Cantata BWV 63 - Discussions

Cantata BWV 63
Christen, ätzet diesen Tag
Discussions

Discussions in the Week of December 20, 1999

Aryeh Oron wrote (December 20, 1999):
Background

Since I am not a Christian, the best way for me to celebrate Christmas season is listening to JSB’s cantatas composed for this time of the year.

Duet for Soprano and Bass

Mvt. 3. Duet
“Gott, du hast es wohlgefuget, was uns jetzo widerfahrt”
(“God, Thou hast it well ordained what now befalls us”)
Soprano, Bass, Oboe solo, Organ, Continuo

Regarding this Duet I would like to quote from Robertson, Crouch (member of this group) and Whittaker.

Robertson wrote:
"The constant repetition of the first line of the text in the first section of this Duet emphasizes deep gratitude for all it portends and this is underlined by the exuberant oboe obbligato. The middle section enjoins continual trust in God’s mercy bestowed on us. The oboe here is silent except for a very brief ritornello between the lines of the text."

Crouch wrote:
"A joyous cantata, as befits the season!… a delightful Duet between Soprano and Bass (a combination at which Bach excels) which is introduced by a gorgeously sinuous oboe line…"

Whittaker wrote:
"The text dwells upon the bounteousness of the Almighty. The oboe begins with a semiquaver phrase and then breaks into florid passages with many thrills… the overflowing benefactions of our Maker. (a) Is frequently used as a motif by the Bassi, the vocal lines is florid and canonical… is heard 9 times, sometimes against (a) in the Continuo. The oboe pours out its bountifully ornate melodies. After the Fine pause we are bidden to rely upon Him continually – “Drum last uns auf ihn stets trauen und seine Gnade bauen” (“Therefore let us on Him continually trust and on His mercy build “) – and voices and Continuo move in firm scales, the first four bars being a vocal canon. (a) Is repeated sequentially in the continuo, while the voices imitate to “denn er hat uns dies bescheert” (“for He has on us this bestowed”). A florid oboe passage brings us to “was uns ewig nun vergnüget” (“what us ever now contents”) in gracious canonical phrases for the voices, a placidity moving continuo, with (a) in the Bassi during repetitions of “vergnüget”."

Personal Viewpoint

And I would like to add something of my own. Schweizer wrote that everybody who claims that Bach could not write popular and pleasant music, will change his mind when listening to the Duet “Ruft und fleht den Himmel an”. But what he was referring to was the second Duet (for Alto and Tenor) of this cantata, which is very beautiful indeed, but for me not so arresting as the Duet for Soprano and Bass. After listening to this Duet for the first time, I could not take it from my head for many days. For me this Duet is the high peak of the cantata, which does not have any weak moment (even not the Recitatives). One interesting point of this cantata is that a very strong Chorus with beautiful instrumental parts replaces the usual Chorale at the end of it.

Review of the Recordings

At the moment I have only 2 performances of this cantata in my library - Rilling [3] and Harnoncourt [4]. I know that others, like Koopman [6], Suzuki [8] and Richter [2] have also recorded it, but I do not have those recordings (yet), neither have I heard them.

The performances I have listened to are:

[3] Helmut Rilling with Maria Friesenhausen & Wolfgang Schöne (bass) (1971+1981; Duet: 5:48)
This performance moves forward very smoothly. Maria has a slight vibrato in her voice, which does not feet into the musical contents, but her musicality covers up this small flaw. I have heard better Bass voices in the cantatas with more flexibility then Schöne, but his authoritative approach causes you to listen. All the participants, including the oboist and the continuo, contribute to the flow of the music. Even though the words are very important in the cantatas, one can enjoy the Duet in this performance even without any understanding of the meaning of the text. I could even dare thinking… (Never mind)

[4] Nikolaus Harnoncourt with Peter Jelosits (boy soprano) & Ruud van der Meer (bass) (1976; Duet: 6:24)
After completing the traversal of hearing the full cycle of the Church Cantatas with Rilling, I am now about one third of the way into Harnoncourt/Leonhardt world. After you get used to their approach, it can be very enjoyable, even when listening to couple of CD’s one after the other without break. But this series has some weak points (The Rilling cycle also has some of its own). One of them is tendency to cut the flow of the music, in places where the flow is the most important factor. In this Duet this tendency is almost a crime. The movement loses most of its charm. The oboe accents at what sound to me the wrong places, the boy sings as though he wants to get rid of the task, and the Bass is the only one who shows some taste, but he too is a little bit monotonous. This is not very integrated performance. But the music itself is so strong, that it shines even through this performance. I am sure there are better performances than this one, besides Rilling.

And as always, I would like to hear other opinions, regarding the above mentioned performances, or other recordings.

Wim Huisjes wrote (December 21, 1999):
[To Aryeh Oron] Aryeh: bear with me: it's December and I've got Santa Claus (Dec. 5th over here), four birthdays, Christmas, New Year's eve and a job to take care of. I listened to the complete cantata (as performed by Rilling and Richter) in order to hear the Duet in its context.

A main difference between Rilling [3] and Richter [2] is the tempo at which the Duet is performed. It caused me to check the timing (see above).

[2] Despite the (faster) tempo, Richter does not make the music "flow". It almost sounds "military", mainly caused by Mathis' contribution. She can do better but in this case she sounds a bit shrill and uses relatively heavy vibrato. Usually this doesn't bother me (not all Bach Sopranos have to be Kirkby clones), but too much is too much. At a few points it seems as if she introduces some staccato-like effects, thereby interrupting the music. The oboe is recorded "up front" and gets obtrusive after a few minutes of listening. The Duet was recorded in 1972: at that time Fischer-Dieskau was still singing and not reading poems. He is authoritative, flexible. His singing befits the text excellently. Although in general I admire Richter, this performance is disappointing.

[3] Compared to Rilling: I can't say anything about Friesenhausen (she may have been on the LP's I once had), but Augér is her excellent usual self: nothing has to be covered up (as you mentioned about Friesenhausen). IMO, Schöne has a better voice than Dieskau (by now it must be clear that I'm not a particular Dieskau fan). There's nothing wrong with his flexibility and he does make you listen to the text. The combination Augér/Schöne works wonderful. Rilling manages the wonderful oboe melody very well in between the vocal lines: clearly present without being obtrusive. All in all: Rilling [3] makes it a very enjoyable experience to listen to.

I'll be back on some of the above mentioned performances & some interesting comments by Dürr, who a.o. mentions that this cantata is very untypical for Christmas.

Aryeh Oron wrote (December 21, 1999):
[3] [To Wim Huisjes] The name of Maria Friesenhausen is written as the Soprano in cantata BWV 63 in the small booklet inside the CD cover. The other cantata on this CD is BWV 36 and the Soprano on that cantata is indeed the splendid Arleen Augér. The voices of Maria and Arleen are a little bit different in timbre and Maria has definmore vibrato.

Wim Huisjes wrote (December 21, 1999):
[3] [To Aryeh Oron] My CD lists Augér for both BWV 36 & BWV 63. Inside the booklet and repeated on the backside. The name Friesenhausen is nowhere to be found in the booklet and to my ears it sounds like Augér. The book with cantata texts and some other information that came with the complete LP-set (1985) also lists Augér for both cantatas, with Friesenhausen not to be found. So what did Hänssler do?

