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Week 1

O Lamm Gottes, unschuldig (O Innocent Lamb of God), BWV 618

Lamb of God most holy who on the cross did suffer.
Patient, still, and lowly, Yourself to scorn did offer.
Our sins by you were taken, or hope had us forsaken:
Have mercy on us, O Jesus.

–Nikolaus Decius, trans. Arthur T. Russell

One of the most common descriptions of Jesus is the “Lamb of God,” since he is viewed as the perfect and innocent sacrifice for our sins. This chorale prelude features two versions of the melody played in a canon a perfect fifth apart. Surrounding the two melodies are two accompaniment patterns. Bach rarely left direct instructions or commentary in his music, so any interpretive efforts are usually done via speculation and “best guesses.”

BWV 618 is one of only two (out of forty-six) chorale preludes in the Orgelbüchlein that do not feature the chorale melody in the top voice of the organ texture. Perhaps Bach’s reason for placing the two melodies in the alto and bass ranges was to signify Christ’s humanity having come “down” to earth with us. In the Baroque era, canons in music were usually employed to represent a leader and a follower. This metaphor is highly understandable in the context of Christ leading his people.

With the double melody canon interspersed with accompanying patterns full of two-note “sigh” motives, this is one of the most challenging pieces in the Orgelbüchlein for the organist to interpret. While there are several creative options for interpretation, I prefer a straightforward approach of playing the alto melody and both accompaniment patterns using the same organ manual while playing the lower melody in the pedals. With careful attention to articulation, this approach conveys a lovely simplicity amidst a complex musical structure.