Accompanied by the Netherlands Bach Society, the English countertenor Tim Mead performs Erbarme dich, mein Gott (English: Have mercy, my God), one of the most celebrated arias from Johann Sebastian Bach’s “Matthäus-Passion” (St. Matthew Passion), BWV 244. Conductor: Jos van Veldhoven. Violin (solo): Shunske Sato.
Johann Sebastian Bach’s Erbarme dich, mein Gott
“Erbarme dich, mein Gott” (Have mercy, my God) is a celebrated aria from Johann Sebastian Bach’s “Matthäus-Passion” (St. Matthew Passion), BWV 244. This monumental work, composed in 1727, recounts the Passion of Christ as told in the Gospel of Matthew, with arrangements for solo voices, double choir, and double orchestra.
The aria “Erbarme dich” is evocatively set within the narrative after Peter denies knowing Jesus three times. Realizing his betrayal, the text serves as Peter’s deep-hearted plea for mercy and forgiveness. Musically, “Erbarme dich” is crafted for an alto voice and a solo violin, accompanied by strings and continuo. The violin starts the aria with an introspective and melancholic theme that beautifully establishes the mood. As the piece unfolds, this theme is embraced and expanded by the voice.
Bach’s brilliance shines in the way he marries the melancholic melodies and the flowing violin lines to the text’s profound sorrow and repentance. Because of its emotional depth, many consider this aria a standout in the St. Matthew Passion.
Its standalone beauty has made “Erbarme dich” a frequently chosen piece for concert settings beyond the complete St. Matthew Passion. Its profound beauty has been captured in recordings by many renowned mezzo-sopranos and countertenors. The emotive resonance it offers has solidified its place as a favorite for both performers and audiences worldwide.
The St Matthew Passion (German: Matthäus-Passion) tells the story of the last days of Jesus. He is betrayed, tried, crucified, and buried. The lyrics were compiled by Picander (the pseudonym of Christian Friedrich Henrici), probably in close consultation with Bach himself. For their theme, they took the story as told by St Matthew the Evangelist. As different groups of people have their say, the singers get different roles – Christ, Judas, Peter, a slave girl, the pupils, the high priests, the people, and the soldiers, etc.
At key moments in the story, Bach and Picander added chorales and arias as a reflection of the biblical story. The action is suspended and the events are placed in the theological context of Bach’s day.
The chorale lyrics and melodies come from the Lutheran hymn book and were well known to the congregation in Leipzig. Even though Bach’s harmonies were new, everyone would have recognized the melody and the words. The lyrics for the opening and closing choruses and the arias were brand new, however. Both the arias and the chorales often link up seamlessly with the evangelical words.
Erbarme dich, mein Gott lyrics (text)
The lyrics echo Peter’s sorrow:
German: Erbarme dich, mein Gott
Erbarme dich, mein Gott
um meiner Zähren willen!
Schaue hier, Herz und Auge
weint vor dir bitterlich.
English translation: Have mercy, my God
Erbarme dich, mein Gott
For the sake of my tears!
Look here, heart and eyes
Weep bitterly before You.
In the grand tapestry of Baroque music and religious compositions, “Erbarme dich” is a shining testament to Bach’s unmatched capacity to encapsulate human emotion in musical form.
The Polish poet and novelist Adam Zagajewski (21 June 1945 – 21 March 2021) has called Erbarme Dich “the center and the synthesis of Western music.” One of the greatest violinists of the 20th century, Yehudi Menuhin called the aria’s lamenting solo violin obligato “the most beautiful piece of music ever written for the violin.”
Tim Mead
Tim Mead (born 1981) is an English countertenor. He was born in Chelmsford, Essex, and began singing as a treble in the choir of Chelmsford Cathedral. He was educated at King Edward VI Grammar School, Chelmsford, and the Junior Department of Trinity College of Music where he studied cello and piano.
He was an undergraduate at King’s College, Cambridge, where he was a choral scholar studying musicology. After graduating, he won a number of scholarships for post-graduate studies at the Royal College of Music where he studied with the British countertenor Robin Blaze.
Mead has performed with many leading conductors and appeared with ensembles including Orchestra of the Age of Enlightenment, the Academy of Ancient Music, The English Concert, Les Arts Florissants, Le Concert d’Astrée, Les Musiciens du Louvre, Concerto Köln, Akademie für Alte Musik Berlin, Balthasar-Neumann-Ensemble, Accademia Bizantina, Bach Collegium Japan, the Netherlands Bach Society, Combattimento Consort Amsterdam, and the RIAS Kammerchor.
He has a wide-ranging and growing discography including:
- The multi-award-winning recording of Bach’s Matthäus Passion with Pygmalion under Raphaël Pichon (Harmonia Mundi, 2022)
- Gramophone Award-nominated recordings of Handel’s Flavio with the Early Opera Company under Christian Curnyn (Chandos, 2010)
- Bach’s B minor Mass with Arcangelo under Jonathan Cohen (Hyperion, 2014)
- A DVD of Britten’s Death in Venice with English National Opera under Edward Gardner, directed by Deborah Warner (Opus Arte, 2014)
- The BBC Music Magazine Awards nominated the recording of Handel’s Brockes Passion (AAM Records, 2019).
Mead’s solo albums include
- Beauteous Softness with La Nuova Musica (Pentatone, 2023)
- Sacroprofano with Arcangelo (Alpha Classics, 2023)
- Songs & Dances with Les Musicens de Saint Julien (Alpha Classics, 2018)
- Bach solo cantatas with La Nuova Musica (Harmonia Mundi, 2017).
Sources
- St Matthew Passion on Wikipedia
- Tim Mead’s official website
- Tim Mead on Wikipedia
- Chopin: Scherzo No. 3 [İlyun Bürkev] - September 14, 2024
- César Franck: Violin Sonata [Argerich, Capuçon] - September 8, 2024
- Beethoven: Piano Sonata No. 23 “Appassionata” [Anna Fedorova] - September 7, 2024