Aryeh Oron wrote (January 5, 2000):
[3] I wrote to Hänssler and their answer was: “Both is the truth! We have two recordings, but Arleen Augér is the better one, so we decided to take Arleen Augér for our Complete Bach Set!”

More Messages

Steven Langley Guy wrote (May 16, 2000):
I have recently been trying out the demo version of the Sibelius music software…
It does come will quite a lot of sounds (even recorders and viols) and I have had some fun programming in some scores. Alas, one cannot save one's work on the demo version. With Sibelius it is possible to program in quite large scaled works. I tried the overture to Mozart's opera Die Entfuhrung aus dem Serail which sounds rather nice with all the percussion and the Cosi fan tutte overture too. Both worked quite well. I then tried the Sonatina from Actus Tragicus BWV 106. It worked reasonably well with the recorder and viol sounds and still managed to sound "deep" even though it was programmed. I next tried two works I have in the Kalmus study scores - BWV 119 (the opening Chorus) and BWV 63 (again, the first movement). Both of these works have parts for four trumpets in C and timpani in C and G as well as woodwind and strings. The BWV 119 is particularly beautiful and I don't have a recording of this one (any suggestions?) and BWV 63 is a lovely work too. What amazed me was how good Bach sounded but the Mozart just didn't quite work! Even on my Pentium the four trumpets sound fantastic in both of these cantatas (even though the sound is only an "impression" of the real sounds). I used the "trumpet in C" sound, the "treble recorder" sounds (in BWV 119) and the normal oboe, bassoon and string sounds. I didn't bother to program an organ continuo sound. I also tried Brandenburg Concerto No.2, using the "trumpet in D" sound for the trumpet (in F) part. Again, it worked very well. Maybe I am brainwashed by Wendy Carlos but Bach does seem to work very well in a synthetic 'virtual' setting. Admittedly the Sonatina from BWV 106 wasn't very successful to my ears (it is one of my favorites Bach pieces) but the four trumpets and timpani sounded magnificent even on a humble PC!

Did Bach write many other works for four trumpets? I am very well aware of the music of his predecessors in Leipzig and I have quite a lot of scores by Knüpfer, Schelle, Kuhnau and Schein which have very bold brass parts and works like BWV 119 and BWV 63 certainly continue this tradition. The lowest trumpet usually follows the timpani fairly closely, the third trumpet either joins in with the timpani or provides the lowest part to the two upper "clarino" trumpets, whose parts are the highest and most florid. Formula writing? Yes, but Bach does some wonderful things within this tradition.

Even though I like all of Bach's music I have always felt seduced by the trumpet writing in Bach's cantatas and orchestral music. Brandenburg Concerto No.2 quite astonished me as a child - surely this was some of the most extroverted music ever written? I borrowed a natural trumpet from a friend in Melbourne a few years ago and I managed to get somewhere with it - perhaps all my years on the cornetto had given me strong enough lips and lungs? It is a very seductive instrument and in spite of its limitations (and mine!) I could tell that an expert player could bring out all the possibilities of this magical instrument. I think that BWV 51 is also a wonderful example of writing for a single clarino trumpet.

Frank Fogliati wrote (May 16, 2000):
I think we had a similar discussion earlier? Wasn't the conclusion that Bach works well on anything, including a trio for kazoo, banjo, and tromba marina?

(Sonatina from BWV 106) Yes, an absolutely sublime piece of music! Truly one of Bach's finest moments.

[11] I remember watching the documentary "In rehearsal with John Elliot Gardiner" (BWV 63) and noticing the sheer frustration and exasperation at times on the face of the first natural trumpeter. He kept looking across at JEG as if to say: "it can't be done!" It must be a difficult instrument to play.

Mark Mullins wrote (May 16, 2000):
[11] (To Frank Fogliati) Is it available on video? I'd love to see it.

Frank Fogliati wrote (May 21, 2000):
[11] (To Mark Mullins) Yes it's a great video, offering an interesting insight into the build-up to the final recording session of BWV 63. From memory it's a BBC video. You may be able to track it down at their Website.

Armagan Ekici wrote (May 24, 2000):
[11] I have just returned from seeing that video as part of "Classique & Images" series im Amsterdam Filmmuseum. It is indeed a great video, very enjoyable and my respect for JEG/Monteverdi Choir/EBS instantly doubled after I saw them in rehearsal! The only problem was the interviews were brutally translated into French with a voice-over. It is not a BBC video but a ZDF-ARTE production, I wonder whether it is commercially available. Also part of the show was a French TV program with Peter Ustinov doing an "impression" of a Bach cantata. I don't want to give away too much; it is hilarious, don't miss it if you happen to bump on it someday somehow.

Discussions in the Week of December 25, 2005

John Pike wrote (December 25, 2005):
BWV 63 - Introduction to the Weekly Discussion

As we proceed with our chronological survey of Bach's cantatas, in order of composition, the cantata for discussion this week (beginning 25th December) is Cantata BWV 63 "Christen, ätzet diesen Tag" ("Christians, engrave this (glad) day")

Readings: Epistle: Titus 2: 11-14 / Isaiah 9: 2-7; Gospel: Luke 2: 1-14
See: http://www.bach-cantatas.com/Read/Christmas.htm

Event in the Lutheran church calendar: Cantata for Christmas Day

Composed: Probably Weimar, 1714-15.
See: http://www.bach-cantatas.com/Tour/Weimar.htm

1^st performance: December 25, 1714 - Weimar; 2^nd performance: December 25, 1723 - Leipzig; 3^rd performance: December 25, 1729 ? - Leipzig

Text: Johann Michael Heineccius ?
See: http://www.bach-cantatas.com/Lib/Heineccius.htm

The notes below are taken from sleeve notes to Suzuki's recording [8] (by Tadashi Isoyama, 1998).

BWV 63 was the first cantata Bach composed for Christmas Day. The orchestration, which requires four trumpets, timpani and three oboes, makes it one of the larger works of the Weimar period. Based in C major, it is a charming work, the expressive music evoking images of rejoicing in the Saviour's birth; it is a fine example of Bach's treatment of the Christmas theme.

It is all but certain that the libretto is by J.M. Heineccius, pastor of the Liebfraukirche in Halle. Bach visited Halle twice during his Weimar days; the first of these visits was in the winter of 1713 when he was applying for the position of organist at the Liebfraukirche, and the second was in the spring of 1716, when he went to examine the newly repaired organ at that same church. It has been thought that on one of these trips, Bach might have performed BWV 63 in Halle, but timing and the content of the cantata raise doubts about this suggestion. Recently, it has been thought that BWV 63 was probably composed at Christmas 1714/15 for use somewhere other than in Weimar. It has also been suggested that it was converted from a secular cantata. Bach liked the cantata and performed it for his first Christmas in Leipzig (1723); he used it at least 3 times during his lifetime.

The standard pitch for performance of cantatas at Weimar was, in accordance with the organ, the high Chorton, a'=ca. 465. However, in BWV 63, from the tuning of the solo oboe, it would have been impossible to perform the work unless the strings were tuned to Kammerton (a'=ca. 415 or 392).

The surviving source material for BWV 63 is in the Staatliche Bibliothek in Berlin. According to this material, the organ, oboe, and strings are all written in the same key, from which we deduce that the strings must have been tuned to Kammerton (since there is no such thing as a Chorton oboe).

