Madonna with the Christ Child and St. John the Baptist, also known as Madonna of the Meadow, by Raphael, 1506. Kunsthistorisches Museum, Vienna.

Growing up, I had a cousin. She was almost exactly six  months older than me. My baby photo album holds several pictures of the two of us together, me a helpless baby, her an infant who could already sit up by herself. I’m always touched by those photos. Not just because they make me think of the cousin I lost when we were both 19, but also because they represent how fast a baby grows up, and how soon the “older” baby can be of help and entertainment for the younger one, and how adorable it is to see that.

Many painters were aware of this cuteness factor too. Especially in the Renaissance, the concept of a one-year-old John playing with or helping a six-month-old Jesus in Madonna and Child paintings became an extremely popular subject, starting with  Leonardo da Vinci. In particular, Raphael painted several variations on this theme, including the Alba Madonna, La belle jardinière, Aldobrandini Madonna, Madonna della seggiola, and the Madonna dell’Impannata.

Why is all this relevant to Advent? Well, on this third Sunday of Advent, many Christian churches read about John the Baptist, as they believe John was Jesus’ forerunner. Because of a mention in the Gospel of Luke, the Catholic church in the Middle Ages determined that St. John’s birthday must have been exactly six months before Christmas — and decided to celebrate this on June 24th.*  You can read more about this in my post about the Feast of St. John.

As far as we know, Bach wrote only one cantata for this Sunday, the third Sunday of Advent. It is the one listed in the BWV catalog as 186a, first performed in Weimar on Sunday December 13, 1716. No original score is left of this cantata. However, because in Bach’s Weimar court poet Salomo Franck published his Evangelische Sonn- und Fest-Tags-Andachten, which includes the full libretto for this cantata, we do have the original text from 1716.

On July 9, 1723, for the 7th Sunday after Trinity in Leipzig, Bach expanded the music of the Weimar cantata with four additional recitatives and two chorales, following the method I explained in my post about cantata 70. He also considerably changed the text. This is what we now know as cantata 186, Ärgre dich, o Seele, nicht. I discussed this cantata here, and recommended the recording by Bach Collegium Japan with soprano Miah Persson, alto Robin Blaze, tenor Makoto Sakurada, and bass Peter Kooij.

To reconstruct the original Weimar version of this cantata 186a, for the third Sunday of Advent, we would have to eliminate all the recitatives Bach added in 1723 as well as both chorales, superimpose different texts on some of the arias, and select alternative music for the original closing chorale. For the music, I did this in a new playlist on Spotify. To imagine the original texts with this music, and learn why I selected this closing chorale, please keep reading. All Salomo Franck’s 1716 texts are included below.

Opening chorus: This has the same text in 1716 as in 1723. We should imagine a smaller ensemble singing this though, as the maximum number of singers in the Weimar chapel was 7. This opening chorus is again a beautiful example of how Bach provides an “entrada” for the Duke as well as an opportunity for himself to show off his skills with the “fashionable” music, the way he almost always did in the Weimar cantatas.

For the Bass aria, imagine this Advent text instead of the Trinity 7 text you hear (changes in bold type):

For the Tenor aria,  imagine this Advent text instead of the Trinity 7 text you hear (changes in bold type):

There is only one word change in the Soprano aria: In the last line the 1716 text is “des Lebens Wort” instead of “das Lebenswort” from 1723. Enjoy Miah Persson’s beautiful voice and interpretation. If you would like to hear and more about her, read my post about cantata 179. Cantata 179 appears on the same album by Bach Collegium Japan as this cantata 186.

Soprano-alto duet: This is the original text from 1716, unchanged in 1723. The text promises the believer the crown (die Krone) of the everlasting life, but only if he stays faithful (getreu) and only in the afterlife, when free of the body (wenn des Leibes frei).

In Weimar in 1716, for the closing chorale Bach used the 8th verse of Von Gott will ich nicht lassen from 1563, based on the French tune Une jeune fillette from 1557. Since this is not the same melody as Es ist das Heil uns kommen her Bach used in 1723 it is very plausible that both chorales from the 1723 version are new, and we need to think of a different solution for the closing chorale of the 1716 version. A good fit would be a simple setting of the Von Gott will ich nicht lassen chorale, the way Bach would set for example verse 5 of this chorale as closing movement of cantata 73 in 1723 or 1724. So that’s why, for now, I’ve included that music (from a Herreweghe recording) in the Spotify playlist. The text would be this:

© Wieneke Gorter, December 10, 2016

* Luke 1:36 (about the Annunciation) mentions that the angel Gabriel also informed Mary that her cousin Elizabeth was already six months pregnant. The June 24 dates was most probably also chosen to give a Christian meaning to already existing Pagan Midsummer celebrations. The Feast of St. John being celebrated on June 24 shows up in records as early as the year 506.