Christ unser Herr zum Jordan kam, BWV 7

Nicholas Faller 998978897

Johann Sebastian Bach was one of the most prolific composers of sacred music in Baroque
period. Among these sacred works were over 300 sacred cantatas, a genre that Bach worked in
extensively. After spending a large portion of his career composing these works, Bach brought
his cantata composition to a point of near mastery during his time in Leipzig from 1723 until his
death in 1750. Christ unser Herr zum Jordan kam BWV 7 perfectly demonstrates Bachs
tremendous compositional ability as well as his proficient use of musical devices to convey the symbolic
meaning of the sacred text. Examination of the historical context surrounding Christ unser Herr zum

Jordan kam will be used to clearly place the work in the context of Bachs career. Next, a
discussion of Eric Chafes concept of the Lutheran metaphysical tradition in music and music
theory will be used to provide an academic basis for the allegorical interpretation of Bachs
music in relation to the text. Finally, a movement by movement analysis of the cantata will
demonstrate Bachs compositional mastery of the genre.
Christ unser Herr zum Jordan kam was composed in Leipzig on June 24th, 1724. During this
time, Bach was working as Kantor at the Thomasschule in Leipzig, which held the importance of
being one of the most prestigious musical positions in Germany.1 It was an extremely demanding
job, requiring Bach to take on a wider variety of responsibilities than as Kapellmeister in Cthen,
including teaching latin to young students. Futhermore, Bach was considered by the council in
1 Wolff, Christoph. Bach, III: (7) Johann Sebastian Bach: Leipzig: 1723-9.
Grove Music Online, Accessed March 28, 2015, Oxford Music Online.

Leipzig to be a mediocre, second-rate composer only receiving the job after more popular
composers like Telemann turned it down.2
Despite the tensions that would later rise between Bach and the Leipzig authorities, Bachs
compositional output during his time in Leipzig was extremely lucrative. He was accountable for
all of the music heard at the Thomaskirche, Nikolaikirche, Neukirche and Petrikirche as well as
any other musical responsibilities held by the town council. This included music for weddings,
funerals, Sunday church services and feast days.3
Bach worked quickly in his first few years as Kantor, immediately composing two entire cycles
of Cantatas for the church years of 1723 and 1724. The next three cycles took progressively
longer, with the fifth and final cycle being completed at some point in the 1740s.4
Christ unser Herr zum Jordan kam, which translates to Christ, Our Lord, Came to the Jordan
was the third canata in Bachs second cycle.5 It was composed for the feast day of St. John the
Baptist and focuses on the rebirth provided by the holy sacrament of baptism.6 The piece is a
chorale cantata, a form favoured by Bach during his time in Leipzig. Chorale Cantatas are
constructed by taking the material of a hymn and placing it in the opening and final movements.
2 Ibid
3 Ibid
4 Ibid
5 Gustav Leonhardt. Liner Notes. Johann Sebastian Bach (1685-1750): Das Kantanewerk Vol. 2. Kings
College Choir Cambridge/ Leonhardt-Consort. Teldec 8.35028, 1971, compact disc.
6 W. Murray Young, The Cantatas of J.S. Bach: an Analytical Guide. (Jefferson, N.C.: MacFarland,
1989), 198

The inner movements (recitatives and arias) often took their text from the old and new
testaments, allowing the Cantata to merge the familiar Lutheran hymns and the biblical text into
one cohesive work.7
This chorale cantata is set on an arrangement of a Lutheran hymn by an unknown librettist.
The first and seventh movements are quoted entirely from the first and seventh stanzas of the
Lutheran hymn respectively, while the middle movements paraphrase the text of the original.8 It
is also interesting to note that there is no quotation or reference to the daily epistle or gospel. The
cantata is entirely based on the Lutheran hymn, which describes the work of John the Baptist and
the baptism of Christ.9
This particular cantata perfect illustrates what Eric Chafe calls The Lutheran metaphysical
tradition in music and music theory.10 This approach stresses a symbolic/allegorical conception
of sacred music written prior to 1750. While this method of interpretation appears subjective,
there is no question that this ideology was extremely prevalent in this intellectual and musical
climate. Prominent musical theorists, composers and performers like Kuhnau and Werckmeister
wrote extensive treatises on the use of symbolism in highlighting or enhancing spiritual text.11
For example, a unison was seen as the image of God Himself, a minor triad was a representation
of humanity and the impossibility of pure temperament was a metaphor for the inherent
7 Young, XIV
8 Young, 198
9 Ibid
10 Eric Thomas Chafe. Analyzing Bach Cantatas. (New York: Oxford University Press, 2000), 23
11 Chafe, 24-31

