Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei (See to it, that your fear of God be not hypocrisy), BWV 179, is a church cantata written by Johann Sebastian Bach in 1723 in Leipzig for the eleventh Sunday after Trinity, first performed on 8 August 1723.
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Bach wrote the cantata in his first year in Leipzig, which he had started after Trinity of 1723, for the eleventh Sunday after Trinity, first performed on 8 August 1723. Alfred Dürr assumes that Mein Herze schwimmt im Blut, BWV 199, composed for the same occasion in Weimar, was also performed in the service.[1]
The prescribed readings for the day are 1 Corinthians 15:1—10 and Luke 18:9—14, the parable of the Pharisee and the Tax Collector. The unknown poet stayed close to the gospel and alluded to several Bible passages. The cantata is opened by a line from Ecclesiasticus 1:34. the closing chorale is the first verse of Ich armer Mensch, ich armer Sünder of Christian Tietze (1663).[1]
The cantata is scored for soprano, tenor and bass soloists and a four-part choir, two oboe da caccia, two violins, viola, and basso continuo.
In the opening chorus the instruments go with the voices as in a motet. The words are set in a strict counter-fugue: each entrance is followed by an entrance in inversion. The sequence is concluded by a canonic imitation on a new theme: in the words und diene Gott nicht mit einem falschen Herzen (and do not serve God with a false heart) the falseness is expressed by chromatic. A second expanded fugue presents even more complex counterpoint than the first.[1]
A secco recitative prepares the aria with an accompaniment of the two oboe da caccia and violin I in syncopation, which even the tenor voice picks up in the first part. It is not a da capo aria, only the ritornell repeats the beginning. The final words of the second recitative end like an arioso to stress So kannst du Gnad und Hilfe finden! (so that you can find mercy and aid). The soprano aria expresses like a prayer Liebster Gott, erbarme dich (Beloved God, have mercy). The two oboe da caccia illustrate a movement of supplication even together with the soprano voice.[1]
The final chorale is sung on the melody Wer nur den lieben Gott läßt walten, which Bach used also in his choral cantata BWV 93.[1]
Bach used the music of the opening chorus again for the Kyrie of his Missa in G major, the first aria for the Quoniam of that mass, and the second aria for the Qui tollis of the Missa in A major.[2]
The cantata was performed at The Proms of 2007 with the Bach Collegium Japan and soloists Carolyn Sampson, Gerd Türk and Peter Kooy, conducted by Masaaki Suzuki.[4]
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