Christological Cycle Summary: Oratorios, Related Cantatas, Latin Church Music; Chorales
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Christological Cycle Summary: Oratorios, Related Cantatas, Latin Church Music; Chorales

William L. Hoffman wrote (December 1, 2018):
A Bach Christological Cycle involves mostly works not found in the church year cantata cycles. The core music are the oratorios or "large cantatas" for the feast days of Christmas, Easter, Ascension Day and possibly Pentecost as well as the oratorio Passions settings of John, Matthew and Mark (see below, "Good Friday Passion Oratorios: Matthew, Mark, John"), as well as two later pasticcios for Good Friday. In addition to the "core" Chistological Passion and feast day oratorios, a Christological cycle embraces 35 cantatas for the incarnation Marian feast days and cantatas for the feast days of Saints John the Baptist, John the Evangelist, and Michael and All-Angels. While part of the cantata cycles, they also did double duty in a Christological cycle, as well as 15 cantatas composed for special Johannine services (see below, "Johannine Christus Victor" and "Johannine Christological Events"). In addition certain cantatas composed for special observances also are appropriate for the Christological services of the Baptism of Our Lord, the Transfiguration of Our Lord, and Palm Sunday.

The first significant study of Bach’s major vocal works, including their liturgical and dramatic underpinnings, is Marcus Rathey’s recent.¹ Rathey discusses each work within the chronology of Jesus Christ’s life as found in the order of the liturgical year and the order in which Bach composed them. The study begins with Jesus’ incarnate conception in the Latin and German Magnificat, the nativity and adoration in the omnibus Christmas Oratorio, the suffering and death in the John and Matthew Passions, the Ascension and Easter Oratorios, and finally the Mass in B-Minor, a “summary of the Christian faith” and “a culmination of Bach’s work” (Ibid.: Prelude: 5). In addition, Bach also did sewttings of the chorales of Luther and other reformers, notably the Deutsche Messe, the German vernacular setting of the Roman Mass Ordinary, as well as seven collections of organ chorale preludes.

The remaining Christological cycle works include the Latin Church Music settings of movements from the Mass Ordinary as well as Mary's Magnificat canticle and also include the vernacular settings of canticles and other Christological, festive observances, including chorale cantatas and other vocal works for the three Marian/Christological feasts of Visitation, Annunciation, and Presentation of our Lord, as well as the feast of John the Baptist, and the eschatological Michael and all-Angels music, as well as Johanine services at Christmas, the Epiphany season, and the Farewell of the apostle John in the Easter Season services (see below, "Easter Season Johannine Farewell Settings"), underpinning the Christological concept of Christus Victor. Another Reformation Lutheran element are the chorales and sacred songs for the church year, including liturgical, psalm and communion settings as well as personal devotional songs. Besides the six established oratorios and two Passion pasticcios and the appropriate 35 Christological cantatas are the 17 Latin church pieces and the chorale collections of more than 400 plain chorales and the 182 chorale preludes in the seven collections (see last entry below, "Chorale Settings: Preludes, Plain Hymns"

A template of ingredients for a Christological Cycle begins with the de tempore (Proper Time) feasts involving the the conception and incarnation of Jesus with the Christus paradox of truly God and truly man:

Conception, Incarnation Music

Magnificat in D Major, BWV 243, for Feast of the Visitation (Mariae Heimschung), July 2, 1723 (http://www.bach-cantatas.com/Vocal/BWV243-Gen8.htm); Martin Luther's 1532 German Magnificat vernacular, chorale Cantata BWV 10, "Meine Seel erhebt den Herren" (My soul doth magnify the Lord, Luke 1:46-56), July 2, 1724 (http://www.bach-cantatas.com/BWV10-D5.htm). The chorales and motets for Visitation are found at http://www.bach-cantatas.com/LCY/M&C-Visitation.htm). Three other vernacular settings possibly involving Bach are a 1725 cantata to an Erdmann Neumeister text; and two works now attributed to Georg Melchior Hoffmann, tenor solo Cantata BWV 189, "Meine Seele rühmt und preist" (My soul extols and praises, ); and Cantata BWV Anh. 21, "Meine Seele erhebt den Herrn," known as the "Little German Magnificat." The liturgy and hymns for the Visitation Feast are described at http://www.bach-cantatas.com/LCY/M&C-Visitation.htm.

