CHAPTER 48: THE CHRISTMAS ORATORIO BWV 248.
Bach lovers will be aware that the Christmas Oratorio, unlike those for Easter and the Ascension, is not a single composition but a collection of six cantatas composed for December 25th and festive days thereafter. It was first performed over the Christmas/New Year period of 1734/5 although many of the movements are paraphrases from earlier secular works. Because of this, it is difficult to judge the extent to which Bach viewed the work as an entity.
By the time he came to put the oratorio together Bach had already amassed cantatas for each of these six days, typically three but even as many as four or five. If he saw the oratorio simply as a convenient way of classifying a half a dozen cantatas to be performed as a set over this period, why did he not make it up from existing works? Why go to the trouble of selecting and paraphrasing anumber of secular movements and composing the additional ones he required in order to make up the sixty-four movements of the oratorio as it eventually took shape?
The fact that he did not do this would seem to indicate that he saw the work as a coherent whole not just the sum of its individual parts. Much has been made of the unifying aspect ofthe same chorale used in the first and last cantatas but an equally compelling piece of internal evidence comes from the fact that all of the opening choruses are in three-time, an accepted symbol of the Holy Trinity. The exception is C 248/2 which begins with the sinfonia; nevertheless, 12/8 time is dominated by notes in groups of three.
It does appear that in the mid to late 1730s Bach was putting together a number of major compositions, including the three oratorios and the four short masses. Grouped with the already composed Magnificat and Passions, this forms a substantial body of religiousmusic capable of servicing significant events throughout the Lutheran church year.
Having said that, there is no one consistent structural pattern uniting these cantatas. Five of them begin with a rousing major-key chorus, and one with a sinfonia. All but one end with a chorale but there is no uniformity in their presentation, ranging from the plain four-part setting of the fifth to the flamboyant, chorale/fantasia of the sixth. The number of movements varies from seven to fourteen with only the last two works more equally balanced with eleven.
And in any case, by its very nature it was not intended to be heard at the one sitting or even within a single week.
Our examination of the oratorio will take much the same form of those of the rest of the cantata canon but perhaps in slightly less detail because it is already so well known. In fact, Bach had composed virtually all of his cantatas when he came to assemble this work which some might view as the epitome of this part of his output.Nevertheless, the number of movements paraphrased from earlier works places the oratorio in a different position from the majority of the cantatas.
Furthermore, the sheer bulk of much of the recitative text makes it impractical to paraphrase it fully.
BWV 248/1 Jauchzet, frohlocket, auf, preiset die Tage
Shout for joy, arise and praise this day.
Chorus--recit (tenor)--arioso (alto)--aria (alto)--chorale--recit (tenor)--chorale/recit (sop/bass)--aria (bass)--chorale.
For Christmas Day.
The other cantatas composed for this day are Cs 63, 91, 110, the incomplete 197a and Bach’s only Latin text C 191. All of them begin with massive choruses of praise to God or Jesus, all are in major keys, in fact all but one in D major. That from C 110 is a revision of the French Overture from the Fourth Orchestral Suite and C 191 is comprised of a trio of three movements adapted from the Gloria of the Bm Mass.
The opening chorus of C 248/1 is a paraphrase taken from the secular birthday cantataC 214 from which Bach subsequently plundered a number of movements for the oratorio (Dürr p 829). The text for the original chorus called upon drums, trumpets and strings to fill the air in order to celebrate the Queen’s birthday. This accounts for the unique beginning, timpani, woodwind, trumpets and strings announcing themselves in turn before the beginning of the ritornello theme proper (bar 9). Much has been written in speculation as to why Bach did not seek similar mention of these instruments in the paraphrased version of rejoicing and worshipping the Lord. The answer is probably that had he compiled the oratorio two decades previously, he would almost certainly have done so.
An overview of the cantata canon clearly demonstrates that as he matured as a composer Bach became less interested in painting specific musical images at the expense of the overall picture. As a fully experienced composer he saw no reason to labour the fact that various specific instruments were brought together in the service of homage to the Lord. What had obviously been enthralling music of entreaty for a mere Queen to thrive and blossom was perfectly acceptable as a vehicle of respect for the Lord.
And what an exhilarating movement it is, with sweeping wind and string scale passages surging above an often pugnaciously obstinate continuo line. It is a formal da capo structure of massive proportions consisting of nearly 350 bars in 3/8 time. The internal divisions of the two outer sections are aurally extremely clear and do not need to be described in detail. The feeling one is left with, however, is the sheer breathless excitement of music which heralds the most significant event of the Christian calendar.
Nevertheless, we have to view this chorus principally as an introduction both to this first cantata as well as to the work as a whole. The remaining eight movements divide neatly into two groups of four describing the period of Advent and thence the Christmas event itself. Each is capped with a reflective chorale.