The layout is: Mvt. 1. Opening chorus, Mvt. 2. Alto recitative, Mvt. 3. Soprano and bass duet, Mvt. 4. Tenor recitative, Mvt. 5. Alto and tenor duet, Mvt. 6. Bass recitative, Mvt. 7. Free-form chorus.

Useful information

Link to texts, translations, details of scoring, references, provenance, commentary, vocal score, music examples, and list of known recordings: http://www.bach-cantatas.com/BWV63.htm
Link to previous discussions: http://www.bach-cantatas.com/BWV63-D.htm

Streamed over the internet, it is possible to hear Leusink's version of
the whole cantata [12]: http://www.bach-cantatas.com/Mus/BWV63-Mus.htm

I look forward to reading your comments about this cantata and about the available recordings.

Neil Halliday wrote (December 29, 2005):
BWV 63

The final chorus perhaps holds the most interest in this cantata, though the first does have a similar impact and appeal to that of the XO (BWV 248) opening chorus, for example.

In the final chorus, the initial brilliant homophonic section for the entire ensemble is followed by a fugue, at the beginning of which Bach reduces his forces to the sopranos and altos only. Tenors come in, followed by the basses with continuo, and thereafter more and more instruments are added as the fugue develops, until the 1^st violins and second oboe enter with the sopranos. This section is crowned by a stretto-like entry on the 1st trumpet doubled by 1^st oboe - stretto, because this last entry occurs before the sopranos have completed the fugal subject. The repeat of the brilliant opening section leads to a second section which is concluded by (a) a short adagio, to the words "but never let it happen", and (b) an `a tempo' section with strong chromatic writing, to the words "that Satan might scare us". A `da capo' gives us a repeat of the first section.

Rilling [3] is superb in both choruses. He most effectively expresses the gradual increase in the size of the orchestra in the final chorus. Richter's orchestra [2] is fine, with brilliant trumpets and timpani, but the choir, especially soprano section, sounds too large, and we have the usual problem of a squealing organ accompanying the choir. Harnoncourt's trumpets [4] sound crude at the start of the amazon sample.

Those who find Augér's voice (Rilling) [3] too overbearing in the SB duet may enjoy Harnoncourt [4] or Koopman [6] in this movement. I found the vocalists in Herreweghe [13] and Suzuki [8] to be too mannered with the pronounced `messa di voce' technique, which always sounds unnatural to me. Mathis with Richter [2] destroys this duet with an overbearing vibrato.

I agree with Schweitzer that the AT duet is a most tuneful affair. The rich writing for strings is splendidly captured in Rilling's performance [3], along with the vocalists who give a pleasing account of their parts. I notice a tendency on Richter's part [2] to make too large a contrast in the loudness levels of the orchestra, as far as comparing the ritornellos with the orchestra's accompanying role (with vocalists) is concerned.

Along with two fine accompanied recitatives, this is a cantata not to be missed.

Peter Smaill wrote (December 29, 2005):
By happy coincidence the Christmas Cantata BWV 63 coincided with the festivities to which it is appropriate and offers cold turkey to those who have been indulging to the full in BBC Radio 3's Bach Christmas!

It is a specially accessible Cantata through the fact of the 2000 ArtHaus DVD of John Eliot Gardiner in rehearsal [11], which gives enormous insight into the technical challenges and the special structure of "Christen, Aetzet Disen Tag", - the symmetry being even more obvious than BWV 4 or the SJP (BWV 245), the chiastic arrangement of:

Chorus, accompagnato recit, Duet, recit secco, Duet, accompagnato recit, Chorus.

being a palindrome based round the central word "gnaden" ("mercy"), which is contrived to lie right in the middle of a seven-line recitative, BWV63/4 (Mvt. 4). The number of lines may be liturgically significant and seems, on a random sample of other cantata recitatives, to be rare.

All agree that the work was first performed at Weimar in 1714 (or 1715). However, the attribution of the text has had a convoluted history and the debate seems to be open-ended - we can all form a view on this - was this cantata fundamentally a Christmas Cantata at all? The doubt is in the text and its associations. The progression of thought is as follows:

Spitta: "the image of a festal procession mingling in sacred dances..approaches the style of oratorio, and this is what makes it specially remarkable." Observes that there is no chorale. Sanctus in C played at same service.

Whittaker: One of two wholly original libretti (other is BWV 181); text possibly by Bach; observes that there are no biblical quotations; BWV 63/3, a "dance of unbounded joy".

Robertson: libretto "thought to be by Bach". BWV 63/5 "a dance movement in Bach's most beguiling manner".

Schweitzer: "noble and animated piece of festival music". He notes that BWV 63/7 has however a descending chromatic passage, normally indicative of grief, at the words, "Aber niemals lass geschehen, dass uns Satan moege quaelen" ("Never let Satan molest us").

[This is the same sequence as the tenor line opening in BWV 150, Nach dich
Herr, where the sentiment is of longing]

Daw: Links BWV 63 to Sanctus in D. BWV 238. Detects application of Corelli trio-sonata style and parallels with the Sinfonia of BWV 21.

Boyd: libretto is an earlier variant of a text that J.M. Heineccius provided for the bicentenary of the Reformation in 1717.

Unger and Stokes, in their works on the texts, say Heineccius (?) was the author.

However, the attribution to the pastor-poet of Halle, Heineccius, is called into doubt by the updated English language Dürr, which reflects scholarship up to 2000:

"there is no solid evidence to connect him with the text".

Dürr also goes on to debate the origin as a Reformation cantata text:
"further support for this rather vague hypothesis has not so far been found."

And yet ....it is very odd as a Christmas piece-no Shepherds, no Magi, no Mary or Joseph, no Christmas hymns; only a passing reference to the crib ("krippen"). From BWV 63/3 to the end, the text can be read as a celebration of the Reformation (or maybe the end of the Thirty Years war)?

There is no direct Jesus reference and the finale chorale ends with a swipe at Satan! Even the first Chorus focuses on an odd image: is there a precedent for erecting a sort of Xmas Denkmal, a monument with etched "marble and iron," an activity more appropriate to a military victory; but here, in celebration of the birth of Christ?

The division of the orchestral parts in BWV 63/1 (Mvt. 1) is reminiscent of the approach to instrumental grouping in BWV 71, "Gott ist Mein Konig "; Eliot Gardiner also notes the civic aspect, the fanfare at the commencement of BWV 63/7 (Mvt. 7). BWV 119, for the Leipzig Council, was the only other Cannot to use four trumpets. All of this hints at a prior application of the music and an adapted text to an entirely different event from those appropriate to Christmas Day.

Whatever the origin, the result is full of rhythmic invention, (lovely hemiolas in the opening chorus for example), orchestral brilliance in contrasts and imitation, wonderful canonic developments, and the demands for virtuoso technique from the soloists and trumpeters alike.

John Pike wrote (December 29, 2005):
[To Neil Halliday] I agree with Neil that this is a cantata not to be missed. I think every movement is a gem. I would love to get the DVD showing Sir John Eliot gardiner rehearsing this cantata [11], a snippet of which is incuded on the DVD of cantatas BWV 199, BWV 179 and BWV 113, in the section on hte Bach Cantatas Pilgrimage.

