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Spring 2002

On The Musically Theological In J.S. Bach's Church

Michael Marissen Swarthmore College, [email protected]

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Recommended Citation Michael Marissen. (2002). "On The Musically Theological In J.S. Bach's Church Cantatas". Lutheran Quarterly. Volume 16, Issue 1. 48-64. https://works.swarthmore.edu/fac-music/31

This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Music Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. On the Musically TheologicalTheological in Jinj. S. S.Bach Bach's s Church CantatasCantatas by MICHAELMICHAEL MARISSENMARISSEN

ROMROM INFORMALINFORMAL INTERNETINTERNET DISCUSSIODISCUSSIO~N GROUPSGROUPS ttoo specializespecializedd ac­ac­ Fademicademic conferencesconferences andand publicationspublications,, anan ongoinongoingg debatdebatee hahass ragedraged onon whetherwhether J.S.J. S. BachBach oughtought toto bebe consideredconsidered a purelypurely artisticartistic oror alsoalso a religiousreligious figure. 11 A recentlyrecently formedformed grougroupp ooff scholarsscholars,, thethe Internationale Arbeitsgemeinschqft Arbeitsgemeinschaft fifr für theologische theologische Bachforsclumg, Bachforschung, made mad e upup mostlymostly ofof GermanGerman theologians,theologians, hahass madmadee significansignificantt contribu­contribu­ tionstions towardtoward understandingunderstanding thethe religioureligiouss contextcontextss ofof Bach'Bach'ss litur­litur­ gicalgical music. 2 TheseThese writerswriters hayehave nonott entirelentirelyy capturedcaptured ththee attentionattention oror respectrespect ofof thethe widerwider worldworld ooff BacBachh scholarshipscholarship,, howeverhowever,, prob­prob­ ablyably atat leastleast inin partpart becausebecause,, withwith a fewfew exceptions,3 theitheirr worworkk hahass focusedfocused muchmuch moremore onon Bach'sBach's librettolibrettoss thathann hihiss musicamusicall settingsettingss ofof 4 them. -l AlthoughAlthough thethe CanadianCanadian musicologismusicologistt EriEricc ChafeChafe hahass nownow publishepublishedd a majormajor studystudy thatthat doedoess integratintegratee extensivextensivee theologicaltheological andand musicalmusical analysisanalysis ofof Bach'sBach's liturgicalliturgical vocavocall works, 5 advocateadvocatess ofof purelypurely aestheticaesthetic contemplatio:icontemplation havhavee oftenoften continuedcontinued ttoo bbee quickquick toto criticizecriticize anyany formform ofof theologicaltheological BachBach researchresearch.. TheTheyy arguarguee thatthat Bach'sBach's rolrolee consistedconsisted onlyonly inin givingivingg musicamusicall expressioexpressionn ttoo assignedassigned texts;6 andand sincesince itit isis Bach'sBach's first-ratefirst-rate musicalmusical settingssettings,, nonott hihiss ar­ar­ tisticallytistically second-ratesecond-rate cantatacantata librettos,librettos, thathatt typicalltypicallyy exciteexcite modernmodern interest,interest, thethe verbalverbal contentcontent ofof hihiss vocavocall worksworks,, theologicatheologicall oorr oth­oth­ erwise,erwise, becomesbecomes ofof nono realreal import.import. ArgumentArgumentss againsagainstt aann exclu­exclu­ sivelysively aestheticaesthetic approachapproach havehave occasionalloccasionallyy beebeenn advancedadvanced byby appealingappealing toto thethe explanatoryexplanatory powepowerr ofof LutheraLutherann theologtheologyy forfor in­in­ terpretingterpreting Bach'sBach's secularsecular instrumentalinstrumental musimusicc (i.e.,(i.e., a repertorrepertoryy inin whichwhich itit isis notnot a mattermatter ofof text-setting).-text-setting)." InIn ththee presenpresentt essayessay,, I \.Youldwould likelike toto putput forwardforward thethe notionotionn thathatt Bach'Bach'ss musicamusicall settingssettings ofof churchchurch cantatacantata poetrypoetry cancan projecprojectt theologicatheologicall meaningmeaningss thathatt areare differentdifferent fromfrom thosethose arrivedarrived atat bbyy simplysimply readinreadingg hihiss librettos.librettos. InIn soso picturinpicturingg BachBach asas a sorsortt ofof musical-religioumusical-religiouss interpreter,interpreter, mymy goalgoal isis onlyonly toto gaingain a deeperdeeper understandinunderstandingg ooff Bach'Bach'ss com­com­ positions.positions. TheThe biographicabiographicall questionquestion ofof whethewhetherr oorr nonott BachBach him-him-

4-1-88

LCTHER..\]';"LUTHERAN QC\RTERLYQUARTERLY YolumeXYIVolume XVI (2

The Pastoral and and Meine Meine Seufzer, Seufzer , meinemeine Tranen Tränen (BWV(BWV 13)13)

GrimGrim indeedindeed areare thethe sentimentssentiments expressedexpressed inin thethe openingopening ariaaria fromfrom Bach'Bach'ss churchchurch ,cantata, Meine~Heine Seufzer, meinemeine Thinen Tränen (BWV (BWV 13): 13) :

MeinMemee Seufzer,Seufzer, meinmemee TranenTranen MyMy sighs,sighs, mmyy tearstears KonnenKönnen mchtnicht zuzu zahlenzahlen sem.sein. ArAree notnot ableable toto bbee counted.counted. WenWennn sichsich taghchtäglich WehmutWehmut findetfindet WhenWhen melancholmelancholyy isis encounteredencountered dailydaily UnUndd derder Jammer1155 nichmchtt verschwindetYerschwmder.. AndAnd mymy misermiseryy doedoess notnot fadefade away,away, AchAch!! soso muBmuß unsuns diesediese PeiPemn AhAh!! ThenThen thithiss pampam mustmust 1166 1 Schon denden WeWegg zumzum TodeTode bahnenbahnen.. SurelySurely setset beforbeforee usus ththee wa\Yayy ofof death. i-"

Bach'sBach's setting,setting, withwith itsits minorminor modmodee andand pervasivpervasivee chromati­chromati­ cisms,cisms, andand withwith itsits resoluteresolute sixteenth-notesixteenth-note activityactivity inin thethe oboeoboe part,part, capturescaptures ththee anxiousanxious moodmood ofof GeorgGeorg ChristianChristian Lehms'Lehms' librettolibretto extremelyextremely well.well. YetYet Bach'Bach'ss ariaaria doesdoes nonott wallowwallow inin misery.misery. TheThe otherworldlyotherworldly 1818 instrumentalinstrumental sonoritysonority (two(two recordersrecorders andand oboeoboe dada caccia )) andand thethe instrumentalinstrumental counterpointcounterpoint (parallel(parallel thirdthirdss oror sixthssixths inin dupleduple metermeter withwith a tripletriple subdivisionsubdivision ofof ththee beat)beat) evokesevokes thethe ArcadianArcadian comfortcomfort ofof thethe pastoralpastoral.. TheThe normalnormal wawayy toto projecprojectt ththee worlworldd ofof thethe pastorapastorall isis ofof coursecourse nonott viavia ththee minorminor modemode withwith chromaticchromatic inflectioninflectionss bubutt ththee majormajor modemode witwithh diatonicdiatonic harmoniesharmonies.. See,See, forfor example,example, ththee evocationevocation ofof JesuJesus s aass ththee GooGoodd ShepherShepherdd iinn ththee ariariaa "Begliickte"Beglückte Hertle,Herde, JesuJesu Schafe"Schafe" fromfrom hihiss churchchurch cantatacantata Du Hirte Israel, horehöre (BWV (BWV rn4). 104).191 9In I nCantata Cantat a13, 13 while, whil eBach's Bach' stonality tonality and an d harmoniesharmonies expressexpress powerfullypowerfully thethe surfacesurface negativitynegativity ofof Lehms'Lehms' poetrypoetry,, thethe scoringscoring andand counterpointcounterpoint offeroffer a shepherdlyshepherdly comfortcomfort notnot eveneven hintedhinted atat iinn thethe ariaaria text—providintext-providingg anan exampleexample ofof whatwhat LutherLuther wouldwould callcall God'sGod's YesYes behinbehindd hihiss No.2200 ItIt iiss onlyonly laterlater inin ththee cantata,cantata, atat thethe sopranosoprano recitative,recitative, thathatt comfortcomfort isis mademade verballyverbally explicit:explicit:

MeiMemn KummeKummerr nimmemmmert zuzu MyMy affiicnonaffliction getsgets worseworse UnUndd raubraubtt mimirr allealle Ruh,Ruh, AnAndd robrobss mmee ofof allall peace.peace. MemMein JammerkrugJammerkrug isistt ganzganz MMyy Jarjar ofof rmserymisery iiss MitMit TranenTranen angefiiller,angefullet, FilledFilled ttoo ththee bnmbrim withwith tearstears.. THETHE MUSICALLYMUSICALLY THEOLOGICALTHEOLOGICAL IINN BACH'BACH'SS CANTATACANT AT ASS 5311

Doch,Doch, Seele,Seele, nem.nein. Yet,Yet, soul,soul, no,no, SeiSei nurnur getrostgetrost min demerdeiner Pem:Pein: BeBe onlonlyy hopefuhopefull imn youyourr pam:pain: GottGott kannkann denden WermutsaftWermutsaft YourYour wormwoowormwoodd sasapp GoGodd cancan GarGar leichtleicht min FreudenwemFreudenwem Yerkehren,verkehren, QmteQuite easileasilyy changchangee intmtoo win,vinee ooff Joy.joy . UndUnd chrdir alsdennalsdenn nelviel tausendtausend LustLust AndAnd thethenn grangrantt yoyouu manmanyy thousandthousand gewahren.gewahren. delights.delights.

