The Legacy of Anti-Judaism in Bach’s Sacred Cantatas

No personal documents have survived in which Johann Sebastian Bach (1685– 1750) has anything explicit to say about Judaism or Jews, nor do we have any reason to assume that Bach ever had any personal contact with Jews. There are some who would be only too pleased to let the matter rest right there. Yet what we can say quite a lot about is how Judaism, Jewish-Christian relations and, by extension, Jews were represented in Bach’s musical output. It is frequently argued, sometimes with surprising vehemence, that any such issues were surely the responsibility of the librettists and not the composer. Yet it should be instantly obvious that this line of argument hardly holds. In this particular case, it is clear that Bach not only chose the librettos he set but in fact “preferred to work directly with an author rather than use already published collections” of libretti for his cantatas.1 Moreover, while his peers frequently composed entire annual cycles of cantatas based on the texts of just one librettist, Bach never did so and rarely drew on texts by one and the same librettist for more than three consecutive cantatas.2 But whatever his level of input into the librettos he chose, he certainly had considerable leeway when it came to the deployment of musical means to de/emphasize certain elements in relation to others; he could go out of his way to highlight or elaborate upon certain ideas and concepts, say, or present them in a relatively dispassionate manner; whether a particular textual element was presented in a chaste or triumphalist manner, for instance, depended in high measure on the musical setting. Given his education and training, Bach was steeped in the Lutheran orthodoxy of his day and his knowledge of, and commitment to, that orthodoxy was carefully examined before he was appointed to his position as cantor in Leipzig. In that role, he was beholden to provide a constant flow of church music for the city’s main churches, especially St Thomas and St Nikolai. The express purpose of this church music was the utilization of musical means to render the congregants more receptive to the Lutheran orthodoxy of the day and thus intensify its articulation in ways that the spoken word alone, it was assumed, could not. In implementing this agenda, Bach presumably thought of himself not so much as