I have listened to CDs of Gardiner [10], Suzuki [8], Leusink [12], Rilling [3] and Harnoncourt [4]. I enjoyed them all, especially the first 3. I found Rilling less well articulated than the others in the opening movement, and the intonation of the brass in Harnoncourt's opening movement spoilt my enjoyment of it.

Douglas Cowling wrote (December 29, 2005):
BWV 63 - Chiastic structure

Peter Smaill wrote:
< the special structure of "Christen, Aetzet Disen Tag", - the symmetry being even more obvious than BWV 4 or the SJP (BWV 245), the chiastic arrangement of:
Chorus, accompagnato recit, Duet, recit secco, Duet, accompagnato recit, Chorus. >
Bach was fond of chiasm, using its symmetrical mirror structure the Magnificat, Credo of the B Minor Mass (BWV 232), Christ Lag in Todesbanden (BWV 4) and Jesu, Meine Freude.

Discussions in the Week of February 8, 2009

Douglas Cowling wrote (February 6, 2009):
Week of February 8: BWV 63 ³Christen Ätzet Diesen Tag²

Week of February 8: BWV 63 ³Christen Ätzet Diesen Tag²

BACKGROUND LINKS:
Links to texts, translations, scores, recordings and earlier discussions:
http://www.bach-cantatas.com/BWV63.htm

PERFORMANCE HISTORY:
1^st performance: December 25, 1714 - Weimar;
2^nd performance: December 25, 1723 - Leipzig;
3^rd performance: December 25, 1729 ? Leipzig
Possible later performances in the 1730¹s

Wolff lists the extraordinary musical program for Christmas week of 1723 which included the premiere of the Magnificat at Vespers on the afternoon of Christmas Day (Bach, p.265)

MUSICAL SEQUENCE FOR CHRISTMAS DAY:
Tower bells rung at 6 am and again at 7 am:
5200 kg bell ³Gloriosa² (1477) (pitched in A) rung only on festivals Candles lit at 7 am,
Archdeacon of Leipzig officiates as celebrant; Deacon assists
Musicians must be in loft by final bell or be fined.

Organ Prelude on ³Puer Natus² (BWV 603 Orgelbüchlein?)
Settings by Bach or other composers before all chorales & choral works
http://www.bach-cantatas.com/CM/Ein-Kind-geborn-zu-Bethlehem.htm
Introit Hymn/Motet by Choir: ³Puer Natus In Bethlehem²
Settings by Praetorius or Schein are possible

Organ Prelude before Kyrie to establish key and cover tuning
Missa Brevis: Kyrie & Gloria (Plainsong Gloria intonation sung by Celebrant)
A concerted setting in Latin was sung from Christmas Day to Epiphany.
Bach¹s own missae breve are generally from his later tenure in Leipzig but may have been used with later performances of the cantata:

BWV 232 - B minor (1733)
Kyrie & Gloria of B Minor Mass [only missa brevis with brass]
BWV 233 - F major (1738)
based on Christmas cantata BWV 40 ³Dazu ist Erscheinen²
BWV 233a Kyrie (1708-1712)
BWV 234 A major (1738)
BWV 235 G minor (1738)
BWV 236 G Major (1738)

Collect/Prayer of Day sung in Latin plainsong by Celebrant
Choral Responses sung to four-part polyphony from Vopelius collection ³Neue Leipziger Gesangbuch²

Epistle: Titus 2:11-14 (The grace of God has appeared)
sung by Deacon in German to plainsong
http://www.bach-cantatas.com/Read/Christmas.htm

Organ Prelude on ³Gelobet Seist Du² (BWV 314 or 604?)
Congregational Gradual Hymn of the Day (³de tempore¹,):
³Gelobet Seist Du, Jesu Christ ³
http://www.bach-cantatas.com/CM/Gelobet-seist-du.htm

Gospel choral responses sung in six-part polyphony from Vopelius collection
Gospel : Luke 2: 1-14 (Birth of Christ) sung by Deacon in German to plainsong
http://www.bach-cantatas.com/Read/Christmas.htm

Organ Prelude on ³Wir Glauben All An Einen Gott² (BWV 1098?)
Congregational Creed Chorale:
³Wir Glauben All An Einen Gott² (Luther)

Organ Prelude before Cantata
First Cantata; BWV 63 ³Christe Ätzet Diesen Tag²

Organ Prelude on ³Ein Kindelein So Löbelich² (BWV 719?)
Congregational Pulpit Hymn after the Cantata (Offertory)
³Ein Kindelein So Löbelich²

Sursum Corda ("The Lord be with you") sung in Latin
Choral responses in six-part polyphony from Vopelius collection
Preface sung in Latin by Celebrant
Sanctus (without Benedictus)
A concerted setting was sung in Latin during Christmas week.
Two settings date from same year as Cantata 63:
BWV 237 C major [with brass]
BWV 238 D major
Hand bells rung at the altar at the end of the Sanctus

Verba (Words of Institution) sung in German plainsong by Celebrant

Second Cantata ³sub communione² during Communion?
Unknown if by Bach or other composer;
Bach¹s motet ³Lobet den Herrn² has a traditional Christmas text.

Other optional congregational hymns duriCommunion:
introduced by organ prelude:
³Ich Freue Mich In Dir² (Ziegler)
³Wir Christenleut² (Fuger)

Final Prayer & Benediction:
choral responses sung in 4 part polyphony from Vopelius

Organ Prelude on ³³Ein Kind Geborn zu Bethlehem²
Final Congregational Hymn: ³Ein Kind Geborn zu Bethlehem²
German repeat of Introit chorale

LIBRETTO:
No author can be established although Johann Michael Heineccius in Weimar has been suggested. Dürr takes a rather dour opinion of the text saying that the shepherds and angels of the Christmas narrative are absent and this may indicate that it is a parody of a secular cantata. However, the libretto is actually an extended meditation on the Epistle, Titus 2: 11-14.

The cantata is interesting in that it does not employ chorales, the final chorus being a freely poetic text the literary form is very ³modern². The text is symmetrical around the central recitative flanked by two duets and bookended by festive choruses. It is worth noting that in the Alto recitative the image of ³Israel² as a fallen and sinful people is taken as universal type of mankind, not only of the Jews.

I can¹t find the source but I recall someone suggesting that the unusual allusions to bronze and marble in the opening chorus refer to the new altar of St. Thomas (the present altar is the former reredos of the Pauliner Church which the Communists destroyed in 1968)

SCORING:
The prominence of the brass suggests that the scoring was particular to Christmas. Among the other Christmas Day cantatas by Bach, trumpets appear in BWV 110, BWV 119 & the Christmas Oratorio (BWV 248); BWV 91 has horns and timpani. Massed brass had not been heard since perhaps Michelmas in September and Reformation Sunday in October. This cantata is Big Band Bach with an unusual 4 trumpets rather than usual 3, and 3 oboes (as in the Sanctus of the B Minor Mass (BWV 232)) perhaps Bach wanted make a big impression for his first Christmas.

If the cantata was performed at the same service as the Sanctus in C (BWV 237), it is intriguing to look for similarities between the two works. The Sanctus has the more traditional scoring of 3 trumpets, timpani, 2 oboes and strings. The final chorus of the cantata has the trumpets and timpani as a separate brass ³choir² which is very similar to the opening of the Sanctus. That ³fanfare band² layout is also prominent in the Sanctus of the B Minor Mass (BWV 232). In a later version, Bach replaced the oboe obligato in the third movement with the organ, although Dürr cautions against considering this a ³definitive² version, but rather an option.

