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fermatas present until the end of the first stanza in “Ach großer König.” 405 This deliberate
addition of the fermata on the word “Lieb” suggests that Bach intended the fermata to be
observed and performed in a way to highlight the word “love.” This contradicts theories
like David Schildkret‟s that Bach used fermatas only out of habit and convention rather
for expressive moments.
This chorale was interpreted in many different ways. Overall most recordings
were performed in a calm, reflective manner with a soft dynamic. But Cleobury (1996)
and Rilling (1996) did present this chorale with full volume. Rilling‟s interpretation
changes to an even stronger and fuller dynamic level in the last phrase to underscore the
text “and you must suffer.” The duration that the fermatas were held was diverse but none
were held out longer than 3 beats, except Weyand (1990) who held the last fermata on
“leiden” for five seconds. In terms of phrasing, conductors treated fermatas as a chance to
punctuate the phrase and breathe, but two conductors preferred longer phrasing resulting
from no breaths being taken at particular fermatas. Beringer (1997), who was the slowest
interpretation for this movement at a minute and three seconds, chose to quietly illide the
phrases “Ich lebte mit der Welt in Lust und Freuden” with “und du mußt leiden.” Leusink
(2001), who was the fastest interpretation for this movement at thirty-six seconds,
connected the phrases “O Lieb ohn alle Maße” with “die dich gebracht auf diese
Marterstraße!”
5 Dein Will gescheh, Herr Gott, zugleich (Chorale)
This chorale reflects on the text “Thy Will Be Done” from the Lord‟s Prayer. 406
The text influenced many conductors to choose a softer to medium dynamic to depict a
prayerful attitude. However, this did not deter Weyand (1990) and Guttenberg (1991)
from presenting the text in a full and loud dynamic. Overall, this chorale was treated with
a large degree of objectiveness. Most of the variety present within the recordings dealt
with phrasing. Nine recordings lifted after the first comma on the word “gesheh.” Seven
conductors showed a preference for a longer phrase by ignoring the fermata on the word
“zugleich” and connecting the phrase to end at the second
405 Ibid.
406 Roehrig, “The St. John Passion by J.S. Bach in the light of the Neue Bach-Ausgabe edition 1973,” 139.
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