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*Mache dich, mein Geist, bereit*
Mache dich, mein Geist, bereit
BWV 115
Chorale cantata by J. S. Bach
	Portrait of Johann Burchard Freystein,; the author of the hymn
Occasion	22nd Sunday after Trinity
Chorale	"Mache dich, mein Geist, bereit"; by Johann Burchard Freystein
Performed	5 November 1724: Leipzig
Movements	6
Vocal	SATB choir and solo
Instrumental	horn; flauto traverso; oboe d'amore; 2 violins; viola; violoncello piccolo; continuo;

Johann Sebastian Bach composed the church cantata Mache dich, mein Geist, bereit (Make yourself ready, my spirit),^[1] BWV 115, in Leipzig for the 22nd Sunday after Trinity and first performed it on 5 November 1724. It is based on the hymn of the same name by Johann Burchard Freystein (1695).

Nimm von uns, Herr, du treuer Gott belongs to Bach's chorale cantata cycle, the second cycle during his tenure as Thomaskantor that began in 1723. The text of the hymn is retained for the first and last stanzas unchanged, while the text of inner stanzas was paraphrased by an unknown librettist into a sequence of alternating arias and recitatives. The first movement is a chorale fantasia, and the work is closed by a four-part chorale setting.

The cantata is scored for four vocal soloists, a four-part choir, and a Baroque instrumental ensemble of horn to double the soprano in the chorale, flauto traverso, oboe d'amore, strings including violoncello piccolo and basso continuo.

History and words

Bach composed the cantata in his second year in Leipzig for the 22nd Sunday after Trinity.^[2]^[3]^[4] That year, Bach composed a cycle of chorale cantatas, begun on the first Sunday after Trinity of 1724.^[2]^[5]^[6] The prescribed readings for the Sunday were from the Epistle to the Philippians, thanks and prayer for the congregation in Philippi (Philippians 1:3–11), and from the Gospel of Matthew, the parable of the unforgiving servant (Matthew 18:23–35).^[2]

The cantata is based on a hymn in ten stanzas by Johann Burchard Freystein (1695),^[2] which expands a single theme related to the Gospel: be prepared by awareness and prayer for the arrival of the Lord.^[3] An unknown poet retained the first and the last stanza as movements 1 and 6 of the cantata. He derived the inner movements as a sequence of alternating arias and recitatives from the inner stanzas, using stanza 2 for 2, stanzas 3 to 6 for 3, stanza 7 for 4, keeping the first two lines unchanged, and stanzas 8 to 9 for 5.^[4] The chorale is sung to the anonymous melody of "Straf mich nicht in deinem Zorn" (1681), of secular origin.^[4]

Bach led the Thomanerchor in the first performance of the cantata on 5 November 1724.^[2]^[3]^[7]

Music

Structure and scoring

Bach structured the cantata in six movements. Both text and tune of the hymn are retained in the outer movements, a chorale fantasia and a four-part closing chorale.^[3] Bach scored the work for four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir, and a Baroque instrumental ensemble of horn (Co) to double the soprano in the chorale, flauto traverso (Ft), oboe d'amore (Oa), two violin parts (Vl), one viola part (Va), violoncell piccolo (Vp), and basso continuo.^[2]^[3]

In the following table of the movements, the scoring, keys and time signatures are taken from Alfred Dürr's standard work Die Kantaten von Johann Sebastian Bach.^[3] The continuo, which plays throughout, is not shown.

Movements of *Mache dich, mein Geist, bereit*
No.	Title	Text	Type	Vocal	Winds	Strings	Key	Time
1	Mache dich, mein Geist, bereit	Freystein	Chorale fantasia	SATB	Co Ft Oa	2Vl Va	D minor	⁶ ₄
2	Ach schläfrige Seele, wie? ruhest du noch?	anon.	Aria	A	Oa	Vl Va	E minor	³ ₈
3	Gott, so vor deine Seele wacht	anon.	Recitative	B
4	Bete aber auch dabei	anon.	Aria	S	Ft	Vp	B minor
5	Er sehnet sich nach unserm Schreien	anon.	Recitative	T
6	Drum so laßt uns immerdar	Freystein	Chorale	SATB	Co Ft Oa	2Vl Va	G major

