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5 – Recitativo
This is a short recitativo secco that tells of the healing power of the Saviour. The accompaniment here is very different from No. 2: despite the presence of long notes, the chords would only be played as crochets. Note also how the melody line follows the inflection of speech. This type had a more perfunctory purpose than recitativo accompagnato, since large amounts of text could be delivered in a relatively short period.

6 – Aria
Tenor aria, with strings and oboe (doubling violin 1). Here, Jesus has forgiven all sins, has made the body sound; He can raise the dead and can strengthen the weak. There is a newly-found confidence in the music, which is represented by a regular bassi movement in crotchets. Above this, lovely melodies dance around in constant syncopations (e.g. bar 19.3-25.2 – “Forgive me, Jesus, my sins, so comes to me a healthy body and soul”, and 83.3-86.2).

The condition of the previous bodily state is recalled only once, by a low A-flat on Schwachen, (bar 72-73), but even then the forte is indicated for the orchestra, the violins pursuing the cross-rhythm whilst the violas and continuo leap in abounding strength. The same type of melody continues throughout Er kann die Todten lebend machen, und zeigt zich kräftig in der Schwachen; er hält den längst geschloss’nen Bund: dass wir im Glauben Hilfe finden (He can the dead living make, and shows himself powerfully in the weak, he keeps the long-concluded bond that we can find help in faith). Although in the Breitkopf edition this aria is marked lento, this is obviously not Bach’s intention as the music is very dance-like in its quality.

7 – Choral
This appeared instrumentally in the first movement, but now comes in tutti.

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