Systematic Discussions of Bach’s Other Vocal Works
Weihnachts-Oratorium BWV 248 - Cantata 2

Discussions in the Week of October 17, 2004

Neil Halliday wrote (November 7, 2004):
BWV 248: movement 21

This chorus "Honour be to God on high" (near the end of Part 2 of the XO) seems to present something of a performance dilemma.

It's marked 'vivace'.

In the Richter recording, it's so hard-driven as to be almost incomprehensible (the choir valiantly attempting, and almost succeeding, to keep up), except for the music at the words "and peace on earth", where Richter slows the tempo down considerably, allowing a yearning motive on the violins to present itself, with beautiful effect. I note that there is no indication in the score to change the tempo at this point.

Courtesy of the Zale site, I have been able to compare Harnoncourt, Gardiner and Herreweghe (what a site!!!).

Harnoncourt takes the opposite approach to Richter; he seems to ignore the 'vivace' designation, playing the whole chorus at about the same slow tempo that Richter adopts for the section "and peace on earth". This turns the whole movement into quite a weighty chorus, BUT, after hearing Gardiner and Herreweghe, Harnoncourt indeed sounds laboured, as if that 'vivace' marking does need to be obeyed.

But here's the dilemma: Gardiner and Herreweghe, while adopting what seems like an appropriately exciting tempo for this chorus (both being somewhat slower than Richter's frenetic pace), play straight through the "and peace on earth" section, at the same fast tempo as the rest of the chorus, almost entirely missing the special beauty of this section. (And Herreweghe's strings are especially weak at this point).

So, Richter and Harnoncourt seem to have the best tempo for the lovely writing in the "peace" section; while Gardiner and Herreweghe seem to create the excitement that appears to be appropriate for Bach's very different writing in the rest of the score.

Conclusion: A performance of this chorus appears to require the adoption of a slower (not 'vivace') tempo for the "and peace on earth" section.

Neil Halliday wrote (November 7, 2004):
"Conclusion: A performance of this chorus appears to require the adoption of a slower (not 'vivace') tempo for the "and peace on earth" section."
I meant to add: Richter is the only conductor to adopt this strategy, but he fails because his 'vivace' section is too hard-driven, destroying the shape of the music.

As things stand, I would probably choose the Harnoncourt from these 4 examples.

Bradley Lehman wrote (November 7, 2004):
Vivace

[To Neil Halliday] Harnoncourt discusses his understanding of the word Vivace in his books, which see. That word is about character and emphasis, not speed! It's about beats and subdivided beats (i.e. the stressing of smaller note-values, so that a prevailing tempo determined by other factors seems faster without being faster). There's time for stronger, clearer articulation. Harnoncourt's not "ignoring" the Vivace marking; rather, he's taking it more prescriptively (and in a way differently from your understanding of the term).

As with the Vivace marking itself, the difference here is one of emphasis: emphasizing that Harnoncourt is well-informed and faithful to the markings, rather than ignorant or cavalier! Harnoncourt's attempt is to read the markings as they meant then to those people, not as they mean generically to modern people, having been trained differently.

In that recording of "Ehre sei Gott", listen especially to the manner in which the bass-line players articulate their line: that's where the "lively" of vivace is located, the character of the bass line, setting the mood and tempo for everybody else. At the "Friede auf Erden" section the character of that bass line changes (thank you, Bach!) for the contrast, and no change of tempo is really necessary.

Conclusion: Bach knew what he was doing in not writing any change of overall tempo there, and Harnoncourt knew what he was doing in bringing out character difference rather than tempo difference.

=====

A further example of vivace is Harnoncourt's recording of the Schumann Violin Concerto, with Gidon Kremer, Teldec 90696, from 1994. The finale, marked "Lebhaft, doch nicht schnell" is another example of a lively-but-not-fast movement, in this case a Polonaise. Indeed Kremer and Harnoncourt play it in a lively manner at a spaciously slow tempo, taking Schumann's additionally clarifying marking of metronome 63 at face value. They manage to hold it in the 58-66 range well, where other players zip through at 80+ changing the character and accentuation of the music
(making it more bravura and hectic, and in some passages scarcely playable).

Douglas Cowling wrote (November 7, 2004):
Bradley Lehman wrote:
< In that recording of "Ehre sei Gott", listen especially to the manner in which the bass-line players articulate their line: that's where the "lively" of vivace is located, the character of the bass line, setting the mood and tempo for everybody else. At the "Friede auf Erden" section the character of that bass line changes (thank you, Bach!) for the contrast, and no change of tempo is really necessary. >
The problem of heavenly romps and earthly saunters occurs in the Gloria of the Mass in B Minor (BWV 232) where there are few performances that make the shift from the 3/8 "Gloria" to the "Et in Terra" convincing.

