Ach! ich sehe, itzt, da ich zur Hochzeit gehe
BWV 162 performed by the Netherlands Bach Society
conducted by Johanna Soller
Oude Kerk Charlois, Rotterdam
Behind the music
Story
Story
Texts
Texts
Credits
Credits
Dress code: heavenly
A biblical parable offers comfort
‘Many are called, but few are chosen’, you used to hear now and then. But where does the saying actually originate? In the Gospel of Matthew, Jesus describes a princely wedding. Numerous invitations were sent out, but each of the guests had their own excuse: too busy, too tired or just not interested. Outraged at so much disdain for his son, the king gathered together a motley crew for his wedding feast, including good and bad people. But one of them had the nerve to turn up in his ordinary clothes, which was scandalous enough for the king to throw him out of the window. One less chosen one!
The poet Salomo Franck projects this rather cryptic parable onto issues of the day: only those who dress smartly – i.e. lead a virtuous, god-fearing life – can count on a place in heaven. The characters are God as the king, Jesus as the bridegroom and the human soul as his shy bride. In sharply contrasting colours, Franck sketches what is at stake: see the ‘soul's poison and the bread of life’ or the ‘the radiance of heaven and the flames of hell’ in the opening aria, which Bach set to music in serpentine twists. Incidentally, when Bach performed the cantata again, he gave the aria a part for corno da tirarsi; an instrument that may have been specially developed for his regular trumpeter Gottfried Reiche.
After the tenor has set out God’s plan once again, the soprano begs that Jesus might bestow forgiveness and ‘bread of life’ on us, despite our sins and weaknesses. Originally, she received support from a solo instrument, possibly a flute, violin or oboe, but that part has not survived - in this performance, the solo part is played by the right hand of the organ. The story ends with a duet for alto and tenor, once again with frugal continuo accompaniment, in which they thankfully rejoice at how God in his mercy provides suitable clothing for true Christians. A couplet from the chorale ‘Alle Menschen müssen sterben’ forms a fitting ending.
- BWV
- 162
- Title
- Ach! ich sehe, itzt, da ich zur Hochzeit gehe
- Instrument
- alto, bass, soprano, tenor
- Genre
- cantatas
- Year
- 1716
- City
- Weimar
- Lyricist
- Salomo Franck
- First performance
- 25 October 1716
Supported by
Extra videos
Vocal texts
Original
1. Arie (Bass)
Ach! ich sehe,
itzt, da ich zur Hochzeit gehe,
Wohl und Wehe.
Seelengift und Lebensbrot,
Himmel, Hölle, Leben, Tod,
Himmelsglanz und Höllenflammen
sind beisammen.
Jesu, hilf, daß ich bestehe!
2. Rezitativ (Tenor)
O großes Hochzeitfest, darzu der Himmelskönig
die Menschen rufen läßt!
Ist denn die arme Braut, die menschliche Natur,
nicht viel zu schlecht und wenig,
daß sich mit ihr
der Sohn des Höchsten traut?
O großes Hochzeitfest,
wie ist das Fleisch zu solcher Ehre kommen,
daß Gottes Sohn es hat auf ewig angenommen?
Der Himmel ist sein Thron,
die Erde dient zum Schemel seinen Füßen,
noch will er diese Welt
als Braut und Liebste küssen!
Das Hochzeitmahl ist angestellt,
das Mastvieh ist geschlachtet,
wie herrlich ist doch alles zubereitet!
Wie selig ist,
den hier der Glaube leitet,
und wie verflucht ist doch,
der dieses Mahl verachtet!
3. Arie (Sopran)
Jesu, Brunnquell aller Gnaden,
labe mich elenden Gast,
weil du mich berufen hast!
Ich bin matt, schwach und beladen;
ach! erquikke meine Seele,
ach! wie hungert mich nach dir!
Lebensbrot, das ich erwähle,
komm, vereine dich mit mir!
4. Rezitativ (Alt)
Mein Jesu, laß mich nicht
zur Hochzeit unbekleidet kommen,
daß mich nicht treffe dein Gericht;
mit Schrecken hab ich ja vernommen,
wie du den kühnen Hochzeitgast,
der ohne Kleid erschienen,
verworfen und verdammet hast.
Ich weiß auch mein Unwürdigkeit:
Ach, schenke mir des Glaubens Hochzeitkleid;
laß dein Verdienst zu meinem Schmucke dienen!
Gib mir zum Hochzeitkleide
den Rock des Heils,
der Unschuld weiße Seide!