imperfection of humanity.12As a man who claimed that The aim and final end of all music
should be none other than the glory of God and the refreshment of the soul., there is no question
that these musical philosophies had some influence on Bachs writing of sacred music.
Furthermore, opera was rising to prominence in the early 1700s and had a profound influence
on the church. Many sacred music composers were beginning to realise that music played an
pivotal role in the delivery of Gods word because, [Melody and text] spur on the mind
simultaneously and therefore make the impact that much stronger, in order to achieve its true
purpose.13 More and more importance was being placed on the emotional impact of sacred
music, rather than just the didactic or educational value that it possessed. Therefore, great
composers like Bach were challenged to elevate the word of God in a way that could not
possibly be accomplished by any other artistic medium.
The first choral movement of Christ unser Herr zum Jordan kam is extremely unique as it
draws influence from two important musical styles: the instrumental violin concerto and the
vocal motet.14 The instrumentation for this movement is: two oboi damore, two violins, one
concertante violin, one viola, continuo and SATB choir.15

12 Chafe, 24
13 Ulrich Leisinger., Chapter 13: Affections, Rhetoric & Musical Expression, In The World of Bach
Cantatas, ed. Christoph Wolff (New York: Norton, 1997), 185-186
14 Masaaki Suzuki. Liner Notes. Bach, Johann Sebastian(1685-1750)Cantatas 22: Leipzig 1724. Bach
Collegium Japan chorus and orchestra, BIS 1321, 2002, compact disc.
15 Johann Sebastian Bach. Christ unser Herr zum Jordan Kamm, ed. Moritz Hauptmann. (Leipzig: Breitkopf &
Hrtel, 1851), accessed March 28, 2015, International Music Scores Library Project,
http://javanese.imslp.info/files/imglnks/usimg/1/12/IMSLP00726-BWV0007.pdf

The chorale melody from Luthers hymn is presented here as a cantus firmus in the tenor voice,
while the soprano, alto and bass voices move around contrapuntally. Overtop of the chorus, a
lively orchestral ritornello dominates the texture, often alternating with solo episodic material by
the violin concertante. The combination of these uniquely contrasting styles is likely symbolic
for the coming together of humanity and the holy spirit through the baptism of Christ. The
episodic entries begin by corresponding with entries of the text but quickly become significantly
longer and more individuated after the first line.16 By blurring the distinction between sections of
ritornello and episodic material, Bach is one again symbolically suggesting the unification of
humanity and the holy spirit. Furthermore, the waves of the Jordan river are evoked by the
arpeggiations in the continuo part during the choral sections as well as the continuous streams of
16th notes during the episodic solo sections and constant eighth note arpeggiations in the oboe
damore parts. These wave motifs, overtop of the original chorale text and melody help to paint a
clear picture of Christs baptism.17
The second movement, Merkt und hrt, ihr Menschenkinder, is a da capo aria, which features
the bass as the soloist. The instrumentation is very sparse for this first aria, only including the
soloist and continuo for the duration of the movement. The subject matter is less focused on
setting the scene of Christs baptism and is instead heavily directed towards educating the
listener and stressing the importance of baptism, heavily paraphrasing Luthers original chorale
text.18 This is seen when the bass begins by proclaiming: Mark and hear, O mankind's
16 Masaaki Suzuki. Liner Notes. Bach, Johann Sebastian(1685-1750)Cantatas 22: Leipzig 1724. Bach
Collegium Japan chorus and orchestra, BIS 1321, 2002, compact disc.
17 Young, 198
18 Ibid

children, What God did baptism call.19 The didactic nature of the text is further enhanced when
the bass equates baptism to ones reception of Gods holy word and blessing by the Holy Spirit in
the final few lines. It is interesting to note that the first two lines of the aria are repeated
significantly more often than any other line in the aria. This, along with the repeats in the da capo
stresses the educational aspects of the piece in order to ensure that the lesson has been received
by the audience or congregation.20
Bach uses several musical and symbolic devices in this movement in an effort to enhance the
text. First, the light instrumentation automatically shifts the focus to the text. This emphasis on
the vocal aspects of the movement highlights the declamatory and didactic nature of the aria.
Next, the stepwise nature of the continuo part evokes the image of baptism as well as the pouring
of sacramental water.21 This is seen in the 32nd note, descending scales that dominate the texture
for the entirety of the movement. Furthermore, the emphasis on triadic movement, both major
and minor, in the vocal part symbolizes the unification of humanity and the Holy Spirit through
baptism.
The third movement, Die Welt sucht Ehr und Ruhm, is a secco recitative in the tenor. The text
narrates Gods presence at Christs baptism, proclaiming: This is my own dear Son, In whom I
have now found great pleasure; He is from heaven's lofty throne To help the world22 While this
19 Z. Philip Ambrose. "Christ Unser Herr Zum Jordan Kam." Christ Unser Herr Zum Jordan Kam,
Accessed March 29, 2015, http://www.uvm.edu/~classics/faculty/bach/BWV7.html.
20 Young, 198
21 Ibid
22 Z. Philip Ambrose. "Christ Unser Herr Zum Jordan Kam." Christ Unser Herr Zum Jordan Kam,
Accessed March 29, 2015, http://www.uvm.edu/~classics/faculty/bach/BWV7.html.