In a similar vein, the tempo changes in the "Confiteor" have always been interpreted in vastly different ways. Is there a 'ritard' lesding into "the middle "Et expecto .. Mortuorum" section. Where does the "resurrection" tempo begin? On the Soprano I entry on "Et expecto"? Or on the beginning of that bar? Or on the next bar when the tutti enters? After listening to all kinds of gear shifts in performance, I tend to the opinion that the changes are one of character -- like 'Vivace' -- and not tempo.

Neil Halliday wrote (November 8, 2004):
Bradley Lehman wrote:
<"Harnoncourt's not "ignoring" the Vivace marking; rather, he's taking it more prescriptively (and in a way differently from your understanding of the term)">.
Thanks! This certainly clears up the puzzle I was confronted with; and although I initially had some doubts about Harnoncourt's moderate tempo, mainly because of an attempt to make it fit my understanding of 'vivace', I'm pleased I came out in favour of Harnoncourt's version in the end :-).

Notice also how Harnoncourt articulates the pairs of detached notes (that alternate between the upper strings and woodwinds) by giving more emphasis and shape to the second of the two notes; this is much better than Herreweghe's always pointed staccato on all the notes.

BTW, I checked out Leonhardt's treatment of similar orchestral writing - in relation to alternating pairs of detached notes on upper strings and woodwinds - occurring in the ritornello of BWV 39, and have to say that this is the finest version I have heard. I agree precisely with Aryeh's comments (at the BCW) on this opening chorus; and in relation to the articulation of the detached pairs of notes, Leonhardt is midway between the extremely precise approach of Herreweghe and Rilling, and the somewhat indistinct overlapping of the notes that occurs with Richter. As well, Leonhardt has the slowest tempo, enabling the listener to savour this great music to the fullest.

I'm in the market for this one!

Jason Marmaras wrote (November 9, 2004):
Neil, you write:
>> Courtesy of the Zale site, I have been able to compare Harnoncourt, Gardiner and Herreweghe (what a site!!!). <<
Could you please designate the address of the site?

Thanks,

Discussions in the Week of May 17, 2009

Francis Browne wrote (May 17, 2009):
BWV 248/2: Intoduction

This week's cantata is the second part of the Christmas Oratorio. It was first performed on December 26th 1734 and as in the other cantatas in the oratorio Bach made extensive use of music written for secular cantatas.Doug Cowling gave a valuable introduction to the first cantata a few weeks ago and so it does not seem neto repeat much basic information about Christmas oratorio itself.Doug's introduction is not yet on the website so I shall repeat the general information he gave here:

BACKGROUND LINKS:

Links to texts, translations, scores, recordings and earlier discussions:
http://www.bach-cantatas.com/Vocal/BWV248.htm

PERFORMANCE HISTORY:

Christmas Season 1734

Saturday, Dec 25, 1734 ­ 1st Day of Christmas
Part 1: Jauchzet, frohlocket, auf, preiset die Tage
Sunday, Dec 26, 1734 ­ 2nd Day of Christmas (St. Stephen)
Part 2: Und es waren Hirten in derselben Gegend
Monday, Dec 27, 1734 ­ 3rd Day of Christmas
Part 3: Herrscher des Himmels, erhöre das Lallen
Friday, Jan 1, 1735 ­ Circumcision of Christ (New Year¹s Day)
Part 4: Fallt mit Danken, fallt mit Loben
Sunday, Jan 3, 1735 ­ Sunday after the Circumcision
Part 5: Ehre sei dir, Gott, gesungen
Wednesday. Jan 6, 1735 ­ Epiphany
Part 6: Herr, wenn die stolzen Feinde schnauben

LIBRETTO & STRUCTURE:

The structure of the Christmas Oratorio has both an overall unity as an oratorio and a serial integrity as a sequence of independent cantatas. The whole work is linked by the biblical narrative which is sung by a tenor evangelist as in the Passions. The bulk of the text is drawn from the Lucan infancy narrative, switching to Matthew for the magi narrative. Bach is often selective, not setting all of the verses.

The poetic texts were probably written by Picander (Mvts. 1-5) Since the work is full of parodies from secular cantatas, scholars debate whether the oratorio project was already in mind when those cantatas were written. There are also several unifying features which reenforce the oratorio format: the overarching tonal sequence and orchestration, the use of the chorale ³Herzlich tut mich verlangen² as the first and last chorales in the work,
and the final ³farewell² recitative of the four soloists (as in SMP). At the same time, each part is a fully-contained cantata which stands alone.

