Systematic Discussions of Bach’s Other Vocal Works
Weihnachts-Oratorium BWV 248 - Cantata 3

Discussions in the Week of October 24, 2004

Planned but not discussed.

Discussions in the Week of June 14, 2009

Francis Browne wrote (June 14, 2009):
BWV248/3 introduction

Unzeitgemässe Betrachtungen : Thoughts Out Of Season :

This week's cantata is the third part of the Christmas oratorio BWV 248 ..There is a splendid opening chorus (repeated at the conclusion), a fine aria for alto with an eloquent part for solo violin (which uniquely was written for this cantata), and an enjoyable duet for soprano and bass. The DVD by John Eliot Gardiner contains a memorable performance, and his earlier recording and that by Herreweghe are both joyous musicmaking. With some reservations I have also enjoyed the recordings by Richter and the Naxos recording.

If you follow this link: http://www.bach-cantatas.com/VD/BWV248-Part3.htm

you will find the discussion scheduled for the third part of the Christmas oratorio in October 2004 has not started yet. After almost 5 years even someone of Aryeh's positive and optimistic outlook will probably have to concede that discussion will never start. There was a similar jejune or non-existent response to the other parts of BWV 248 for which discussion was planned in that year.

In recent weeks response to the earlier parts of theChristmas oratorio and of the cantatas associated with Christmas has also been generally sparse or nil. It is not that these works do not contain splendid music, but evidently almost everybody on the lists must feel it is somehow inappropriate to concentrate on Christmas music in Midsummer.

Since the response to the earlier parts of Christmas oratorio has been so limited, it is unlikely that many people will suddenly take an interest in the third part, and so there seems little point in providing a lengthy introduction.

I reproduce what Dürr has to say about this cantata.

"The Third Part of the Christmas Oratorio concludes the first half of the work. Parts I-III are felt to belong together particularly closely on account of their tonality (D-G-D) and scoring (with flutes), the continuity of the Gospel* narra­tive, and their immediate succession on the three Christmas feast-days. This may explain why Bach concluded Part III not with a chorale, as in the other five parts, but with a reprise of the opening chorus* (no. 24). It is possible, however, that the concise simplicity of the movement, its plain bipartite form, its clearly per­ceptible periodic phrase structure, and its dance-like character would have given it too little weight on a single hearing, and Bach was therefore induced to repeat it. The second chorus from Part III, no. z6, is also brief in extent. Both its compositional type-a vocal texture with instruments that either double the voices or unite in an unthematic obbligato* part-and its bipartite form (imitative-freely polyphonic*) establish it as a derivative of the motet.*

The three chorales of Part III are less substantial than those of the preceding parts, since they are all set in a plain four-part texture. Our attention is therefore focused on the two arias, particularly on no. 31, which stands out as perhaps the only newly composed aria in the entire oratorio.* A first sketch of it was repeatedly altered and finally rejected; and even the draft of the new, definitive version, with its profusion of corrections, bears witness to Bach's self-critical engagement with its composition. The violin part, written out from the score, contains exceptionally conscientious articulation marks-a further indication of the care taken by the composer over this particular aria. Despite the almost virtuoso character of the violin part, Bach's art here seems much intensified. The solo scoring points to the personal content of the text; and the unison on the words 'Firmly within your Faith!' likewise serves the purpose of textual interpretation."

iamque opus exegi .... with this I have completed my task as stopgap and am happy to hand over to someone more knowledgeable. Evan Cortens, a graduate student in musicology, will be introducing cantatas, chorales and Geistliche Lieder over the next five weeks. I wish him well and hope that the varied works scheduled will provoke interest and discussion.

Neil Halliday wrote (June 20, 2009):
Francis Browne wrote:
> With some reservations I have also enjoyed the recordings by Richter and the Naxos recording.<
Richter is a bit slow in the opening (and closing) chorus, with rigid articulation of the continuo; Suzuki and Gardiber seem most joyful here. However, Richter has a marvellously fleet, but not manic, 2nd chorus "let us now go to Bethlehem, cf. Suzuki who is way too fast in this movement. Richter's recitatives and enthusiastic chorales are all excellent, but his alto aria is a bit slow and mournful. Preferences for the duet will depend on mood.

