In fact, there is no reliable historical information about Jesus, and the date of his birth is unknown. In the early to mid-4th century, the Church arbitrarily placed this event on December 25, a date marked by the Romans as the winter solstice, the shortest and darkest day of the year (and therefore the time when the days would begin to lengthen again, symbolizing that Jesus is the light of the world), as well as the date exactly nine months after the Annunciation, when the conception of Jesus was celebrated.
[Gerard van Honthorst, Adoration of the Shepherds, 1622]
For the Christmas season of 1734, Bach composed the Christmas Oratorio in six parts to be performed consecutively on the three days of Christmas, New Year's Day, the Sunday after New Year's Day, and Epiphany. We will discuss the six parts on their respective days. The first part for Christmas Day is the wonderful "Jauchzet, frohlocket".
In addition to the first part of the Christmas Oratorio, there are five cantatas for this day: "Christen, ätzet diesen Tag, BWV 63, a beautiful and festive cantata that Bach probably first performed on December 25, 1713, which was not only Christmas Day but also the birthday of the musically talented Prince Johann Ernst (1696-1715), the son of Bach's employer in Weimar. It was later included in the first Leipzig cantata cycle. "Gelobet seist du, Jesu Christ, BWV 91, was performed on Christmas Day 1724 and is part of the chorale cantata cycle. It is based on Luther's hymn of the same name. "Unser Mund sei voll Lachens (Our Mouth is Full of Laughter), BWV 110, written a year later, is part of the third cantata cycle. It has an opening chorus based on the ouverture of the Orchestral Suite BWV 1069, which Bach wrote in Köthen.
The music of "Ehre sei Gott in der Höhe", BWV 197a, was lost, but can be partially reconstructed (the last four movements) from BWV 197. It belongs to the fourth cycle of Picander cantatas of 1728-29.
A "strange bird" is BWV 191, a Latin cantata written to celebrate the Peace of Dresden (which ended the Second Silesian War) and performed on Christmas Day 1745. The music of its three movements was copied by Bach from the great B Minor Mass.
These cantatas don't exhaust the music Bach wrote for this important liturgical day. In 1723 (when he was eager to prove himself as the newly appointed Thomaskantor), he also performed the Christmas version of the Magnificat, BWV 243a, a work originally written for the Feast of the Visitation (July 2), but with the addition of four voices, now suitable for Christmas Day. Finally, Bach composed the Sanctus in D major, BWV 238, for this festive day.
The readings for Christmas Day:
Titus 2:11–14, God's mercy appeared (or Isaiah 9:2–7, Unto us a child is born)
Luke 2:1–14, Nativity, Annunciation to the shepherds and the angels' song
Cantata Studies:
Bach Cantatas Website | Simon Crouch | Emmanuel Music | Julian Mincham | Wikipedia | Eduard van Hengel (in Dutch) | Bach Companion (Oxford U.P.) | Bach: The Learned Musician (Wolff) | Music in the Castle of Heaven (Gardiner)
- Christen, ätzet diesen Tag, BWV 63, 1713-1716 or 1723
Chorus: Christen, ätzet diesen Tag
Recitative (alto): Oh, selger Tag! o ungemeines Heute
Aria (soprano, bass): Gott, du hast es wohl gefüget
Recitative (tenor): So kehret sich nun heut
Aria (alto, tenor): Ruft und fleht den Himmel an
Recitative (bass): Verdoppelt euch demnach
Chorus: Höchster, schau in Gnaden an
"Christians, engrave this day"
Text & translation
Scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, four trumpets, timpani, three oboes, bassoon, two violins, viola, organ (in a later version), and continuo.
Bach's earliest surviving Christmas cantata, of somewhat mysterious origin. It may have been composed as early as 1713-1716, when Bach was working in Weimar; but it was certainly not composed for the Weimar Schlosskirche "Himmelsburg," since the high organ balcony in that church was so small that it could only accommodate chamber music forces, while this cantata uses unusually lavish forces. Another fact is that this cantata, although it has an appropriately festive character, lacks the usual Nativity themes such as a cradle song, shepherd music, or Christmas chorales.
