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When our new Assistant Organist at ²ÝÁñÊÓƵ, George Herbert, joined us in September this year, we quickly found ourselves discussing Bach cantatas, their librettos, and issues of translating them into English. At some point, he wrote to me: 

I've long admired the German texts of Bach's cantatas and passions, but I find that many of the English translations of these works lack the familiarity and tenderness of so many of their original libretti. I also find that the (to my mind) archaic, excessively high register of the translations which appear under the German text in many vocal scores can encourage musicians subconsciously to sing and play in ways that are, whilst intelligent, not always warm and loving. This cantata, with its clear thematic and narrative links to the Song of Songs, is particularly illuminated by a translation which puts intimacy at its heart. The expectant eagerness of the betrothed couple opens this cantata, before melting into physical and spiritual entanglement; this narrative unfolding is at the heart of the musical setting. 

I followed the impetus and started discussing this with students of our second-year German translation class, whose response was enthusiastic. Over the course of the past weeks, George and I have worked together with Rebecca Dent-Young, Charlotte Lawton, and Caroline Young. 

Our aim was to find an approach that does justice to the theological depth and poetic sensibility of the original German libretto and, at the same time, offers a fresh and supple modern register that is accessible to modern audiences, irrespective of their religious backgrounds. In doing so, we aimed at combining contextual philological and theological knowledge with an understanding of the musical language and full range of poetic resonances, including intertextual references to the Hebrew Scriptures (most notable, the Song of Songs), the New Testament (most notably the Parable of the Wise and the Foolish Virgins in the Gospel according to St Matthew), and medieval traditions of love poetry (most obviously, the Tagelied or aube tradition in German and French, where lovers are reminded of their civic lives at dawn after having spent a night together) and the baroque adaptation of the mystical wedding tradition. 

Our new translation seeks to render the libretto in a contemporary idiom that considers the cantata text foremost as mystical love poetry. It is to be regarded as a supplement to the version provided by Professor Henrike Lähnemann in the liturgical booklet, which is guided by the principles of philological and historical accuracy. 

[Image: Initial for the start of the Song of Songs in the Winchester Bible, showing the dialogue between the church and Christ as bride and bridegroom.]

Professor Bernhard Malkmus 
Tutorial Fellow of German, New College 

An Extract from Wachet auf, ruft uns die Stimme (BWV 140) 

Choral text: Philip Nicolai, 1599 
Recitatives and duets: librettist unknown

Chorale 

Wake up, the voices of the watchmen call to us,  
From high upon the city wall,  
Wake up, you city of Jerusalem!

This hour is named midnight,  
They call us with resounding voices:  
Where are you, wise young women?  
Cheer up, the bridegroom is coming;  
Get up, take your lamps,  
Hallelujah!  
Prepare yourselves

For the wedding,  
You must go and meet him! 

Recitative (tenor) 

He is coming, he is coming,  
The bridegroom is coming!  
You daughters of Zion, come out,  
He departs swiftly from the heavens  
Into your mother's house.  
The bridegroom comes, he leaps  
Like a roedeer and a young stag

Across the hills,  
And brings to you the wedding feast.  
Wake up, rouse yourselves!  
To receive the bridegroom!  
There, see, he comes along. 

Duett (soprano and bass) 

Soul: 

       When are you coming, my salvations? 

Jesus: 

      I am coming, your other half, 

Soul: 

      I wait with burning oils. 

Soul: 

      Open the hall to the heavenly feast. 

Jesus: 

      I open the hall for the heavenly feast. 

Soul: 

      Come, Jesus! 

Jesus: 

      Come, loving soul! 

Chorale 

Zion hears the watchmen singing,
Her heart leaps with joy, 
She wakes and gets up hurriedly. 
Her beloved comes from heaven in his splendour, 
Full of mercy, might in truth, 
Her light brightens, her start rises. 
Now come, you worthy crown, 
Lord Jesus, son of God!
Hosannah! 
We all proceed 
Into the hall of joy 
And partake in the last supper.