Discussions in the Week of January 7, 2018 (4^th round)

William Hoffman wrote (January 4, 2018):
Christmas Oratorio, Part 3, Adoration of Shepherds, BWV 248III

While composed for a lesser-observed day of the three-day Christmas festival, Part 3 of Bach's Christmas Oratorio, focusing on the Adoration of the Shepherds, is both a culmination of the initial Nativity Incarnation trilogy, as well as a milestone in Bach's creation of his Christological Cycle as part of his well-ordered church music. This 25-minute musical sermon, "Herrscher des Himmels, erhöre das Lallen," (Ruler of heaven, hear our inarticulate speech), is divided into three phases, built around narrative, commentary, and chorale. Initially, the shepherds in their motet chorus plan their trip to Bethlehem; in the second they adore the child, and then return home. The madrigalian poetry in the chorus and arias and the accompagnato solos, as well as the congregational chorales, and the Gospel narrative — all involving lyrics that describe the drama in biblical, theological, and cultural language. Musically, Bach returns from the G Major intimate pastoral setting of woodwinds to the triumphal, rousing choruses with trumpets and drums in D Major of the first cantata.¹ The central soprano-bass Soul-Jesus duet now embraces the essential unio mystica concept of the inhabitio indwelling of the central, spiritual three-fold meaning of Christmas, the concept of the three comings of Jesus Christ. First is his nativity in the first three 1734 observances of Bach's six-part Christmas story, now in the symbolic love of the believer and God's son as bride and bridegroom, and finally the beginnings of the final coming of the Saviour at the end time in judgement, told in the last three cantatas describing the naming of the son, the recognition of his kingdom, and the darkness of human evil which he would defeat, says Marcus Rathey.²

Part 3 of the Christmas Oratorio, BWV 248III, was premiered on Monday, 27 December 1734, at the early main service of the Nikolaikirche before the sermon (not extant) on the day's Gospel (John 21:20- 24, Jesus’s command to Peter) on the Feast of John the evangelist by Archdeacon Friedrich Wilhelm Schütz (1677-1739), says Martin Petzoldt in Bach Commentary, Vol. 2, Advent to Trinityfest.³ At the very end of John's Gospel, this passage, also known as the "Farewell Discourse," revolves around the love between the two disciples and Jesus, adding the commands to Peter to 'shepherd his flock," says Rathey (Ibid.: 122). "The sermon in the morning service of December 27, 1734, would have been based on this text. While it lacks a direct connection to Christmas, the motif of the shepherd (here Peter) links it to the bucolic sphere of the shepherds' scenes in the Christmas narrative. Additionally, the topic of love , which is of theological significance for the Christmas Oratorio, appears here as well."

The day's alternative Gospel is John's concept of the spiritual incarnation of Jesus in his Prologue: “In the beginning was the Word” (1-14), with Paul's Epistle (Hebrews 1:1-14) emphasizing "Christ is higher than the angels" (Martin Luther 1545 German Text and 1611 (King James) Version (http://www.bach-cantatas.com/Read/Christmas3.htm). The Introit Psalm for the 3rd Day of Christmas in Bach’s time was Psalm 100, Jubilate Deo omnie terra (Make a joyful noise unto the Lord, all ye lands, KJV), says Petzoldt (Ibid.: 199). The full KJV text is found at http://www.biblecloud.com/kjv/psalms/100.

Because this was a lesser feast day in Leipzig, Bach's cantata was not repeated at the afternoon vesper service at the St. Thomas Church while Bach and his librettist also made references to the day's Gospel. The same situation was observed for the next Sunday (after New Year's) when Part five also was not repeated. The other four cantatas were presented twice for the first the feasts of the two days of Christmas, New Year's Day, and the Epiphany, 6 January 1734. Bach and his librettist focused on passages that express the Johannine theology of John's Gospel of love and victory and the sense of joy found in the Psalms, as revealed in the Lucan narrative (2:15:20) as well as the madrigalian movements and congregational hymns.

The synoptic Gospel of Luke tells the historical story of Jesus' incarnation, the physical birth, while John's Gospel begins with the Prologue "poem" "on Jesus' divine identity," observes Eric Chafe.⁴ This tells of Jesus incarnation in "cosmic" terms: the Word that was in the beginning with God and that was God, "that was the creator and life itself, born of God, that became flesh and came into the world bringing light," "the Word was made flesh and dwelt among us (and we beheld his glory as of the only begotten of the Father), full of grace and truth" (kjv). "Thus," says Chafe, "the prologue announces central themes of the Gospel as a whole: the antithesis of light and darkness, the oneness of Jesus and the Father, the filial relationship of the faithful to God, and the attributes of glory, grace, and Truth."

Christmas Oratorio, Part 3, movements, scoring, text, key, meter (German text and Francis Browne English Translation):