Lehms'Lehms' librettolibretto appearsappears toto bebe punningpunning onon weinen andand Wein, thethe initialinitial "tears""tears"-win -winee beingbeing transformedtransformed intintoo "joy-wine''joy-wine"" aatt ththee endend ofof thethe recitative.recitative. InspirationInspiration forfor thisthis mamayy havhavee comecome inin parpartt fromfrom thethe gospelgospel readingreading forfor thethe SundaySunday toto whicwhichh LehmsLehms assignedassigned hishis 21 poetry21 (the(the secondsecond afterafter ),Epiphany), JohJohnn 2:2:1—11 1-11,, ththee storystory ofof 'Jesus' transformingtransforming waterwater intointo winewine atat a weddinweddingg iinn Cana.2222 Bach'sBach's subtlesubtle interpretiveinterpretive strategystrategy ooff projectinprojectingg comfortcomfort alreadyalready inin thethe openingopening ariaaria agreesagrees toto somesome extentextent witwithh ththee commentarycommentary onon RomansRomans 12:1512:15 inin thethe OleariusOlearius BiblBiblee CommentarCommentaryy frofromm hishis personalpersonal librarylibrary (Romans(Romans 12:6-1612:6-16 beingbeing ththee epistlepistlee readinreadingg forfor thethe secondsecond SundaySunday afterafter Epiphany):Epiphany): vl7eeps.Weeps. . . . NB.NB. WeepingWeeping isis a routineroutine ofof reasonablereasonable souls,souls, whereb,vherebyy sadnessadnesss isis displayed.displayed. ThenceThence itit isis alsoalso thethe casecase thatthat thethe tearstears ooff thosthosee wh,vhoo weeweepp areare various.various. ForFor itit maymay eveneven happenhappen thatthat oneone byby chancechance cancan shedshed teartearss ofof jojoy y (lik(likee JacoJacobb inin GenesisGenesis 29:II,29:11, andand JosephJoseph min GenesisGenesis 43:3043:30 anandd 46:29)46:29),, iinn thathatt oneone atat ththee samesame timetime considersconsiders evilevil andand good;good; andand inin thatthat oneone iiss glagladd abouaboutt ththee presenpresentt goodgood andand atat thethe samesame timetime pondersponders thethe former,former, overcomeovercome misfortune.misfortune. 2233

Justification byby Faith Faith and and Es E sist is t dasda s HeilHeil unsuns kommenkommen herher (Bl¥V(BWVg) 9)

OnOn thethe faceface ofof it,it, thethe followingfollowing texttext fromfrom Bach'sBach's churchchurch cantatacantata Es ist das HeilHeil unsuns kommenkommen herher (BWV (BWV 9)-wanting9)—wanting inin poeticpoetic inspi­inspi­ ration,ration, teeminteemingg inin theologicaltheological doctrine-hardlydoctrine—hardly seemsseems ttoo crycry outout forfor music:music:

Herr,Herr, dudu siehstsiehst startstatt guterguter WerkeWerke Lord.Lord, yoyouu look,look, ratheratherr thathann atat goodgood works,works, AufAuf desdes HerzensHerzens Glaubensstarke,Glaubensstarke, AtAt ththee heart'heart'ss strengtstrengthh ofof faith;faith; NuNurr denden GlaubenGlauben mmmstnimmst dudu an.an. YouYou accepacceptt onlyonly faith.faith. NurNur derder GlaubeGlaube machmachtt gerecht,gerecht, OnlOnlyy faitfaithh renderrenderss [us[us]] JUSt.just. AllesAlles andreandre schemtscheint zuzu schlecht,schlecht, AlAlll elselsee shmesshines forth2244 totooo poorlypoorly AlsAls daBdaß eses unsuns helfenhelfen kann.kann. TToo bbee ableable ttoo helhelpp usus.. 52 1LUTHERA UTHERANN QUARTERLQUARTERLYY

BachBach managesmanages,, howeYer,however, ttoo turnturn outout a musicalmusical settingsetting ofof phephe­­ nomenalnomenal beautybeauty,, outdoinoutdoingg himselhimselff inin generatinggenerating lineline afterafter lineline ofof beguilingbeguiling melody.melody. AllAll ththee mormoree astoundingastounding isis ththee factfact thatthat thethe in­in­ strumentalstrumental paipairr largelylargely proceedproceedss inin canoncanon atat ththee fifth whilwhilee ththee vocavocall paipairr iiss alsoalso canoniccanonic,, proceedingproceeding likewiselikewise aatt ththee fifthfifth (111(Ill.. I).i). AsAs ifif thethe challengeschallenges ofof writingwriting inin doubledouble canoncanon herheree andand thertheree inin thethe A sectionsection ofof thisthis da capo ariaaria werewere notnot formidableformidable enough,enough , BacBachh iinn ththee BΒ sectionsection occasionallyoccasionally changeschanges thethe intervalinterval bet,veenbetween ththee canoniccanonic entriesentries fromfrom thethe fifthfifth toto thethe fourthfourth (see(see mmmm.. rn8,108, II116 6,, andand I124) 24);; thathatt is,is, ththee musimusicc hahass toto bbee writtewrittenn inin suchsuch a wawayy thathatt thethe first twtwoo measuresmeasures ofof thethe initialinitial voicevoice inin a new7 canoniccanonic linlinee aatt thethe fourthfourth soundssounds melodicallymelodically satisfyingsatisfying andand harmonizeharmonizess witwithh ththee laslastt twtwoo measuresmeasures ofof ththee ans,veringanswering voicevoice fromfrom previoupreviouss canonicanonicc linlinee atat ththee fifth, andand inin suchsuch a wawayy thathatt ththee movemove fromfrom ththee lastlast notnotee inin thethe answeringanswering voicevoice atat thethe fifth proceedsproceeds smoothlysmoothly ttoo ththee first notenote ofof ththee neneww answeranswer atat thethe fourth.fourth. OnOn first hearinhearingg thithiss duet,duet, I wawass hauntedhaunted bbyy thethe openingopening theme'theme'ss elusiveelusive familiarity.familiarity. SoonSoon after,after, listeninglistening toto ththee choralechorale thatthat hahass comecome toto bbee performeperformedd withwith Bach'Bach'ss motemotett Der Geist hilft 1111serunser SchwachheitSchwachheit auf (BWV(BWV 226),226), I stumbledstumbled uponupon thethe melodimelodicc resemblanceresemblance betweenbetween ththee cantatacantata duetduet andand ththee choralechorale "Komm,"Komm, HeiligeHeiligerr Geist,"Geist," a prayerprayer toto ththee HolHolyy SpiritSpirit forfor regeneration,regeneration, andand hymnhymn ofof praise2525 (111(Ill.. 2)2)::

DUETTODU.ETTO.. ~"' ~ .. -=------·----#_.c: FlautFlauloo h·a,~n,otraverso. ------V f ~ - ,, .. 11 -- OboeOboe d'amori»d'a111on•.. -- - V f- ~ -~

~ Soprano.Soprano. ff—A % • • : • • » 1 Ib.) .» ft"" fl ,. Aho.Alio. .... = _= =_ = =— ^ I J. I Couliuuo.Continuo. 5Ε=Ε=*=ΕΞ- -]| f r r -#

IllustrationIllustration I:1: openingopening phrasesphrases ofof duet,duet, ·'Herr,"Herr, dudu siehstsiehst stattstatt guterguter Werke"Werke" (BWV(BWV 99)) THETHE MUSICALLMUSICALLYY THEOLOGICALTHEOLOGICAL IINN BACH'SBACH*S CANTATASCANTATAS 3353

Komm,Komm, HeiligeHeiligerr GeistGeist., HerreHerré Gott.Gott, Come.Come, HolHolyy Spirit.Spirit, Lorlordd God,God, ErfülErfulll mimitt deinerdeiner GnadeGnadenn GutGut FilFilll witwithh youyourr treasuretreasure ooff gracegrace DeineDeinerr GlaubigeGfaub1genn HerzHerz,, MuMutt undund ThThee heartheart,, will\vill,, anandd minmindd ooff youryourss inin Sinn.Sinn. thethe faith.faith. DeinDein briinstigbrünstig LiebLieb entziindentzünd m ihn'n.ihn'n. YourYour ardentardent lovelove inflaminflamee inin them.them. 0O Herr,Herr, durchdurch deinesdeines LichtesLichtes GlanzGlanz 0O Lord,Lord, [you[you who]who] throughthrough youryour light'slight's brilliancebrilliance ZZuu demdem GlaubenGlauben versammleversammlett hasthast ToTo faithfaith hashas gatheredgathered DasDas VolkVolk auauss alleraller WeltWelt Zungen:Zungen: PeoplPeoplee fromfrom allall thethe world'sworld's tongues­tongues— DasDas seisei dir,dir, Herr.Herr, zzuu lobLob gesungen.gesungen. FoForr thatthat,, lord,Lord, mamayy laudlaud bbee sungsung toto youyou.. AllelujaAlleluja., alleluja.alleluja. AlleluiaAlleluia,, alleluia.alleluia.