Movements

1

The opening chorus, "Mache dich, mein Geist, bereit, wache, fleh und bete" (Make yourself ready, my spirit, be vigilant, plead, and pray),^[1] is a chorale fantasia in the form of a passacaglia. The instruments perform independent concertante chamber music, set for a quartet: the flute, the oboe d'amore, the strings in unison and basso continuo.^[4] The soprano sings the melody as a cantus firmus, the lower voices are set partly in imitation, partly in homophony.^[5]

2

The alto aria, "Ach schläfrige Seele, wie? ruhest du noch? Ermuntre dich doch!" (Oh, sleepy soul, how? Do you still rest? Arouse yourself now!),^[1] begins, as Klaus Hofmann noted, "as a musical sleep scene of a kind that could have graced any opera of the time".^[5] Marked Adagio, the oboe d'amore plays a solo in siciliano rhythm, leading to a "long, peaceful, quasi-'sleeping' note",^[5] supported by "tranquil basslines.^[4] The text's admonition to be vigilant (Judgment might abruptly awaken you")^[1] appears in the contrasting middle section, marked Allegro.^[5]

3

The bass recitative, "Gott, so vor deine Seele wacht, hat Abscheu an der Sünden Nacht" (God, who watches over your soul, has disgust for the night of sin),^[1] is set as a secco recitative.^[3]

4

The soprano aria, "Bete aber auch dabei mitten in dem Wachen!" (Pray nevertheless also during your vigil!),^[1] uses these two lines from the original hymn. Flute and violoncello piccolo play chamber music, to which the solo adds what Hofmann describes as a "noble cantilena".^[5] It is marked Molto adagio, and is built on mostly descending basslines.^[4]

5

The secco recitative for tenor, "Er sehnet sich nach unserm Schreien, er neigt sein gnädig Ohr hierauf" (He yearns for our cries, he bends his gracious ear to them),^[1] refers to Jesus coming to help.^[1]

6

The closing chorale, "Drum so laßt uns immerdar wachen, flehen, beten" (Therefore, let us always watch, plead, and pray),^[1] is a four-part setting of the final call to remain alert always.^[5]^[8] The lower voices, especially the bass, move unusually lively.^[4]

$\header { tagline = " " } \layout { indent = 0 \context { \Score \remove "Bar_number_engraver" } } global = { \transposition b \key g \major \numericTimeSignature \time 4/4 \set Score.tempoHideNote = ##t \set Timing.beamExceptions = #'() } \score { \new ChoirStaff << \new Staff << \new Voice = "soprano" { \voiceOne \relative c'' { \global \repeat volta 2 { b4 c d d | g, a b2\fermata | e4 fis g b, | a2 g\fermata } | d'4 a b2\fermata | e4. d8 cis2\fermata | d4 a b8 cis d4 | d cis d2\fermata | e4 fis g b, | a2 g\fermata \bar "|." } } \new Voice = "alto" { \voiceTwo \relative c'' { \global g4 g a8 g fis4 | g g8 fis g2 | g4 a g8 fis g4 | g fis d2 | a'8 g fis a g2 | e4 e e2 | a4 a a8 g fis4 | e2 fis | a4 a g g | g fis d2 } } >> \new Lyrics \lyricsto "soprano" { << { Drum so lasst uns im -- mer -- dar wa -- chen, fle -- hen be -- ten, } \new Lyrics { \set associatedVoice = "soprano" { weil die Angst, Not und Ge -- fahr im -- mer nä -- her tre -- ten; } } >> denn die Zeit ist nicht weit, da uns Gott _ wird rich -- _ ten und die Welt ver -- nich -- ten. } \new Staff << \clef bass \new Voice = "tenor" { \voiceOne \relative c' { \global d4 e a, b | b e8 d d2 | c4 c d d | e d8 c b2 | d4 d d2 | b8 a gis b a2 | d8 e fis4 ~ fis8 e d cis | b4 a a2 | c4 d d d | e8 d16 c d8 a b2 } } \new Voice = "bass" { \voiceTwo \relative c' { \global g8 fis e g fis e d fis | e d c d g,2 | c8 b a c b a g b | c a d4 g,2 | fis'8 e d fis g2 | gis8 fis e gis a2 | fis8 e d fis g a b a | g e a4 d,2 | a8 b c a b c d b | c a d4 g,2 } } >> >> \layout { } } \score { \unfoldRepeats { \new ChoirStaff << \new Staff \with { midiInstrument = "choir aahs" } << \new Voice = "soprano" { \voiceOne \relative c'' { \global \repeat volta 2 { \tempo 4=78 b4 c d d | g, a \tempo 4=68 b4.. r16 | \tempo 4=78 e4 fis g b, | a2 \tempo 4=78 g4.. r16 } | d'4 a \tempo 4=73 b4.. r16 | \tempo 4=78 e4. d8 \tempo 4=73 cis4.. r16 | \tempo 4=78 d4 a b8 cis d4 | d cis \tempo 4=68 d4.. r16 | \tempo 4=78 e4 fis g b, | a2 g | r4 } } \new Voice = "alto" { \voiceTwo \relative c'' { \global \repeat volta 2 { g4 g a8 g fis4 | g g8 fis g4.. r16 | g4 a g8 fis g4 | g fis d4.. r16 } | a'8 g fis a g4.. r16 | e4 e e4.. r16 | a4 a a8 g fis4 | e2 fis4.. r16 | a4 a g g | g fis d2 | r4 } } >> \new Staff \with { midiInstrument = "choir aahs" } << \clef bass \new Voice = "tenor" { \voiceOne \relative c' { \global \repeat volta 2 { d4 e a, b | b e8 d d4.. r16 | c4 c d d | e d8 c b4.. r16 } | d4 d d4.. r16 | b8 a gis b a4.. r16 | d8 e fis4 ~ fis8 e d cis | b4 a a4.. r16 | c4 d d \tempo 4=68 d | \tempo 4=64 e8 \tempo 4=60 d16 \tempo 4=56 c \tempo 4=48 d8 \tempo 4=28 a \tempo 4=48 b2 | r4 } } \new Voice = "bass" { \voiceTwo \relative c' { \global \repeat volta 2 { g8 fis e g fis e d fis | e d c d g,4.. r16 | c8 b a c b a g b | c a d4 g,4.. r16 } | fis'8 e d fis g4.. r16 | gis8 fis e gis a4.. r16 | fis8 e d fis g a b a | g e a4 d,4.. r16 | a8 b c a b c d b | c a d4 g,2 | r4 } } >> >> } \midi { } }$