[24] 1. Chorus bi-partite in 8 concise segments with ritornelli; homophonic song and pseudo-fugal styles [SATB; Tromba I-III, Timpani, Flauto traverso I/II, Oboe I/II, Violino I/II, Viola, Continuo]: A. "Herrscher des Himmels, erhöre das Lallen, / Laß dir die matten Gesänge gefallen, / Wenn dich dein Zion mit Psalmen erhöht!" (Ruler of heaven, hear our inarticulate speech, /let our faint songs please you, / when your Zion exalts you with psalms!); B. "Höre der Herzen frohlockendes Preisen, / Wenn wir dir itzo die Ehrfurcht erweisen, / Weil unsre Wohlfahrt befestiget steht!" (Hear the exultant praise of our hearts, / as we show our reverence for you / since our welfare is made sure!); D Major; 3/8 gigue-passepied style.
[25] 2. Recitative secco (narrative, Luke 2:15a) [Tenor, Continuo] Evangelist: "Und da die Engel von ihnen gen Himmel fuhren, / sprachen die Hirten untereinander:" (Evangelist: And as the angels went from them to heaven / the shepherds said to one another:]; e minor to A Major; 4/4 attacca:
[26] 3. Chorus turba (narrative Luke 2:15b), motet imitation, obbligato instrumental voices (Flauto traverso I/II, Violino I, Oboe d'amore I e Violino II col Soprano, Oboe d'amore II coll'Alto, Viola col Tenore, Continuo]: Die Hirten: "Lasset uns nun gehen gen Bethlehem / und die Geschichte sehen, die da geschehen ist, / die uns der Herr kundgetan hat." (Shepherds: Let us now go to Bethlehem / and see the event that has happened there, / which the Lord has made known to us.); A Major to c-sharp minor; attacca":
[27] 4. Recitative accompagnato (AABBCC) [Bass; Flauto traverso I/II, Continuo}: "Er hat sein Volk getröst', / Er hat sein Israel erlöst, / Die Hülf aus Zion hergesendet / Und unser Leid geendet. / Seht, Hirten, dies hat er getan; / Geht, dieses trefft ihr an! (He has consoled his people, / He has redeemed his Israel, / sent help out of Zion / and ended our suffering. / See, shepherds, this is what he has done; / Go, this is what you will find!); c-sharp minor to A Major; 4/4.
[28] 5. Chorale plain (AABBC) [SATB; Flauto traverso I/II in octava e Oboe I/II e Violino I col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo]: "Dies hat er alles uns getan, / Sein groß Lieb zu zeigen an; / Des freu sich alle Christenheit / Und dank ihm des in Ewigkeit. / Kyrieleis!" (All this he has done for us / to show his great love; / for this reason let all the Christian world rejoice / and thank him for this in eternity. / Lord have mercy!); A Major mixoldian; 4/4.
[29] 6. Aria da capo (Duet), imitation, ritornelli complex, Lombard syncopated style [Soprano, Bass; Oboe d'amore I/II]: A. Herr, dein Mitleid, dein Erbarmen / Tröstet uns und macht uns frei." (Lord, your compassion, your mercy / console us and make us free.); B. Deine holde Gunst und Liebe, / Deine wundersamen Triebe / Machen deine Vatertreu / Wieder neu." (Your gracious favour and love, / your wondrous desires / make the love you have for us as a father /again new.); A Major; 3/8 passepied-menuett style.
[30] 7. Recitative secco (narrative, Luke 2:16-19) [Tenor, Continuo]: Evangelist: / Und sie kamen eilend und funden beide, Mariam und Joseph, / dazu das Kind in der Krippe liegen. / Da sie es aber gesehen hatten, /breiteten sie das Wort aus, / welches zu ihnen von diesem Kind gesaget war. / Und alle, für die es kam, / underten sich der Rede, / die ihnen die Hirten gesaget hatten. / Maria aber behielt alle diese Worte / und bewegte sie in ihrem Herzen." (Evangelist: And they came in haste and found both, Mary and Joseph / and with them the child lying in the manger / But when they had seen this / they spread the word / that had been spoken to them about this child / and all those to whom it came wondered at the speech / which the shepherds had told to them. / Mary however kept all these words / and thought over them in her heart.); f-sharp to b minor; 4/4.
[31] 8. Aria free da-capo, ritornelli complex [Alto; Violino solo, Continuo]: "Schließe, mein Herze, dies selige Wunder / Fest in deinem Glauben ein!" (Enclose, my heart, this blessed wonder / firmly in your faith!" (Lasse dies Wunder, die göttlichen Werke, / Immer zur Stärke / Deines schwachen Glaubens sein!" (Let this wonder, this work of God, / always serve to strengthen / your weak faith!); b minor; 2/4.
[32] 9. Recitative Accompagnato (ABBA) [Alto; Flauto traverso I/II, Continuo]: "Ja, ja, mein Herz soll es bewahren, / Was es an dieser holden Zeit / Zu seiner Seligkeit / Für sicheren Beweis erfahren." (Yes, yes, my heart will keep / what at this gracious time / for its blessedness / it has learned as certain proof.); D to G Major; 4/4.
[33] 10. Chorale plain bi-partite (ABBA) [SATB; Flauto traverso I/II in octava e Oboe I/II e Violino I col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo]: "Ich will dich mit Fleiß bewahren, / Ich will dir / Leben hier, / Dir will ich abfahren, / Mit dir will ich endlich schweben / Voller Freud / Ohne Zeit / Dort im andern Leben." (I shall diligently keep you in mind, / I shall for you / live here, / to you I shall depart /with you I shall one day soar aloft / full of joy / beyond time / there in the other life.); G Major; 4/4.
[34] 11. Recitative secco (narrative Luke 2:20) [Tenor, Continuo]: Evangelist: "Und die Hirten kehrten wieder um, / preiseten und lobten Gott um alles, / das sie gesehen und gehöret hatten, / wie denn zu ihnen gesaget war." (Evangelist: And the shepherds went back again, / glorified and praised God for everything / they had seen and heard, / as it had been said to them.); e to f-sharp minor; 4/4.
[35] 12. Chorale plain [SATB; Flauto traverso I/II in octava e Oboe I/II e Violino I col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo]: "Seid froh dieweil, / Dass euer Heil / Ist hie ein Gott und auch ein / Mensch geboren, / Der, welcher ist / Der Herr und Christ / In Davids Stadt, von vielen auserkoren." (Meanwhile be joyful / that your salvation / has been born here as both God and man, / He who is / the Lord and Christ / In David's city, chosefrom many.); f-sharp minor; 4/4.
[36] 13. Chorus, repeat of No. [24] 1. "Herrscher des Himmels, erhöre das Lallen."