BeforeBefore drawingdrawing interpretiveinterpretive conclusionsconclusions aboutabout Bach'sBach's musicalmusical settingsetting ofof ththee aria,aria, letlet usus considerconsider somesome doctrinaldoctrinal background.background. BacBachh ofof coursecourse knewknew aboutabout thethe ideasideas onon justificatiojustificationn puputt forthforth byby Luther'Luther'ss followersfollowers iinn thethe Book of Concord, 2626 and and more more directdirect docu­ docu­ mentatiomentationn ofBach'sof Bach's familiarityfamiliarity witwithh ththee subjectsubject cancan bbee foundfound,, forfor example,example, iinn hihiss highlightinhighlightingg withiwithinn hihiss CalovCalov BiblBiblee CommentaryCommentary a partpart ofof thethe interpolatedinterpolated commentarycommentary onon RomansRomans 1:16-171:16-17 (verses(verses thatthat areare commonlycommonly regardedregarded asas ththee centralcentral themetheme ofof thethe epistle):epistle):

...... [T]he[T]he mainmain causecause ofof blessednessblessedness isis GodGod \vhosewhose \Vordword andand pmverpower isis thethe gospel,gospel, asas ththee meansmeans ooff blessednessblessedness.. ThThee effectiveeffective causecause howevehoweverr 1sis Christ[;]Christf;] thethe meansmeans oonn ouourr sidsidee 1sis faitfaithh whicwhichh embracesembraces ththee righteousnesrighteousnesss ooff ChristChrist revealerevealedd iinn thethe gospegospell whicwhichh alonalonee belongbelongss ttoo faithfaith.. HHee whwhoo 1sis thuthuss vindicate\indicatedd iiss a sinfusinfull manman

s , ·_Ui,* 1 * . ' f V * * ,,,. £t .. I m liy-lI I fI Effi^1 Iit G.! 1JuG·! I'lLfli^nt I [idH : mi '*H ua: •fc. : « . t Li j I l *f/: i o• f Komm,Komm, heilheil -« 1iii - gerger GeistGeist IllustrationIllustration 2:2: openingopening phrasephrasess ooff ,chorale, "Komm,"Komm, HeiligerHeiliger Geist"Geist" 55-1-4 LUTHERANLUTHERAN QUARTERLYQUARTERLY

whowho believebeliewss imn Christ.Christ. TheThe forformm iiss ththee righteousnessrighteousness ofof ChrisChristt whichwhich iiss imputedimputed ttoo uuss throughthrough faith.faith. ThThee finafinall causcausee 1sis lifelife andand eternaleternal blessedness ...... ?~r

LutheranismLutheranism neveneverr tiretiredd ofof assertingasserting thathatt onlyonly JesusJesus'' imputedimputed righteousnesrighteousnesss cancan brinbringg aboutabout salvation.salvation. RobinRobin AA.. LeaveLeaverr sumssums itit uupp aptly:aptly: "Luther"Luther willwill tenaciousltenaciouslyy holholdd onon toto thethe doctrinedoctrine [[oof f jus­jus ­ tification],tification] , becausbecausee ifif itit isis overthrownoverthrown,, itit woulwouldd meanmean thatthat JesusJesus ChristChrist hadhad beebeenn wastinwastingg HiHiss timetime onon ththee cross."cross. "2288 AsAs itit happens,happens, almostalmost allall ththee essentialessential aspectsaspects ofof thethe doctrinedoctrine areare laidlaid outout inin thethe librettolibretto ofof Bach'sBach's CantataCantata 9:9: JesusJesus hashas comecome asas me­me­ diatordiator,, thatthat isis,, beforbeforee GoGodd ththee FatheFatherr (opening(opening chorus);chorus); humanshumans werweree incapableincapable ofof keepingkeeping God'sGod's lawlaw (first(first recitativrecitativee andand tenortenor aria)aria);; andand soso JesusJesus camecame ttoo fulfillfulfill thethe law,law, andand hihiss deathdeath makesmakes itit possiblepossible forfor peoplpeoplee toto comecome beforebefore GodGod ththee Father'sFather's wratwrathh protecteprotectedd byby theirtheir trustrustt iinn JesusJesus (second(second recitative)recitative);; faith,faith, nonott goodgood worksworks,, bringsbrings aboutabout salvationsalvation (duet);(duet); afterafter thetheyy havhavee recognizedrecognized theitheirr sinsin fromfrom thethe law,law, peoplpeoplee cancan find comfortcomfort iinn ththee gospel,gospel, andand theythey needneed notnot fearfear deathdeath (third(third recitative)recitative);; peoplpeoplee shouldshould nonott bebe troubletroubledd ifif itit seemsseems asas thoughthough GodGod iiss nonott witwithh themthem,, forfor ththee essenceessence ofof faithfaith iiss inin thingthingss unseeunseenn ((closinclosing g chorale). 2299 TheThe onlyonly basibasicc doctrinaldoctrinal aspectsaspects missingmissing fromfrom ththee librettolibretto areare thathatt ChristianChristian faithfaith isis a giftgift fromfrom ththee HolHolyy Spirit,Spirit, andand thathatt ththee fruitsfruits ofof faith,faith, goodgood works-thoughworks—though unnecessarunnecessaryy inin thethe sensesense thatthat theythey cannotcannot brinbringg aboutabout salvation-aresalvation—are necessarynecessary inin ththee sensesense thatthat theythey areare commandedcommanded byby God,3 300 andand thathatt thetheyy actact asas testimonietestimoniess ofof thethe HolHolyy Spirit'sSpirit's presencpresencee andand indwelling.indwelling. Bach'sBach's musicamusicall settingsetting appearsappears toto provideprovide thethe doctrinaldoctrinal aspectsaspects missinmissingg fromfrom thethe librettolibretto ofof CantataCantata 9.3311 ThisThis happenhappenss inin waywayss thatthat areare perhapperhapss nonott immediatelyimmediately obviousobvious butbut areare easyeasy enoughenough toto hearhear iiff pointepointedd out.out. TheThe choralechorale allusioallusionn iinn ththee canoniccanonic duetduet conjuresconjures uupp botbothh ththee notionotionn thathatt itit isis thethe HolyHoly SpiritSpirit whwhoo gathergatherss peoplepeople ttoo faitfaithh ((choralchorale e "Komm"Komm HeiligeHeiligerr Geist,"Geist," first stanza,stanza, lineslines 5-8)5-8) andand thethe notionnotion thathatt sinners,sinners, alreadyalready justifiedjustified,, needneed ththee HolHolyy SpiritSpirit toto ddoo God'God'ss ongoingongoing worworkk ofof sanctificationsanctification ("Komm("Komm HeiligerHeiliger Geist,"Geist," lineslines 1-4)r-4).. CanonicCanonic writingwriting hashas associationsassociations witwithh lawlaw inin Bach,3322 andand thertheree isis a certaincertain LutheranLutheran eleganceelegance inin Bach'Bach'ss settingsetting uncommonluncommonlyy beautifulbeautiful,, carefree-soundingcarefree-sounding melodiemelodiess ttoo suchsuch severesevere THETHE MUSICALLYMUSICALLY THEOLOGICALTHEOLOGICAL IINN BACH'BACH"SS CANTATACANTATASS 5555 formsforms ofof counterpointcounterpoint inin CantataCantata 9.9. IItt iiss asas iiff ttoo saysay thatthat lalaww andand gospel,gospel, goodgood worksworks andand gracegrace throughthrough faith,faith, areare inextricablinextricablyy boundbound upup withwith eacheach other,other, thoughthough theythey remainremain distinct.distinct. TheThe LutheranismLutheranism ofof Bach'sBach's music,music, itit seems,seems, contendscontends thathatt justifiejustifiedd sinnersinnerss araree nonott toto puputt thethe lawlaw behinbehindd them.them. RegenerationRegeneration isis alwayalwayss incompleteincomplete inin thethe presenpresentt world,world, andand thethe childrenchildren ooff GoGodd araree stillstill ttoo bbee guidedguided bbyy thethe lawlaw ofof God.God. IfIf thethe musicalmusical settingsetting ofof ththee openingopening ariaaria fromfrom CantataCantata I1 3 cancan bbee understoodunderstood toto expressexpress God'God'ss YeYess behinbehindd a No,No, thethe settingsetting ofof thethe duetduet fromfrom CantataCantata 9 mamayy expresexpresss God'sGod's NoNo behinbehindd a Yes.Yes.

