Cantata 147 was performed in Leipzig three times, first in 1723 and twice more in the 1730’s. It is based on a Weimar work, catalogued as 147a, whose music has not survived. We do, however, have the text of this early cantata, which is by Salomo Franck, a frequent collaborator of Bach in Weimar.

An unknown librettist modified Franck’s text to fit Bach’s new vision for the revised cantata – expanded into two parts and enriched to celebrate the Feast of Visitation. The alterations included some text changes (some performed by Bach himself), new recitatives (movements 2, 4 and 8) and the addition of a chorale verse to close out the first part. The overarching theme of the libretto is that of acknowledgement of Jesus as savior, which stems from the St. Luke’s gospel account of Elizabeth’s baby (St. John the Baptist) jumping in her womb in recognition of the presence of Mary pregnant with Jesus.

The orchestration includes trumpet, bassoon, 2 oboes, strings and continuo, with 2 oboes da caccia required in the alto recitative of the second part. In terms of voices, the cantata calls for four vocal soloists and 4-part choir.

The work opens with a splendid da-capo choral movement on the Franck text, which states how heart, mouth, deed and life have to bear witness to Christ. After the instrumental ritornello, in which the virtuosic trumpet line interplays with the oboes and strings, the voices come in fugally to enunciate the first two verses. This contrasts with the treatment of the 3rd and 4th verses which are set to a more homophonic texture, and even a motet-style section in which the entire orchestra drops out for several bars before the fugue restarts.

Next, a tenor recitative, accompanied with strings, elaborates on the “mouth” element, referencing Mary’s announcement to her cousin Elizabeth of being pregnant with Jesus. It includes interesting word-painting with a modulation and high note in the end for the word “Urteil” (“verdict”). The recitative leads to an alto aria with oboe d’amore, with text that reflects on acknowledging Jesus as savior.

The following recitative is for the bass. It features an extremely expressive vocal line and harmonies that illustrate key words such as stubbornness, throwing the powerful off their thrones, and exaltation, to configure a tremendously powerful vignette which draws on Mary’s words to Elizabeth (the Magnificat). The aria that follows, for soprano with violin solo, is much brighter than the previous one, maybe an acknowledgement of the prayer for “eyes of grace”. The violin motif in constant triplets anticipates the ritornello of the famous chorale that follows. In it, the choir delivers verse 6 of a hymn by Martin Jahn from 1661, while the orchestra weaves the well-known pattern of triplets and the trumpet doubles the sopranos on the chorale tune.

The shorter second section of the cantata, performed after the sermon, opens with a tenor aria with basso continuo. The continuo team specifically calls for violoncello and violone, and the former carries a more ornate version of the bass line – again with constant triplets in an ascending pattern, perhaps symbolizing the plea for Jesus’ help conveyed by the text.

An extensive alto recitative then mentions John the Baptist and his recognition of Jesus in his mother’s womb, and addresses the believer in second person with imagery and word painting. The voice is accompanied by two oboes da caccia, a combination that Bach used in several cantatas and also in his Passions.

The last aria is for the bass accompanied by the whole orchestra, and it brings back the concertante trumpet. The text praises the works of Jesus and serves as a recapitulation of the entire libretto. Bach underlines some key words with long melismas – “Opfer” (“offer”, as in the lips offering praise) and “kräftig” (“powerful”) fire compelling the flesh and mouth.

The cantata closes with another rendition of the famous chorale, with identical music now set to verse 16 of Jahn’s hymn. Even before this movement becoming universally cherished, it seems that Bach thought that it could stand a second hearing!