Notes on Text

Passages from Psalms of joy are found throughout Part 3 of the Christmas Oratorio, particularly in the chorales and madrigalian chorus and arias affirming the exuberance of the shepherds at the birth of Jesus. A summary of biblical quotations and illusions in these movements, as well as their references to the Lukan Gospel, are found in Melvin P. Unger's Cantata Text Handbook.⁵ The opening chorus (No. 24-1), "Herrscher des Himmels, erhöre das Lallen," (Ruler of heaven, hear our inarticulate speech), which is repeated at the end, emphasizes that "Zion praises Ruler of Heaven for Salvation," particularly in the line "when your Zion exalts you with psalms!," based on Psalm 47:7). The bass Accompagnato (No. 27-4), describes how "God has comforted and redeemed his people," with its references to Isaiah 49:13 (comfort), 44:23 (help from Zion), and 40:1-2 (suffering ended), and the narrative Luke 1:68 (redeemed his people). The Luther chorale (No. 28-5), "All this he has done for us" (Psalm 126:3), affirms "Praise to God for showing his love," making references to Luke 18:13 (God be merciful); the Gospel John 3:16 (his great love) and 2 John 1:3 (grace, mercy and peace). The soprano-bass love duet (no. 29-6, "Praise to God for his mercy to us," speaks of mercy (Jer. 15:5) and paternal-fidelity (Psalm 103:13, a father pities his children), which is new again (Lam. 3:22). The alto aria (voice of Mary, No. 31-8), "Embrace this miracle in your heart," relates to the narrative (Luke 2:19), "O my heart, embrace this wonder, despite your weak faith" (Luke 17:5), followed by her Accompagnato, "I will preserve this miracle in my heart," gaining salvation (1 John 4:14, "Their father has sent his son as the Saviour of the World). The Gerhardt personal chorale (No. 33-10), "I will preserve Christ in my heart," reflects these teachings of the narrative, as well as Rom. 14:8, unto death. The final Runge-Füger chorale prayer of thanksgiving (No. 35-12), "Rejoice, salvation has come in Christ," fulfilling John's Prologue, the Word was God and the word became flesh (incarnation) that brings Christ's third coming, salvation at the end of time.

Christmas Oratorio: New Material

Most of the madrigalian material comes from music composed a year earlier. Here is an account of the new materials, from Klaus Hofmann, translation John Coombs:⁶ <<Only one of the arias in the Weihnachtsoratorium was newly composed: “Schließe, mein Herze, dies selige Wunder” (No. 31), and of the opening choruses, also, only one was original: “Ehre sei dir, Gott, gesungen” (No. 43). Wholly newly composed, however, are the words of the Evangelist, those of the Angel (No. 13), of Herod (No. 55), and the choruses of the angels “Ehre sei Gott in der Höhe” (No. 21), of the shepherds “Lasset uns nun gehen gen Bethlehem” (No. 26) and – although this is less certain – of the wise men from the east “Wo ist der neugeborne König der Jüden” (No. 45). In Parts I–V, except for the short “So recht, ihr Engel, jauchzt und singet” (No. 22), Bach composed recitatives to freely-written texts as accompagnati. The three recitatives in Part VI composed to freely-written texts (Nos. 56, 61, 63) are parodies. All the chorales were composed especially for the Weihnachtsoratorium, with the exception of the final movement (No. 64).>>

"It is probable that Bach repeated the whole or at least some parts of the oratorio in later years, but we have no information in that respect," says Hoffman. "There are some revisions entered into Bach's score and performing parts for later renderings, but we do not know in which years they were made," says Michael Marissen.⁷ "A traversal through all six arts is possible for the Christmas seasons of 1739-40, 1744-45, and 1745-46, since the series of festive days then were the same as for 1734-35. Possibly individual cantatas from the set were rendered in various years."