For the Feast of the Annunciation (Mariae Verkündigung, March 25), there are no designated chorales and motets and no settings of Gabriel's Annunciation to Zacharias of the birth of son John the Baptist or Gabriel's Annunciation to Mary six months later (March 25), see Luke 1:11-21 and 26-38. Instead the Magnificat is appropriate for the Annunciation Feast, as well as hybrid Chorale Cantata 36, "Schwingt freudig euch empor" (Soar in your joy up) for the 1st Sunday in Advent 1731. With familiar hymns "Savior of the nations" and "How brightly shines the morning star, the work "is a joyful fulfillment of ancient hopes for a savior," says John S. Setterlund.² Cantata 36 (http://www.bach-cantatas.com/BWV36-D4.htm) has significant Christological themes, particular the Christus Paradox of Jesus Christ as “true God and Man” in the eschatological “Last Things” involving the incarnation and Passion of Christ, particularly in Luther’s Advent chorale, “Nun komm der Heiden Heiland” (Now comes the saviour of the nations). “The saving of mankind begins with the birth of Christ, and therefore his suffering and Passion begin with his birth,” says Anne Leahy,³ particularly with the use of the “Passion Chorale,” “O sacred head now wounded,” at the beginning and end of the six-part Christmas Oratorio, BWV 248 (1734-35). Bach composed two works, chorale Cantata 1, "Wie schön leuchtet der Morgenstern" (How beautifully shines the morning star, http://www.bach-cantatas.com/BWV1-D5.htm), his last chorale cantata in the 1725 cycle, presented on a double bill with lost Cantata, BWV 1135-Anh. 199, "Siehe, eine Jungfrau ist schwanger" (Behold, a virgin is pregnant, http://www.bach-cantatas.com/BWVAnh199-D.htm.

Nativity, Christmas Day, "Jauchzet, frohlocket! auf, preiset die Tage" (Shout for joy, exult, rise up), is the first service of the Christmas Oratorio, BWV 248/1, 25 December 1734, with the focus on the preparation for the birth and the actual birth of Jesus (Luke: 2:1-7). The festive music begins with the opening chorus, followed by an alto lullaby (no. 4), "Bereite dich, Zion" (Make yourself ready, Zion), and the bass triumphal aria (no. 8) with solo trumpet"Großer Herr, o starker König" (Great Lord, O mighty king), an accompagnato soprano-bass mystic unity love duet, chorale "Er ist auf Erden kommen arm" (He has come on Earth in poverty) and "Wer will die Liebe recht erhöhn" (Who will rightly extol the love) and plain chorales, the Paul Gerhardt (no. 5), "Wie soll ich dich empfangen" (O Lord, how shall I meet You) set to the Passion chorale, "O sacred head now wounded," and the Luther (no. 9), "Vom Himmel hoch da komm' ich her" (From Heaven Above to Earth I Come); details "http://www.bach-cantatas.com/VD/BWV248-Part1.htm: "Discussions in the Week of December 24, 2017 (4th round)."

Shepherds' Annunciation, "Und es waren Hirten in derselben Gegend" (And there were in the same country shepherds, Luke 2:8-14), Christmas Oratorio, BWV 248/2, 26 December 1734), focuses on the Angels' Annunciation to the Shepherdin a pastorale play with a traditional Shepherds sinfonia and the Angel's Great Doxology canticle of praise (no. 21), "Ehre sei Gott in der Höhe" (Glory to God in the Highest, Gloria in excelsis Deo), and two chorales (nos. 12, 17), "Brich an, o schönes Morgenlicht" (Break out, O beautiful light of morning) and two repeats of "Vom Himmel hoch da komm' ich her" (From Heaven Above to Earth I Come); details, http://www.bach-cantatas.com/VD/BWV248-Part2.htm: "Discussions in the Week of December 31, 2017 (4th round)."

