This chorale appears as the sixth movement in Bach's cantata BWV 185, composed in Weimar for the fourth Sunday after Trinity. It features a solemn four-part harmonization of Johann Agricola's 16th-century hymn text, demonstrating Bach's mastery of counterpoint within liturgical context. The melody originates from a pre-existing Lutheran tradition, which Bach elevates through rich harmonic progression and voice leading.
This aria is the 5th movement of Bach's cantata BWV 185 "Barmherziges Herze der ewigen Liebe", composed in Weimar for the 4th Sunday after Trinity. It features a joyful, dance-like rhythm symbolizing Christian virtues. The text by Salomo Franck emphasizes that mercy is the highest art of faith.
Bach's BWV 185 opens with a unique duet where the oboe plays a decorated chorale melody (later heard fully in the closing chorale) in 6/4 time. The vocal lines and continuo mirror this melody's intervals, creating a musical "Spiegelung" (mirroring) - a direct representation of the text's theme that human mercy should reflect divine mercy.
Composed for the Fourth Sunday after Trinity, this church cantata explores themes of mercy through biblical texts from Luke. Notable for its opening duet where the oboe plays a decorated chorale melody (later heard fully in the closing chorale) in 6/4 time, symbolizing the "mirroring" of divine compassion. The bass aria delivers the central maxim "Das ist der Christen Kunst" (This is the Christians' art) as a musical sermon.
