The prelude today, O Mensch, bewein dein Sünde groß, is another example of a chorale prelude (an organ piece whose main thematic material is based on a German hymn, or chorale). This particular hymn is not in our hymnal, so you’re probably not familiar with it. The first stanza opens addressing the listener “O Mensch” (O human being) and requesting them to remember and deplore their great sin (Sünde groß). The words of the hymn were written by Sebald Heyden in 1530 as part of a larger set of stanzas reflecting on the passion of Christ.

This particular organ setting is one of Bach’s most famous, Lenten chorale preludes. I usually always play it on the first Sunday of Lent. I personally love how he decorates the slow-moving melody while supporting it with languishing, harmonic dissonances. In the 18^th century, art, architecture, and music were highly decorative. You may wonder how music can be decorative? Well, it’s kind of hard to explain, but a visual aid might help. Below is an example of a couple of musical decorations:

In the above example, you’re looking at the first few notes of this piece, played by the right hand. Notice the little squiggly line and the letters tr? Those are indications that the organist needs to add unwritten notes around what is printed on the staff. It’s complicated, but this is how music reflected the ornamental décor, and elaborateness of the Baroque period.

It is often said that Bach was a genius at reflecting the meaning of the words in his chorale preludes. Simply put, Bach knew how to make the organ “sing” the text of these hymns. As in the above example, the musical décor sometimes sounds like teardrops, or like lamenting sighs. That would be appropriate, given the somber notion of the hymn text, which is speaking of the sin and guilt of our human nature. But Bach never allows his music to end with such hand-wringing and chest-beating. There is always a hopeful message embedded into his music, and that is, the promise of salvation and eternal life.

I love to wonder what Bach was thinking, when he set out to write these chorale preludes. I’m certain he reflected upon the words, thoroughly. Something to remember about vocal music – the words were there first. John 1:1 reminds us of that, “In the beginning was the Word.” Almost all of the music written for the human voice was first inspired by words. Chorale preludes, however, don’t speak with the words that inspired their creation. They speak through vibrations that emanate from air that passes through hand-carved openings in wooden and metal pipes of the organ. That opening, visible in the large, metal pipes in the front of the organ case, is called a pipe “mouth.” How miraculous it is that the organ uses such a “mouth” to communicate the profound meaning of words, without actually having to utter a single one of them! Soli deo Gloria!