Mache dich, mein Geist, bereit

Dating from 1724, Mache dich, mein Geist, bereit (Make thyself ready, my spirit) was part of Bach’s second annual cycle of cantatas for the church year. It offers a warning to the faithful to be on their guard against the wiles of Satan, to pray regularly, and never cease preparing for the Last Judgement. The steadfastness of the soul seems to be reflected in the unwavering, sustained hymn (chorale) melody sung by the sopranos throughout the opening chorus. Slow in pace, with lilting “siciliana” rhythms, the opening solo for alto, oboe d’amore, and strings feels like an operatic “sleep” aria. It’s a warning to the slumbering spirit not to ignore evil, and momentarily switches into a higher gear to illustrate the punishment that awaits the unwatchful soul. The second aria, for soprano, flute, and violoncello piccolo, is marked to be sung very slowly, and Bach responds to calls for God’s understanding with music of deep humanity. The final hymn (chorale) is of the utmost simplicity—honoring the intrinsic strength of its melody. About J.S. Bach’s Cantatas Although Bach seldom used the word, “cantata” has become the accepted term for the multimovement church pieces and celebratory secular works composed in large numbers by Bach and his contemporaries. Bach himself wrote more cantatas than anything else, mostly during two bursts of creativity between 1713 and 1716 in Weimar, and 1723 and 1729 in Leipzig. Around 200 works survive in a wide range of styles but usually including a chorus, solo arias, linking (speech-like) recitatives, and a hymn (chorale). Bach probably completed five annual cycles of church cantatas for regular Sunday worship, festivals, and celebrations. Because they were occasional pieces for court and public entertainment, fewer secular cantatas survive, though some were later revised for church use.