INDIVIDUAL MOVEMENTS:

Mvt. 1. Chorus: ³Christen ätzet diesen Tag²
Although the movement has a huge orchestra, it retains a lightness and brilliance which comes from the division of the forces into four ³choirs²: trumpets & timpani, oboes & bassoon, strings, and chorus. The antiphonal interplay takes us back to the instrumental ³cori spezzati² which Praetorius described at the beginning of the 17^th century. Particularly interesting is the use of the ³a capella² choir accompanied only by the continuo ³Kommt und eilt² is a good example.

Mvt. 2.Recitative (Tenor): ³O selger Tag²
This accompanied recitative places the strings in their lowest, richest register no hovering ³halo² here. The rising figure in the first violins makes me think there is an allusion to a chorale -- ³Allein Gott in der Höhe²? The sudden reference to subduing Satan prompts a richly ornamented line with a turn and trill at the cadence

Mvt. 3. Duet (Sop & Alto): ³Gott du hast²
The solo oboe picks up the dactylic figure from the previous recitative and develops a line which could be used as a compendium of Baroque embellishment. Into this already complex texture, the two voices introduce new melodic material which is developed almost continuously as pseudo-canon: the voices rarely sing homophonically.

Mvt. 4. Recitative (Tenor) ³So kehret sich²
This secco recit is the central movement around which the cantata is arranged in mirror-image halves. Glissando scales in the cello present a word-painting dilemma: is the cello depicting the roaring of the Lion of Judah or the flight of arrows from God¹s bow? (Handel used an identical figure for arrows in ³Nisi Dominus).

Mvt. 5. Duet (Alto & Tenor) ²Ruft und fleht²
This lively 3/8 duet has a strong resemblance to the opening chorus both in its opening figure and in the elaborate prepared trill ³viel Heil beleget² which echoes ³Marmorstein² in Mvt. 1 (this may not be a Schweitzeresque leitmotif: the same figure appears melodically in the opening of Christmas Oratorio (BWV 248) for ³Lasset das Zagen².) Bach uses a shortened da capo, unlike the other concerted movements.

Mvt. 6. Recitative (Bass) ³Verdoppelt euch²
This accompanied recitative has one of Bach¹s delightful musical jokes: the voice calls out, ³Redouble then your strength² and the orchestra responds by doubling the strings with the three oboes to create an eight-voice texture.

Mvt. 7. Chorus: ³Höchster schau²
There is no concluding chorale, rather another massive da capo chorus which balances the opening. Bach once again emphasizes his four ³choirs² by having them enter one after the other: trumpets & timpani, then oboes, then strings, The choir is again ³a capella,² initially not doubled by the instruments except for continuo. The music is delightfully playful as the various choirs toss the themes back and forth. The cascading 32^nd note figure in the violins is reminiscent of the opening of the Christmas Oratorio (BWV 248). All of this rejoicing is interrupted in the B section when Satan enters once again like a bad fairy at a party and throws the choir into an anguished Adagio full of diabolic descending chromatic figures. Thank God for da capos: the Christmas spirit resumes with a repeat of the opening rejoicing,

David Jones wrote (February 6, 2009):
[To Douglas Cowling] Christians Engrave this glad day! What a magnificent cantata! It's turned out to be a good thing that JEG's original label backed out; we are given the exquisite opportunity to see how his interpretations have gotten even more transcendant in cases where he was recorded a cantata more than once; Compare the majestic slowness of his first recording of "Behold what manner of Love" with the rapid brilliance, grandiloquence and emphatic enunciation of the latter.........In BWV 63, the runs seem to "etch" the day (Christmas) in the marble and stone. Lovely!

Jean Laaninen wrote (February 6, 2009):
Douglas Cowling wrote:
< Mvt. 2. Recitative (Tenor): ³O selger Tag² >
Both Dürr and Rilling [3] have an alto on this part. What source has the tenor, I am wondering?

Jean Laaninen wrote (February 6, 2009):
For Mvt. 3 I also have Soprano and Bass instead of soprano and alto.

Peter Smaill wrote (February 6, 2009):
[To Douglas Cowling] Thank you for this especially full and highly atmospheric introduction to the first (and it is indeed chiastic) Christmas Cantata performed at Leipzig. "Christians, etch this day in marble and metal stones!"

The text, as previous discussions indicate, is devoid of the usual Christmassy references to the crib, and the animals around in the manger ( these are a medieval affectation not found in the Bible).

The marble and metal altar of the Thomaskirche had been donated by the catholic Elector only a few years before in the of Kuhnau, the project arranged by Bach's ally the future Mayor, Gottfried Lange. He, according to Christoph Wolff, provided the text for the first Cantata purely composed at Leipzig, i.e. for BWV 76, "Die Himmel erzhaelen die Ehre Gottes" , whose final chorale, Luther's "Es danke Gott und lobe dich", is only again set in BWV 69 in 1748 shortly before Lange's death. The text is thus that of the first Chorale originally set for Leipzig, and also that of the fiinal Chorale set by Bach for choir and orchestra in that place. This is quite remarkable and so far none of the scholarship I have read has discovered this fact, perhaps a sign of the warmth, respect and loyalty held by Bach for Lange.

Lange, an enthusiast for baroque culture, was buried in front of this very altar close to where Bach's remains are now interred. BWV 63 is most appropriate to the appearance of the altar but as Robin Leaver points out was originally a Weimar Cantata from 1714, however fitting it might have been at Bach's first Christmas in Leipzig in 1723.

Stephen Benson wrote (February 6, 2009):
Jean Laaninen wrote:
< Both Dürr and Rilling [3] have an alto on this part. >
As does the BGA. (Handy, having that a click away!)

Douglas Cowling wrote (February 6, 2009):
Jean Laaninen wrote:
<< Mvt. 2. Recitative (Tenor): ³O selger Tag² >>
< Both Dürr and Rilling [3] have an alto on this part. What source has the tenor, I am wondering? >
< For Mvt. 3 I also have Soprano and Bass instead of soprano and alto. >
Oooops ... My error: I was looking at another cantata to see if there was a connection.

Should be:

Mvt. 2 - Recit - Alto
Mvt. 3 - Duet - Soprano & Bass

Douglas Cowling wrote (February 6, 2009):
Week of February 8: BWV 63 - REVISED

Week of February 8: BWV 63 ³Christen Ätzet Diesen Tag²

BACKGROUND LINKS:
Links to texts, translations, scores, recordings and earlier discussions:
http://www.bach-cantatas.com/BWV63.htm

PERFORMANCE HISTORY:
1^st performance: December 25, 1714 - Weimar;
2^nd performance: December 25, 1723 - Leipzig;
3^rd performance: December 25, 1729 ? Leipzig
Possible later performances in the 1730¹s

MUSICAL SEQUENCE FOR CHRISTMAS DAY:
Tower bells rung at 6 am and again at 7 am:
The 5200 kg bell ³Gloriosa² (1477) (pitched in A) was rung only on festivals
Candles lit at 7 am, Archdeacon of Leipzig officiates as celebrant; Deacon assists
Musicians must be in loft by final bell or be fined.