Mvt. 1 (10): Sinfonia
Instead of the usual opening chorus this cantata begins with a Sinfonia. Schweitzer's explanation is worth quoting in full:

"No one who knows that the motive in strings and flutes is generally employed by Bach to symbolise angels, and who notices that the movement is performed by two contrasted groups, - the four oboes having a theme of their own and being quite independent of the strings, whether they alternate or join with them - can have any doubt as to the meaning of the sinfonia. It represents the angels and the shepherds making music together. Bach is once more writing music that depicts situation. The shepherds in the fields awake and blow their pipes; over them there hovers already the band of angels that is about to appear to them. Their music blends with that of the shepherds. Bach thus intends the movem­ent to be an introduction to the recitative "And there were shepherds in the same country, abiding in the field ...and lo, an angel of the Lord stood by them". If this be so, we need no longer take all the animation out of the sinfonia by playing it very softly and slowly; we can play t just as it is. The part for the flutes and violins must

come out energetically if it is to suggest the joyous music of the angels. The oboes should play piano throughout, and in a tempo just a shade slower. Where the strings alone are playing, or interrupt the oboes for a moment, a forte is required; the short parentheses in particular must give the effect of a shout of joy. Where the strings play with the oboes, the former should, as a rule, play piano, as if the angels were listening to the pipes of the shepherds. In this way we not only give an admirable and natural variety to the movement, but we make it immediately intelligible to every hearer.

Dürr points out :

The sinfonia is tripartite (A Al A2), with each section in turn subdivided into three according to the unvarying sequence strings (+ flutes)-oboes-tutti Of the three main sections, the middle one is more freely formed, and the third a varied da capo* of the first, so that we may see in this piece a forerunner of sonata form of a classical symphonic movement: exposition* (A), development (A'), and recapitulation (A2). To extend the analogy further, the string the occupies the position of first subject, the oboe theme that of second subject, the tutti that of closing group."

More briefly, this music is sheer delight.Listen to it.

Mvt. 2 (11): Recitative Tenor
The evangelist introduces the cantata with Luke 1:8-10

Mvt. 3 (12): Chorale
The ninth stanza of Johann Rist's 12 stanza poem Weihenachtgesang is sung by the choir. (The texts and translations of chorales used in this cantata will be available this week)

Mvt. 4 (13): Evangelist Tenor Soprano

Luke: 2 :10-12 The angel's words are sung by a soprano

Movement 4/5:
A bass recitative meditates on the fulfilment of God's promise to Abraham and leads to an elaborately ornamented tenor aria with flute obbligato. It is adapted from a secular cantata BWV 214.

The two texts can be seen together at: http://www.bach-cantatas.com/Texts/BWV248-2-Eng3.htm

Movement 6 : Recitative Tenor
Luke 2: 12

Movement 7: Chorale
The eighth stanza of a poem by Paul Gerhardt is sung by the choir. Dürr points out that in this central movement the relatively low pitch(in the key of C major) acts as a symbol of God's abasement.

Movement 8 Bass recitiative
A meditative bass recitiative accompanied by pairs of oboi d'amore and oboi da caccia, with more elaborate continuo bass:the shepherds are told to go and sing a luulaby to the child born in a manger

Movement 9:
The lullaby is an aria for alto adapted from a secular cantata. For parallel texts see: http://www.bach-cantatas.com/Texts/BWV248-2-Eng3.htm

It is one of the loveliest arias in all of Bach's work, and nothing I can say can add to its beauty.Many members of the list will not need this, but I did find the following analysis helpful in trying to understand how Bach achieved such beauty :

[This movement]is in the usual ternary or aria form, with the first section A divided into two parts, the first part starting in G major, and the second part starting in the dominant key, D major, at 69. The second section, B, starts at 113 in the relative minor and ends in that key. It is followed by a complete da capo of A.

The aria is really a duet between contralto and orchestra, and is based, as is usual, on a number of short figures which recur fre­quently in different combinations. They can be labelled thus: (a) bar 1; (b) 5 ; (c) 9, which has an affinity with a figure much used in the sinfonia (see the bass of bar 1 and the melody of bars 9, I I, 13, etc.) ; (d) 13 ; (e) 16; (f) 20. All of these are heard in the orchestra alone before the voice enters, and then they continue against soothing, long notes in the vocal part. Notice the frequent use of the flattened leading note, as for example in bars 1 and 3, and in the voice part, bar 32. It has a soothing effect, as has also the tonic pedal which is heard in bars 1-12 and again at 41-52.

At bar 40 the singer begins to use some of the figures that have been played by the orchestra, for example, (c) at 41, (a) at 45. She reaches the dominant key at 56 and the orchestra ends the first part of A with fourteen bars alone, based on (e) (inverted at 56 and in its original form at 58) and (f) (6o onwards).

