert, alto; Christoph Prégardien, tenor; and Klaus Mertens, bass. The text for the cantata can de found here.