There has been much speculation about the origins of BWV 63. In my opinion, Eduard van Hengel has given the correct interpretation: he says that Bach probably wrote the cantata for December 25, 1713, which was not only Christmas Day, but above all the birthday of the musically gifted Prince Johann Ernst (1696-1715), the son of Bach's employer in Weimar. It was also a prayer for the health of the young prince, who was seriously ill. This occasion explains the extremely large instrumentation of the cantata, which is suitable for major holidays such as those celebrated by the ducal family in one of Weimar's large churches (St. Peter and Paul). It also explains the cantata's somewhat ambivalent character as a Christmas cantata.
Van Hengel adds that the cantata was performed again in a slightly modified form on October 31, 1717, at the celebration of the bicentennial of the Lutheran Reformation in Halle - and it is to this version that we owe the opening text "Engrave this day": it fits well into a one-time commemoration. The long-suspected connection between this piece and Bach's application for the position of organist in Halle can thus be dispelled.
"Engrave this day in metal and marble" also refers to the director of the Weimar Mint, Salomo Franck, who wrote most of the librettos that Bach used in Weimar. Although there is no proof, it is likely that the text was written by him.
Of course, it is not so strange that Bach returned to this festive and grand Weimar work for his first Christmas in Leipzig in 1723, which he wanted to celebrate with especially bright music.
The cantata does not contain the usual sermon or stern words; it is a long song of praise and thanksgiving for the blessings of Christmas, presented as the long-awaited fulfillment of God's promise. The cantata begins in an energetic and confident mode, with a festive chorus accompanied by a large orchestra, four trumpets announcing the mercy of Jesus' coming, and rapid entrances imitating one another, as if the choir and orchestra could not wait for the great event.
The accompanied alto recitative is more introspective than the exuberant opening chorus. There are some tortuous passages as the voice struggles to free itself from "Satan's slavish chains".
Next we find two duets separated by another recitative. The first - austere - duet is for soprano and bass with oboe obbligato; the second - dancing, a menuet - is for alto and tenor. This is a rare cantata that contains no solo arias, but only duets.
A bravura bass recitative with brass and winds introduces the glorious final C major chorus (not chorale), which begins with an energetic double fugue. Incidentally, the central recitative (movement four by the tenor) contains the word "Gnaden," "grace," at its midpoint; Bach deliberately made this concept, God's mercy, leading to salvation and deliverance from death, fear and sin, the fulcrum around which the entire cantata turns.
Video: Netherlands Bach Society / J.S. Bach Foundation (St, Gallen) - Workshop (in German) - Contemplation (in German)
[Bernardo Daddi 1325-50]
- Gelobet seist du, Jesu Christ, BWV 91, 25 December 1724
Chorale: Gelobet seist du, Jesu Christ
Recitative (and chorale, soprano): Der Glanz der höchsten Herrlichkeit
Aria (tenor): Gott, dem der Erden Kreis zu klein
Recitative (bass): O Christenheit! Wohlan
Aria (soprano, alto): Die Armut, so Gott auf sich nimmt
Chorale: Das hat er alles uns getan
"Praise be to you, Jesus Christ"
Text & translation
Scored for soprano, alto, tenor, and bass, a four-part choir, two horns, timpani, three oboes, two violins, viola and basso continuo.
Chorale cantata from Bach's second Leipzig year, based on the famous Christmas hymn "Gelobet seist du, Jesu Christ" (1524) by Martin Luther (and going back at least to the tenth-century sequence Grates omnes reddamus). The text emphasizes the contrast between the majesty of Christ's heavenly state and the lowliness of his birth for the salvation of mankind. The hymn melody is brilliantly scored for horns, timpani, three oboes, and strings, with the sopranos singing the melody in long notes against jubilant counterpoint. As John Eliot Gardiner says in Music in the Castle of Heaven (p. 326), "The opening ritornello has that special sense of expectation that is the hallmark of Bach in the Christmas mode: fanfares for the horns and running G major scales in the oboes suggesting the dancing of angels".
The soprano recitative that follows is contrasted with chorale phrases from the second verse of the hymn. The expressive tenor aria begins with a plaintive chorus of three oboes. It has an interesting dotted rhythm, which was the usual symbolic representation of royal majesty in French Baroque music.
After the slow, chromatic accompagnato bass recitative deals with the theme of "this vale of tears" (Bach wouldn't be Bach without at least a reference to such a theme!), the final aria, a soprano and alto duet sung in close imitation over a Corelli walking bass, deals with the poverty God takes upon Himself for the salvation of mankind. This is contrasted with the "overflowing store of heavenly treasures" he gives to the faithful.