Organ Prelude on ³Puer Natus² (BWV 603 Orgelbüchlein?)
Settings by Bach or other composers before all chorales & choral works

http://www.bach-cantatas.com/CM/Ein-Kind-geborn-zu-Bethlehem.htm)
Introit Hymn/Motet by Choir: ³Puer Natus In Bethlehem²
Settings by Praetorius or Schein are possible

Organ Prelude before Kyrie to establish key and cover tuning
Missa Brevis: Kyrie & Gloria (Plainsong Gloria intonation sung by Celebrant)
A concerted setting in Latin was sung from Christmas Day to Epiphany.
Bach¹s own missae breve are generally from his later tenure in Leipzig but may have been used with later performances of the cantata:
B minor (1733) used in B Minor Mass (BWV 232) [only missa brevis with brass]
BWV 233 - F major (1738) based on Christmas cantata ³Dazu ist Erscheinen²
BWV 233a Kyrie (1708-1712)
BWV 234 A major (1738)
BWV 235 G minor (1738)
BWV 236 G Major (1738)

Collect/Prayer of Day sung in Latin plainsong by Celebrant
Choral Responses sung to four-part polyphony from Vopelius collection ³Neue Leipziger Gesangbuch²

Epistle: Titus 2:11-14 (The grace of God has appeared) sung by Deacon in German to plainsong
http://www.bach-cantatas.com/Read/Christmas.htm

Organ Prelude on ³Gelobert Seist Du² (BWV 314 or 604?)
Congregational Gradual Hymn of the Day (³de tempore¹,):
³Gelobet Seist Du, Jesu Christ ³
http://www.bach-cantatas.com/CM/Gelobet-seist-du.htm

Gospel choral responses sung in six-part polyphony from Vopelius collection
Gospel : Luke 2: 1-14 (Birth of Christ) sung by Deacon in German to plainsong
http://www.bach-cantatas.com/Read/Christmas.htm

Organ Prelude on ³Wir Glauben All An Einen Gott² (BWV 1098?)
Congregational Creed Chorale:
³Wir Glauben All An Einen Gott² (Luther)

Organ Prelude before Cantata
First Cantata; BWV 63 ³Christe Ätzet Diesen Tag²

Organ Prelude on ³Ein Kindelein So Löbelich² (BWV 719?)
Congregational Pulpit Hymn after the Cantata (Offertory)
³Ein Kindelein So Löbelich²

Sursum Corda sung in Latin in six-part polyphony from Vopelius collection
Preface sung in Latin by Celebrant
Sanctus (without Benedictus)
A concerted setting was sung in Latin during Christmas week.
Two settings date from same year as Cantata 63:
BWV 237 C major [with brass]
BWV 238 D major
Hand bells rung at the altar at the end of the Sanctus
Verba (Words of Institution) sung in German plainsong by Celebrant

Second Cantata ³sub communione² during Communion?
Unknown if by Bach or other composer;
Bach¹s motet ³Lobet den Herrn² has a traditional Christmas text.

Other congregational hymns during Communion:
introduced by organ prelude:
³Ich Freue Mich In Dir² (Ziegler)
³Wir Christenleut² (Fuger)

Final Prayer & Benediction:
sung with 4 part polyphony from Vopelius

Organ Prelude on ³³Ein Kind Geborn zu Bethlehem²
Final Congregational Hymn: ³Ein Kind Geborn zu Bethlehem²
German repeat of Introit chorale

LIBRETTO:
No author can be established although Johann Michael Heineccius in Weimar has been suggested. Dürr takes a rather dour opinion of the text saying that the shepherds and angels of the Christmas narrative are absent and this may indicate that it is a parody of a secular cantata. However, the libretto is actually an extended meditation on the Epistle, Titus 2: 11-14. The cantata is interesting in that it does not employ chorales, the final chorus being a freely poetic text the literary form is very ³modern². The text is symmetrical around the central recitative flanked by two duets and bookended by festive choruses. It is worth noting that in the Alto recitative the image of ³Israel² as a fallen and sinful people is taken as universal type of mankind, not only of the Jews.

I can¹t find the source but I recall someone suggesting that the unusual allusions to bronze and marble in the opening chorus refer to the new altar of St. Thomas (the present altar is the former reredos of the Pauliner Church which the Communists destroyed in 1968)

SCORING:
The prominence of the brass suggests that the scoring was particular to Christmas. Among the other Christmas Day cantatas by Bach, trumpets appear in BWV 110, BWV 119 & the Christmas Oratorio (BWV 248); BWV 91 has horns and timpani. Massed brass had not been heard since perhaps Michelmas in September and Reformation Sunday in Octobe. This cantata is Big Band Bach with an unusual 4 trumpets rather than usual 3, and 3 oboes (as in the Sanctus of the B Minor Mass (BWV 232)) perhaps Bach wanted make a big impression for his first Christmas. If the cantata was performed at the same service as the Sanctus in C (BWV 237), it is intriguing to look for similarities between the two works. The Sanctus has the more traditional scoring of 3 trumpets, timpani, 2 oboes and strings. The final chorus of the cantata has the trumpets and timpani as a separate brass ³choir² which is very similar to the opening of the Sanctus. That ³fanfare band² layout is also prominent in the Sanctus of the B Minor Mass (BWV 232).

In a later version, Bach replaced the oboe obligato in the third movement with the organ, although Dürr cautions against considering this a ³definitive² version, but rather an option.

INDIVIDUAL MOVEMENTS:

Mvt. 1 Chorus: ³Christen ätzet diesen Tag²
Although the movement has a huge orchestra, it retains a lightness and brilliance which comes from the division of the forces into four ³choirs²: trumpets & timpani, oboes & bassoon, strings, and chorus. The antiphonal interplay takes us back to the instrumental ³cori spezzati² which Praetorius described at the beginning of the 17^th century. Particularly interesting is the use of the ³a capella² choir accompanied only by the continuo ³Kommt und eilt² is a good example.

Mvt. 2. Recitative (Alto): ³O selger Tag²
This accompanied recitative places the strings in their lowest, richest register no hovering ³halo² here. The rising figure in the first violins makes me think there is an allusion to a chorale -- ³Allein Gott in der Höhe²? The sudden reference to subduing Satan prompts a richly ornamented line with a turn and trill at the cadence

Mvt. 3. Duet (Sop & Bass): ³Gott du hast²
The solo oboe picks up the dactylic figure from the previous recitative and develops a line which could be used as a compendium of Baroque embellishment. Into this already complex texture, the two voices introduce new melodic material which is developed almost continuously as pseudo-canon: the voices rarely sing homophonically.

Mvt. 4. Recitative (Tenor) ³So kehret sich²
This secco recit is the central movement around which the cantata is arranged in mirror-image halves. Glissando scales in the cello present a word-painting dilemma: is the cello depicting the roaring of the Lion of Judah or the flight of arrows from God¹s bow? (Handel used an identical figure for arrows in ³Nisi Dominus).

Mvt. 5. Duet (Alto & Tenor) ²Ruft und fleht²
This lively 3/8 duet has a strong resemblance to the opening chorus both in its opening figure and in the elaborate prepared trill ³viel Heil beleget² which echoes ³Marmorstein² in Mvt. 1 (this may not be a Schweitzeresque leitmotif: the same figure appears melodically in the opening of Christmas Oratorio (BWV 248) for ³Lasset das Zagen².) Bach uses a shortened da capo, unlike the other concerted movements.

