In times of Bach, the Lutheran church observed three high Feasts related to the Virgin Mary: Purification (February 2), Annunciation (March 25) and Visitation (July 2). We have two surviving cantatas for the latter, and one for Annunciation – but four written expressly for Purification. Cantata 83 is the earliest of these, composed in 1724 during Bach’s first year in Leipzig, and probably performed again in 1727.
The Purification feast was commingled with the presentation of Jesus at the temple, and is also called Candlemas, all for reasons related to the Gospel passage of the day: Luke 2: 22-32. Following tradition, 40 days after Jesus’ birth Mary and Joseph go to the temple to present him to the Lord, and also to offer a sacrifice (a pair of doves or pigeons) so that Mary would be purified after having given birth to a son. At the temple, they meet an elderly man from Jerusalem by the name of Simeon, to whom the Holy Spirit had promised that he wouldn’t die without seeing the saviour of Israel. Simeon holds Jesus in his arms and sings the “Nunc dimittis”, or “Song of Simeon”, which includes a reference to Jesus as the “light for the Gentiles” – the connection to the tradition of the blessing of the candles. The feast of Purification closes the Christmas – Epiphany season of the church year.
The libretto for Cantata 83, by an unknown poet, focuses on the story of Simeon. Movements 1 and 4 are original poetry. For movement 2, the author included three verses from the Song of Simeon in two segments (verse 29 to open, 30 & 31 to close) and inserted original recitative text in between. Movement 3. while original, is a paraphrase of Hebrews 4:16. The closing chorale, which references the “light for the Gentiles”, is a hymn by Martin Luther from 1524.
The cantata is written for three solo voices (contralto, tenor, and bass), with no choir except for the brief final chorale. It’s orchestrated for two horns, two oboes, solo violin, strings and basso continuo.
The opening da-capo aria for alto establishes an atmosphere of unbridled joy right away, with infectious fanfares in the horns, oboes and strings, celebrating the “new covenant” – the concept of the new relationship between God and humanity, mediated through Christ. The solo violin launches into a never-ending string of sixteenth notes, which would be completely at home in a violin concerto. Section B of the aria, as the text mentions the “final hour” and the grave, foretelling elements of the Simeon story, the orchestral texture quiets down significantly. This allows the solo violin to come through with “bariolage” patterns reminiscent of tolling bells – a reference to death.
The striking second movement incorporates a verbatim recitation of “Nunc dimittis” (Simeon’s prayer) which Bach sets as a chorale arrangement on a modal melody used in Gregorian Chant since the Middle Ages, given to the bass. The strings in unison and the basso continuo line engage in canonic imitation at the octave, enveloping the chorale melody. The Gospel quote is divided into two parts that frame a reflection by the librettist on death as liberation from times of anguish and struggle, set as a secco recitative and punctuated by appearances of the canonic theme. The inclusion of a strict canon in this movement was probably intended to illustrate the concept of “law” or “covenant” mentioned in movement 1, while its combination with the modal psalm-tone could be a reminder of Simeon’s old age and long, patient wait to meet Jesus.
The central movement is another spirited da-capo aria, this time for tenor, accompanied by the concertante violin in running triplets, a musical idiom for “eile” (“hurry”). This dance-like theme is supported by lower strings in constant eighths marked “staccato”, which give the feeling of a steady walk. This atmosphere of urgency and anticipation for the “throne of grace” is contrasted with a somewhat sparser central section, which urges the listener to be strong and persevering in times of bitterness.
A brief alto recitative, with the word “Licht” (“light”) on the highest note, leads to the final chorale on the Martin Luther hymn, set to plain four-part harmony.