Recordings

A list of recordings is provided on the Bach Cantatas Website.^[9] Ensembles playing period instruments in historically informed performances are shown with a green background.

Recordings of *Nimm von uns, Herr, du treuer Gott*
Title	Conductor / Choir / Orchestra	Soloists	Label	Year	Orch. type
Bach Cantatas Vol. 5	Karl Richter Münchener Bach-Chor Münchener Bach-Orchester	Edith Mathis Trudeliese Schmidt Peter Schreier Dietrich Fischer-Dieskau	Archiv Produktion	1978 (1978)
J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Folge / Vol. 29	Nikolaus Harnoncourt Tölzer Knabenchor Concentus Musicus Wien	soloist of the Tölzer Knabenchor Paul Esswood Kurt Equiluz Philippe Huttenlocher	Teldec	1979 (1979)	Period
Die Bach Kantate Vol. 57	Helmuth Rilling Gächinger Kantorei Bach-Collegium Stuttgart	Arleen Augér Helen Watts Lutz-Michael Harder Wolfgang Schöne	Hänssler	1980 (1980)
J. S. Bach: Cantatas with Violoncelle Piccolo	Christophe Coin Das Leipziger Concerto Vocale Ensemble Baroque de Limoges	Barbara Schlick Andreas Scholl Christoph Prégardien Gotthold Schwarz	Auvidis Astrée	1999 (1999)	Period
J. S. Bach: Complete Cantatas Vol. 11	Ton Koopman Amsterdam Baroque Orchestra & Choir	Lisa Larsson Annette Markert Christoph Prégardien Klaus Mertens	Antoine Marchand	1999 (1999)	Period
Bach Edition Vol. 11 – Cantatas Vol. 5	Pieter Jan Leusink Holland Boys Choir Netherlands Bach Collegium	Marjon Strijk Sytse Buwalda Nico van der Meel Bas Ramselaar	Brilliant Classics	1999 (1999)	Period
Bach Cantatas Vol. 12: Tooting/Winchester^[7]	John Eliot Gardiner Monteverdi Choir English Baroque Soloists	Joanne Lunn Robin Tyson James Gilchrist Peter Harvey	Soli Deo Gloria	2000 (2000)	Period
J. S. Bach: Cantatas Vol. 27 Cantatas from Leipzig 1724 – BWV 5, 80, 115	Masaaki Suzuki Bach Collegium Japan	Susanne Rydén Pascal Bertin Gerd Türk Peter Kooy	BIS	2003 (2003)	Period