Mvt. 6. Recitative (Bass) ³Verdoppelt euch²
This accompanied recitative has one of Bach¹s delightful musical jokes: the voice calls out, ³Redouble then your strength² and the orchestra responds by doubling the strings with the three oboes to create an eight-voice texture.

Mvt. 7. Chorus: ³Höchster schau²
There is no concluding chorale, rather another massive da capo chorus which balances the opening. Bach once again emphasizes his four ³choirs² by having them enter one after the other: trumpets & timpani, then oboes, then strings, The choir is again ³a capella,² initially not doubled by the instruments except for continuo. The music is delightfully playful as the various choirs toss the themes back and forth. The cascading 32^nd note figure in the violins is reminiscent of the opening of the Christmas Oratorio (BWV 248). All of this rejoicing is interrupted in the B section when Satan enters once again like a bad fairy at a party and throws the choir into an anguished Adagio full of diabolic descending chromatic figures. Thank God for da capos: the Christmas spirit resumes with a repeat of the opening rejoicing,

Neil Halliday wrote (February 8, 2009):
Douglas Cowling wrote:
>This cantata is Big Band Bach with an unusual 4 trumpets rather than usual 3 <
Among the newer recordings, Suzuki's [8] is perhaps the most remarkable for conveying the splendour of this large orchestra, in the outer movements.

Suzuki [8] also has a remarkably moving and enchanting slow-tempo 'adagio' (8 mins) in the SB duet, in which the soprano voice blends beautifully with the oboe, and the clarity of all four lines (continuo, bass, soprano, oboe), is exemplary.

[The only disappointing movement, as expected, is the central recitative, but then performance practices for this type of movement are woeful, IMO].

Rilling [3] has a beautiful alto recitative, with the lovely voice of Julia Hamari and hushed string orchestra conveying the subdued harmonies in a memorable performance. The quasi-arioso on the last line of text ("O inconceivable, yet blessed happening") with the concluding instrumental harmonies, are very affecting.

Features of the AT duet are the rich string writing, with frequent instrumental trills (many in brackets in the BGA, but obviously required); in the middle section, the 'slow trill' on "danken" heard in the tenor, then alto, then together; and in the quasi da capo repeat of the first two lines of text, the extended vocal passages of largely parallel 10ths, 6ths, and 3rds on "Reihen" (order).

William Hoffman wrote (February 9, 2009):
BWV 63: Genesis

Gensis

More than a half-century ago, when the Neue Bach Ausgabe, or New Bach Edition, was undertaken, it began with the church-year sacred cantatas, recently numbered BWV 1-200. Using the latest scholarly and scientific techniques, the dating of the church pieces, especially the bulk composed in Leipzig, was still being determined.

With established dates of Bach's composition came the issue of the origin or genesis of each work, particularly its poetic text and the challenge of determining its author. Today the authors of the bulk of Bach sacred cantatas, and the full historical-biographical context have yet to be determined.

Such is the case with Bach's presumed first cantata for Christmas Day, BWV 63. Its origins were - and remain obscured -- in the early part of the second decade of the 18^th century when the madrigalian, Italian-style German cantata was being developed and Bach became its most notable practitioner.

Bach scholar Alfred Dürr lead the way, establishing the cutting edge of new and comprehensive Bach scholarship concomitant with the ambitious goal of the new Bach edition grounded in rigorous research and scholarly methodology. Not stone would be left unturned and no myth would be unchallenged.

As the editor of the second volume of church music, NBA KB (Critical Commentary) I/2, 1957, Dürr, after addressing the "Sources" or surviving autograph manuscripts, took up the "General Origin History." No original printed text or publication was found, as is true with most Bach cantatas. Instead, a printed text was found for a "remarkably similar cantata," by Gottfried Kirchoff (1685-1746), organist at Halle and author of 24 fugues in all keys, in the well-tempered manner.

As part of the Jubilee Festival of the Reformation in Halle, October 31, 1717, Kirchoff's cantata was presented. Its text is found in a printed collection of festival sermons and commentaries, compiled in 1718 by Johann Michael Heineccius (1674-1722), pastor of Liebfrauenkirche in Halle. Klaus Küster in OCC: JSB, 213, says Heineccius' tasks included supervising local church music and writing cantata texts.

Dürr proceeds to compare the printed texts, side by side of Kirchoff's opening "Aria a tutti dc" with Bach's BWV 63 opening chorus. The first two and a half lines are identical in the seven-line stanza with the rhyme scheme ABCCDDB. The third line begins "Kommt und eilet" (Come and hurry) and in Bach's Christmas text continues: "mit mir zu Krippen" (with me to the manger); in Kirchoff's, "frohen weisen" (joyous manner). The final word - "Gnaden-Scheine" (light of grace) - is the same. There is similar treatment of texts with identical line-length and rhyme-scheme in the ensuing duet and closing tutti (chorus) of the two cantatas, except that Kirchoff's shorter aria and tutti both lack two middle lines.

Dürr in the original NBA edition identifies the three da-capo lyrical texts as a classic parody relationship to the already-existing music (Bach's cantata), with different interspersed recitatives to address the differing service occasions and their biblical lessons. In addition, Dürr observes an anomaly in Bach's second, 3/8 alto-tenor duet, No. 5 (not found in Kirchoff), with its textual reference to coming together to the "Reihen" (ranks, says BCW's Francis Browne), a metaphor for coming together to dance. This, Dürr observes, suggests a parody of a church-setting with the hypothesis of a possible third, original version being a secular cantata; set perhaps by another composer.

Dürr also notes that the opening reference to "the day set in metal and marble" is an idiomatic expression popular in contemporary German poetry, citing Johann Jakob Rambach sacred poems, Halle 1720, for Ascension Day, easily adapted as cantata texts. These texts also use words popular in biblical and chorale-text passages, such as "Come and hurry" and "what God has done today."

Dürr also repeats Spitta's hypothesis (I:512) that Bach may have initially composed BWV 63 as his probe (test) piece for the Halle position succeeding Zachow in December 1713 when pastor Heineccius provided Bach with the text.

In "The Origin of the Composition," Dürr says its origin time is still unclear. He noted that the watermarks occur in other early Weimar compositions, including BWV 12, BWV 18, and BWV 132. These are "most firmly dated between 1714 and 1716." "Stylistic indications speak for the composition of the work, at least in the first version about 1714 and before 1716."

In the latest edition (2005) of Dürr's <The Cantatas of JSB>, the Heineccius connection still has "no solid evidence," as does the "parody of a secular origin." As for the text itself, Wolff points out that it "follow entirely the model introduced in 1700 by Erdmann Neumeister" (The World of the Bach Cantatas: Early Sacred Cantatas, p.107). Elsewhere, and I do not have source, there is speculation that Franck may have written the text at the same time as BWV 201, BWV 21, BWV 182, BWV 12, and BWV 172, before May of 1714. While the text obviously has some Halle pietistic literary associations, those connections also could have existed in Weimar with Franck.