The tenor is the traditional voice of the narrator, or in this case an Evangelist, a device Bach declined in the Easter Oratorio. His sets the well known biblical scene of Joseph and Mary in a secco recitative which is direct and engaging but uncolourful. Readers may wish to turn to chapter 50 of this volume and note the comments about Bach’s refinements of the Agnus Dei of the Bm Mass. Bach’s ability to pare away inessential detail in order to reveal the emotional core of his music as outlined in that essay is equally apparent in the recitatives of this oratorio.
The matter-of-fact provision of information is followed by a more personal musing in the alto arioso. Surrounded, one might almost say enclosed or even sheltered by two oboes d’amore, the singer expresses contentment with the impending birth----Jacob’s star already shines and Zion should awake and forego sorrows. Apart from the suggestion of weeping (which we are advised to abandon) Bach paints no specific pictures; it is enough to create the atmosphere of restrained expectation.
The first aria is for alto, another paraphrase but this time taken from C 213, a cantata originally composed for the House of Saxony. In the later version Bach adds an oboe d’amore to double the violin obligato theme in what is a conventionally structured da capo movement. The original text, a denunciation of lust and the serpents of sin, now becomes a call to action----prepare yourself Zion, to behold the fairest----your cheeks must be radiant as with burning love you rush to greet your bridegroom. The metaphor of the wedding couple is a constantly recurring one in the religious tracts of the time and needs no explanation. Two points, however, are of particular interest. Firstly, one should note the energy of the original stanza, the casting away of lustful influence, which Bach set to music of similar vigour. When he came to assemble the oratorio he must have viewed the call to Zion to awake and prepare as similarly potent. This is, one assumes, narrative of dramatic forces and not a reflection upon events as a too slow tempo and caressing of the text sometimes implies.
Secondly,note the interaction of the vocal and obligato lines. Although not conceived with the religious text in mind, their perfect entwined union makes a strong metaphorical point about the alliance of Christ and Soul.
The chorale which draws the first part of this cantata to a close is one which we now tend to associate with Easter although for Bach’s congregations that would not have been necessarily so. It was used on several occasions in the cantata cycles, most notably as the basis of the fantasia for C 135 (vol 2, chapter 5). Here it expresses the individual Christian’s somewhat tentative view of the impending Christmas event----how shall I receive You, jewel of my Soul? ----set Your lamp beside me so that I may understand that which pleases You. Keen students could do worse than to track down Bach’s various arrangements of this melody and compare them.
The tenor returns to provide us with an admirable summary of the Christmas story----Mary has a Son whom she wrapped in swaddling clothes and laid in a manger. An unexpected minor chord on Krippen----the manger----signifies its lowliness (bar 4). Otherwise this recitative is even more succinct than before, a half a dozen chords and a cadence which takes us, without break, into the chorale duet.
Scored for soprano, bass and two oboes d’amore,it is the apotheosis of the various experiments that Bach had made with hybrid structures, particularly in the second Leipzig cycle. There he tried out every conceivable combination of recitative, arioso, ritornello and chorale initially as a means of setting long slabs of text but latterly discovering new and exciting vehicles of artistic expression. In this case he gives the soprano four chorale phrases, each in a different key (A, E and D minors and G major). Each is preceded and followed by the instrumental ritornello which frames the entire movement. Furthermore, the chorale statements are extended by the bass’s additional explanatory comment. Thus there are four clear blocks of ritornello/chorale/recitative concluded by a final statement of the complete intrumental theme which includes one soprano Kyrieleis.
It is not necessary to paraphrase the text as it can be followed perfectly well from any translation. Suffice it to note that, in accordance with the practice Bach had established in the second cycle, the chorale lines are clear annunciations of fact, dogma or principle----He came in poverty to enrich us in heaven----whilst the recitative sections elucidate and expound----who can comprehend how man’s distress has so moved Him?
The penultimate aria is a powerful paean to Christ----how little You respect earthly grandeur that, though preserving the whole world You must now sleep in a lowly manger. There is a beautiful irony in that the original version of this aria was, in C 213, a song of homage to the Queen, a glorious crowned lady who presumably represented all that seems rejected in the paraphrased version! Many might find that the powerful musical declamation of the original version went far beyond the vanities of a provincial noblewoman and that this commanding trumpet-driven aria is more appropriate in the extolling of divine virtue.
It certainly is an arresting piece despite its predictable formal da capo structure. The trumpet fanfare theme is constantly uplifted by syncopated string figures and rolling semi-quaver counter-subject lines on the first violins and flute. On hearing the oratorio without knowing anything of its history, most listeners would surely be happy to assume that the command and energy of the trumpet wasoriginally conceived as an expression of the potency of the Saviour.
Is it disappointing to discover that this was not the case? In point of fact it is an irrelevance. Bach may, from their very inception, have kept movements such as this in mind for better things. In any case, we know from the few of his letters that have survived that any approach to royalty was expected to be couched in the most inflated of terms.
