The introductory choir to the chorale cantata “Wohl dem, der sich auf seinen Gott” (Bless he who self can to his God) demonstrates a particularly distinctive relationship between key, sound character and affects of the text. According to the conventions of baroque tonality, the sharp key of E major was best suited to express passionate emotion, even extreme grief. Bach, however, chooses to apply it here to a libretto treating the comfort of having faith in God, who is addressed by the believer as a father and trusted friend. Considering that Bach’s E major compositions are often suggestive of beatitude and rapture, this could simply be his personal preference. Regardless of his motivation, however, the movement’s gently flowing instrumental part (based on the cantata’s hymn) and the somewhat leisurely chorale motet also contain a pure serenity that hints at the delights of true heavenly love, and overcomes all temptation (“sin and world and death”) with childlike trust.
In stark contrast, the following tenor aria “God is my friend” depicts a fighting spirit, with the valiant soloist invoking the protection of the highest and casting back the raging foes together with energetic violin figures. The determined singer drives away the “scorners”, musically underscored by a rapidly descending line, while the concept of “falsity” is unsurprisingly communicated by “false” interval leaps. In this section, the lost, second upper instrumental part has to be completed using the surviving material.
While the threat from “wolves” and other evils remains somewhat abstract in the alto recitative, in the bass aria “Misfortune wraps from all directions”, Bach sketches a more realistic scene of danger and salvation. Here, the strongly dotted rhythms of the oboes d’amore and continuo summon a sense of urgency that frames a violin obbligato of dazzling semiquaver figures. Like Job, plagued by misfortune, the praying people seem completely overwhelmed, indeed almost crushed by the “hundredweight” pedal point of the continuo. Then, suddenly, the clouds part and the movement gains clarity and lightness as “the help of his hand” appears. Help and salvation, however, also require patience: the fact that the “light” of this “hope” can only be seen “far off”, is insightfully presented in a studious andante-arioso; afterwards, the cycle of hardship and constancy resumes its path – Bach certainly delivers a rollercoaster of tempi and affects in this turbulent movement. The string-accompanied soprano recitative then locates the burden of sin – the “greatest foe” – in the depths of the soul, before imploring God to do his part in a somewhat wilful allusion to the gospel story of the tribute money. With its resolute closing chorale “I therefore scorn the host of hell”, a cantata that proved much more substantial its tender opening would suggest comes to a close. Those seeking “God as friend” have much to endure, but also much to demand. Bach, the controversial Thomas cantor, could not only relate to this message, but also render it audible.