An Inverted World

OneOne ofof thethe mostmost peculiarpeculiar movementsmovements iinn Bach'Bach'ss outpuoutputt iiss thethe ariaaria "Wie"Wie jammerjammernn michmich dochdoch diedie verkehrteverkehrtenn HerzenHerzen"" frofromm hishis churchchurch cantatacantata VergniigteVergnügte Ruh,Ruh, beliebtebeliebte SeelenlustSeelenlust (BWV(BWV 170).170). HavingHaving gloriouslygloriously depicteddepicted thethe peacpeacee andand contentmentcontentment ooff heaveheavenn iinn thethe openingopening movement,movement, thisthis secondsecond ariaaria commentcommentss asas followsfollows oonn thethe interveningintervening recitative'srecitative's condemnationcondemnation ooff ththee evievill anandd perversitperversityy ofof thethe presentpresent world:world: WieWie jammerjammernn michmich dochdoch diedie ver­ver­ HowHow I surelysurely pitpityy ththee frowardfroward kehrtenkehrten Herzen,Herzen, heartheartss DieDie dir,dir, meinmein Gott,Gott, soso sehrsehr zu­zu­ ThatThat towartmvardd youyou,, mmyy GodGod,, araree soso widewiderr sein;sein; ververyy contrary.contrary. IchIch zittrezittre rechtrecht unundd fiihlefühle tausendtausend I trulytruly trembletremble andand feelfeel a thou­thou­ Schmerzen,Schmerzen, sandsand agonies,agonies, WennWenn siesie nurnur anan RachRäch unundd HaBHaß WhenWhen allall thetheyy ddoo iiss delighdelightt inin erfreun.erfreun. vengeancvengeancee andand hatehate.. GerechterGerechter Gott,Gott, waswas magstmagst dudu RighteousRighteous GodGod,, whawhatt woulwouldd youyou

WitWithh itsits slowslow tempotempo,, F-sharF-sharpp minominorr tonalitytonality,, pervasivpervasivee disso­disso­ nancesnances,, andand soso on,on, Bach'sBach's musicamusicall settingsetting fittingly plumbsplumbs thethe depthsdepths ooff thethe libretto'slibretto's torment.torment. SomeSome commentatorscommentators taktakee noticnoticee alsoalso ofof Bach'sBach's unusualunusual instrumentainstrumentall scoring:scoring: three-parthree-partt counterpointcounterpoint con­con­ sistingsisting ooff a lowerlow^er lineline forfor violinviolinss anandd violaviola inin unison,unison, andand twotwo upperupper lineslines forfor organorgan obbligato.obbligato. AlfreAlfredd Diirr,Dürr, forfor example,example, suggestivelysuggestively ar­ar­ gueguess thatthat ththee absenceabsence ofof a propeproperr bassbassoo continucontinuao isis mostmost likelylikely in­in­ tentionatentionall onon Bach'sBach's part;part; ththee bassbassoo continuacontinuo isis a sorsortt ofof fundament,fundament, andand itsits absenceabsence cancan symbolizesymbolize eitheeitherr thatthat a GodlyGodly footholfootholdd isis notnot neededneeded (as,(as, e.g.,e.g., inin thethe ariaaria "Aus"Aus LiebeLiebe willwill meimeinn HeilanHeilandd sterben"sterben" from Bach'sBach's St. 1\1atthewMatthew Passion), oror thattha t suchsuch aa foothold foothold hasha sbeen been lostlost (e.g.,(e.g., asas herehere inin CantataCantata 170,170, andand ththee ariaaria "Wie"Wie zitterzitternn undund wankewankenn derder SiinderSünder Gedanken"Gedanken" fromfrom Bach'Bach'ss churchchurch cantatacantata Herr,Herr, 33 gehe nicht insins GerichtGericht mit mit deinem deinem Knecht, Knecht, BWV BWV Io 105). 5). 33 ItIt seemsseems toto me,me, however,however, thathatt Bach'Bach'ss instrumentalinstrumental scoringscoring de­de­ servesserves stillstill closercloser consideration.consideration. TheThe rhythmirhythmicc activityactivity inin thethe organorgan lineslines isis typically twtwiceTice anandd oftenoften fourfour timetimess asas greagreatt asas inin thethe unisonunison stringsstrings line.line. SuchSuch texturaltextural stratificationstratification isis quitequite unusuaunusuall iinn Bach,Bach, anandd ssoo thisthis heighteneheightenedd contrastcontrast betweebet,veenn thethe uppeupperr andand lowerlower lineslines surelysurely commandscommands ouourr attention.attention. MuchMuch mormoree thanthan anan extremeextreme in­in­ strumentastrumentall contrastcontrast,, ,vhatwhat Bach'Bach'ss musimusicc inin facfactt setsetss uupp herheree iiss a reversal: criss-crossing, criss-crossing ,highly highl yexpressive expressiv elines line sthat tha thave hav every ver ymuch muc h thethe loolookk ofof solosolo violinviolin partsparts areare assignedassigned,, bbyy ththee markinmarkingg aà 2 Clav.Clav. ("for("for twtwoo manuals")manuals"),, ttoo ththee larglargee churchchurch organ;organ; andand a simple,simple, stolid,stolid, continua-likecontinuo-like lineline thathatt hahass ververyy mucmuchh ththee looklook ofof a pedals-onlypedals-only orgaorgann parpartt isis assigned toto ththee uppeupperr stringsstrings ofof Bach'sBach's ensemble,ensemble, inin unisono. ForFor BachBach itit woulwouldd havhavee beebeenn a straightforwardstraightforward affairaffair toto arrangarrangee thisthis ariaaria "properly""properly" byby transposingtransposing ththee organorgan lineslines aass violinviolin partsparts,, andand bbyy shiftingshifting ththee stringsstrings lineline intointo ththee lowerlower octavoctavee forfor organorgan andand furnishingfurnishing itit witwithh continuacontinuo figures.figures. 34 ThisThis aria'aria'ss curiouscurious reversalreversal inin scorinscoringg maymay bbee associatedassociated witwithh thethe time-honoredtime-honored themetheme ofof ththee WorldWorld UpsideUpside Dmvn.Down. TheThe mundus inversus-ininversus—in German,German, verkehrte Welt-hasWelt—has appeared appeared in in all al lcultures cultures in in a widewide varietyvariety ofof forms. 3355 InIn visualvisual representations,representations, forfor example,example, thethe castlecastle oror citycity hoverhoverss aboveabove clouds,clouds, ththee sheepsheep protectprotectss a flockflock ofof humanhumanss grazinggrazing inin I!leadow,meadow, servantservant ridesrides oonn horsehorse whilwhilee noblemannobleman hahass ttoo gogo behinbehindd hihimm onon foot,foot, mousemouse chaseschases catcat,, andand ththee like.like. THETHE MUSICALLYMUSICALLY THEOLOGICALTHEOLOGICAL IINN BACH'BACH'SS CANTATACANT AT ASS 5577

TheThe themetheme ofof inversioninversion alsoalso playsplays a significantsignificant parpartt inin JewishJewish andand ChristianChristian biblicabiblicall writings,writings, oftenoften proposinproposingg messianimessianicc oorr Utouto­­ pianpian situationssituations inin whichwhich thethe presentpresent disordereddisordered worlworldd wilwilll bbee up­up­ ended.3 366 ForFor example,example, thethe phrasephrase "all"all whwhoo exalexaltt themselvesthemselves wilwilll bebe humbled,humbled, butbut allall whowho humblehumble themselvesthemselves wilwilll bbee exaltedexalted"" appearsappears frequentlyfrequently inin thethe New7 Testament3377 (and(and Bach'Bach'ss powerfulpowerful,, verbatimverbatim settingsetting ofof itit appearsappears inin thethe openingopening choruschorus fromfrom CantatCantataa 474 7;; seesee alsoalso Bach'Bach'ss settingssettings ofof thethe :.\tlagnificat).). StatusStatus reversalreversal isis said said byby vari­vari­ ousous NeNeww TestamentTestament authorsauthors toto characterizecharacterize ththee KingdoKingdomm ooff God.3 388 Consequently,Consequently, inin religiousreligious usageusage symbolicsymbolic inversioninversion cacann bbee ex­ex­ treme.treme. WhileWhile particularparticular examplesexamples mamayy seeseemm humorouhumorouss oonn ththee sur­sur­ faceface (depending(depending onon one'sone's pointpoint ofof view),view), ththee underlyinunderlyingg intenintentt cancan bbee veryvery serious.serious. EspeciallyEspecially strikingstriking exampleexampless ofof thithiss araree foundfound inin thethe woodcutswoodcuts thatthat LutherLuther andand hishis earlearlyy followerfollowerss produceproducedd toto spreadspread ReformationReformation ideas.3399 AllAll thethe majomajorr elementelementss appearappear inin Lu­Lu­ ther'sther's ownown wildlywildly polemicalpolemical series,series, ththee Depiction of the PapacyPapacy (1545).4400 RobertRobert ScribnerScribner helpfullyhelpfully analysesanalyses ththee woodcuwoodcutt AdoraturAdoratur Papa DeusDeus TerrenusTerrenus ("The ("Th ePope Pop eis iAdoreds Adore das a ans a nEarthly Earthl yGod") God" )from from 41 thisthis collectioncollection asas followsfollows (see(see IllustrationIllustration 3) :

[In[In thisthis picturepicture the]the] crossedcrossed papapapall keyskeys havehave beebeenn replacereplacedd bbyy a paipairr ofof jemrmes.jemmies , whichwhich GermansGermans callcall "thieYes'"thieves' keys."keys." TheThe papapapall tiartiaraa whicwhichh shoulshouldd bbee aboYeabove thethe shieldshield hashas beebeenn inverted,inverted, andand a GermanGerman mercenarymercenary soldier,soldier, a Landsknecht, def­def­ ecatesecates intointo it.it. TwoTwo othersothers adjustadjust thentheir dressdress afteafterr havinhaYingg donedone ththee same.same. TheThe LatinLatin titletitle statesstates satirically:satirically: "The"The poppopee isis adoredadored aass aann earthlearthlyy god.god."" ThThee GermanGerman inscriptioninscription commentscomments thatthat ththee poppopee hashas treatedtreated ththee kingdokingdomm ooff ChristChrist asas thethe pope'spope's crowncrown isis treatetreatedd herehere.. ButBut dodo notnot despairdespair,, 1tit continuescontinues,, foforr GoGodd hahass promiseprormsedd comfortcomfort throughthrough hishis spirit.spirit. A referencereference ttoo ApocalypsApocalypsee 1I 8 [i.e.,[i.e., ththee finalfinal boobookk inin thethe NeNeww Testament]Testament] showsshows whatwhat thatthat comfortcomfort iiss ttoo bebe:: ththee proclamationproclamation thatthat BabylonBabylon hashas beebeenn overthrown,overthrown, thatthat is,is, thathatt ththee downfaldownfalll ooff ththee papacypapacy 422 [indeed,[indeed, ththee endend ofof thethe ,vorld~world ] isis atat hand...... [T]he[T]he writtewrittenn textextt addaddss t'\votwo varyingvarying messagesmessages toto thethe visualvisual message.message. TheThe GermaGermann textextt provideprovidess a quasi­quasi- doctrinaldoctrinal commentary;commentary; thethe LatinLatin title,title, however,however, capturecapturess ththee ,voodcut'swoodcut's intentionintention moremore closely:closely: itit isis anan iroruciromc inversion[.]inversioni·]

InIn thethe contextcontext ofof religiousreligious symbolicsymbolic inversion,inversion, thenthen,, Bach'sBach's strangestrange scoringscoring inin CantataCantata I17 700 couldcould bbee understoounderstoodd ttoo extendextend sub­sub­ stantiallystantially thethe meaningmeaning ofof Lehms'Lehms' ariaaria texttext.. WhilWhilee LehmsLehms'' poetrypoetry depictsdepicts onlyonly this-worldlythis-worldly despair,despair, Bach'sBach's musicamusicall settingsetting,, bbyy virtuevirtue ADORATVRADORATVR PAPAPAPA DEVSDEYS TERRENVSTERRENVS..

