Structure and scoring

Bach structured the cantata in six movements. The text and tune^[5] of the hymn are kept in the outer choral movements, a chorale fantasia and a four-part closing chorale, which frame a sequence of alternating arias and recitatives. Bach scored the work for four vocal soloists (soprano, alto, tenor, bass), a four-part choir and a Baroque instrumental ensemble of natural horn (Co) enforcing the soprano in the hymn tune, two oboes d'amore (Oa), two violins (Vl), viola (Va) and basso continuo.^[6] The title page of the autograph score reads: "Dom: 25 post Trinit. / Du Friede Fürst Herr Jesu / Christ ect. / à / 4 Voc: / Tromba / 2 Hautb: d'Amour / 2 Violini / viola / con / Continuo / di / Sign: / J.S.Bach".^[7]

In the following table of the movements, the scoring follows the Neue Bach-Ausgabe.^[6] The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4).^[4] The continuo, playing throughout, is not shown.

Movements of Du Friedefürst, Herr Jesu Christ

No.	Title	Text	Type	Vocal	Winds	Strings	Key	Time
1	Du Friedefürst, Herr Jesu Christ	Ebert	Chorale fantasia	SATB	Co 2Oa	2Vl Va	A major
2	Ach, unaussprechlich ist die Not	anon.	Aria	A	Oa		F-sharp minor	3 4
3	Gedenke doch, o Jesu	anon.	Recitative	T
4	Ach, wir bekennen unsre Schuld	anon	Aria (Terzetto)	S T B			E major	3 4
5	Ach, laß uns durch die scharfen Ruten	anon.	Recitative	A		2Vl Va
6	Erleucht auch unser Sinn und Herz	Ebert	Chorale	SATB	Co 2Oa	2Vl Va	A major

Movements

1

The opening chorus, "Du Friedefürst, Herr Jesu Christ" (You Prince of Peace, Lord Jesus Christ),^[1] is a chorale fantasia, the soprano singing the cantus firmus, supported by the horn. The composer of the tune is not known. It appeared in a hymnal by Bartholomäus Gesius in 1601, and is similar to "Innsbruck, ich muß dich lassen".^[5]

The melody is embedded in an orchestral concerto with ritornellos and interludes, dominated by the concertante solo violin. The treatment of the lower voices is varied within the movement. In lines 1 and 2 and the final 7 they are set in homophonic block chords. The Bach scholar Klaus Hofmann notes that the salutation "Du Friedefürst, Herr Jesu Christ, wahr' Mensch und wahrer Gott" (You prince of peace, Lord Jesus Christ, true man and true God) thus receives weight. In lines 3 and 4 the lower voices begin in vivid imitation before the entrance of the cantus firmus.^[1] In lines 5 and 6 their faster movement contrasts to the melody.^[8]

2

The alto aria, "Ach, unaussprechlich ist die Not" (Alas, the agony is unspeakable),^[9] is accompanied by an oboe d'amore as an equal partner, expressing the soul's terror imagining the judgement.^[10] Hofmann notes that "Bach has captured the expression of deep sadness in the music with all the tools of his trade: sighing figures, suspensions and augmented, diminished or chromatic melodic intervals: the harmony is full of dissonances."^[1]

3

The recitative for tenor, "Gedenke doch, o Jesu" (Yet consider, o Jesus),^[9] begins as a secco recitative, but the idea "Gedenke doch, o Jesu, daß du noch ein Fürst des Friedens heißest!" (Yet consider, o Jesus, that you are still called a Prince of Peace!), close to the theme of the cantata, is accompanied by a quote of the chorale tune in the continuo.^[8]

4

Rare in Bach's cantatas, three voices sing a trio.^[11] In the text "Ach, wir bekennen unsre Schuld" (Ah, we recognize our guilt)",^[9] they illustrate the "wir" (we), confessing and asking forgiveness together.^[10][11] The voices are accompanied only by the continuo.^[6][8]

5

The recitative for alto, "Ach, laß uns durch die scharfen Ruten" (Ah, then through the harsh rod),^[9] is a prayer for lasting peace, accompanied by the strings and ending as an arioso.^[8]

6

The closing chorale, "Erleucht auch unser Sinn und Herz" (Illumine our minds and hearts as well),^[9] is a four-part setting for the choir, horn, oboes and strings.^[4]