On 20 November Tom Hammond-Davies directs the Oxford Bach Soloists in a performance of Bach’s famous cantata Wachet Auf! described by the scholar Klaus Hofmann as one of the composer’s ‘most beautiful, most mature and, at the same time, most popular sacred cantatas’.

But what messages are conveyed through this extraordinary music?

The Parable of the Wise and Foolish Virgins (1838–1842) by Friedrich Wilhelm Schadow

Composed for the occasion of the 27th Sunday after Trinity, it was first performed on 25 November 1731 at the Nikolaikirche in Leipzig. To give it its full title: Wachet auf, ruft uns die Stimme (Awake, calls the voice to us), it is also known as Sleepers Wake. Based on the 1599 Lutheran hymn in three stanzas by Philipp Nicolai, it tells the parable of the Ten Virgins according to the Gospel of Matthew:

Philipp Nicolai

“Then the Kingdom of Heaven will be like ten virgins, who took their lamps, and went out to meet the bridegroom. Five of them were foolish, and five were wise. Those who were foolish, when they took their lamps, took no oil with them, but the wise took oil in their vessels with their lamps. Now while the bridegroom delayed, they all slumbered and slept. But at midnight there was a cry, “Behold! The bridegroom is coming! Come out to meet him!” Then all those virgins arose, and trimmed their lamps. The foolish said to the wise, “Give us some of your oil, for our lamps are going out.” But the wise answered, saying, “What if there isn’t enough for us and you? You go rather to those who sell, and buy for yourselves.” While they went away to buy, the bridegroom came, and those who were ready went in with him to the marriage feast, and the door was shut. Afterward the other virgins also came, saying, “Lord, Lord, open to us.” But he answered, “Most certainly I tell you, I don’t know you.” Watch therefore, for you don’t know the day nor the hour in which the Son of Man is coming.”

The message behind the parable is a warning to be prepared for the Day of Judgment and was one of the most popular parables in the Middle Ages, with enormous influence on Gothic art, sculpture and the architecture of German and French cathedrals.

Three of the Foolish Virgins in the Paradise portal of Magdeburg Cathedral c.1245

Bach structured the cantata in seven movements. The text and hymn tune are kept in the outer and central choral movements. The new texts are set as dramatic recitatives and love-duets, similar to contemporary opera. The allegory continues with some of this new text referring to the love poetry of the Song of Songs, showing Jesus as the bridegroom of the Soul.

1 Wachet auf, ruft uns die Stimme (“Awake”, we are called by the voice [of the watchmen])

A chorale fantasia based on the first verse of the chorale

2 Er kommt (He comes)

Recitative for tenor as a narrator calling the daughters of Zion

3 Wenn kömmst du, mein Heil? (When are You coming, my Salvation?)

With obbligato violino piccolo, the soprano represents the Soul and the bass as the voice of Jesus.

4 Zion hört die Wächter singen (Zion hears the watchmen singing)

Based on the second verse of the chorale.

5 So geh herein zu mir (Then come in to me)

Recitative for bass, accompanied by the strings picturing the unity of the bridegroom and the “chosen bride”.

6 Mein Freund ist mein! (My Friend is mine!)

A love duet between the soprano ‘Soul’ and the bass ‘Jesus’.

7 Gloria sei dir gesungen (Let Gloria be sung to You)

The closing chorale.

Bach scored the work for three vocal soloists (soprano, tenor, bass), a four-part choir and a Baroque instrumental ensemble of horn, two oboes, taille (a Baroque tenor oboe), violino piccolo, strings and basso continuo including bassoon.

The first page of the bassoon part in Bach’s hand from the archives of the Thomaskirche

Tom Hammond-Davies directs an authentic performance of this much-loved work alongside Wachet! betet! betet! wachet! (Watch! Pray! Pray! Watch!) BWV 70 at New College, Oxford on 20 November at 3.15pm Tickets are available online – now with FREE tickets for under 18s.