[St John by Rubens, 1611 - Wikipedia - Public Domain]
Traditionally identified with "the beloved apostle," John has played a prominent role in art. In the Western tradition, he is often depicted as a beardless youth, since it was believed that he became an apostle at a young age (he is sometimes even depicted as androgynous). One of John's familiar attributes is the chalice or cup of wine. This comes from a legend in the (apocryphal) Acts of John in which John was challenged to drink a cup of poisoned wine to demonstrate the power of his faith. Because he had blessed the wine before drinking it, he suffered no harm. (Other common attributes include a book, symbolizing the writings attributed to him, and an eagle, expressing the soaring, inspirational quality of his thought.) It should be noted that of the four Gospels, Bach was particularly interested in the Gospel of John.
There are four cantatas for this holy day: three from 1723-25, plus the third cantata of the Christmas Oratorio ("Herrscher des Himmels, erhöre das Lallen", a description of the adoration of the shepherds). "Sehet, welch eine Liebe hat uns der Vater erzeiget", BWV 64 (1723), is based on the idea from John's gospel that the believer no longer has to worry about "the world" if he or she is loved by God in the way that Christmas shows. "Ich freue mich in dir", BWV 133, is from the following year, 1724, and is part of the choral cantata cycle. It celebrates the Christmas story on a personal level for believers. "Süßer Trost, mein Jesus kömmt, BWV 151, from 1725, is a short cantata with beautiful arias for soprano and alto. It has no opening chorus, probably to spare the boys of the St. Thomas Boys Choir during this busy season.
Readings for the Third Day of Christmas:
Hebrews 1:1–14, Christ is higher than the angels, or
Eccles. 15:1-8, Wisdom embraces those that fear the Lord;
John 1:1–14, Prologue, also called Hymn to the Word, or
John 21:15-24, Jesus commands Peter to feed his lambs.
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)
[Adoration of the Shepherds, Giorgione, 1500-10]
Cantatas:
- Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64, 27 December 1723
Chorus: Sehet, welch eine Liebe hat uns der Vater erzeiget
Chorale: Das hat er alles uns getan
Recitative (alto): Geh, Welt, behalte nur das Deine
Chorale: Was frag ich nach der Welt
Aria (soprano): Was die Welt in sich hält
Recitative (bass): Der Himmel bleibet mir gewiß
Aria (alto): Von der Welt verlang ich nichts
Chorale: Gute Nacht, o Wesen
"Behold, what a love has the Father shown to us"
Text & translation
Scored for soprano, alto and bass soloists, a four-part choir, zink and three trombones, oboe d'amore, two violins, viola, and basso continuo.
The text of this cantata from the first Leipzig cycle is a revised version of a libretto by J.O. Knauer published in 1720. The aphorism underlying the first movement (and, theologically, the entire cantata) is taken from I John 3. Bach emphasizes that the believer no longer has to worry about "the world" if he or she is loved by God in the way that Christmas shows.
The opening chorus is in fugal motet style, with an archaic-sounding trombone chorus doubling the voices. "Sehet" is set as a block homophonic exclamation by all four voices before various imitative entrances begin. In addition to this chorus, the cantata contains three chorales in simple four-part harmony, all of which would have been familiar to Bach's Leipzig congregation. The first (stanza 7 of Luther's hymn Gelobet seist du, Jesu Christ) is a hymn of thanksgiving for what God has done.
It is followed by an alto recitative that addresses the transience of earthly riches, accompanied by scales in the continuo that "rise up to heaven. The second chorale (stanza 1 of the hymn Was frag ich nach der Welt by G.M. Pfefferkorn) questions worldly values and is followed by a soprano aria on the same theme, in the style of a gavotte, in which a virtuoso solo violin represents the "worldly things" that must vanish like smoke.
The bass recitative makes a firm statement about the certainty of heaven, after which the alto aria, accompanied by the oboe d'amore, emphasizes that the believer "desires nothing of the world" (but the complex rhythm of the aria may convey "the difficulty of staying on the path to heaven").
The cantata closes with the third and final chorale, a setting of the fifth verse of Johann Frank's "Jesu, meine Freude," which bids farewell to all things material and thus neatly sums up the entire cantata. All in all, a great contrast to the materialistic frenzy of contemporary Christmas...
Video: Concerto Copenhagen
- Ich freue mich in dir, BWV 133, 27 December 1724
Chorus: Ich freue mich in dir
Aria (alto): Getrost! es faßt ein heil'ger Leib
Recitative (tenor): Ein Adam mag sich voller Schrecken
Aria (soprano): Wie lieblich klingt es in den Ohren
Recitative (bass): Wohlan, des Todes Furcht und Schmerz
Chorale: Wohlan, so will ich mich
"I rejoice in you"
Text & translation
Scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, cornett to double the chorale melody, two oboes d'amore, two violins, viola, and basso continuo.