Shepherds' Adoration of Jesus, "Herrscher des Himmels, erhöre das Lallen," (Ruler of heaven, hear our inarticulate speech), Christmas Oratorio, BWV 248/3, 27 December 1734, festive music (Luke 2:15-20) featuring narrative, commentary, and chorales, with the central soprano-bass love duet in canon symbolizing unio mystico through inhabitatio of the soul and Jesus (no. 29), "Herr, dein Mitleid, dein Erbarmen"(Your gracious favour and love), with the reflective chorales (nos. 28, 33, 35) involving Luther's ""Gelobet seist du, Jesu Christ" (Praised be you, Jesus Christ), and two recent Christmas hymns, Paul Gerhardt's 1653 "Ich will dich mit Fleiß bewahren" (I shall diligently keep you in mind), and Christoph Runge's 1653 "Seid froh dieweil" (Meanwhile be joyful), to the melody "Wir Christenleut habn jetzund Freud" (We Christian people have joy now); details, http://www.bach-cantatas.com/VD/BWV248-Part3.htm: "Discussions in the Week of January 7, 2018 (4th round)."

New Year's Day, Feast of Circumcision (Naming of Jesus), "Fallt mit Danken, fallt mit Loben" (Fall [Bow] with thanks, Fall with praise); Christmas Oratorio, BWV 248/4, 1 January1735; festive music (Luke 2:21) with opening chorus, two pairs of symbolic soprano bass accompagnati/chorales, (no. 38), "Immanuel, o süßes Wort!" (Emmanual, o sweet word) and chorale, "Jesu, du mein liebstes Leben," (Jesus, you who are my dearest life), followed by duet of soprano and echo (no.39), ""Flößt, mein Heiland, flößt dein Namen" (Does your name instil, my saviour,, and (no. 40), soprano-bass accompagnato "Wohlan, dein Name soll allein" (Well then, your name alone) and "Jesu, meine Freud und Wonne" (Jesus, my joy and delight), followed by tenor aria (no. 41), "Ich will nur dir zu Ehren leben" ((I shall live only to honour you), and closing New Year's plain chorale, "Jesus richte mein Beginnen" (Jesus, guide my beginning); details, http://www.bach-cantatas.com/VD/BWV248-Part4.htm: "Discussions in the Week of January 7, 2018 (4th round)."

Feast of Epiphany, Part 1, Magi Search for Jesus (Matt. 2:1-6), "Ehre sei dir, Gott, gesungen" (Let honour to you, God, be sung), Christmas Oratorio, BWV 248/5; Sunday after New Year's, 2 January 1735; with opening chorus of praise and thanksgiving, two alto accompagnati and a bass aria (no. 47) "Erleucht auch meine finstre Sinnen" (Illuminate also my gloomy thoughts), and an SAT trio aria (no. 51), "Ach, wenn wird die Zeit erscheinen?" (Ah, When will the time appear), and two plain 1650s chorales, "Nun, liebe Seele, nun ist es Zeit" (Now, dear soul, now is the time), and Johann Franck's "Ihr Gestirn, ihr hohlen Lüfte" (You Star, You High Airs); details, http://www.bach-cantatas.com/VD/BWV248-Part5.htm: "Discussions in the Week of January 14, 2018 (4th round)."

Feast of Epiphany, Part 2, Magi Adoration (Matt. 2:7-12), "Herr, wenn die stolzen Feinde schnauben" (Lord, when our arrogant enemies snort with rage), Christmas Oratorio, BWV 248/6; Epiphany, 6 January 1735; festive opening chorus and closing chorale chorus (no.64), "Ihr Christen auserkoren" (You chosen Christians), set to the Passion chorale, and the accompagnato/aria pairing for soprano (nos. 56-57) and tenor (no.61-62); and an internal plain chorale (no.59), Paul Gerhardt's "Ich steh an deiner Krippen hier / O Jesulein, mein Leben;" (I stand here by your crib); details, http://www.bach-cantatas.com/VD/BWV248-Part6.htm: "Discussions in the Week of January 14, 2018 (4th round)." This work is a virtual parody of a sacred work, BWV 248a, possibly presented as a special 1734 Michaelmas Fair church performance of BWV 248a, held on Wednesday, September 29, at almost the same time (Tuesday, October 5) as BWV 215 in honor of the visiting Saxon Court. Because the opening chorus of BWV 248VI is a "musical battle scene," says Marcus Rathey, ⁴ and the closing chorale allusion to atonement for sin, a previous work for the feast of St. Michael is most appropriate.