The second half of A starts at 69 in the dominant key, and is based on the same figures. It returns to the tonic key at 73;.and the singer ends in that key at 96. A is rounded off by a return to the opening sixteen bars in the orchestra.

B starts at 113 in E minor. This section as a whole is quicker than A, so one is glad of the return to the serene first section at the da capo sign.

(Annie Warburton, Analyses of Musical Classics, Vol1)

Movements 10/11:
Luke2:13-14 the evangelist introduces a large-scale setting of the song of the Angels.Dürr gives a useful account:

The most significant movement in Part II is the large-scale chorus, whose form is derived from the motet. The texture is dominated by the choir,for the instruments have an accompanying function. The text is delivered three sections:

a) `Ehre sei Gott in der Höhe';
b) 'und Friede auf Erden'; and
c) 'und den Menschen ein Wohlgefallen'.

Thereafter the entire complex is repeated in an abbreviated form. Each of the three sections is founded on a different musical principle, the structural framework being:

a) a passacaglia-like continuo bass, heard three times at various pitches;

b) a pedal point, likewise in continuo; and

c) an imitative theme delivered by the voice parts, mostly in pairs. Thus the compositional principles out of which this chorus was developed are ground bass, pedal, and canon.

Movement 12/13:
A bass recitative introduces a final chorale which uses themes from introductory Sinfonia.The text comes from the second stanza of Paul Gerhardt Wir singen dir ,Immanuel

Don't wait for Christmas !

I know the Christmas Oratorio far less well than the cantatas and passions.This is because of a misplaced sense of propriety - a feeling that I ought to listen to this music at Christmas, when inevitably year after year family circumstances would prevent me from hearing the work. To get to know this oratorio better was therefore one reason why I agreed to take over the introductions from Kim.

Sometimes virtue is rewarded.Preparing the introductions has meant that I finally found time to watch the John Eliot Gardiner DVD of performances at the Herderkirche, Weimar, 1999 at the beginning of his Bach Pilgrimage.For many years I have always preferred to listen intently rather than be distracted by visual images but I would recommend this strongly . The performances are excellent and the DVD captures the delight and dedication of conductor, soloists , choir and orchestra in making joyful music.Gardiner's earlier recording and that by Herreweghe are also excellent, and there is much to enjoy on the Naxos recording.It has beeen most enjoyable listening to these durung the past week.

Don't wait for Christmas -give your self a treat this week by listening to this cantata.

John Pike wrote (May 18, 2009):
Francis Browne wrote:
< Preparing the introductions has meant that I finally found time to watch the John Eliot Gardiner DVD of performances at the Herderkirche, Weimar, 1999 at the beginning of his Bach Pilgrimage.For many years I have always preferred to listen intently rather than be distracted by visual images but I would recommend this strongly . The performances are excellent and the DVD captures the delight and dedication of conductor, soloists, choir and orchestra in making joyful music.Gardiner's earlier recording and that by Herreweghe are also excellent, and there is much to enjoy on the Naxos recording.It has beeen most enjoyable listening to these durung the past week.
Don't wait for Christmas -give your self a treat this week by listening to this cantata. >
Many thanks, Francis, for this excellent introduction. I agree the Gardiner recording on DVD from Weimar is outstanding and well worth having on DVD as opposed to mere audio recording. Dietrich Henschel is particularly fine.

Jean Laaninen wrote (May 24, 2009):
[To John Pike] I just got my copy of this DVD performance a few days ago, and listened to the first disc as well as the documentary yesterday. What an excellent opportunity this is. As one who is not certain I'll ever travel to Bach's country in my life time, being able to experience the setting was outstanding. And, I did not wait until Christmas...good advice Francis.

Discussions in the Week of December 31, 2017 (4^th round)

William Hoffman wrote (December 31, 2017):
Christmas Oratorio, BWV 248, Part 2, Shepherds Play

Lasting a half-hour, Bach's Christmas Oratorio, BWV 248, Part 2, "Und es waren Hirten in derselben Gegend" (And there were in the same country shepherds, Luke 2:8), celebrates the Angels' Annunciation to the Shepherds and ranks with Handel's account in Part 1 of Messiah. To achieve a satisfying narrative of 14 movements, Bach begins with an instrumental pastorale Siciliano and intersperses the historical narrative of the Evangelist and the Angel with three reflective chorales, three interpretive accompagnati for Bass as Vox Dei, and two lullaby arias (both parodies) for tenor and alto as Mary. To reinforce the pastorale effect, Bach uses pairs of transverse flutes, oboes d'amore, and oboes da caccia, while presenting the strings as a heavenly choir in dialogue with the earthly woodwinds in the opening sinfonia with the pastorale melody repeated as interludes in the closing chorale. Bach's setting lacks the drama of other Nativity settings but it uses devices such as instrumentation and repetition of movement types (narrative, chorales, accompagnato bass solos) to give it coherence https://www.youtube.com/watch?v=GvTFCSfYU5o).^1.