movement is used primarily as a transition to the next aria, the harmonic outline of this
movement and its relation to the next aria bears symbolic meaning. The recitative begins in E
minor, where it follows a traditional harmonic progression. However, in measure 14, the piece
modulates in D minor, with I6 of E minor becoming V/V in D minor. The music then moves
through a short cadential figure in D minor to close the piece.
The shift to D minor has symbolic connotations when examined in conjunction with the next
aria, which is in A minor. This tonal movement can be interpreted as either movement to the
subdominant or movement to the dominant. A shift to the dominant, according to the Lutheran
metaphysical tradition in music and music theory was often used to represent the idea of rebirth,
a concept that held great importance in the gospels as well as in the sacrament of baptism.23
Furthermore, a shift to the subdominant was a musical device used to represent incarnation,
which has particular importance in the upcoming text of the fourth movement 24
Movement four, Des Vaters Stimme lie sich hren, is a tenor aria with two violin concertante
as well as continuo. The number three, which holds great theological significance, also plays an
important role in this movement. The piece contains many of the characteristics of an
instrumental trio, particularly a gigue, a stylized dance type often seen in Bachs instrumental
works but rarely seen in his sacred vocal works.25 As such, the piece is 9/8 (three groups of three)
and is divided into three distinct sections, punctuated by the three separate vocal entries at
measures 25, 63 and 102. Furthermore, these three vocal entries are all a variation on the opening
23 Chafe, 221-222
24 Ibid
25 Masaaki Suzuki. Liner Notes. Bach, Johann Sebastian(1685-1750)Cantatas 22: Leipzig 1724. Bach
Collegium Japan chorus and orchestra, BIS 1321, 2002, compact disc.

instrumental ritornello played by the two violin concertante.26 All of these features are an
allegory for the Holy Trinity, a concept that defines the three distinct persons of the Father, the
Son and the Holy Spirit as one God. Furthermore, this aria is the only movement in which the
Holy Trinity is mentioned.
More symbolism can be found in interpreting the long, ascending violin arpeggios as the
fluttering of a doves wings.27 In the text for this movement, as mentioned above, God takes on a
physical appearance in the form of a dove. This idea is reinforced when, as the text announces
the entrance of the dove, the violins change direction to represent the descent of the Holy Spirit
to earth.28
The fifth movement, Als Jesus dort nach seinen Leiden, is a bass recitative in which Jesus
Christ states his goals for humanity: Go forth to all the world and preach to all the gentiles, He
who believes and is baptized on earth now Shall then be justified and blessed.29 Interestingly,
this is actually a paraphrase of the gospel verses Matthew 28 and Mark 16: ...teach the heathen
and impart knowledge of the saving grace of faith and baptism.30 The recitative begins with only
brief punctuations by the two violins, viola and continuo as the bass narrates Christs actions

26 Ibid
27 Young, 199
28 Masaaki Suzuki. Liner Notes. Bach, Johann Sebastian(1685-1750)Cantatas 22: Leipzig 1724. Bach
Collegium Japan chorus and orchestra, BIS 1321, 2002, compact disc.
29 Z. Philip Ambrose. "Christ Unser Herr Zum Jordan Kam." Christ Unser Herr Zum Jordan Kam,
Accessed March 29, 2015, http://www.uvm.edu/~classics/faculty/bach/BWV7.html.
30 Young, 199

