Although we tend to think of Bach's large-scale choral-and-orchestral works such as the B minor Mass or the Passions as being rather loosely part of the 'oratorio' repertory, he himself only used the term on three occasions. That the three works in question - the Christmas Oratorio , the Ascension Oratorio and the Easter Oratorio - a re for the most part indistinguishable in style from his many church cantatas, and indeed occupied the same slot as them in the Lutheran service, suggests that by naming them thus Bach was attempting to conjure up a whiff of novelty. In truth it was a novelty that was only partly there.
By the time he wrote them for the 1734-5 church year, there had been a slowing of the creative flood which, in the period immediately following his arrival in Leipzig in 1723, had seen him compose five cycles of cantatas for the complete church year; now he was satisfying himself with fashioning old works into new. This was the period of the four short 'Lutheran' Masses and the Kyrie and Gloria of the B minor Mass, all of which, like the three oratorios, adapted previous compositions to a new purpose in a time-honoured method often referred to as 'parody'. The advantages were not just the saving of time and composing effort, but also the salvaging of music that would otherwise have largely gone to waste. The sources for Bach's church 'parody' works were often secular one-off cantatas for occasions such as the birthday of a local grandee or the celebration of the inauguration of the town council; their enshrinement in a more timeless sacred context ensured their longevity, both in Bach's time and (though he was not to know it) for posterity.
Yet for all their similarities to the cantatas, Bach's oratorios are just about different enough to merit their separate category. They share with the cantatas the overall mixture of recitatives, arias, choruses and chorales (or hymns), but they also have an underlying narrative flavour which links them to the genre's origins as a semi-dramatic treatment of a sacred subject. In the Christmas and Ascension oratorios in particular this is made explicit by the presence, as in Bach's Passions, of an 'Evangelist' in the form of a tenor soloist singing lines from the Gospels. The arias and choruses then examine and reflect on the emotions provoked by events, while the chorales propose a communal response.
The Christmas Oratorio was put together for the Christmas season of 1734-5, and in fact consists of freestanding cantata-like works for six separate days of the festive period, starting with Christmas Day and ending with the Feast of Epiphany (6 January). The six parts were performed on their appropriate days, with Parts 1, 2, 4 and 6 heard twice, once in each of Leipzig's main churches, the Thomaskirche and the Nikolaikirche; Parts 3 and 5 were given just the once, in the Nikolaikirche.
It is clear, however, that Bach intended them to form a coherent cycle, since together they form a chronological narrative from the birth of Christ to the arrival of the Wise Men, encompassing in between the episodes of the angel's appearance to the shepherds, the shepherds' visit to Bethlehem , the circumcision and naming of Jesus, and Herod's disquiet. Musically, too, there is unity across the six parts, as Bach drew most of the music for the choruses, arias and duets from a group of three secular cantatas written over the preceding two years for the members of the Saxon royal household: Herkules auf dem Scheidewege (BWV213), Tönet, ihr Pauken! (BWV214), and Preise dein Glücke (BWV215). Part 6 appears to have been drawn largely from a lost church cantata. For these, new words for were almost certainly provided by the poet Picander, Bach's collaborator on the St Matthew Passion and on many of his parody works. Bach's main tasks were thus to compose the recitatives and a handful of other new numbers, and to select and harmonise suitable chorale.
Part 1 Jauchzet, frohlocket, auf, preiset die Tage
(Christmas Day - 25 December)
1 Chorus: Jauchzet, frohlocket, auf, preiset die Tage
2 Recitative (Evangelist): Es begab sich aber zu der Zeit
3 Recitative (alto): Nun wird mein liebster Bräutigam
4 Aria (alto): Bereite dich, Zion
5 Chorale: Wie soll ich dich empfangen
6 Recitative (Evangelist): Und sie gebar ihren ersten Sohn
7 Chorale & Recitative (soprano, bass): Er ist auf Erden kommen arm
8 Aria (bass): Großer Herr, o starker König
9 Chorale: Ach, mein herzliebes Jesulein
Concerned with the birth of Jesus, Part 1 of the Christmas Oratorio is predominantly jubilant in mood. The unusual opening to the first chorus is a consequence of its original secular text, in which first drums and then trumpets are urged to celebrate. After the Evangelist's first recitative, telling of the arrival of Joseph and Mary in Bethlehem, a bouyant alto aria exhorts the faithful (Zion) to be prepared for Christ's coming, before a chorale considers how this might be done; the use of Hans Leo Hassler's famous 'Passion chorale' melody is doubtless intended to direct the listener's thoughts on Christ's sacrifice on the Cross. A short recitative describing Mary laying the child in the manger leads to a hybrid movement musing on Christ's healing mission, in which lines from a Christmas chorale are sung by the sopranos and mingled with further comments from the bass. There is a bass aria with trumpet obbligato praising Christ in regal terms, and finally a solemn rendition of another Christmas chorale with trumpet and drum interpolations.