~(lpffìdpfìfja 64ttt bemt>em re@xti§ fConfî 6rtfftt get6ongetfwn ~telit manman ~tefjteijmtfiei ~ant)efrt fetneff me tron.Ctoit ffi(l{5t$¡(ï§fô)r^etfeiti0:fprtpî)e Jr !Wetfeltig: fprtg)t betr getgetf fft Ape,.,~Apocis. ~IDrncftImtft getroffgetrofî etn:~ottemr^ott ifffffe $ bet$ta» 6etff.|j«fñ t[\art:ttut6:~. IllustrationIllustration 3:3: Adoratur Papa DeusDens Terrenus,Terrenas, from from Martin Marti nLuther, Luther , Depiction of the Papacy (r(1545 545)) THTHEE MUSICALLMUSICALLYY THEOLOGICATHEOLOGICALL ININ BACH'BACH'SS CANTCANTATA AT ASS 5599 ofof itsits extremeextreme WorldWorld UpsideUpside DownDown scoring,scoring, inspiritsinspirits alsoalso next­next- worldlworldlyy comfort.comfort. AsAs a secondsecond exampleexample ofof ththee mundus inversus, letlet usu sbriefly briefly con­con­ sidersider thethe duetduet fromfrom Bach'sBach's churchchurch cantatacantata Wer nur den lieben Gott lafltläßt walten (BWV(BWV 993) 3).. BachBach loverloverss tentendd ttoo bbee familiarfamiliar notnot withwith thethe cantatacantata movementmovement bubutt itsits arrangementarrangement forfor solosolo organorgan asas thethe SchiiblerSchübler choralechorale Wer nur den lieben Gott lafitläßt walten (BWV(BWV 64647) 7).. When,When, forfor example,example, I playeplayedd recordingsrecordings ofof thethe twtwoo versionversionss inin a lecturelecture forfor a PhiladelphiaPhiladelphia meetinmeetingg ofof ththee AmericanAmerican GuildGuild ofof Or­Or­ ganists,ganists, manymany iinn ththee audienceaudience registereregisteredd greatgreat surprisesurprise atat Bach'sBach's scoringscoring inin thethe cantata.cantata. TheyThey quitequite reasonablyreasonably assumedassumed thathatt thethe twtwoo sopranosoprano lineslines ofof ththee right-hanright-handd parpartt inin ththee organorgan versionversion originatedoriginated inin a standardstandard trebltreblee scoringscoring forfor stringsstrings oror woodwinds,woodwinds, andand thatthat ththee choralechorale lineline ofof thethe pedapedall partpart (designated(designated inin ththee 4-4- footfoot range)range) originatedoriginated inin a singlesingle vocalvocal line-moreline—more oror lessless cor­cor­ respondinrespondingg ttoo ththee situationsituation forfor ththee extremelextremelyy well-knowwell-knownn fourthfourth movemenmovementt fromfrom Bach'Bach'ss churchchurch cantatacantata Wachet auf, ruft uns diedie Stimme (BWV(BWV I140 40)) andand itsits arrangementarrangement inin ththee SchiiblerSchübler choraleschorales (BWV(BWV 645).645). TheThe situationsituation iinn CantataCantata 9393 turnturnss outout toto bebe exactlyexactly thethe reversereverse:: toto thethe unaltered,unaltered, well-knownwell-known wordswords ofof ththee fourthfourth choralechorale stanzastanza ththee singerssingers renderrender variousvarious quasi-quasi-"instrumental"instrumental"" in­in­ terludesterludes,, andand wordlesslwordlesslyy inin unisounisonn thethe violinviolinss andand violviolaa "sing""sing" inin longerlonger notenote valuesvalues thethe phrase-by-phrasphrase-by-phrasee entriesentries ofof thethe choralechorale melodymelody.4433 TheThe texttext ofof ththee employedemployed choralechorale stanzastanza readsreads asas follows:follows:

ErEr kennkenntt diedie rechtenrechten Freudenstunden,Freudenstunden, HeHe knmYsknows ththee rightright timetimess forfor joyjoy,, EErr wei\Ye1Bß wohlwohl,, wenwennn eses nützlicniitzhchh se1;sei; HeHe knowknowss well.well, whewhenn 1tit mamayy bebe beneficial;beneficial; WennWenn erer unsuns nunurr hahatt treutreu erfundenerfunden IfIf hhee onlyonly hahass foundfound uuss faithfulfaithful UnUndd merkemerkett keinekeine Heuchele1,Heuchelei, AndAnd notesnotes nono hypocrisy,hypocrisy, SoSo kommtkömmt Gott,Gott, eheh wi\\.irr ununss Yersehn,versehn, ThenThen GodGod comes,comes, beforbeforee wewe areare awareaware ofof 1t,it, UndUnd Hissetlasset ununss vieYiell GutsGuts geschehngeschehn.. AnAndd letletss muchmuch goodgood happenhappen ttoo usus..

WithWith ththee miniaturminiaturee mundus inversus ofof this this cantatacantata duet,duet , Bach'sBach's musimusicc appearsappears ttoo bbee deliberatelydeliberately workinworkingg againstagainst humahumann expecta-expecta- 6060 LUTHERANLUTHERAN QUARTERLYQUARTERLY tions,tions, asas if,if, again,again, toto givegive expressionexpression ttoo ththee ideideaa thatthat God'sGod's heavenlyheavenly waysways dodo notnot correspondcorrespond toto humans'humans' earthlyearthly waysways.. SuchSuch ideasideas areare readilyreadily foundfound iinn thethe sermonsermon literaturliteraturee fromfrom 44 Bach'sBach's library.library. BachBach ownedowned twotwo copiescopies ofof Luther'Luther'ss Hauspostille,Hauspostille, +1- a collectioncollection ofof sermonssermons onon thethe biblicalbiblical readingsreadings specifiedspecified forfor thethe variousvarious SundaysSundays andand festivalsfestivals ooff ththee churcchurchh yeayearr iinn ththee LutheranLutheran liturgy.liturgy. TheThe sermonsermon forfor thethe 5th5 th SundaySunday afterafter TrinityTrinity (the(the SundaySunday forfor whichwhich CantataCantata 9 3 wawass written),written), basebasedd oonn ththee gospegospell readingreading 45 ofof LukeLuke 5:5:1-11, I-I I,-is containscontains thethe followingfollowing illuminatinilluminatingg passagpassagee (my(my emphases):emphases) :

WeWe areare commandedcommanded ...... toto \Ya1twait patientlypatiently foforr success,success, anandd God'God'ss blessinblessingg shallshall bebe experiencedexperienced inin duedue time...... [Peter][Peter] musmustt havhaYee hahadd a pioupiouss heartheart., thathatt hhee soso subduedsubdued hishis naturalnatural mclinationsinclinations andand helheldd firmlfirmlyy ttoo ththee WorWordd ofof ChristChrist.. HerHeree aass underunder manmanyy otherother circumstancescircumstances thethe commandcommandss andand dealingdealingss ooff GoGodd seemseem toto ourour reasonreason toto bebe allall wrongwrong oror eveneven foolishfoolish.. ThThee besbestt timtimee foforr catchingcatching fishesfishes iiss ordinarilyordinarily notnot mid-day.mid-day, butbut night.night. NeitheNeitherr iiss iitt ththee customcustom ooff fishermenfishermen toto launchlaunch outout intointo thethe deep.deep, thatthat is,is, inin ththee midsmidstt ofof ththee seasea,, bubutt thetheyy remairemainn nearnear thethe shore,shore, forfor theythey wellwell knowknow thathatt herehere manmanyy fisfishh areare ttoo bbee found.found. ThisTiiis 1sis reversedreversed by the Saviour.Saviour.* 466