The horns and drums return for the final chorale, restoring the jubilant tone of the opening chorus. This chorale cantata, part of Bach's second round of cantatas in Leipzig, was performed by Bach at least five more times in the 1730s and 1740s after 1724, so Bach himself must have been pleased with it.
Video: J.S. Bach Foundation (St. Gallen) - Workshop (in German) - Contemplation (in German)
- Unser Mund sei voll Lachens, BWV 110, 25 December 1725
Unser Mund sei voll Lachens (Chorus)
Ihr Gedanken und ihr Sinnen (Aria Tenor)
Dir, Herr, ist niemand gleich (Recitative Bass)
Ach Herr! was ist ein Menschenkind (Aria Alto)
Ehre sei Gott in der Höhe (Duet Soprano and Tenor)
Wacht auf, ihr Adern und ihr Glieder (Aria Bass)
Alleluja! Gelobt sei Gott (Chorale)
"May our mouth be full of laughter"
Text & translation
Scored for four vocal soloists (soprano, alto, tenor, bass), a four-part choir, three trumpets and timpani, two transverse flutes, three oboes (also oboe d'amore and oboe da caccia), two violins, viola, and basso continuo including bassoon.
Festive Christmas cantata composed by Bach in his third year as Thomaskantor in Leipzig, to a text by Georg Christian Lehms. The text does not have the usual recitatives alternating with arias, but instead has three sections with biblical quotations.
The opening chorus is a very clever arrangement of the Overture to the Fourth Orchestral Suite in D, BWV 1069 - it fits like a glove. Bach takes the slow-fast-slow structure of the French overture and uses the solemn outer sections to frame the fast fugal section, with a four-part chorus woven into the instrumental fabric. This enormous movement is easily the center of gravity of the cantata. The "laughter" mentioned in the text is often graphically audible (in the central fugue).
The feathery tenor aria that follows, with two obbligato flutes, is a musical gem. The poet's invitation to his thoughts to leave earthly concerns and rise to the contemplation of higher things is represented by rising flute figures. The second aria for alto benefits from the presence of an oboe d'amore, which vividly frees itself from the singer, portraying the stubborn folly of humanity. The aria is in F sharp minor, a dark key, very fifferent from the jubilant opening, stressing instead human mortality and need of salvation - in Lutheran theology in Bach's time, Christmas was closely linked to the Passion. It was a time of reflection, rather than of dining and drinking.
The fifth movement is a duet for soprano and tenor, both playing angels greeting the shepherds with the text "Glory to God in the highest". The music is based on the "Virga Jesse floruit" from the Magnificat BWV 243A. It is a pastoral expression of goodwill toward mankind.
Next comes a heroic bass aria with trumpets and woodwinds, a stirring call to wake up and join in the angels' praise. Note that when the text refers to "devotional strings," the winds rest and the violins play long ornamental melismas.
The final harmonized chorale, taken from Caspar Füger's "Wir Christenleut," is set in the plainchant style.
Video: Netherlands Bach Society - Interview with conductor Jos van Veldhoven / J.S. Bach Foundation (St. Gallen) - Workshop (in German) - Contemplation (in German)
[Rose window of the cathedral of Strasbourg]
- Jauchzet, frohlocket 25 December 1734 (Christmas Oratorio Part I) BWV 248/I
Chorus "Jauchzet, frohlocket, auf, preiset die Tage"
Recitative (tenor) "Es begab sich aber zu der Zeit"
Recitative (alto) "Nun wird mein liebster Bräutigam"
Aria (alto) "Bereite dich, Zion, mit zärtlichen Trieben"
Chorale "Wie soll ich dich empfangen"
Recitative (tenor) "Und sie gebar ihren ersten Sohn"
Chorale (sopranos) & Recitative (bass) "Er ist auf Erden kommen arm" & "Wer will die Liebe recht erhöhn"
Aria (bass) "Großer Herr und starker König"
Chorale "Ach mein herzliebes Jesulein!"
"Rejoice, exult, up, glorify the days"
Text & translation
Scored for three vocal soloists (alto, tenor and bass), a four-part choir (SATB) and a Baroque instrumental ensemble of three trumpets, timpani, two traversos), two oboes, two oboes d'amore, two violins, viola and basso continuo.