Chorale cantata from the second Leipzig cycle of 1724-25, based on the four-stanza chorale "Ich freue mich in dir" (1697) by Caspar Ziegler. The text makes only passing reference to that Sunday's readings; rather than focusing on the feast of St. John the Evangelist, it celebrates the Christmas story on a personal level for believers.
The cantata begins with a concerto-like movement of considerable rhythmic vitality, in which the eight lines of Ziegler's hymn are interspersed with captivating orchestral interludes and oboe d'amore melismas. It's a pity that these captivating opening phrases are not better known!
The captivating alto aria, again accompanied by oboes d'amore, here used almost like trumpets, sings of the joy of seeing God face to face. Its central textual motif is encapsulated in the word "Getrost," which means "be confident".
The tenor recitative concludes in an arioso style, quoting the chorale in both words and music: "Wird er ein kleines Kind und heißt mein Jesulein". The soprano da capo aria, accompanied by a delicate string arrangement and a gentle lullaby-like lilt, continues to express joy in a similarly gentle way. This aria serves as the tender heart of the entire cantata.
The cantata concludes with a four-part arrangement of the final chorale stanza, which could almost be mistaken for a Christmas carol.
Video: Concerto Copenhagen
- Süßer Trost, mein Jesus kömmt, BWV 151, 27 December 1725
Aria (soprano): Süßer Trost, mein Jesus kömmt
Recitative (bass): Erfreue dich, mein Herz
Aria (alto): In Jesu Demut kann ich Trost
Recitative (tenor): Du teurer Gottessohn
Chorale: Heut schleußt er wieder auf die Tür
"Sweet comfort, my Jesus comes"
Text & translation
Scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, flute, oboe d'amore, two violins, viola, and basso continuo.
Miniature cantata without opening chorus from 1725. Bach chose a text by the Darmstadt poet and court librarian Georg Christian Lehms (1684-1717), who was inspired by the Christmas Epistle (Hebrews I:1-14), "Christ is higher than the angels." There is no opening chorus. The mellifluous opening aria for soprano features the traverse flute. It is a gently swaying lullaby expressing joy at the birth of Jesus; the flute part is highly embellished, weaving playful arabesques around the lyrical vocal cantilena - it is almost like the flute concert Bach never wrote! This is truly angelic music, one of Bach's most sublime creations for the solo voice.
The bass recitative moves from celebration to a recognition of Jesus' meekness and humility. The melancholic, chromatic alto aria (finding comfort in Jesus' humbleness) with prominent oboe d'amore expands this idea.
In contrast to the bass, the tenor recitative again moves back from humility to celebration. The final movement is a setting of the final stanza of "Lobt Gott, ihr Christen alle gleich", a chorale with words and melody by Nikolaus Herman published in 1560.
Video: Netherlands Bach Society - Interview with soprano Maria Keohane /
J.S. Bach Foundation (St. Gallen) - Workshop (in German) - Contemplation (in German) - Herrscher des Himmels, erhöre das Lallen 27 December 1734 (Christmas Oratorio Part III) BWV 248/3
Chorus "Herrscher des Himmels, erhöre das Lallen"
Recitative (Evangelist, tenor) "Und da die Engel von ihnen gen Himmel fuhren"
Chorus "Lasset uns nun gehen gen Bethlehem"
Recitative (bass) "Er hat sein Volk getröst't"
Chorale "Dies hat er alles uns getan"
Duet (soprano, bass) "Herr, dein Mitleid, dein Erbarmen"
Recitative (Evangelist, tenor) "Und sie kamen eilend"
Aria (alto) "Schließe, mein Herze, dies selige Wunder"
Recitative (alto) "Ja, ja! mein Herz soll es bewahren"
Chorale "Ich will dich mit Fleiß bewahren"
Recitative (Evangelist, tenor) "Und die Hirten kehrten wieder um"
Chorale "Seid froh, dieweil"
Chorus "Herrscher des Himmels, erhöre das Lallen"
"Ruler of Heaven, hear our babbling"
Text & translation
Scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir (SATB), three trumpets, timpani, two traversos two oboes also doubling as oboes d'amore, two violins, viola and basso continuo.
The third part of the Christmas Oratorio sees the shepherds eventually arriving in Bethlehem. It starts with a fine, glorious chorus, borrowed from BWV 214/9, with trumpets and drums. The first recitative by the Evangelist sets the scene and this is followed by a lively chorus "Let us now go towards Bethlehem."
A further recitative is followed by a contemplative chorale and then a gentle duet (taken from BWV 213/11) for soprano and bass accompanied beautifully by a pair of oboe's d'amore.
The evangelist continues telling of the shepherds finding the child and spreading the news. The alto then sings "Mary's aria" (the only original aria in the Christmas Oratorio), a gentle reflection on the miracle that has just taken place, accompanied by solo violin.
The cantata then draws to a close with the pattern recitative-chorale-recitative-chorale, after which the opening chorus is repeated.
Video: J.S. Bach Foundation (St. Gallen) - Workshop (in German) - Contemplation (in German)
Bach Cantata Index