There has been speculation, beginning with Spitta, about an early version of BWV 63(a) without recitatives (or BWV 21a) being performed as Bach's Halle probe-piece, Tuesday, Dec. 10, 1713. There also has been speculation that there may have been a repeat performance of BWV 21 and/or 63(a) at Christmas 1713 in Weimar as part of a farewell concert for Prince Johann Ernst. Daw <Bach: The Choral Works> (1981) discusses these possibilities with both cantatas (41ff). The established first performance date of BWV 63 is Christmas Day (Tuesday) Dec. 25, 1714 (Dürr 2005, 93; citing Kobyashi, 1990). This is the only documented performance in Weimar of a Bach church-year cantata on a day other than Sunday. It is also documented that Bach presented BWV 61 on Advent Sunday, Dec, 2, 1714; and BWV 152 on the Sunday after Christmas, Dec. 30, 1714, to fulfill his duty of presenting a cantata on every fourth Sunday for the Weimar Court.

Kim Patrick Clow wrote (February 9, 2009):
William Hoffman wrote:
< Such is the case with Bach's presumed first cantata for Christmas Day, BWV 63. Its origins were - and remain obscured -- in the early part of the second decade of the 18^th century when the madrigalian, Italian-style German cantata was being developed and Bach became its most notable practitioner. >
No, Bach was NOT the most notable practitioner of this style of cantata either during the 2nd decade of the 18^th century or ever.

William Hoffman wrote (February 10, 2009):
BWV 63 & Xmas Chorale

Although Cantata BWV 63 has no chorales that we know of, here's my list of chorales for the Christmas Season:

Key: (5) Stanza 5; 318 (bf, harmonized chorale); 601 (italic, organ prelude); BWV 61/1 (underline, chorale chorus, elaborated)

Ach lieben Christen seid getrost (Ch.) 256 (mel. Wo Gott der Herr nicht bei uns hält)
Christum wir sollen dich loben schon (Ch.) BWV 121/1, BWV 121/6(8); 611, 696
Der Tag, der ist so Freudenreich (Ch.) 294 605, 719
Ermuntre dich, mein schwachen Geist(Ch.) BWV 248/12(9), 454
Freuet euch, ihr Christen alle (Ch.) BWV 40/8(4)
Gelobet seist du, Jesu Christ (Ch.) BWV 64/2(7), BWV 91/1, BWV 91/6(7), BWV 248/7(6), 314, 604 ,697, 722 ,723
Ich freue mich in dir (Ch.) BWV 133/1, BWV 133/6(4), 465
Ich freue mich in dir (Ch.) BWV 197a/7(4)=398 (mel. O Gott, du frommer Gott)
In dulci jubilo (Ch.) 368, 608, 729
Jesu, meine Freude (Ch.) BWV 64/8(5), 610
Jesu meines Herzens Freud (Ch.) 361, 473 (different mel.)
Lobe den Herren, den (Ch.) BWV 57/8(6) (mel. Hast du denn, Jesu Ch.)
Lobt Gott, ihr Christen allzugleich(Ch.) BWV 151/5(8), 609, 732
Nun freut euch, Gotteskinder all 387
Puer natus in Bethlehem (Ch.) BWV 65/2, 603 (or Ein Kind geboren in Bethlehem)
Schaut, schaut, was ist für Wunder dar(Ch.) BWV 248/17(8) (mel. Vom Himmel hoch (Ch.)
Schwing dich auf zu deinen Gott (Ch.) BWV 40/6(2)
Vom Himmel hoch, da komm ich her (Ch.) BWV 243a/A, BWV 248/9(13), BWV 248/23(2), 606, 700, 701, 738, A63, A64
Vom Himmel kam, der Engel Schar (Ch.) 607
Was frag ich nach der Welt (Ch.) BWV 64/4 (mel. O Gott, du frommer Gott)
Was ist ein Kindlein heut geboren (Ch.) 414 (mel. Ach, bleib, bei uns, Herr Jesu Christ)
Wie soll ich dich empfangen (Ch.) BWV 248/5(8) (mel. Herzlich tut mich verlangen)
Wir Christenleut! (Ch.) BWV 40/3(3), BWV 110/7(5), BWV 248/14(12), 612, 710, 1090
Warum sollt ich mich dend grämmen (Ch.) BWV 248/33(15) (mel. Frolich soll mein Herze springen)
Wir singen dir Immanuel BWV 248/17(8) (mel. Vom Himmel hoch)

Excellent chorale resource, thanks to Thomas Braatz , Francis Browne & Aryeh Oron:
www.bach-cantatas.com/Links/Links-Chorales.htm

FIRST DAY OF CHRISTMAS: FEAST OF THE NATIVITY (NBA KB I/2, Dürr 1957)
Gospel, Luke 2: 1-14 (Nativity, 1-7, Annunciation 8-14); Epistle, Heb. 1:1-12 (God's Son)

Date(Cy.) BWV Title Type/Note
c1712-15 [BWV 142] Es ist ein Kind geboren ?KUHNAU, Chorus
12/25/13 ?BWV 63(a) Christen, ätzet diesen Tag Chorus, Proto
12/25/14 BWV 63 Christen, ätzet diesen Tag Chorus, Expansion
12/25/23(1) BWV 63 Christen, ätzet diesen Tag Chorus
12/25/23 BWV 243a Magnificat in Eb Chorus
12/25/23-24 BWV 238 Sanctus in D Chorus
12/25/24(2) BWV 91 Gelobet seist du, Jesu Christ Chorale
12/25/24 BWV 232III(/20) Sanctus in D Chorus, Re-Used
12/25/25(3) BWV 110 Unser Mund sei voll Lachens Chorale Chorus
?after 1723 [Anh.161] Kundlich gross ist das gottselige C.H. Graun Motet
12/25/28(P) BWV 197a(P5) Ehre sei Gottin der Hohe Chs., incl., parodied
1728-31 (BWV 110) Unser Mund sei voll Lachens repeat
c12/25/29 (BWV 63) Christen, ätzet diesen Tag repeat
1732-35 (BWV 63) Christen ätzet diesen Tag repeat
1732-35 (BWV 91) Gelobet seist du, Jesu Christ repeat
12/25/34 BWV 248I Jauchzet, frohlocket, auf preiset Chorus, parody
1736-37 (BWV 197a) Ehre sei Gott in der Hohe repeat
1743-46 BWV 110 Gloria in excelsis Deo Chorus, borrowed, parody
1746-47 (BWV 91) Gelobet seist du, Jesu Christ repeat

BWV 63, Dance style: #1, 5 gigue-passepied (Fincke-Hecklinger); #1 gigue-style (Little-Jeanne)

Douglas Cowling wrote (February 10, 2009):
I listed the required chorales for Christmas Day in my introduction. The choice of most texts was dictated by rubric (e.g. The gradual hymn "de tempore") or the hymn book in use at the particular choice. There wasn't the freedom of choice which modern choirmasters have.

James Atkins Pritchard wrote (February 12, 2009):
William Hoffman wrote [Genesis]:
<< Such is the case with Bach's presumed first cantata for Christmas Day, BWV 63. Its origins were – and remain obscured -- in the early part of the second decade of the 18^th century when the madrigalian, Italian-style German cantata was being developed and Bach became its most notable practitioner. >>
Kim Patrick Clow wrote:
< No, Bach was NOT the most notable practitioner of this style of cantata either during the 2^nd decade of the 18^th century or ever. >
Who do you think was? Just curious.

Cantata BWV 63: Recordings | Recordings of Individual Movements | Discussions

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Last update: ýFebruary 22, 2009 ý09:36:07