The significance of the Shepherds, so powerful in baroque music is explored to its fullest in Bach's music. The libretto makes direct reference to Abraham in the first of the bass accompagnato poetic expressions (No. 14/5), "(What God promised to Abraham / He now allows to the band of shepherds" (https://www.youtube.com/watch?v=_YW3lfv5LdE, 10:31). "In the choice of the Shepherds as the first witnesses, the Old Testament promise to Abraham is fulfilled, he says. "Abraham too was a Shepherd, like David, from whom Christ descended." Besides the use of the quartet of oboes in the opening sinfonia, Bach uses them in the three accompagnato , as well as the alto aria (No. 19/10), "Schlafe, mein Liebster" (https://www.youtube.com/watch?v=AX8lJe8Nf-E), the Angel chorus "Glory to God, and the closing chorale (No. 23/14), "Wir singen dir" (https://www.youtube.com/watch?v=FUCGc0cEJIE).

Better known are the Shepherd string instrument movements of Archangelo Correlli, the "Pastorale: Largo"Christmas Concerto, Opus 6, No. 8 (https://www.youtube.com/watch?v=NFsH9n6iU2I), and Handel''s "Pifa: Sinfonia" from Messiah (https://www.youtube.com/watch?v=hmg9xUVeFug), says Ignace Bossuyt.² Two other works that show pastoral influences are Pietro Locatelli's Pastorale, Op. 1, No. 8 (https://www.youtube.com/watch?v=5r25lmE9ziE), which Bach presented c1734, and Bach colleague Johann David Heinichen's Pastorale (https://www.youtube.com/watch?v=62J4d9NHj5c), points out Marcus Rathey.³

Bach created other cantatas with the theme of the Good Shepherd, specifically for Second Sunday after Easter (BWV 104, "Du Hirte Israel, höre" (You Shepherd, Israel, listen," and BWV 85, "Ich bin ein guter Hirt" (I am the good Shepherd), and the Third Day of Pentecost, BWV 184, "Erwünschtes Freudenlicht"
(Longed-for light of joy), and BWV 175, "Er rufet seinen Schafen mit Namen" (He calls his own sheep by name), from the Gospel of John, Chapter 10.

The other parallel with Handel's Messiah in Part 2 of the Christmas Oratorio is the Angel's Great Doxlogy canticle of praise, "Glory to God in the Highest." Bach sets his version as a three-part motet (No. 21/12), "Ehre sei Gott in der Höhe" (https://www.youtube.com/watch?v=47XqiM7ACok) in the form of a turba chorus, as in his Passion Oratorios. Another Passion parallel is Bach's setting of "Und der Engel sprach zu ihnen" (And the angel said unto them" with the "halo" string affect (https://www.youtube.com/watch?v=YqWTGp-A-QI). Bach's praise of the angels motet is modeled someafter the Gloria in excelsis deo chorus (but without trumpets and drums) in the B-Minor Mass (https://www.youtube.com/watch?v=AECIskif0mU), Rathey points out (Ibid.: 212f).

Part 2 of the Christmas Oratorio \was presented on December 26, the second day of the Christmas Festival at the early main service of the St. Thomas Church before the sermon (not extant) on the day's Gospel (Matthew 23:34-39) for the festival of St. Stephen, the first Christian martyr, by Pastor Christian Weise (1671-1736), and was repeated at the afternoon vesper service at the Nikolaikirche before the sermon (not extant) by Deacon Friedrich Werner (1659-1741) on the Epistle, Acts 6:8-15 and 7;55-60, says Martin Petzoldt in his Bach Commentary, vol. 2.⁴ The introit for the early main service was a polyphonic setting of Psalm 98, Cantate Domino (O sing unto the Lord a new song, kjv https://www.biblegateway.com/passage/?search=Psalm+98&version=KJV. An alternative Introit Hymn could have been “Puer Natus In Bethlehem,” settings by Praetorius or Schein are possible.