Luther Christmas Hymn Repeated

For the third Christmas cantata, BWV 248III, Bach made a plain chorale setting (No. [28] 5) of Martin Luther's 1524 Christmas hymn, "Gelobet seist du, Jesu Christ" (Praised be you, Jesus Christ), the final 7th stanza, "Das hat er alles uns getan" (He has done all this for us), as well as two poetic, pre-pietist irregular hymns composed in the mid-17th century by poet Paul Gerhardt and colleague Christoph Runge. These three congregational hymns reflect the sentiments of the shepherds and the Christian believer.

In Part 1, Bach had used Luther's 6th stanza, "Er ist auf Erden kommen arm" (He has come on the earth in poverty) as the soprano trope alternating with the bass Accompagnato (no. 7), "Wer will die Liebe recht erhöhn" (Who will rightly extol the love), the first symbolic love duet and an expression of the Christus paradox of Jesus Christ as both truly man and truly God, repeated in the closing line of the Runge hymn (No. [35] 12], the penultimate movement in Part 3.⁸ Here Bach exploits Luther's uses of the words "getan" (God's doing), "Ewigkeit" (eternity), and "Kyrieleis" (Lord have mercy), affirming Luther's Doctrine of Justification (https://en.wikipedia.org/wiki/Justification_(theology), observes Rathey (Ibid.: 245f). It is Bach's most elaborate harmonization of Luther's hymn, with "rhythmically intricate textures," independent middle voices, and extended final cadence" (http://www.bach-chorales.com/BWV0248_28.htm, https://www.youtube.com/watch?v=_gzOmPb-1yo).

Bach also set Luther's hymn as the chorale Cantata BWV 91 for Christmas Day 1724 (http://www.bach-cantatas.com/BWV91-D5.htm), which Bach reperformed at least four times in Leipzig. Bach also set the 7th stanza as a plain chorale in his Cantata BWV 64, "Sehet, welch eine Liebe hat uns der Vater erzeiget" (See, what sort of love the Father has shown to us, 1 John 3:1), for the 3rd Day of Christmas 1723. "Gelobet seist du" was published in Johann Walter’s Wittenburg Geystliche gesangk Buchleyn as an example of the “Leisen” stanza litany refrain, Kyrie eleison (Lord have mercy) and is found in the Neu Leipziger Gesangbuch (NLGB) of 1682 as No. 16 for Christmas. Luther's best-known Christmas chorale is "Vom Himmel hoch da komm' ich her" (From Heaven Above to Earth I Come), which Bach set as plain chorales in the first two parts of the Christmas Oratorio.

Paul Gerhardt Setting

"Ich will dich mit Fleiß bewahren" (I shall diligently keep you in mind) is the final 15th stanza of Paul Gerhardt's 1653 Christmas hymn (Fischer- Tümpel, III, #405), "Fröhlich soll mein Herze springen" (Merry my heart should jump), to an 18th century variant of the Georg Ebeling melody (Zahn 6461), "Warum sollt ich mich denn grämen" (Why should I grieve), first published in Praxis Pietatis Melitas of Johann Crüger (Berlin 1656).⁹ It is not found in the NLGB but Bach's source could have been the 1525 Dresdener Gesangbuch, No. 50, Christmas, says Petzoldt (Ibid.: 247). Bach's setting is the Christian congregation's "commitment to diligently keep Christ in their hearts" at all times (life, death, eternity), particularly to "safeguard Christ in their hearts at" all three theological comings, says Rathey (Ibid.: 267), and Bach's "chromatic lines indeed give the movement [measure 8)] a hovering quality" (http://www.bach-chorales.com/BWV0248_33.htm https://www.youtube.com/watch?v=VMK322QHi5I).

Bach also set the Ebeling melody as a plain chorale, BWV 422 https://www.bach-digital.de/receive/BachDigitalWork_work_00000492. Bach sets four other Gerhardt texts in the Christmas Oratorio to various melodies: "Wie soll ich dich empfangen"(How should I receive you), to the Passion chorale, "O sahead now wounded," Part 1/5; "Look, there lies in the dark stable," Stanza 8 of "Schaut, schaut, was ist für Wunder dar?" (Look, look, what sort of miracle is this?, Part 2/7; "Wir singen dir, Immanuel," Part 2/14 (both to Luther's melody, "Vom Himmel hoch da komm' ich her"; and "Ich steh an deiner Krippen hier" (I stand here at your crib), to the melody of Luther's Advent hymn, "Nun freut euch, lieben Christen g'mein" (Now rejoice, dear Christians all).

