Bach wrote the cantata in 1723 in his first year in Leipzig for the 24th Sunday after Trinity. The prescribed readings for the Sunday were from the Epistle to the Colossians, a prayer for the Colossians (Colossians 1:9–14), and from the Gospel of Matthew, the story of Jairus' daughter (Matthew 9:18–26). The unknown poet sees her rising as foreshadowing the resurrection, expected with an attitude of fear and hope. Two allegorical figures, Furcht (Fear) and Hoffnung (Hope) enter a dialogue. The cantata is opened and closed by a hymn, verse 1 of Johann Rist's "O Ewigkeit, du Donnerwort", expressing fear, and verse 5 of Franz Burmeister (de)'s "Es ist genug". Also in symmetry, two biblical words are juxtaposed in movements 1 and 4. "Herr, ich warte auf dein Heil" (Genesis 49:18), spoken by Jacob on his deathbed, expresses hope against the fear of the chorale. Selig sind die Toten (Blessed are the dead)(Revelation 14:13) is the answer to a recitative of Fear.
Librettist | anonymous |
Date of composition | 1723 in Leipzig, Germany |
First published | 1863 in Leipzig, Germany |
Type | Cantata |
Tonality | D Major |
Catalogue | BWV 60 |
Approx. duration | 17 minutes |
Spoken language | German |
Instruments |
Voice (Tenor)
- Hope
Voice (Alto) - Fear Voice (Bass) - Christ Chorus/Choir Oboe d'amore Horn Strings Continuo |
Autotranslations beta |
Jean-Sébastien Bach: O Ewigkeit, du Donnerwort en ré majeur, BWV 60 ""O Eternity, you word of Thunder"" Johann Sebastian Bach: O Ewigkeit, du Donnerwort in re maggiore, BWV 60 ""O Eternity, you word of Thunder"" Johann Sebastian Bach: O Ewigkeit, du Donnerwort D-dur, BWV 60 ""O Eternity, you word of Thunder"" |