Presentation of Jesus. Formerly known as the Marian Feast of the Purification, February 2 observes the Christological presentation of the baby Jesus in the temple in Jerusalem (http://www.bach-cantatas.com/LCY/Maria-Reinigung.htm). The Magnificat is appropriate for this feast. Simeon's canticle, Nunc dimittis, is the last in a series found in the gospel of Luke 2:22-32 (https://www.biblegateway.com/passage/?search=Luke+2%3A22%2D32&version=KJV). For the Presentation of our Lord, Bach set Martin Luther's vernacular paraphrase of Simeon's canticle as chorale Cantata 125, "Mit Fried und Freud ich fahr dahin" (With peace and joy I go from here), on 2 February 1725, and the acceptance of death and contentment. The event observes Jesus as truly man and God in the temple which is an omen of the trials and the plot to crucify Jesus Christ. A trinitarian expression is found in Simeon filled with the Holy Ghost (verses 25-27), as was Zacharias, John the Baptist's father, who then gave his own canticle prophecy (Luke 1:67-79) of the Messiah. Simeon's theme also is expressed in the three works: Motet, BWV Anh. 159, "Ich lasse dich nicht, du segnest mich denn, Mein Jesu" (I will not leave you before you bless me [after Genesis 32:26b], my Jesus; http://www.bach-cantatas.com/Vocal/BWVAnh159-Gen.htm), Cantata 82, “Ich habe genug/genung” (I have enough), for the Purification Feast 1727 and repeated four times; and Cantata76, "Die Himmel erzählen die Ehre Gottes" (The heavens declare the glory of God), for the 2nd Sunday after Trinity 1723. The hymns and liturgy for this feast are discussed at http://www.bach-cantatas.com/LCY/M&C-Purification.htm

Johannine Christus Victor

The Gospel of John is only selectively found in the one-year lectionary of Bach's time and in three three-year lectionary today where it still holds a limited but special place. Apart from the eight services of Easter to Trinity Sunday, only six Sundays use the Gospel of John: 4th Sunday in Advent, 4th Sunday in Lent (Laetare), 5th Sunday in Lent (Judika), 3rd Day of Christmas, 2nd Sunday after Epiphany, and, the 21st Sunday after Trinity. Three of these days involved closed periods in Leipzig (Advent and Lent) where no polyphonic music was allowed. Meanwhile Bach possessed music and may have been able to utilize the independent, progressive New Church, and the University Paulinerkirche which had collegia musica talented student ensembles to compliment Bach's Thomas School choruses, says Tanya Kavorkian.⁵ Cantatas were performed on holidays and during the three weeks of the winter, spring and fall fairs as well as, conceivably, Advent and Lent, where the New Church in 1717 presented Telemann's Brockes oratorio Passion on Good Friday morning, says Christoph Wolff.⁶ Running parallel to the synoptic gospels' account of Jesus conception and incarnation is John's unique, non-synoptic gospel, emphasizing an eternal cosmic Christ and a Christus Victor, of Jesus Christ as the triumphal Sacrificial Lamb, defeating sin, death, and the devil (evil), in contrast to the synoptic Gospel's perspective ofthe "Satisfaction" theory of Christ's sacrificial death as a substitute on behalf of mankind (https://en.wikipedia.org/wiki/Christus_Victor). For the 3rd day of Christmas, the alternate gospel is John's Chapter 1, gospel prologue, that speaks of the Christological "word" that was part of God (https://www.kingjamesbibleonline.org/John-Chapter-1/) and that in God "was life; and the life was the light of men." The prologue then says that God sent John the Baptist "to bear witness of the Light, that all men through him might believe" (verse 7) and that "the Word was made flesh, and dwelt among us" as incarnation (verse 14). John the Baptist is confronted by the Jewish priests and levites (verse 19), and says he baptizes with water to prepare for the coming of Christ (verse 26) and baptizes Jesus as the son of God (verse 34) and symbolic, sacrificial "Lamb of God" who then begins to choose his disciples.