The cantata ends with another chorale enlivened by short brass interludes, particularly appropriate after such a rousing aria. The text is personal----Ah dear Jesus, make a clean soft bed within my heart so that I shall always remember You. The hymn tune is plainly harmonised in the manner that ends many a conventional cantata but the trumpets and drums punctuate each cadence with a figure based on repeated notes reminiscent of the main theme of the opening chorus. Christ may, at this time, appear weak and lowly; but we know his divine nature and ultimate influence to be immensely powerful.
This is surely the message Bach wished to leave with his parishioners on this Christmas Day of 1734.
BWV 248/2 Und es waren Hirten in derselben Gegend
And there were shepherds in that place.
Sinfonia--recit (tenor)--chorale--recit (tenor/sop)--recit (bass)--aria (tenor)--recit (tenor)--chorale--recit (bass)--aria (alto)--recit (tenor)--chorus--recit (bass)--chorale.
For the second day of Christmas.
This is the only one of the six cantatasnot to begin with a celebratory chorus but with a sinfonia. The other cantatas for this day are Cs 40, 121 and 57 and the first of these begins with a strongly orchestrated chorus of horns, oboes, strings and choir asserting the purpose of Christ’s manifestation as the destruction of the devil’s works. The bass aria is one of the most compelling and aggressive musical pictures ever painted of the crushing of the serpent. C 121 begins with a chorale/fantasia motet of praise to Jesus. C 57 is the least lively of the three, beginning with a bass aria about the necessity of resisting temptation. It includes no choruses apart from the concluding chorale.
Thus it transpires that by commencing C 248/2 with a sinfonia Bach has sought to begin each of the cantatas for this day differently.
This movement has virtually attained iconic status in the literature of Christian music embodying, as it does notions of rustic innocence and perhaps even that of the ‘noble savage,’ later to be popularised by Rousseau. The musical means by which this is achieved are gently undulating dotted rhythms set within a 12/8 time signature andpredominant major modes, realised through an extraordinary instrumentation of strings, flutes, oboes d’amore and oboes da caccia.
It is an exceptionally expansive movement likely to last six or seven minutes in performance. It is also, despite some of the archaic instrumentation, extremely lush, sometimes almost evoking a late romantic, Brahmsian richness. The numerous suspensionsproduce an effect of sadness and weeping. The structure, however, looks forward to the foremost principle of the later eighteenth century, that of sonata form moving, as it does, to the dominant and thence to related keys before reprising the original material.
The evangelist’s first recitative paints the picture of the shepherds going about their business of tending their flocks when the Angel of the Lord appears. The two continuo scale passages suggest their alarm as the Lord’s light shines around them. This is good reason to introduce a chorale early in the cantata, a contemplation of the Lord’s radiance, the call to be unafraid and the news of the Saviour’s arrival. It is an unsophisticated melody of regular two-bar phrases which Bach harmonises sturdily as a robust response to the naturally tremulous shepherds.
Two short recitatives act as a bridge to the first aria of the cantata, the first accompanied by strings and the second by the oboe choir. In the first the angel, encompassed by a halo of sustained strings, announces the ‘tidings of great joy’ the birth of the Saviour. The bass, backed by emphasising woodwind chords, brings a reminder of the ancient promise. It was originally made to a shepherd and has now come to pass, being revealed to the shepherds. This is the cue for the tenor’s aria, a call for them to gather, hasten and see for themselves the Child who can refresh both body and spirit.
Once again paraphrased from C 213,this was originally for alto and oboe d’amore. For the oratorio Bach recasts it for tenor and flute. He retains the essential structure of the movement but makes several minor alterations amongst which are the addition of ornaments to the flute part and the enriching of the tenor line prior to the return of the ritornello theme (bar 56). The original text was a questioning of the echo becoming, in the oratorio, the shepherds’ rallying call. A number of brief moments of imitation betray the original scenario (see, for example, the imitations in bars 36-43), but Bach was probably more interested in the sweeping scale passages in the latter half of the aria as depictions of the spiritual refreshment of mind and soul.
The short tenor recitative that follows merely points the shepherds towards the Baby in the manger. The chorale, although in a major mode, paints a darkish picture of the Child in the gloomy stable where oxen once fed.
The scene has been set for a baby’s lullaby, something which children and adults in the congregations should both relate to. Before this the bass has an accompanied recitative in which he further exhorts the shepherds to witness the miracle of the Son of God and to sing to Him in His cradle. Initially the oboe choir simply punctuates the vocal line but as the enjoiner to sing is voiced, it strokes the melody with repeated notes above a series of flowing arpeggios in the continuo line. The resultant sound is less that of the airy nursery and more of a darker place with slightly ominous overtones.