Abstract
In the 1990s, the discussion about Bach and the Holy Spirit followed was revived after Renate Steiger’s (re)discovery of an emblem by Johann Saubert, in which the alto is described as the voice of the Holy Spirit in the believer’s heart. Despite the lively debate and some illuminating interpretations, the
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theme of the Holy Spirit in Bach’s work was hardly further scrutinised, probably caused in part by the repeated discouraging statement that nothing of significance can be found in theological literature, due to the idiosyncratic weakness of Lutheran pneumatology (the doctrine of the Holy Spirit). Because there are a fair number of pieces by Bach related to the Holy Spirit, a more systematic approach to the topic could be a possible means of exploring the theme further. This dissertation is an attempt at a systematic description of Lutheran pneumatology in Bach’s days, hoping to construct a theological framework from which Bach’s Spirit-related pieces could be studied in either a deeper or alternative manner. The concept of this dissertation is built on a model taken from the Evangelische Christen=Schule (1688) by August Pfeiffer. Its chapter on the Holy Spirit is divided in two parts, the first dealing with the Person of the Holy Spirit, the second with the work of the Spirit. Referring to John 14:26, Pfeiffer exposes four different functions of the Spirit in the second part of the chapter, as he describes the Spirit successively as Sanctifier, Teacher, Comforter and Recaller. Following the structure of Pfeiffer’s chapter, this dissertation presents five case studies, the first one being addressed to the Person of the Spirit, the remaining ones to the four different functions, as described by Pfeiffer. Being a practical pneumatology from reformorthodox perspective, as far as this dissertation is concerned, the Göttliche Liebes=Flamme (1676) by Heinrich Müller is the ideal counterpart to Pfeiffer’s orthodoxy. Supported by quotations from other theological works, the mentioned books by Pfeiffer and Müller deliver a theological framework from which Spirit-related pieces by Bach might be studied afresh. Concerning the Person of the Holy Spirit, the aria Et in Spiritum sanctum (BWV 232/II,7) from the B Minor Mass is scrutinized. The Spirit’s role as Sanctifier is examined in the alto solo cantata Widerstehe doch der Sünde (BWV 54), the one as Teacher in the choral motet Wenn aber jener, der Geist der Wahrheit, kommt (BWV 108,4) from the cantata Es ist euch gut, daß ich hingehe, the one as Comforter in the motet Der Geist hilft unser Schwachheit auf (BWV 226) and the one as Recaller in Kyrie II (BWV 232/I,3) from the B Minor Mass. In relation to the last two pieces, the Leichen=Predigt by Christian Weiß, written for the same occasion as Bach’s motet BWV 226 (the funeral of rector Ernesti of the Leipzig Thomas=Schule) and therefore an unique pneumatological document from Bach’s own environment, is also studied.
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