Advent/Christmas Chorale

The final plain chorale in Part 3 of the Christmas Oratorio (No. 35/12) is "Seid froh dieweil" (Meanwhile be joyful, http://www.bach-chorales.com/BWV0248_35.htm; https://www.youtube.com/watch?v=qx_MXKwNYEA). It is a hymn not found contemporary Leipzig hymnals," says Rathey (Ibid.: 267). The nearest source for Bach would have been 1733 Freiberger Gesangbuch, No. 137, Christmas, or the 1720 Zwickauer Gesengbuch, No. 64, Christmas, says Petzoldt (Ibid.: 248). The text summarizes the joy of "salvation through the God who has become man in the City of David," he says. It is a setting of the fourth stanza of the Berlin printer Christoph Runge (1619-1681) Advent/Christmas hymn, "Lasst Furcht und Pein fern von uns sein" (Leave fear and anguish now your salvation) of 1653, in eight 6-line irregular binary stanzas, set to the 1593 melody (Zahn 2092) of Kaspar Füger (1521-1592), "Wir Christenleut habn jetzund Freud" (We Christian people have joy now).¹⁰ It was first published in Praxis Pietatis Melitas of Johann Crüger (Berlin 1653). The melody originally was published in Martin Fritsch's Gesangbuch of Christian Psalms and Church Songs (Dresden 1593). "The Shepherds' joy is transferred to the whole body of believers in this chorale," says Ignace Bossuyt,¹¹ with a "tension which is released in the explosion of joy created by the reprise of the opening chorus."

Bach set one of the related melodies, "Wir Christenleut" (Zahn 2072), in three Christmas cantatas: BWV 40, "Darzu ist erschienen der Sohn Gottes" (For this reason the Son of God appeared, 1 John 3:8), for Christmas 2, St. Stephen's Day, 26 December 1723; in third cycle 1725 Christmas Day chorus Cantata BWV 110, "Unser Mund sei voll Lachens" (May our mouth be filled with laughter); and in apocryphal Bach Cantata BWV 142, “Uns ist ein Kind geboren” (Unto us a child is born, http://www.bach-cantatas.com/Vocal/BWV248-Gen8.htm); as well as in three organ chorale prelude collections: Orgelbüchlen, BWV 612; Kirnberger Miscellaneous, BWV 710; and Neumeister, BWV 1090 (source: http://www.bach-cantatas.com/CM/Wir-Christenleut.htm).

Love Duet, Mary's Contemplation

The musical and theological center of the Adoration of the Shepherd are the madrigalian commentary arias, the soprano-bass (Soul-Jesus) duet (No. 29-6), "Herr, dein Mitleid, dein Erbarmen" (Lord, your compassion, your mercy, https://www.youtube.com/watch?v=uYplZpGe0_8), and the newly-composed alto (voice of Mary) contemplative aria (No. 31-8), "Schließe, mein Herze, dies selige Wunder" (Enclose, my heart, this blessed wonder, https://www.youtube.com/watch?v=c5Fa9zvIGKM) — both cast in progressive Lombard syncopated rhythm and framing the Lukan narrative (2:16-19) of the shepherds actual adoration at the manger, beginning the second phase of Part 3.

The solo duet in the Christmas Oratorio originally was composed as a love duet between Hercules and Virtue (https://www.youtube.com/watch?v=TOVg6lHToM0) in the dramma per musica, BWV 213, from the birthday tribute to Prince Friedrich Christian, "Herkules auf dem Scheidewege" (Hercules at the Cross-roads), presented on 5 September 1733. Another solo provided a lullaby in the Part 1 Nativity cantata for Christmas Day. For the symbolic second coming of Jesus in the spirit, "the idea of mercy again is taken up," says Bossuyt (Ibid.: 114f), with the Soul longing for Jesus, represented symbolically by the Medieval concept of the bride and bridegroom, best expressed in the biblical Song of Songs. Here Bach substitutes two oboes d'amore for violas and creates an opening ritornello that "is yet another jewel of melodic-rhythmic invention, he says. The short-long Lombard rhythm "appears frequently in the celebratory cantatas written by Bach in the 1730s for the Saxon Royal Family in Dresden." Another technique of joy and love is the use of harmonious parallel third and sixths, also found in the alto-tenor love duet, Et misericordias eius from the Magnificat, presented Christmas Day 1723 (https://www.youtube.com/watch?v=WLZY31c5ltw).

The original love duet appears to have originated in a lost wedding serenade written in 1725 for a Leipzig representative of the Saxon Court, BWV Anh. 196, Auf! süß-entzückende Gewalt (Up! Sweet charming authority; http://www.bach-cantatas.com/BWV210-D3.htm). That year, Bach began by composing another pastoral shepherds' serenade which became the Easter Oratorio in its final version about 1738. Bach also composed a sacred wedding cantata, BWV Anh. 15, "Siehe, der Hüter Israel" (Lo now, the guard of Israel; by Z. Philip Ambrose), from which materials also may have been developed for arias in the B-Minor Mass, the Kyrie-Gloria, BWV 233a, submitted to the Saxon Court in 1733. By late 1734, Bach was able to transform BWV 213/11, "Ich bin deine" (I am yours), "Du bist meine" (you are mine), from a "sensual love of the secular duet into a symbolic representation of love," says Rathey (Ibid.: 250), fusing love and mercy. This is the second of four in the Christmas Oratorio, the first being the troped soprano-bass chorale-Accompagnato, "Er ist auf Erden kommen arm, / Wer will die Liebe recht erhöhn" (He has come on Earth in poverty / Who will rightly extol the love) in Part 1. The others in Part 4 are (No. 38), "Immanuel, o süßes Wort!" (Emmanuel, O sweet word!) and (no 40), "Wohlan, dein Name soll allein" (Well then, your name alone).