The first part of Bach's Christmas Oratorio, which consists of six self-contained but linked cantatas meant for performance on different days. All include music that Bach had originally written for secular cantatas (the reuse of one's own music was a common practice in the Baroque period, especially since most music was not published). But while in cantata format, the Oratorio includes a tenor Evangelist who narrates the story in the form of a recitative, as in the Matthew and John Passions. The backbone of the text is provided by the biblical narrative, from the nativity up to the coming of the three wise men. Most texts are from St. Luke and St. Mathew and the emphasis is on narration and contemplation rather than dialogue or action.
The first cantata opens in magnificent style, with trumpets and drums, adapted from BWV 214/1. It is a truly glorious piece of music. The first recitative introduces the well known narrative of Mary and Joseph going to Jerusalem for the census. This is interrupted by the alto, who after a recitative in which Christ is introduced as bridegroom (as in BWV 140), calls in a gentle aria, "Bereite dich, Zion," to prepare oneself.
After a chorale the tenor continues his narration of the Christmas story. The ensuing bass recitative contemplating the meaning of it all is intertwined with the sopranos singing the chorale "Gelobet seist du, Jesu Christ."
This leads to the glorious bass aria "Großer Herr, o starker König," originally from a secular work in praise of the king, but with its trumpet fanfares wonderfully suited to the new text.
A grand setting of the chorale "Vom Himmel hoch, da komm ich her," with trumpets, ends the cantata.
Video: J.S. Bach Foundation (St. Gallen) - Workshop (in German) - Contemplation (in German) - Ehre sei Gott in der Höhe, BWV 197a, 25 December 1728 (or 1729)
[Chorus: Ehre sei Gott in der Höhe]
[Aria: Erzählet, ihr Himmel, die Ehre Gottes]
[Recitative: O! Liebe, der kein Lieben gleich]
Aria: O du angenehmer Schatz
Recitative: Das Kind ist mein
Aria: Ich lasse dich nicht
Chorale: Wohlan! so will ich mich
"Glory be to God in the Highest"
Text & translation
Scored for solo alto and bass voices, a four-part choir, two flutes, oboe d'amore, two violins, viola, bassoon, cello, and continuo.
Christmas Day cantata on a text by Picander and a chorale from the 1697 hymn "Ich freue mich in dir" by Caspar Ziegler. Bach later revised the cantata into "Gott ist unsre Zuversicht," BWV 197. The music of the original cantata was subsequently lost, but the last four movements could be reconstructed. Lost are the first three movements, a chorus, aria and recitative.
The fourth movement is an alto aria, which speaks directly to the baby Jesus, a "beautiful treasure." After a secco bass recitative, follows a spirited bass aria scored for oboe d¹amore and continuo. It is a jaunty pastoral dance in 6/8 time. Only for this aria this cantata fragment should be performed more frequently!
Audio: Suzuki - Gloria in excelsis Deo, December 25, 1745, BWV 191
Coro: Gloria in excelsis Deo
Duetto (soprano/tenor): Gloria Patri et Filio et Spiritui sancto
Coro: Sicut erat in principio
"Glory to God in the Highest"
Text & translation
Scored for soprano and tenor soloists and an unusual five-part choir (with a dual soprano part), three trumpets, timpani, two flauto traverso, two oboes, two violins, viola, and basso continuo.
Bach's only church cantata set to a Latin text. Composed to celebrate the end of the Second Silesian War on Christmas Day 1745. The composition's three movements all derive from the Gloria of an earlier Missa (Kyrie and Gloria in B minor) written by Bach in 1733 for the Dresden court, which the composer would later use as the Gloria of his Mass in B minor. What we have here are two choruses enclosing a duet for soprano and tenor. It is festive music with trumpets and drums fitting the occasion, and also great music as the Mass in B minor is one of Bach's masterworks. Its only link to Christmas is the opening chorus on Luke (Luke 2:14), to be performed before the sermon. The other two movements after the sermon (marked "post orationem") divide the general words of the Doxology in a duet Gloria Patri et Filio et Spiritui sancto (corresponding to the Domine Deus, the central piece of the Gloria of the Mass in B minor) and a final chorus Sicut erat in principio (corresponding to Mass in B minor structure#Cum sancto spiritu of the Gloria). Is this really a cantata?
Video: Netherlands Bach Society - Interview conductor Jos van Veldhoven /
J.S. Bach Foundation (St. Gallen) - Workshop (in German) - Contemplation (in German) - Explanation "Bach Factory" (English)
Bach Cantata Index