Cantata BWV 7, entitled Christ unser Herr zum Jordan kam ("Christ our Lord came to the Jordan"), is a choral cantata (Choralkantate) belonging to the cycle of choral cantatas that Bach composed in Leipzig during his second year as Thomaskantor (1724-1725). It was premiered on June 24, 1724, in Leipzig. It was composed for the feast of the Nativity of St. John the Baptist (Johannistag or Feast of St. John the Baptist), which is celebrated on June 24. The central theme of Jesus' baptism by John in the Jordan is directly related to the feast and the readings of the day (Gospel of Luke 1:57-80 on the birth of John the Baptist, and references to baptism).
The work is based on Martin Luther's hymn Christ unser Herr zum Jordan kam, written in 1541 and published in 1543, a hymn about baptism consisting of seven stanzas. Bach used the text of the hymn literally in the outer movements (stanza 1 in the opening chorus and stanza 7 in the final chorale). An unknown librettist paraphrased the middle stanzas (2 to 6) to create the recitatives and arias, maintaining the focus on baptism as the washing away of sins and new life, with aquatic and Trinitarian imagery.
The cantata consists of seven movements:
- Chorus – Christ unser Herr zum Jordan kam (verse 1 of the hymn, choral fantasy with cantus firmus in the tenor, elaborate polyphonic texture and descending motifs evoking the flow of water).
- Aria (bass) – Merkt und hört, ihr Menschenkinder (with violin obbligato).
- Recitative (tenor).
- Aria (tenor) – Des Vaters Stimme liess sich hören (with oboes d'amore).
- Recitative (bass).
- Aria (alto) – Menschen, glaubt doch dieser Gnade (with continuo).
- Chorale – Verse 7 of the hymn (Das Aug allein das Wasser sieht), harmonized for four voices.
The opening chorus is particularly notable for its treatment of the cantus firmus in the tenor voice (unusual in the cycle) and for its symbolism of water and baptism.
Instrumentation
- 2 oboes d'amore.
- 2 violins.
- Viola.
- Basso continuo.
- Four-part choir (SATB).
- Soloists: alto, tenor, and bass.
The instrumentation is relatively austere but expressive, with the oboes d'amore providing a warm and contemplative color, and the obbligato violin in the bass aria highlighting the fluid and symbolic nature of water.