Ach! laß dein Blut den hohen Purpur dekken,
den alten Adamsrock und seine Lasterflekken,
so werd ich schön und rein und dir willkommen sein,
so werd ich würdiglich
das Mahl des Lammes schmekken.
5. Arie (Alt, Tenor)
In meinem Gott bin ich erfreut;
die Liebesmacht hat ihn bewogen,
daß er mir in der Gnadenzeit
aus lauter Huld hat angezogen
die Kleider der Gerechtigkeit.
Ich weiß, er wird nach diesem Leben
der Ehre weißes Kleid mir auch im Himmel geben.
6. Choral
Ach, ich habe schon erblikket
diese große Herrlichkeit!
Itzund werd ich schön geschmükket
mit dem weißen Himmelskleid.
Mit der güldnen Ehrenkrone
steh ich da für Gottes Throne,
schaue solche Freude an,
die kein Ende nehmen kann.
Translation
1. Aria (Bass)
Ah! I see,
now, when I go to the wedding,
prosperity and woe,
soul's poison and the bread of life,
heaven, hell, life, death,
the radiance of heaven and the flames of hell
are gathered together.
Jesus, help me to withstand them!
2. Recitative (Tenor)
O great wedding feast, to which the King of Heaven
has called humanity!
But isn't the poor bride, human nature,
much too humble and insignificant,
for the Son of the Highest
to bethrothe himself to her?
O great wedding feast,
how has flesh come to such honor,
that the Son of God has taken it on himself forever?
Heaven is his throne,
earth serves as a stool for his feet,
yet this very world
he kisses as his bride and beloved!
The wedding banquet is prepared,
the fatted calf is slaughtered;
how gloriously is everything arrayed!
How blessed is the one
whom faith leads here,
and how cursed the person
who scorns this meal!
3. Aria (Soprano)
Jesus, fountainhead of grace,
nourish me, a wretched guest,
since you have invited me!
I am weary, weak and burdened,
ah! refresh my soul,
ah! how I hunger for you!
Bread of life, which I choose,
come, unite yourself with me!
4. Recitative (Alto)
My Jesus, do not let me
come poorly dressed to the wedding,
so that your judgment does not fall on me;
I have indeed heard with horror
how a brash wedding guest,
appearing without robes,
was thrown out and condemned!
I also know my unworthiness;
ah! give me a wedding gown of faith;
let your merit serve as my jewelry!
Give me for wedding finery
the robe of salvation,
the white silk of innocence!
Ah! let your blood, royal purple,
cover the old tunic of Adam and its sinful stains,
then I shall be lovely and chaste and welcome to you,
then I shall worthily adorn
the feast of the Lamb.
5. Aria (Alto, Tenor)
I am delighted in my God!
Love's power has stirred him,
so that in the time of grace,
out of pure love, he has clothed me
with the garments of righteousness.
I know that, after this life, the white robe of honor
he will give me in heaven as well.
6. Chorale
Ah, I have already seen
this great glory;
now I will be beautifully adorned
with the white robe of heaven.
With the golden crown of honor
I shall stand there before God's throne,
beholding such joy
that can never come to an end.
translation © Pamela Dellal
Credits
-
- Release date
- 16 January 2025
-
- Recording date
- 28 June 2024
-
- Location
- Oude Kerk Charlois, Rotterdam
-
- Organ and direction
- Johanna Soller
-
- Soprano
- Kristen Witmer
-
- Alto
- Alex Potter
-
- Tenor
- Guy Cutting
-
- Bass
- Matthias Winckhler
-
- Violin 1
- Evgeny Sviridov
-
- Violin 2
- Anneke van Haaften
-
- Viola
- Deirdre Dowling
-
- Cello
- Lucia Swarts
-
- Double bass
- Robert Franenberg
-
- Bassoon
- Benny Aghassi
-
- Harpsichord
- Siebe Henstra
-
- Director and editor
- Bas Wielenga
-
- Music recording
- Guido Tichelman, Pim van der Lee, Lilita Dunska
-
- Music edit and mix
- Guido Tichelman
-
- Camera
- Martijn Struijf, Tijmen Veerman, Wesley Schipper
-
- Lights
- Zen Bloot, Sander Radstaake, Stijn Ooms, Yannick van de Graaf
-
- Assistant director
- Ferenc Soeteman
-
- Project manager nep
- Ron Vermeulen
-
- Assistant music recording
- Marloes Biermans
-
- Producer film
- Lisanne Marlou de Kok
-
- Producer concert
- Imke Deters, Stephan Esmeijer
-
- Supported by
- MWH4impact
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