Ach, lieben Christen, seid getrost, BWV 114

Bach structured the cantata in seven movements. The chorale tune is used in movements 1, 4 and 7, as a chorale fantasia, a chorale sung by a solo voice, and a four-part closing chorale. These three movements frame two sets of aria and recitative. Bach scored the work for four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir, and a Baroque instrumental ensemble of horn (Co) to double the soprano, flauto traverso (Ft), two oboes (Ob), two violins (Vl), viola (Va), and basso continuo.[9] The title of the autograph score reads: "Dom: 17 post Trin: / Ach lieben Xsten seyd getrost / a 4 Voc: / Corno / 2 Hautbois / 2 Violini / Viola / con / Continuo / di / Sign:JS:Bach".[10]

In the following table of the movements, the keys and time signatures are taken from the Bach scholar Alfred Dürr, using the symbol for common time (4/4).[4] The instruments are shown separately for brass, woodwinds and strings, while the continuo, playing throughout, is not shown.

Movements of Barmherziges Herze der ewigen Liebe, BWV 185

No.	Title	Text	Type	Vocal	Brass	Woods	Strings	Key	Time
1	Ach, lieben Christen, seid getrost	Gigas	Chorus	SATB	Co	2Ob	2Vl Va	G minor
2	Wo wird diesem Jammertale	anon.	Aria	T		Ft		D minor	3/4
3	O Sünder, trage mit Geduld	anon.	Recitative	B
4	Kein Frucht das Weizenkörnlein bringt	Gigas	Chorale	S				G minor
5	Du machst, o Tod, mir nun nicht ferner bange	anon.	Aria	A		Ob	2Vl Va	B-flat major
6	Indes bedenke deine Seele	anon.	Recitative	T
7	Wir wachen oder schlafen ein	Gigas	Chorale	SATB	Co	2Ob	2Vl Va	G minor

In the opening chorale fantasia, "Ach, lieben Christen, seid getrost" (Ah, dear Christians, be comforted),[1] Bach expresses two thoughts of the text, comfort and fear, by contrasting themes that appear simultaneously in the instruments: an assertive theme is derived from the melody and played by the two oboes and first violins, an "anxious" one in the second violins and the continuo. The soprano sings the melody as a cantus firmus, doubled by the horn,[7] while the lower voices are set partly in expressive imitation, partly in homophony.[2] They are treated differently to reflect the meaning of the text.[11] The Bach scholar Klaus Hofmann compares the movement to the opening of the cantata Jesu, der du meine Seele, BWV 78, written three weeks earlier: both "a sort of chaconne" in G minor, with a "French style" bass as "the expression of mourning and lamentation".[2]

The first aria is set for tenor with a virtuoso flute, "Wo wird in diesem Jammertale" (Where, in this valley of suffering).[1] It contrasts again the anxious question "Wo wird ... vor meinen Geist die Zuflucht sein?" (Where ... is the refuge of my spirit?)[1] and the trusting "Allein zu Jesu Vaterhänden will ich mich in der Schwachheit wenden" (However, to Jesus' fatherly hands I will turn in my weakness),[1] The anxious question returns in the da capo form.[2]

The first recitative, "O Sünder, trage mit Geduld" (O sinner, bear with patience),[1] begins secco, but expresses the contrasting words "erhebst" (exalt) and "erniedrigt" (humbled) from the Gospel as an arioso.[11]

The chorale stanza, "Kein Frucht das Weizenkörnlein bringt" (The grain of wheat bears no fruit),[1] is set for the soprano, accompanied only by the continuo.[4] In its "starkness of the unembellished chorale", it is the centerpiece of the cantata.[11]

The alto aria, "Du machst, o Tod, mir nun nicht ferner bange" (You make me, o death, no longer fearful now),[1] is the only movement of the cantata in a major key. A shift to minor on the words "Es muß ja so einmal gestorben sein" (One day, indeed, one must die)[1] is even more striking.[11]

A final recitative "Indes bedenke deine Seele" (Therefore, consider your soul) invites to turn body and soul to God.[1]

The cantata ends with a four-part setting of the chorale melody, "Wir wachen oder schlafen ein" (Whether we wake or fall asleep),[1] expressing "confidence in God".[2]