Christmas Oratorio, BWV 248/2 movement, scoring, text, key, meter (German text, Francis Browne English translation, parody movements [15] 6, [19] 10):

[10] 1. Sinfonia (Pastorale) [Flauto traverso I/II, Oboe d'amore I/II, Oboe da caccia I/II, Violino I/II, Viola, Continuo]; G Major, 12/8 Siciliano style.
[11] 2. Recitative secco Narrative (Luke 2:8-9) [Tenor, Continuo]: Evangelist: "Und es waren Hirten in derselben Gegend / auf dem Felde bei den Hürden, / die hüteten des Nachts ihre Herde. / Und siehe, des Herren Engel trat zu ihnen, / und die Klarheit des Herren leuchtet um sie, / und sie furchten sich sehr." (Evangelist: "And there were shepherds in the same area / in the fields with their flocks, / they watched over their flocks by night. / And see, the angel of the Lord came to them / and the glory of the Lord shone around them / and they were very afraid.); e to b minor; 4/4.
[12] 3. Chorale plain, Bar Form [SATB; Flauto traverso I/II in octava e Oboe d'amore I/II e Violino I col Soprano, Oboe da caccia I e Violino II coll'Alto, Oboe da caccia II e Viola col Tenore, Continuo]: Stollen, A. "Brich an, o schönes Morgenlicht, / Und lass den Himmel tagen! / A'. Du Hirtenvolk, erschrecke nicht, / Weil dir die Engel sagen, / B. Abgesang, "Dass dieses schwache Knäbelein / Soll unser Trost und Freude sein, / Dazu den Satan zwingen / Und letztlich Friede bringen!" (Stollen, A. Break out, O beautiful light of morning, / and let the heavens dawn! / A'. You shepherd folk, do not fear / because the angels tell you / B. Abgesang, that this weak baby boy / shall be our consolation and joy, / subdue Satan / and bring peace at last!). G Major; 4/4.
[13] 4. Recitative secco Narrative (Luke 2:10-11) [Tenor, Soprano; Violino I/II, Viola, Continuo]: Tenor: "Und der Engel sprach zu ihnen:" (Tenor: And the angel said to them:); Sopran: "Fürchtet euch nicht, / siehe, ich verkündige euch große Freude, / die allem Volke widerfahren wird. / Denn euch ist heute der Heiland geboren, / welcher ist Christus, / der Herr, in der Stadt David." (Soprano: Do not fear, / See, I announce to you great joy / which will befall all the people. / For the saviour is born for you today, / who is Christ, the Lord, / in the city of David.); D Major to b minor; 4/4.
[14] 5. Recitative Accompagnato [Bass; Oboe d'amore I/II, Oboe da caccia I/II, Continuo]: "Was Gott dem Abraham verheißen, / Das lässt er nun dem Hirtenchor / Erfüllt erweisen. / Ein Hirt hat alles das zuvor / Von Gott erfahren müssen. / Und nun muss auch ein Hirt die Tat, / Was er damals versprochen hat, / Zuerst erfüllet wissen." (What God promised to Abraham / He now allows to the band of shepherds / To be shown as fulfilled. / A shepherd had all beforehand / to learn from God. / And now also a shepherd must of the deed / that was promised in the past / first know of the fulfilment); G Major to e minor; 4/4.
[15] 6. Aria Two-Part, ritornelli complex [Tenor, Flauto traverso I, Continuo]: A. "Frohe Hirten, eilt, ach eilet, / Eh ihr euch zu lang verweilet, / Eilt, das holde Kind zu sehn!" (Joyful shepherds, hurry, ah hurry, /in case you linger too long, / Hurry to see the lovely child!); B. Geht, die Freude heißt zu schön, / Sucht die Anmut zu gewinnen, / Geht und labet Herz und Sinnen!" (Go, the joy is too beautiful, / seek to gain that loveliness, / go and refresh your heart and mind!); e minor; 3/8 passepied-menuett style.
[16] 7. Recitative secco (Narrative, Luke 2:12) [Tenor; Continuo]: Evangelist: "Und das habt zum Zeichen: / Ihr werdet finden das Kind in Windeln gewickelt und in einer Krippe liegen." (Evangelist: And you shall have this for a sign: / You will find the child wrapped in swaddling clothes and lying in a manger.); G major to a minor; 4/4.
[17] 8. Chorale plain [SATB; Flauto traverso I/II in octava e Oboe d'amore I/II e Violino I col Soprano, Oboe da caccia I e Violino II coll'Alto, Oboe da caccia II e Viola col Tenore, Continuo]: "Schaut hin, dort liegt im finstern Stall, / Des Herrschaft gehet überall! / Da Speise vormals sucht ein Rind, / Da ruhet itzt der Jungfrau'n Kind." (Look, there lies in the dark stable / one who has dominion over all! / Where once an ox sought food /now rests the Virgin's child.); C Major; 4/4.
[18] 9. Recitative Accompagnato [Bass; Oboe d'amore I/II, Oboe da caccia I/II, Continuo]: "So geht denn hin, ihr Hirten, geht, / Dass ihr das Wunder seht: / Und findet ihr des Höchsten Sohn / In einer harten Krippe liegen, / So singet ihm bei seiner Wiegen / Aus einem süßen Ton / Und mit gesamtem Chor / Dies Lied zur Ruhe vor!" (Then go there, you shepherds, go, / that you may see the wonder: / And if you find the son of the Highest
lying in a hard manger, / then sing to him in his cradle / in a sweet tone / and with the whole choir / this song for his rest!); a minor to G Major; 4/4.
[19] 10. Aria da-capo, [Alto; Flauto traverso I, Oboe d'amore I/II, Oboe da caccia I/II, Violino I/II, Viola, Continuo]: A. Schlafe, mein Liebster, genieße der Ruh, / Wache nach diesem vor aller Gedeihen! (Sleep, my dearest, enjoy your rest. / wake after this so that all may thrive!) "Labe die Brust, / Empfinde die Lust, / Wo wir unser Herz erfreuen!" (Comfort the breast, / feel the pleasure / with which we make glad our hearts!); G Major, 2/4.
[20] 11. Recitative secco (Narrative, Luke 2:13) [Tenor; Continuo]: Evangelist: "Und alsobald war da bei dem Engel / die Menge der himmlischen Heerscharen, / die lobten Gott und sprachen" (And at once there was with the angel / a multitude of the heavenly host / who praised God and said:] D Major; 4/4.
[21] 12. Turba Chorus (Angels) imitative motet style, tri partite (Narrative, Luke 2:14) [Flauto traverso I/II, Oboe d'amore I/II, Oboe da caccia I/II, Violino I/II, Viola, Continuo] A. "Ehre sei Gott in der Höhe" (Glory to God in the highest); B. "und Friede auf Erden" (and peace on earth); C. "und den Menschen ein Wohlgefallen." (and goodwill towards men); G Major; 4/4.
[22] 13. Recitative Accompagnato [Bass, Continuo]: "So recht, ihr Engel, jauchzt und singet, / Dass es uns heut so schön gelinget! / Auf denn! wir stimmen mit euch ein, / Uns kann es so wie euch erfreun." (It is right, you Angels, that you should rejoice and sing / that it has turned out so well for us today! / Up then! We shall join with you, / It can delight us as well as you.); G Major; 4/4.
[23] 14. Chorale plain with instrumental interludes [SATB; Flauto traverso I/II, Oboe d'amore I/II, Oboe da caccia I/II, Violino I/II, Viola, Continuo]: "Wir singen dir in deinem Heer / Aus aller Kraft, Lob, Preis und Ehr, / Dass du, o lang gewünschter Gast, / Dich nunmehr eingestellet hast." (We sing to you in your host / with all our might: “Praise, honour and glory,” / that you, o guest we have long desired, / have now appeared); G Major; 12/8 Pastorale Siciliano.