Following the unio mystica concept of the inhabitio indwelling in the love duet, the remaining movements in Part 3 address the three-fold coming of Jesus, says Rathey (Ibid.: 254). This hermeneutic key for the theological understanding of Christmas in Bach's time "encapsulates the overarching theme of the oratorio," he says. The second phase of the Adoration cantata explores how "Mary however kept all these words / and thought over them in her heart." Bach replaced an aria available from the recently-composed Cantata 215, "Preise dein Glücke, gesegnetes Sachsen" (Praise your good fortune, blessed Saxony), honoring Augustus III, and composed a reflective trio setting for alto (representing Mary), solo violin, and continuo in 2/4 time. This lullaby retains the subtle rhythmic effect of Lombard rhythm found in the duet. The alto soloist then sings an Accompagnato, "Ja, ja, mein Herz soll es bewahren"(Yes, yes, my heart will keep), with two transverse flutes (https://gaming.youtube.com/watch?v=SQxUlIeAMbY), "linked to the powers of heaven in this cantata, are presented for the last time" in the Christmas Oratorio, observes Bossuyt (Ibid.: 120).

The original, musical model for the alto lullaby is the bass aria (no. 6), "Ich lasse dich nicht" (I will not leave thee, https://www.youtube.com/watch?v=8u4oKV3UcCI), in the c.1728 partially-lost Christmas Cantata, BVWV 197a, "Ehre sei Gott in der Höhe" (Glory to God in the highest), says Rathey (Ibid. 258). Another movement which textually embraces both love and mercy is the alto aria, "Erbarme dich" (Have mercy on me, https://www.youtube.com/watch?v=aPAiH9XhTHc) in the St. Matthew Passion, Rathey suggests. Another, similar aria is what eventually became the alto aria Agnus Dei (Lamb of God), in the B-Minor Mass (https://www.youtube.com/watch?v=yebm-9w6Q7A), originally in BWV Anh. 196. "What connects all these pieces is that they are all for alto and have an intimate, contemplative text," he says (Ibid.: 259).

FOOTNOTES

¹ Christmas Oratorio, Part 3, Details & Discography, BCW http://www.bach-cantatas.com/Vocal/BWV248.htm, BWV 248/2; Score Vocal & Piano, http://www.bach-cantatas.com/Scores/BWV248-3-V&P.pdf; Score BGA, http://www.bach-cantatas.com/BGA/BWV248-3-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 192).
² Marcus Rathey, Chapter 8, "Inward Mobility (Part III)," Johann Sebastian Bach’s Christmas Oratorio: Music, Theology, Culture (New York: Oxford University Press, 2016: 239ff).
³ Martin Petzoldt, Bach Kommentar: Theologisch Musikwissenschaftlicke Kommentierung der Geistlichen Vokalwerke Johann Sebastan Bachs; Vol. 2, Die Geistlichen Kantaten vom 1. Advent bis zum Trinitatisfest; Internationale Bachakademie Stuttgart (Kassel: Bärenreiter, 2007: 237).
⁴ Eric Chafe, Chapter 3, "Johannine Themes: John in the Church Year,": in J. S. Bach's Johannine Theology: The St. John Passion and the Cantatas of Spring 1725 (Oxford University Press, 2014: 101).
⁵ Unger, Handbook to Bach Sacred Cantata Texts: An Interlinear Translation with Reference Guide to Biblical Quotations and Illusions (Lanham MD. Scarecrow Press, 1996: 713-717).
⁶ Bach Weihnachtsoratorium, Teil I-III ((Göttingen: Stuttgarter Bach-Ausgaben, 2005: Foreword), https://www.carusmedia.com/images-intern/medien/30/3124802/3124802x.pdf.
⁷ Michael Marissen: Bach's Oratorios: The Parallel German-English Texts With Annotations (Oxford University Press, 2008, 3-15); various citations in "Notes on Text," above.
⁸ German text and Francis Browne English translation, http://www.bach-cantatas.com/Texts/Chorale003-Eng3.htm; melody information (Zahn 1947, EKG 15) and chorale uses, http://www.bach-cantatas.com/CM/Gelobet-seist-du.htm.
⁹ German text, http://www.lutheran-hymnal.com/german/tlh077g.htm; English (on-line) translation, https://translate.google.com/translate?hl=en&sl=de&u=http://www.lutheran-hymnal.com/german/tlh077g.htm&prev=search.
¹⁰ Source: https://books.google.com/books?id=s6c9AQAAMAAJ&pg=PA53&lpg=PA53&dq=Laßt+Furcht+und+Pein+Christoph+Runge+Terry&source=bl&ots=1UWRTd85nj&sig=Vykiy2hL1Qzs64IYUfNzegX1IHw&hl=en&sa=X&ved=0ahUKEwihu_LgmrrYAhUV8WMKHb8JBGcQ6AEIRzAI#v=onepage&q=Laßt%20Furcht%20und%20Pein%20Christoph%20Runge%20Terry&f=false; German text, http://www.bach-cantatas.com/Texts/Chorale056-Eng3.htm; English (on-line) translation, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale056-Eng3.htm&prev=search.
¹¹ Ignace Bossuyt, Johann Sebastian Bach Christmas Oratorio, trans. Stratton Bull (Leuven University Press, 2004: 55).