Conclusion

ItIt seemsseems fromfrom thesethese selectedselected churcchurchh cantatacantata examples,examples, thenthen,, thatthat ,vewe mightmight notnot bebe fullyfully appreciatingappreciating Bach'Bach'ss outputoutput ifif wwee taktakee himhim simplysimply oror essentiallyessentially toto bebe a suppliersupplier ooff notesnotes,, rhythmsrhythms,, andand tonetone colors,colors, howeverhowever marvelousmarvelous oror magnificenmagnificentt thesthesee ricrichh aspectsaspects ofof hishis worksworks maymay indeedindeed be.be. Likewise,Likewise, wwee mighmightt nonott fullfullyy appreciateappreciate thethe rangerange ofof plausibleplausible meaningsmeanings projecteprojectedd bbyy Bach'Bach'ss workworkss iiff ·wewe simplysimply analyzeanalyze thethe verbalverbal contentcontent ooff hihiss librettoslibrettos.. AcceptinAcceptingg thethe ideaidea thatthat Bach'sBach's musicalmusical settingssettings cancan theologicalltheologicallyy expanexpandd uponupon andand interpretinterpret hishis librettoslibrettos needneed nonott involvinvolvee downplayingdownplaying ththee aesaes­­ theticthetic splendorsplendor ofof hishis works.works. I woulwouldd liklikee ttoo suggest.suggest, oonn ththee otherother hand,hand, thatthat insistinginsisting onon exclusivelyexclusively aesthetiaestheticc contemplationcontemplation ofof Bach'sBach's musimusicc potentiallypotentially diminishesdiminishes ititss meaningmeaningss anandd actuallyactually re­re­ ducesduces itsits stature.stature. THETHE l\lUSICALLMUSICALLY Y THEOLOGICALTHEOLOGICAL ININ BACH"SBACH'S CANTATASCANTATAS 6611

NOTESNOTES

1.i. FoForr ththee acadenucacademic side,side, ththee mostmost mfluent1alinfluential hashas beenbeen FnednchFriedrich Blume.Blume. ··umnsse"'Umrisse emeseines neueneuenn Bach-B1ldes,Bach-Bildes, ··" MusicaJlus1ca 1616 (1962):(1962): 169-76.169-76, transtrans., asas ··Outlmes"Outlines ofof a NeNeww PicturePicture ofof Bach, ".. MusicJlus1c and.111d lettersLetters -1--1-44 (1963):(1963): 21-1--27.214—27. TheThe mostmost importantimportant responsesresponses mcludeinclude AlfreAlfredd DürrDurr,, ··zum"Zum WandeWandell desdes Bach-Bildes:Bach-Bildes: zuzu FriedricFnednchh BlumeBlumess MainzeMamzerr Vortrag.··Vortrag." .\I11s1kMusik 1111dund KircheK1rche 3232 (1962):(1962): 1-1-5-52:145—52; cf.cf. ··Amwort"Antwort vonvon FnednchFriedrich BlumeBlume,... " 153-56;153—56; Fned­Fried­ ricnchh Smend,Smend, ··was"Was ble1bt?bleibt? ZuZu FriedricFnednchh BlumeBlumess Bach-Bild.··Bach-Bild," Der KirchenmusikerKtrche11111us1ker 1313 (1962):(1962): 178-88:178-88: andand GerhardGerhard Herz.Herz, "'TO\nrd"Toward a NeNeww ImageImage ofBach.''of Bach," Bach 1.1, no.no. 4 (1970):(1970): 9-27;9-27: andand 22., no.no. 1ι (1971):(1971): 7-287-28 (repnnted(reprinted imn hishis Essays 011]onj S. Bach [Ann[Ann Arbor:Arbor: UMIUMI ResearchResearch Press,Press, 1985].1985]. 149-84)1-1-9-84).. 22.. ForFor a conwmentconvenient lishstt ofof ththee groupgroup' ·ss maimamn publicationspubhcat1ons., seesee DarnelDaniel RR.. MelamedMelamed anandd MichaelMichael ManssenManssen,, AnA11 Introductionfotrod11ct1011 to Bach Studies (New(New YorkYork:: OxfordOxford UniversitUmvers1tyy Press.Press. 1998).1998), 115 5.. ForFor a fullfull bibliographyb1bhography,, seesee RenateRenate Steiger.Steiger, eded. ... Theolog1scheTeleologische Bacl!forscl11111g Bachforschung heute heute DokumentationDok11111entat1011 1111dund BibliographieB1bl10grapl11e der der I11temat1011ale Internationale Arbe1tsgeme111schq{t Arbeitsgemeinschaft fur fur theolog,sche theologische Bachfor­ Bachfor­ schungscl11111g 1976-96IÇ76-96 (Ghemcke(Gliemcke andand BerlinBerlm.. GaldaGalda andand WalchWalch.. 1998).1998). 353-445353-445.. 3.3. ThesThesee excepnonsexceptions includemclude., e.g.,e.g., MemradMeinrad WalterWalter., MusikJluszk-Sprache—Sprache des Gla11be11sGlaubens St11-Stu­ d1endien zumz11111 geistlichenge1stl1chen TI okaltl'erkbkalwerk JohannJohann SebastianSebastian Bacl1sBachs (Frankfurt(Frankfurt amam Mam:Main: Knecht.Knecht. 1994):1994): RenatRenatee Steiger.Steiger, ··Methode"Methode undund ZieZiell emereiner musikalischemusikahschenn HermeneutiHermeneut1kk imim WerkeWerke Bachs.Bachs, ··" .\I11s1kMusik 1111dund Kirche 4747 (1977)_:__(1977)^209-24 209-24.. -t--4. FoForr anan exampleexample ofof a remarkablremarkablyy msightfulinsightful studystudy ofof Bach"sBach's librettoslibrettos thathatt doedoess notnot engageengage hihiss musicamusicall settmgs.settings, seesee ElkeElke AxmacherA-x:macher., ''Aus'Aus Liebe 11'111will meinme111 Heyland sterbensterbe11 ., '' C11ters11d11111genUntersuchungen zumzum n;mdelil andel des des Pass1011s11ersta11d111sses Passwnsverstandmsses 1111 im_{r11he11 frühen 18 18Jalzrlz1111dert Jahrhundert (Neuhausen­ (Neuhausen- Smttgart:Stuttgart: HansslerHanssler.. 1984-).1984). 5.5. EriEncc Chafe.Chafe. Tonal AllegoryAllegory min thethe iocalVocal .\Ius1c Music c!f ofJ J S S BachBach (Berkeley (Berkele yand an dLos Lo sAngeles. Angeles . UmversityUniversity ofof CahformaCalifornia PressPress,, 1991).1991). ForFor a simplersimpler approacapproachh thathatt remainremamss sensltlvesensitive toto theologicatheologicall concernsconcerns., seesee AlfredAlfred Durr,Dürr, Die KantatenKa11tate11 von Jolza1111Johann SebastianSebastian Bach.Bach, revrev edn.edn. (Mumch(Munich andand Cassel:Cassel: dn-/Barenreiter.dtv/Barenreiter. 1981985) 5).. AnAn EnghshEnglish translationtranslation bbyy RicharRichardd Jones.Jones, furtherfurther revisedrensed,, isis forthcommgforthcoming fromfrom OxfordOxford UniversitUmversityy Press.Press. 6.6. See,See, e.ge.g. ... DandDavid Schulenberg.Schulenberg. "''Musical'"Musical Allegory·Allegory" ReconsideredReconsidered:: RepresentationRepresentation andand lmagmatlonImagination min thethe Baroque."Journa "]011mall ofofMusicology.\I11s1cology 1212 (1995):(1995): 203-39:203—39; cf.cf. PaulPaulBrain Bram­- ard,ard, ''Bach"Bach asas Theologian?"Theologian?" min ReflectionsRi;flect1011s 011on the Sacred. A A .\I11s1colog1calMusicological Perspectwe, Perspective, ed. edPaul. Pau l BramarBramardd (New(New Haven:Haven: YalYalee InstituteInstitute ofof SacredSacred MusicMusic., 1994-).1994). 1-7:1-7: andand JoyceJoyce L.L. lnnn.Irwin, 'Johann'Johann SebastianSebastian Bach.Bach. A Musician.Musician, nonott a Theologian,Theologian.·•" min lnvmIrwin,. .SextherYetther TI 01cebice nor nor Heart Heart Alone German L11theianLutheian Theology c!fof Music.\I11s1c rnin the Age qfof ritethe Baroque (New(New York:York: PeterPeter Lang.Lang , 1993).1993)* 1-1-1-52.141-52. 7.7. SeeSee MichaeMtehaell Manssen.Manssen. The SocialSoaal and Rel1g1ousReligious Designs qf]of J S BachBach's 's Bra11de11burgBrandenburg Concertos (Princeton:(Princeton : PrmcetonPrinceton UmversnyUniversity Press.Press , 1995):1995) :and and Manssen Manssen... . "Th Thee Theological Theologica l CharacterCharacter ofof J.J. S.S. Bach'Bach·ss MusicalJI11s1c,1l Offermg,Offering,*' •· min Bach-StudiesB.1d1-St11d1es 2, ed.ed. DarnelDaniel RR.. MelamedMelamed (Cambridge:(Cambridge: CambndgeCambridge UmwrntyUniversity Press.Press. 1995).1995), 85-106.85-106. 8.8. JohnJohn ButtButt.. ··Bach's"Bach's MetaphysicMetaphysicss ofof !vluste.Music. ··" min Butt,Butt, eded. ... The CambndgeCambridge CompamonCompanion to Bach (Cambridge.(Cambridge. CambndgeCambridge UniversitUm~:ersityy Press.Press. 1997).1997), 46-5946-59.. atat ρp 4-7:47; seesee also.also, m ththee samesame vol.,vol., ButtButt., "'A"Ά MmdMmd UnconsciousUnconscious thatthat itit iiss Calculatmg";Calculating'" BachBach andand thethe Rat1onahstRationalist PhilosophyPhilosophy ofof Wolff. Wolff, LeibniLeibmzz andand Spmoza.Spinoza, ··" 60-7160-71 (Butt(Butt himselhimselff isis.. hmvever.however, byby nono meansmeans unsympathetiunsympatheticc toto theologicatheologicall concerns.concerns. TheThe quesnonquestion herehere isis oneone ofof emphasis.)emphasis.) 9.9. AlberAlbertt Schweitzer,Schweitzer, The MysticismJlystwsm c!fof Paul the ApostleAposcle (Ne\Y(New York:York: Seabury.Seabury, 1968;1968: ong.ong. 1930).1930). qo;140; quotedquoted imn N.N. T.T. WrightWnght., Clmst1a11Christian OrzgmsOrigins and the Quesc1011Question '!fof God, vol.vol. 6262 LC'THERANLUTHERAN QUARTERLYQUARTERLY