Notes on Text

The interpretive movements in the Christmas Oratorio — the texts of the three chorales, two accompagnato, and two arias — are described in Melvin P. U's Handbook to Bach Sacred Cantata Texts.⁵ These begin with a sequence of three interpretive movements with key phrases. The first chorale (13/3), "Break out, O beautiful light of morning," after the Angel calms the Shepherds with "Fear Not." in which the "Christ-child brings the dawn of a new age" where the glory of God's light dispels the darkness as Isaiah (9:2, 6:7) foretold, vanquishing evil and bringing peace. The bass Accompagnato (14/4), "What God promised to Abraham," shows that "Christmas fulfills promise to Abraham, a shepherd," found in Hebrews 11:8-9, with land that would make a great nation (Genesis 12:1-4) and that Jesus brought the blessing of Abraham to the nations and those with faith (Galatians 38-29). The tenor aria (No. 15/6), "Joyful shepherds, hurry," urges them to hasten, a directive also found at the beginning of the Easter Oratorio chorus, Come, hurry and run" to the empty tomb, now to see the child in joy. In between the narrative, that tells the Shepherds what they will find, are two pairs of commentary, the chorale (No. 17/8), "Look, there lies in the dark stable," the bass Accompagnato (No. 18/9), "(Then go there, you shepherds, go), and Mary's lullaby (No. 19/10), "Sleep, my dearest, enjoy your rest." Finally, comes the bass Accompagnato (No. 22/13), "It is right, you Angels, that you should rejoice and sing," and the closing Shepherd's chorale (No. 23/14), "We sing to you in your host."