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To Come: Christmas Oratorio, BWV 248IV, "Fallt mit Danken, fallt mit Loben" Fall with thanks, fall with praise), for New Year's Feast of Circumcision.

Peter Smaill wrote (January 4, 2018):
[To William Hoffman] Why is it that the English translation of “ Herrscher des Himmels, erhoere das Lallen” , comes out usually ( not always) as “ Lord of Heavens, hear OUR inarticulate speech”.

“Das” means “the”, not “our”.

|What is I think happening is that the celestial choir singing boldly is contrasting itself to the mumbling psalms coming up from Zion- the earthly choir. That there are are two choirs depicted is set out in the first movement of BWV248/I where Bach’s librettist uses “ Choren”, choirs in the plural.

The two- choir contrast occurs in several of the Cantatas of the XO and the creation of separate angel and mortal choirs, the latter appropriate to many of the chorales, has in my experience brought theological tension into the work which achieves resolution in the unifying words of the very last movement of the sixth Cantata.

Since the 1733 rulebook of the Thomaschule enjoined choristers to consider that they should sing like the angels we can be sure that angelic representation was a serious component of Lutheranism at this date. The dialogue of earthly and heavenly is shot through the texts and leads to the possibility that both the Thomaskirche and Nicolaikirche choristers participated in the work, representing the heavenly and earthly church respectively.

Julian Mincham wrote (January 4, 2018):
Double choirs

[To Peter Smaill] I am not entirely convinced by the argument; Bach makes use of a genuine double choir so seldom in the cantatas that it is difficult to generalise. The four part choir is the norm (with an additional soprano part added, as in the mass, in a couple of them) but the only two works with a fully written double choir are BWV 195 (though this is thought to be a wedding cantata) and BWV 50, a single movement. Of the former I have argued that this may well be an example of Bach's writing out, in full the ripieno and concertino roles as the second choir simply doubles the first at various times (Nevertheless it is a highly significant example of how Bach might have employed his second singers in a number of other cantatas). The latter is the one remaining example of genuine two-choir writing which may have been intended to suggest the contrast between God and Christ and the cast down brethren.

If Bach intended to convey a suggestion of 'choirs' in the plural it is surprising that he did not make use more often of two independent groups as in BWV 50. He certainly could bring together at least 8 singers on occasion although i think that mostly they sang the same parts (an in 195). Maybe it was principally a matter of rehearsal time considering the task of getting a new cantata up to scratch every week in the early years.

Peter Smaill wrote (January 4, 2018):
[To Julian Mincham] Thanks Julian for considering the possibility of two choral groups representing the earthly and heavenly in the Christmas Oratorio.

We do know from contemporary illustrations that various groups of choristers assembled around lecterns so the potential to actually change which groups of choristers sang at any given point is there, even if there are only single parts written out.

Perhaps more compelling is that the text booklet which has survived superscribes the opening movements as “Tutti”. That implies that other movements are not “Tutti”, thus at least promoting the idea of variable vocal power in the choral movements.

This variation of vocal force makes the work more dramatic and accessible, but I’m aware it is not the traditional choral Union approach in which many of us grew up. Nor is the double/ separate choir idea formally indicated, as in the examples you raise ( and several others if the motets and Passions are considered). The text however keeps pulliaway from the unitary choir approach if the words are to mean what they say......

William Hoffman wrote (January 4, 2018):
Then there are the motets for eight voices, including some of the Bach Family and students — music of sorrow and joy as well as a mix of the two, music treasured at the Thomas School and presented to Mozart and others. I think these Kirchenstuecken (sp.) motets and cantatas are part of the fourth cycle of occasional music that also includes the free-standing chorales and sacred songs. The fifth cycle is the Christological Cycle of major works — Mass movements and oratorios (Passions and feast days), including the lost Pentecost Oratorio.

BTW, Dan Melamed’s new book, "Listening to Bach: The Mass in B Minor and the Christmas Oratorio" (imagine the two discussed together!) will be available at OUP April 2.