2: JesusJesus andand thethe VictoryWctory qfof GodGod (Mmneapolis:(Minneapolis: Fortress.Fortress, 1996).1996). 213.213. ThatThat first-centuryfirst-century Ju­Ju­ daismdaism wawass mormoree permeatedpermeated bbyy HellemsmHellenism thathann earlierearlier scholarscholarss caredcared ttoo allo,Y.allow, howeverhoweYer., 1sis shmYnshown bbyy MaronMartin HengelHengel.. Judaism and HellenismHelle111s111 · St11d1e~Studie* 111in ththeir ell' E11co1111ter Encounter 111 in Palest111e Palestine d1m11g during the Early HellenisticHelle111strc Perwd,Period, translated translated by by John John BmYden Bowden (Philadelphia: (Philadelphia :Fortress Fortres sPress. Press .1974). 1974) . IO.10. WerneWernerr NeumanNeumannn andand Hans-JoachiHans-Joachimm Schulze.Schulze, edseds. ... Bach-DokumenteBach-Dok11111e11te II (Cassel:(Cassel: BárenreiterBarenre1ter,, 1969).1969). no.no. 134:134: transtrans., m HanHanss T.T. DaviDandd andand ArthurArthur Mendel.Mendel, eds.:eds.: reY.rev. andand enlargedenlarged bbyy ChristophChristoph Wolff.Wolff. The Xew.Yew Bach Reader (New(New YorkYork:: NortonNorton., 1998).1998). 105105.. ReferencReferencee toto Bach'sBach's knowledgeknowledge ofof ththee ''Formula"Formula ooff Concord"Concord" (1577;(1577; printeprmtedd m thethe Book qfof Concord) 1si sfound found mm Bach-Dok11111emeBach-Dokumente II,II, no.no . 136136 (not (no t reproducedreproduced mm ."\-ewXew BachBach Reader). Readei). andand hihiss knowledgeknowledge ofof thethe "Saxon"Saxon VisitatioV1s1tanonn Articles"Articles" (1593;(1593: printeprmcedd m subsequentsubsequent ed1-edi­ tiont10nss ofof thethe Book qfof Concord) 1si sfound found mm Schulze.Schulze , eded... . Bacl1-Dok11111e11teBach-Dokumente IIIIII (1972).(1972) .no. no .92a 92a (not(not m Xew Bach Readei).Reader). ForFor a fullfull discussiondiscussion ooff ththee (nontnnal)(nontrivial) naturenature ofof thesethese theo­theo­ logicalogicall exammat10ns,examinations, seesee 1'vlartmMartin PetzoldtPetzoldt., "Bach"Bach' ·ss Pruti.mgPrüfung Yorvor demdem KurfiirsthchenKurfürstlichen Kon­Kon­ s1stonumsistorium zuzu Leipzig."Leipzig." Bach-JahrbuchBach-Jalzrbuc/1 8-1- 84(1998): (1998) :19-30. 19-30 . 11.11. RohmRobm A.A. Leaver,Leaver, Bachs Theolog1scheTheologische BibliothekB1bl10thek /I Bach's Theolog,calTlieological LibraryLibrary (N(Neuhausen-Stuttgart euhausen-Stuttgart:: HansslerHanssler.. 1981985 5)) ForFor furtherfurther commentscomments andand somesome minommorr rens10ns.revisions, seesee JohannesJohannes Willmann.Wallmann. "Johann"Johann SebasnanSebastian BachBach unundd diedie ·Ge1stlichen"Geistlichen Bucher'Bûcher' semersemer Bibhothek,"Bibliothek," PietismusP1etts11111s und .YeuzettXeuzeit 1212 (1986):(1986): 162-81.162-81. 12.12. AbrahamAbraham Calov.Calov. DieD,e lze1/rgeheilige Bibel nachnac/1 S HerrnHerm D .Uart1111Martini L11thenLuthen Deutscher Dol­ metsclwngmetschimg 1mdund ErklanmgErklärung (Wmenberg,(Wittenberg, 1681-82).1681-82). 13.13. ForFor facs1rmlesfacsimiles ofof thethe pagepagess wuhwith Bach'Bach'ss notanons.notations, seesee HowarHmnrdd H.H. Cox.Cox. ed.ed. The Calot1Calov Bible of JJ S.S. Bach (An(Annn ArborArbor:: UMUMII ResearcResearchh PressPress.. 1985)1985)., 108-393108-393.. SeSeee alsalsoo RohmRobin AA.. Leaver.Leaver, J].. S. Bach and ScriptureScrrpwre Glosses fromfrom thethe Calo!'Calov B,bleBible Co111111e11taryCommentary (St.(St . LouisLoms:: Concordia,Concordia, 1985).1985). I-J..14. BrucBrucee Kusko.Kusko. "Proton"Proton MilloprobeMilloprobe AnalysisAnalysis ofof ththee Hand-PenneHand-Pennedd AnnotanonsAnnotations min Bach'sBach's Calm·Calo\- Bible, .." m Cox.Cox. Calo1Calov1 Bible, 31-106.31-106. 15.15. InIn Bach'Bach'ss owownn scorescore andand separateseparate vocavocall partpart., ththee ,vordswords SJimerzSth111erz 11ochnoch ("agony("agony snll")still") replacereplace ththee libretnstlibrettist' ·ss Jammer onlonlyy aatt mm.. 4242:: seseee JohanJohannn SeSebastia bas nann Bach,. Xeue.Ye11e. Aufgabe -lu~gabe sämtlichersa111tl1cher Tlerke,Werke, I/I/5 5., KritischerKnr,~cher BenditBericht 11011 von Jlaria1111e Marianne Helms Helms (Cassel:(Cassel :Barenre1ter. Barenreiter . 1976).1976) .215. 215 . 16.16. IInn Bach'Bach'ss owo,vnn scorescore andand separateseparate Yocalvocal partpart., ththee ·wordword 11111nui ("only")("only") replacesreplaces thethe hbremst'slibrettist's schonscho11 onlyonly atat mm.. 46:46: seesee BachBach.. XeueXe11e AusgabeA11sgabe samthchersämtlicher Werke,Herke, I/I/5 5.. KritischerKrmscl1er Bericht,Bencl1t, 215215.. 17.17. Cf.Cf. JerermahJeremiah 21:621:6.. 1188. . TheThe onlyonly recordinrecordmgg ofof CantataCantata 13 onon periopenodd mstrumentsinstruments currentlycurrently availableantlable., thethe oneone directedirectedd bbyy GustavGustav LeonhardLeonhardtt imn vol.vol. -J.4 ofof Bach'sBach's completecomplete churchchurch cantatascantatas forfor Te­Te- lefunken·lefunken - Teldec,Teldec, thoughthough listedlisted thatthat way.way . doesdoes notnot actuallyactually featurefeature thethe oboeoboe dada cacc1a.caccia . TheThe trutruee ident1tyidentity ofof thisthis extraordmaryextraordinary mstrumentinstrument ,nswas notnot discoYereddiscovered untiuntill NikolausNikolaus Harnon­Harnon- 1 courcourtt recordedrecorded TlWer er weiß,ll'er/3, wie1/11e 11ahenahe 111,rmir 111e111mein EndeEnde' (BWV(BWV 227 7)) foforr Yol.vol. 7 ooff ththee senserieses. . 19.19. ForFor a comprehensIYecomprehensive studystudy ofof BachBach andand ththee pastoralpastoral., seesee Steiger.Steiger, ·--Die""Die WeltWelt 1stist eucheuch emein Himmelreich':Himmelreich": ZuZu J.J. S BachBachss DeutungDeutung desdes PastoralenPastoralen. ..." Musik.U11s1k 1111dund KücheK11c/1e 4141 (1971).(1971)· 1-8I-8.. 69-79.69-79. 2020.. SeeSee thethe s1rmlarsimilar commentscomments onon thethe anaaria "Ach."Ach. meimemn Sinn"Sinn" frofromm Bach'Bach'ss St. John PassionPass1011 min MichaelMichael Manssen.Manssen, L11thera111s111,Lutheramsm, ,-lnt1-]11dms111.Anti-Judaism, andand Bach'sBach's StSt JohnJohn Pass1011Passion (New (New York:York: O")\_iordOxford UniversitUmversityy PressPress,, 1998).1998), 1717 2121.. GeorgGeorg ChristianChristian LehmsLehms.. Gottg~fallzgesGottgefalhges Kirclze11-0P.[fer Kirchen-Opffer (Darmstadt. (Darmstadt . I7II).1711) . 17-1817-18 22. Cf.Cf. Steiger.Steiger, "Die'"Die WelWeltt istist eucheuch emein Himmelreich.Himmelreich."" 76.76. SuchSuch sentimentssentiments areare clearlyclearly expressedexpressed min Bach'sBach's churchchurch cantatacantata Ich[ch hatte vie[viel BekummernisBek11111mem1s (B\lv'V(BWV 21/10):21/10): ··verwandle"'Verwandle THETHE ~1USICALLMUSICALLY Y THEOLOGICALTHEOLOGICAL IINN BACH'SBACH'S CANTATASCANTATAS 6363