Chorales

The first chorale (No. 12/3), "Break out, O beautiful light of morning" (https://www.youtube.com/watch?v=M2sm_rbH_JE) contrasts "the light symbolizing the Incarnation of God" and the Shepherds' "apprehensive astonishment of the Faithful," observes Bossuyt (Ibid.: 55). This is the 9th verse of poet Johann Rist (1607-1667) 12-stanza Christmas song, "Ermuntre dich, mein schwacher Geist" (Take courage, my weak spirit), set to his collaborator, the Johann Schoop (c.1590-1664) associated melody (Zahn 5741, EKG: 24), published in Schoop's Himmlische Lieder (Erstes Zehn) (Heavenly Songs - The First Ten; Lüneburg, 1641).⁶ The text is first found in Wagner's 1697 hymnal and in the Schemelli Gesangbuch (Leipzig 1736) as No. 187, BWV 454. Bach set seven of Rist's pre-Pietist hymns in his works, three in Part 4, New Year's, of the Christmas Oratorio, eight in sacred cantatas as well as four sacred song settings.

Bach uses noted poet Paul Gerhardt's other two Christmas settings of the Martin Luther Christmas melody,"Vom Himmel hoch da komm' ich her" (From Heaven Above to Earth I Come).⁷ Following the Angel's direction to the Shepherds to go the manger (No. 16/7), Bach sets Stanza 8, "Look, there lies in the dark stable" ( https://www.youtube.com/watch?v=JRKLSYUvnvE), of Gerhardt's 18-stanza "Schaut, schaut, was ist für Wunder dar?" (Look, look, what sort of miracle is this?, first published in J. G. Ebeling's Geistliche Andachten Fünffte Dutzet, (Berlin 1667). Despite its brevity, the Luther-Gerhardt setting lies exactly half-way through the first three Christmas Festival cycle cantatas and the lowest point in the cycle, C Major, observes Bossuyt (Ibid.: 97). "This modulation 'downward' symbolizes the dark stable, which itself represents that world still mored in the darkness of sin," he says.

Part 2 of the Christmas Oratorio closes with the pastorale setting of the second stanza, "Wir singen dir Immanuel in deinem Heer (https://www.youtube.com/watch?v=Up62iH-Fd18) of Gerhardt's 20-stanza Christmas song, "Wir singen dir, Immanuel" (We sing to you, Immanuel), published in Johann Crüger's Praxis Pietatis Melica (Berlin 1653). The choirs of voices and bucolic woodwinds round out his pastorale tribute.

FOOTNOTES

¹ Christmas Oratorio, Part 2, Details & Discography, BCW http://www.bach-cantatas.com/Vocal/BWV248.htm, BWV 248/2; Score Vocal & Piano, http://www.bach-cantatas.com/Scores/BWV248-2-V&P.pdf; Score BGA, http://www.bach-cantatas.com/BGA/BWV248-2-BGA.pdf. References: BGA V/2 (BWV 248, Wilhelm Rust,1856), NBA KB II/6 (BWV 248, Walter Blankenburg/Alfred Dürr, 1962), Bach Compendium BC D 7, Zwang K 191).
² Ignace Bossuyt, Johann Sebastian Bach Christmas Oratorio, trans. Stratton Bull (Leuven University Press, 2004: 88).
³ Marcus Rathey, Johann Sebastian Bach’s Christmas Oratorio: Music, Theology, Culture (New York: Oxford University Press, 2016: 202f).
⁴ Martin Petzoldt, Bach Kommentar, Vol. 2, Advent to Trinity Sunday (Kassel: Bärenreiter 2007: 181). The alternate readings for December 26 in Bach's time are found at http://www.bach-cantatas.com/Read/Christmas2.htm).
⁵ Unger, Handbook . . . An Interlinear Translation with Reference Guide to Biblical Quotations and Illusions (Lanham MD. Scarecrow Press, 1996: 708-713).
⁶ Johann Rist biography, BCW http://www.bach-cantatas.com/Lib/Rist.htm; German text and Francis Browne English translation, http://www.bach-cantatas.com/Texts/Chorale454-Eng3.htm; melody information and Bach's other uses, http://www.bach-cantatas.com/CM/BWV454.htm.
⁷ Paul Gerhardt biography, http://www.bach-cantatas.com/Lib/Gerhardt.htm;m German text and Francis Browne English translation http://www.bach-cantatas.com/Texts/Chorale137-Eng3.htm; the most extensive setting of Liuther's melody is the Johann Christoph Bach (1642-1703) motet, "Merk auf, mein Herz, und sieh dorthin" (Take care, my heart, and look there; Stanzas 7, 3, 6, 8, 9, 13, 15; https://www.youtube.com/watch?v=jkDbsr5dfl0, Luther text, https://en.wikipedia.org/wiki/Vom_Himmel_hoch,_da_komm_ich_her. "Wir singen dir, Immanuel," German text and Francis Browne English translation, http://www.bach-cantatas.com/Texts/Chorale138-Eng3.htm.

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To Come: Christmas Oratorio, Part 3, Adoration of the Shepherds.