after his baptism. As Jesus begins to speak, the piece becomes an arioso. The beautiful melodies
of the strings give weight to Christs words as the cantata moves towards its dramatic climax.
The sixth movement, Menschen, glaubt doch dieser Gnade, is the final aria of the cantata. It
features the alto as the soloist as well as the two oboe damore, two violins, viola and continuo.
The progressive increase in instrumentation in each aria not only creates musical interest but
further stresses the relative importance of the text in this particular movement, which is clearly
the dramatic climax of the piece. This movement provides a commentary of Christs plan from
the previous movement, further stressing the importance of baptism: Mankind, trust now in this
mercy, That ye not in error die, Nor in hell's foul pit decay! Human works and sanctity Never
count before God's throne. Sins are ours innately given, We are lost by our own nature; Faith and
baptism make them clean That they not perdition bring.31 The importance of the text is stressed
even further by the lack of an instrumental introduction and the immediate entrance of the alto
voice.
Finally, Das Aug allein das Wasser sieh concludes the cantata. It is a choral setting of the final
stanza of the original Lutheran hymn, the full instrumentation returning to create a thick,
harmonically rich texture. This movement provides the clearest tonic to dominant modulation of
the entire cantata. As mentioned previously, this tonic-dominant movement was a common
symbolic device used to illustrate the concept of rebirth.32 By ending the final movement on a
triumphant B major sonority, Bach has turned the entire cantata into one, extended movement

31 Z. Philip Ambrose. "Christ Unser Herr Zum Jordan Kam." Christ Unser Herr Zum Jordan Kam,
Accessed March 29, 2015, http://www.uvm.edu/~classics/faculty/bach/BWV7.html.
32 Chafe, 221-222

from tonic to dominant. This enormous musical gesture fully expresses the significance of this
feast day as well as the sacred importance of baptism.
This movement, like the first, uses the original chorale melody but presents it in a contrasting
manner. Rather than using the chorale melody as a cantus firmus with other highly individuated
parts moving contrapuntally around it, this movement has all of the parts moving together in
rhythm, with the chorale melody being presented in the soprano voice. The simplicity of this
setting would have been extremely effective in performances of this cantata. The clear,
prominent focus on the original chorale melody would have been extremely familiar to the
Lutheran congregation, as they would have heard this chorale melody constantly over the course
of their entire lives. This familiar setting, along with the simplicity of the harmonic texture would
allow the audience to reflect on the message they just received, effectively bringing the piece to a
satisfying conclusion.

Bachs Leipzig cantatas were among the most significant of his career. They not only helped
him to gain an unparalleled mastery in both instrumental and vocal composition but also form an
indispensible part of the sacred music repertoire. As seen above, Leipzig provided Bach with the
perfect setting for refining his skills and paying homage to God. Composing for the four
churches led to an astonishing output of music, including Christ unser Herr zum Jordan kam,
BWV 7. Discussion about the Luther metaphysical tradition in music and music theory
provides an intellectual basis for an allegorical interpretation of this cantata, revealing a profound
and convincing connection between the text by the unknown librettist and the musical devices
employed by Bach. These include small pieces of imagery evoked by musical phrases as well as

broad harmonic movements symbolizing relevant and important theological concepts. This deep
understanding of the poetry and the deft mastery with which Bach enhances its emotional effect
truly sets Bach apart as one of the most significant and accomplished sacred music composers of
his time.

Bibliography

Ambrose, Z. Philip. "Christ Unser Herr Zum Jordan Kam." Christ Unser Herr Zum Jordan Kam.
Accessed March 29, 2015. http://www.uvm.edu/~classics/faculty/bach/BWV7.html.
Bach, Johann Sebastian. Christ unser Herr zum Jordan Kamm, Edited by Moritz Hauptmann.
Leipzig: Breitkopf & Hrtel, 1851. Accessed March 28, 2015, International Music Scores
Library Project, http://javanese.imslp.info/files/imglnks/usimg/1/12/IMSLP00726BWV0007.pdf

Browne, Francis. "Chorale: Christ Unser Herr Zum Jordan Kam - Text & Translation." Bach
Cantatas Website. May 1, 2006. Accessed March 29, 2015. http://www.bachcantatas.com/Texts/Chorale106-Eng3.htm.

Chafe, Eric Thomas. Analyzing Bach Cantatas. New York: Oxford University Press, 2000.

Leisinger, Ulrich. Chapter 13: Affections, Rhetoric & Musical Expression. In The World of
Bach Cantatas, edited by Christoph Wolff. New York: Norton, 1997.

Leonhardt, Gustav. Liner Notes. Johann Sebastian Bach (1685-1750): Das Kantanewerk Vol. 2.
Kings College Choir Cambridge/ Leonhardt-Consort. Teldec 8.35028. 1971, compact
disc.

Suzuki, Masaaki. Liner Notes. Bach, Johann Sebastian(1685-1750)Cantatas 22: Leipzig 1724.
Bach Collegium Japan chorus and orchestra. BIS 1321. 2002, compact disc.

Wolff, Christoph. Bach, III: (7) Johann Sebastian Bach: Leipzig: 1723-9.
In Grove Music Online. Accessed March 28, 2015. Oxford Music
Online.

Young, W. Murray. The Cantatas of J.S. Bach: an Analytical Guide. Jefferson, N.C.: MacFarland,
1989.