Part 2 Und es waren Hirten in derselben Gegend
(2nd Day of Christmas - 26 December)
10 Sinfonia
11 Recitative (Evangelist): Und es waren Hirten in derselber Gegend
12 Chorale: Brich an, du schönes Morgenlicht
13 Recitative (Evangelist, soprano): Und der Engel sprach zu ihnen
14 Recitative (bass): Was Gott dem Abraham verheißen
15 Aria (tenor): Frohe Hirten, eilt, ach eilet
16 Recitative (Evangelist): Und das habt zum Zeichen
17 Chorale: Schaut hin! dort liegt im finstern Stall
18 Recitative (bass): So geht denn hin, ihr Hirten, geht
19 Aria (alto): Schlafe, mein Liebster, genieße der Ruh
20 Recitative (Evangelist): Und alsobald war da bei dem Engel
21 Chorus: Ehre sei Gott in der Höhe
22 Recitative (bass): So recht, ihr Engel, jauchzt und singet
23 Chorale: Wir singen dir in deinem Heer
The trumpets and drums are rested, to be substituted by two deep-toned oboes da caccia, who soon make their presence felt in the lilting opening Sinfonia, one of the few numbers to be specially written for the oratorio. The subject of this Part 2 is the Angel's announcement of Christ's birth to the shepherds, and the piping oboes make a memorable contribution to its warmly pastoral flavour. After the Sinfonia the Evangelist describes the shepherds in the fields, before a chorale breaks in in impatient anticipation of the next recitative, in which the Angel appears to utter the famous words: 'Fear not, ... for unto you is born this day in the city of David a Saviour, which is Christ the Lord'. A light-footed tenor aria with flute obbligato encourages the shepherds to hurry to see the child, sentiments echoed in the succeeding group of recitatives and chorales, until we reach an alto aria cast as a rich and comforting lullaby. The Evangelist returns to announce the appearance of the heavenly host, who are brilliantly evoked in a joyful chorus. A final, contented bass recitative then leads to final chorale, in which snatches of the pastoral Sinfonia make cameo returns.
Part 3 Herrscher des Himmels, erhöre das Lallen
(3rd Day of Christmas - 27 December)
24 Chorus: Herrscher des Himmels, erhöre das Lallen
25 Recitative (Evangelist): Und da die Engel von ihnen gen Himmel fuhren
26 Chorus: Lasset uns nun gehen gen Bethlehem
27 Recitative (bass): Er hat sein Volk getröst
28 Chorale: Dies hat er alles uns getan
29 Duet (soprano, bass): Herr, dein Mitleid, dein Erbarmen
30 Recitative (Evangelist): Und sie kamen eilend
31 Aria (alto): Schließ, mein Herze, dies selige Wunder
32 Recitatiave (alto): Ja, ja! mein Herz soll es bewahren
33 Chorale: Ich will dich mit Fleiß bewahren
34 Recitative (Evangelist): Und die Hirten kehrten wieder um
35 Chorale: Seid froh dieweil
35b Chorus: Herrscher des Himmels, erhöre das Lallen
The trumpets and drums return for Part 3, which deals with the shepherds' adoration of the baby Jesus. It opens with a brief chorus of praise, after which the Evangelist tells of the shepherds' journey to Bethlehem and the chorus (playing a role for once) recreate their excited babble. A bass recitative and a chorale remind us that God has made this happen for all of us, before a cheerful soprano and bass duet offer wonder at his mercy and compassion. The Evangelist relates how the shepherds spread the good news, and an alto aria resolves to make the 'blissful miracle' the foundation of faith. Thought to have been composed specifically for the purpose, this aria, with its steady tread and tender violin solo, seems more than usually heartfelt. An alto recitative and a chorale echo these feelings, the Evangelist informs us that the shepherds have returned to their flocks, and there is one last chorale urging joy before Part 3 ends with a reprise of the first chorus.
