Barmherziges Herze der ewigen Liebe, BWV 185

Bach structured the cantata in six movements, beginning with a duet, followed by a series of alternating recitatives and arias and concluded by a chorale.[7] Similar to several other cantatas on words by Franck, it is scored for a small ensemble: four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), oboe (Ob), two violins (Vl), viola (Va), and basso continuo (Bc) including bassoon (Fg).[8] A choir is only needed for the chorale, if at all. The score, partly an autograph, is titled "Concerto. / Dominica post Trinit: / Brmhertziges Hertze der ewigen Liebe. ect. / â 5 Strom. 4 Voci / Tromba / 1 Hautb 2 Violini. 1 Viola. / Violoncello / è Fagotto. S. A. T. è Baßo con Cont. / di JSbach. / 1715", while "tromba" (trumpet) is struck in the cover of the set of parts.[9]

In Leipzig the oboe was replaced by a clarino (trumpet) for the instrumental cantus firmus of the chorale in the first movement. The duration is given as 16 minutes.[2]

In the following table of the movements, the scoring and keys are given for the version performed in Weimar in 1714. The keys and time signatures are taken from the Bach scholar Alfred Dürr, using the symbol for common time (4/4).[2][8] The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown.

Movements of Barmherziges Herze der ewigen Liebe

No.	Title	Text	Type	Vocal	Winds	Strings	Key	Time
1	Barmherziges Herze der ewigen Liebe	Franck	Duet	S T	Ob		F-sharp minor	6/4
2	Ihr Herzen, die ihr euch in Stein und Fels verkehret	Franck	Recitative	A	Fg	2Vl Va
3	Sei bemüht in dieser Zeit	Franck	Aria	A	Ob Fg	2Vl Va	A major
4	Die Eigenliebe schmeichelt sich	Franck	Recitative	B	Fg
5	Das ist der Christen Kunst	Franck	Aria	B	Fg	(2Vl Va)	B-flat minor
6	Ich ruf zu dir, Herr Jesus Christ	Agricola	Chorale	SATB	Ob Fg	2Vl Va	F-sharp minor

John Eliot Gardiner in 2007

The opening movement is a duet of soprano and tenor, "Barmherziges Herze der ewigen Liebe" (Compassionate heart of eternal love).[2] It is in two ways connected to the chorale which closes the work.[2] The melody is played line by line as a cantus firmus by the oboe, embellished and in a dancing 6/4 time instead of 4/4.[6] The first interval in the voices and the continuo is the same as in the chorale. The countersubject is the inversion of the theme, in German "Spiegelung" (reflection in a mirror). It reflects the theme as human mercy should reflect divine mercy.[2] John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage with the Monteverdi Choir in 2000, comments in his diary of the project: "Cast as a siciliano for soprano and tenor with cello continuo, there is a warm glow to this opening duet, with trills on each of the main beats to signify the flickering flame of love, and a plea to 'come melt my heart'. Agricola's chorale tune [...] is meanwhile intoned by a clarino hovering above the two amorous vocal lines.[4]

The alto recitative, "Ihr Herzen, die ihr euch in Stein und Fels verkehret" (You hearts, which have changed yourselves into rocks and stones),[1] is first accompanied by the strings, but ends as an arioso with continuo.[6]

The alto aria, "Sei bemüht in dieser Zeit" (Be inspired at the present time)[1] shows the richest instrumentation, with figurative oboe solos.[6]

The bass recitative "Die Eigenliebe schmeichelt sich!" (Self-love flatters itself!)[1] is accompanied only by the continuo.[2]

The text of the bass aria with continuo, "Das ist der Christen Kunst" (This is the Christian's art),[1] summarizes all injunctions in one long sentence, but Bach splits it in parts, all introduced by the keywords "Das ist der Christen Kunst". The bass as the vox Christi (voice of Christ) delivers the "sermon".[2] In Leipzig, the continuo of cello and bass in octaves was doubled by the strings, another octave higher.[6] Gardiner admires Bach's treatment as a "gentle, parodistic way he portrays the rhetorical displays of a pompous preacher".[4]

The closing chorale, "Ich ruf zu dir, Herr Jesu Christ" (I call to You, Lord Jesus Christ),[1] summarizes the topic of the cantata to love and serve the neighbour.

It is illuminated by a "soaring" violin as a fifth part,[6] similar to the treatment in the cantata for Pentecost the previous year, Erschallet, ihr Lieder, BWV 172.

The musicologist Isoyama summarizes: "... we are bound to admire the emotional wealth with which Bach's music infuses the poetry. In that it gives living reality to a potentially dry text, this work may be numbered among Bach's masterpieces".[5]