d1eh,dich, Weinen,H e111e11, imn lauterenlauteren JJWem' em' 1/ EsEs wirwirdd nunurr memmein ÄchzenAchzen m JauchzenJauchzrn mirmir sem..sein" (my(my emphases:emphases; ··Transform"Transform yourself, whining\Yhmmg., mtointo purpuree wme!wine! / MyMy moaninmoamngg wil\Y1lll nonmYw be­be­ comecome smgmgsinging toto me'').me''). 23.23. Weinet.Hemet ...... NB.NB. dasdas WeineWemenn 1stist emeeme VerrichtunVernchtungg derder vernunftigeYernunfugenn SeelenSeelen // wodurcwodurchh diedie TraungkeitTraurigkeit angeze1gtangezeigt w1rd.wird. DaherDaher auchauch diedie ThraneThranenn derder WeinendeWemendenn un­un­ tersch1edlichterschiedlich seyn.seyn. DenDennn eses geschiehgesch1ehtt auchauch wo\Yoll / daBdaß manman zufälligezufall1gerr WeiseWeise Freuden­Freuden- ThranenThránen vergiesseYerg1essenn kankannn / ,newie JacobJacob 1.1. Mos.29/rMos.29/11 I undJosephund Joseph c 43/30.43/30. c.46/29.c.46/29. mdemindem manman zugleiczugle1chh dadass BoseBöse unundd dasdas GuteGute bedenckbedencktt unundd imn denden manman s1ehsich zugle1chzugleich uberüber dasdas gegenwert1gegegenwertige GutGut freuetfreuet / unundd dasdas vorigYongee uberstandenuberstandenee UnglücUngluckk betrachtet.betrachtet. JohannJohann Oleanus.Oleanus, BiblischeB1bl1sche EiklarungE1klanmg Darinnen,Dammen, 11ecl1stnechst dem allgemeinenallgeme111en Haupt-SchlusselHaupt-Schlüssel derder gantzen gantzen he1lrge11heiligen Schr!lftSchnfft (Le1pz1g.(Leipzig, 1678-81).1678-81). 5:1118.5:1118. 24.24. Cf.Cf. WisdoWisdomm ofof SolomonSolomon 3:7.3:7. andand Matthe\\·Matthew 13:43.13:43. 225 5.. TlmThis melodimelod1ec allus10n.allusion, 1tit turnturnss out.out, 1sis alsoalso notednoted byby FnednchFriedrich Smend.Smend, Johann Sebastian BachBach Krrche11-Ka11tate11Kirchen-Kantaten (Berlin:(Berlin: ChnsthcherChristlicher Ze1tschnftem·erlag,Zeitschnftenverlag, 1947-49).1947-49). 2:2:36 36-- 37.37. SmendSmend seessees furtherfurther allusionallus10nss ttoo seYeralseveral otherother choralechoraless elsewhereelsewhere imn CantataCantata 9,9, con­con­ nectionnectionss I consideconsiderr comc1dentalcoincidental oror mus1eallymusically quitqmtee unconnncmg.unconvincing. Ilet shouldshould perhapperhapss bebe mentionedmentioned thatthat thethe choralchoralee "O"O GottesGottes GeISt.Geist, meimemn TrostTrost undund RatRat,... " sungsung ttoo thethe samesame melodymelody asas "Komm,"Komm, HeiligeHeiligerr Gem.,.Geist,'" likewishkew1see concernsconcerns thethe HolyHoly Spmt.Spirit. 26.26. SeeSee fn.fn. 1IO0 aboYe.above. 27 ...... [DJ1e[D]ie Haupt-UrsacHaupt-Ursachh dederr Seligke1tSeligkeit seysey Gott/Gott / dessendessen WorWortt unundd KrafftKrafft 1stist dasdas EvangeliuEnngeliumm / alsals dasdas MitteMmell derder Seligke1t.Seligkeit. DiDiee verdienstlichYerd1ensthchee UrsachUrsachee aberaber 1stist ChnstusChristus I/ dasdas MitteMmell auffauff unseunserr SeitenSeiten 1stist dederr GlaubeGlaube / ssoo didiee 1mim EnngelioEvangelio geoffenbahrtegeoffenbahrte Gerech­Gerech­ t1gke1ttigkeit ChnsnChristi ergre1fftergreifft / welcheswelches allemallem demdem GlaubenGlauben zustehet:zustehet: DeDerr soso gerechtferngetgerechtfertiget w1rdwird / 1stist emein stindlichersundlicher MenscMenschh / derder dada glaubetglaubet anan Chnstum.Christum. DieDie ForFormm 1stist diedie Ger­Ger­ echngke1techtigkeit ChnsnChristi / soso ununss durchdurch denden GlaubenGlauben zugeeignezugee1gnett wirdw1rd.. DieDie EndursacEndursachh 1stist dasdas LebeLebenn unundd ew1geewige Seligkeit.Seligkeit. CaloY,Calov, Die he1lrgeheilige Bibel, 6:6:19 19:: translationtranslation taketakenn fromfrom Cox.Cox. Caloi•Calov Bible, 449—50449-50.. Calm·Calov earlierearlier onon thisthis pagepage makesmakes harsharshh statements.statements, notnot highlightedhighlighted bbyy BachBach., abouaboutt thethe faithlessnessfaithlessness ofof JewJews s andand theitheirr eternaeternall rum.ruin. 2828.. RobmRobin AA.. LeaYer,Leaver, Luther on ]11stificat10nJustification (St.(St. Lams·Louis· Concordia.Concordia. 1975).1975), 23-24.23-24. 2929.. TheThe librettolibretto quotesquotes stanzasstanzas 1I andand 1212 literallyliterally andand paraphraseparaphrasess stanzasstanzas 2-2-99 andand 1111 ofof PauPaull Sperams·Speratus' Es 1stist das HeilHetl 1111suns kommen her (1523),(1523), a q-stanza14-stanza choralechorale deYoteddevoted ttoo thethe subjecsubjectt ofof JUst1ficat10n. justification. 30.30. OnOn thisthis pointpomt., seesee thethe basbasss recitativrec1tam·ee frofromm Bach'Bach'ss churchchurch cantatacantata WerHerda da gla11betglaubet 1111dund getauftgetaiift imdwird (BWV(BWV 37)37).. 31.31. TheseThese areare ttoo bbee foundfound m stanzasstanzas IO10 andand 1313 ofSperatus'of Speratus' choralechorale (see(see fnfn.. 2299 aboYe).above). 32.32. SeeSee Manssen.Manssen, ·'The"'The Theolog1ealTheological CharacterCharacter ofof JJ. . S.S. Bach'sBach's ."\111s1calMusical Offermg,Offering" .. 9898-— 105I05.. 33.33. Durr.Dürr. DieD,e Kantaten vonvon]ohann , 489.489. 34.34. ForFor a com·ement.convenient, briebneff explanationexplanation ofof BachBach' ·s s variounnouss pitcpitchh standardsstandards forfor keyboard.keyboard, orchestral.orchestral, andand Yocalvocal parts.parts, seesee MelamedMelamed andand Manssen,Manssen, lntroductw11Introduction to Bach StudteJ,Studies, 1-1-2-142- 4545.. FoForr mormoree onon thethe notionotionn ofof reYersalreversal ofof sconngscorin g imn Bach.Bach, seesee ManssenManssen.. Social and and Reltg1011s Religious Des1g11sDesigns qf]of J. S Bach 's 's Bra11de11b11rgBrandenburg Concertos Concertos 35.35. SeeSee MichaeMichaell Kuper.Kuper, ''Zur"Zur Topograph1eTopographie derder verkehrtewrkehrtenn Welt,Welt,"" min hishis Zur SemiotikSem10t1k der InversionIm,ers1011 (Berlin:(Berlin: VerlagVerlag furfür W1ssenschaftWissenschaft undund BildungB1ldung.. 1993).1993). I0-18:10—18: DaY1dDavid Kunzle.Kunzle. ''World"World UpsidUpsidee DmYn:Down: TheThe IconographIconographyy ofof a EuropeanEuropean BroadsheetBroadsheet Type.·•Type,'' min TizeThe Re-Re­ 11embleversible JJ World· orld · Symbolrc Symbolic bwers1011 Itwerswn 111 in Art Art and and Society, Society, ed. ed Barbara. Barbar A.a A Hancock. Hancoc k(Ithaca: (Ithaca Cornell: Cornel l UniversitUnffers1tyy PressPress.. 1978).1978). 39-94.39-94. 6-1-64 1LUTHERA CTHERA:'\IN QUARTERLYQUARTERLY

36.36. SeeSee RaymondRaymond C.C. VanVan Leeuwen, ... "Proverb Prowrbss 30:21—230:21-233 andand ththee BiblicaBiblicall WorlWorldd Up­Up­ sideside DmYn,"Down," JoumalJournal efof BiblicalB,bl,ca/ LiteratuteLaeratwe 10rn55 (1986):(1986): 599-6rn:599-610; anandd RoberRobertt WW. Scribner.Scnbner, F01FOÌ the Sake