Part 4 Fallt mit Danken, fallt mit Loben
(Feast of the Circumcision - 1 January)
36 Chorus: Fallt mit Danken, fall mit Loben
37 Recitative (Evangelist): Und da acht Tage um waren
38 Recitative (bass, soprano): Immanuel, o süßes Wort
39 Aria (soprano): Flößt dein Namen
40 Recitative (bass, soprano): Wohlan! Dein Name soll allein
41 Aria (tenor): Ich will nur dir zu Ehren leben
42 Chorale: Jesus richte mein Beginnen
A new instrumental sound, that of a pair of horns, colours the opening chorus of Part 4. As befits the subject of Jesus's naming and circumcision ceremonies, the opening chorus has an air of courtly celebration, as if attendant on some relaxed and time-honoured ritual. The Evangelist then tells us how the name Jesus was foretold by the Angel, before the bass ponders that name's significance and, following a prompt from an intertwining chorale, considers how Christ has driven away fear of death. Next, an aria for soprano basks in the comfort of this last thought, to reassuring echoes from an oboe and distant second soprano. Another mingling of bass recitative-and chorale offers leisurely thanks, and is followed by an aria for tenor with two obbligato violins asking the saviour's aid in finding the strength to offer worthy praise. Finally, the horns return to accompany the contented concluding chorale, which looks forward to the help Jesus will provide throughout life.
Part 5 Ehre sei dir, Gott, gesungen
(Sunday after the Circumcision - 2 January in 1735)
43 Chorus: Ehre sei dir, Gott, gesungen
44 Recitative (Evangelist): Da Jesus geboren war zu Bethlehem
45 Chorus & Recitative (alto): Wo ist der neugeborne König der Jüden?
46 Chorale: Dein Glanz all Finsternis verzehrt
47 Aria (bass): Erleucht auch meine finstre Sinnen
48 Recitative (Evangelist): Da das der König Herodes hörte
49 Recitative (alto): Warum wollt ihr erschrecken?
50 Recitative (Evangelist): Und ließ versammeln alle Hohenpriester
51 Trio (soprano, alto, tenor): Ach, wenn wird die Zeit erscheinen?
52 Recitative (alto): Mein Liebster herrschet schon
53 Chorale: Zwar ist solche Herzensstube
The most lightly scored of the sections of the Christmas Oratorio, Part 5 deals with the subject of the arrival of the Wise Men at Herod's court. It opens with a substantial but nimble chorus of praise to God, which, having no known original version, may have been specially composed for this place in the oratorio. The Evangelist relates the Wise Men's arrival, who then speak for themselves in two brief snatches of chorus ('Where is the King of the Jews?', 'We have seen his star in the East'), in between which comes an alto recitative exulting in the light of Christ. A chorale looks to this light for guidance, as does the ensuing carefree bass aria. The Evangelist then describes Herod's unease and then, after a brief interruption by an incredulous alto, how he learns that the scriptures have foretold the coming of a new and mighty ruler. A trio then ingeniously takes up this theme, with a soprano and tenor asking when it will happen, and the alto answering 'Hush! It is here!'. A short alto recitative assures us that Christ rules in any willing heart, before a final tender chorale returns to the idea of his shining light.
Part 6 Herr, wenn die stolzen Feinde schnauben
(Feast of the Epiphany - 6 January)
54 Chorus: Herr, wenn die stolzen Feinde schnauben 55 Recitative (Evangelist, bass): Da berief Herodes
56 Recitative (soprano): Du Falscher, suche nur den Herrn zu fällen
57 Aria (soprano) Nur ein Wink von seinen Händen
58 Recitative (Evangelist): Als sie nun den König gehöret hatten
59 Chorale: Ich steh an deiner Krippen hier
60 Recitative (Evangelist): Und Gott befahl ihnen im Traum
61 Recitative (tenor): So geht! genug, mein Schatz geht nicht von hier
62 Aria (tenor): Nun mögt ihr stolzen Feinde schrecken
63 Recitative (soprano, alto, tenor, bass): Was will der Hölle Schrecken nun
64 Chorale: Nun seid ihr wohl gerochen
Part 6 brings a return to the celebratory sound of trumpets and drums, and another dancing opening chorus, this time asking God for a strong faith which with to resist all enemies. The Evangelist tells how Herod calls in the Wise Men and sends them into Bethlehem to find the young child of whom he has heard - Herod's words are sung at this point by the bass. The soprano warns us in a horrified recitative that Herod intends only to kill Jesus, and goes on in a resolute aria to relate how the saviour's strength can overcome the pride of any opponent. The Evangelist then describes the Wise Men's arrival at the stable and their presentation of gifts, before a chorale suggests that all of us have something to give Jesus, namely our spirits and minds. Warned of Herod's purpose, the Wise Men slip away home, but the tenor declares an unswerving devotion to Jesus in an ardent recitative, before boldly boasting that no-one need have fear while Christ is by their side. All four soloists reiterate this in a brief joint recitative, and the Christmas Oratorio ends with a richly decorated version of the 'Passion chorale' rejoicing in Christ's victory over death, devil, sin and hell.
Programme note © Lindsay Kemp/BBC