For the feast of John the Evangelist, 27 December 1723, Bach chose a special text of Gotha poet Johann Knauer (http://www.bach-cantatas.com/Lib/Knauer.htm), for Cantata 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), emphasizing the duality of Jesus (truly man and God), and the celebration of John the Baptist; details http://www.bach-cantatas.com/BWV64-D4.htm. Bach retained Knauer's closing chorale (no. 8), Johann Franck’s “Jesu Meine Freude” (Jesus, my joy), and added (no. 2) Martin Luther’s 1524 Christmas chorale, "Gelobet seist du, Jesu Christ" (Praised be you, Jesus Christ), and (no. 5) Georg Michael Pfefferkorn’s penitential “Was frag ich nach der Welt” (Why should I ask after the world), for the emphases on Jesus, Christmas, and penitential concerns. Another Cantata, BWV 133, "Ich freue mich in dir" (I rejoice in you), for John's Day in 1724, rejoices for the incarnation and divine word" of John, observes Sutterlund (Ibid.: 14). The concept of the Christus Victor was first explored in Bach's three cantatas for the three-day 1723 Christmas feast: BWV 63, "Christen, ätzet diesen Tag" (Christians, engrave this day), composed in 1714 in Weimar, Cantata BWV 40, "Dazu ist erschienen," "Darzu ist erschienen der Sohn Gottes" (For this reason the Son of God appeared, 1 John 3:8), ad Cantata 64.

Wedding Feast at Cana. The next Johannine observance after St. John's Feast (27 December), is the 2nd Sunday in Epiphany, which is about the Wedding Feast at Cana found only in John's Gospel (2:1-11, http://www.bach-cantatas.com/Read/Epiphany2.htm) and the beginning of Jesus' adult ministry with omens of his sacrificial death. This miracle is the first symbol of his divinity. Bach's three unified cantatas for this event are: 1724, Cantata BWV 155, "Mein Gott, wie lang, ach lange?" (Mein Gott, wie lang, ach lange? (My God, how long, ah how long); 1725, chorale Cantata BWV 3, "Ach Gott, wie manches Herzeleid" (Ach Gott, wie manches Herzeleid" (Ah God, how many a heartache); and 1726, Cantata BWV 13, "Meine Seufzer, meine Tränen" (My sighs, my tears). They all dwell extensively on tears and tribulation, God’s hiddenness, and above all, the necessity of waiting and hoping patiently for God’s revelation – his hour – whether of aid to the believer in the present or in the glory of the afterlife. "The texts of the cantatas inscribe a path from mourning to consolation – one illuminated by Bach’s music – and, by varying degrees of emphasis on the Gospel for the day (the miracle of the turning of water into wine), they employ this as a symbol of the transformation of earthly troubles into heavenly bliss," says John Eliot Gardiner in his liner notes for all three cantatas.⁷ "They also point to the ‘proper’ time (‘Mine hour is not yet come’, Jesus said to his mother) at which the believers’ long vigil of tribulation and doubt will finally end."

The negative titles of the three cantatas establish the thematic movement from sorrow to joy, the transformation of earthly troubles into heavenly bliss. The cantatas also point to the ‘proper’ time (‘Mine hour is not yet come,’ Jesus said to his mother) at which the believers’ long vigil of tribulation and doubt will finally end. This event was a model of the four senses of scripture cited in the Middle Ages: the six water jars (John 2:6), containing the symbolic substance of Jesus' baptism, represent the literal sense of scripture, while the wine represents the spiritual sense of the synoptics' Last Supper new covenant in his blood granting eternal life. The transformation of water into wine represents the allegorical change from sorrow to joy — the Johannine theme Jesus sounds in his farewell discourse to his disciples that their sorrow at his departure from the earth will change to joy when he returns at the end of time in judgement: "but your sorrow shall be turned into joy" (John 16:20b), finally in the eschatological "End Times" sense. Subsequently, in Lutheran theology "the wedding itself [is] prefiguring the union of the soul (the church) and Christ," as the bride and bridegroom in unio mystica (mystical union), with the "good wine" Jesus produced "reserved for the end signifying eternal life," says Eric Chafe in his study of Bach's Johanine compositions.⁸

The final two Sundays in Lent, Laetari and Judica, use the Gospel of John, taking up respectively the miracle of the feeding of 5000 (John 6:1-15, https://www.biblegateway.com/passage/?search=John+6%3A1-15&version=KJV), and the Judica Passion Sunday, John 8:46–59, Jesus last words in debate with the Pharisees, "Before Abraham was, I am" (https://www.biblegateway.com/passage/?search=John+8%3A46-59&version=KJV). Because of the Laetari Sunday emphasis on affirmation, Bach's Neu Leipziger Gesangbuch (NLGB) of 1682 prescribed the following chorales appropriate for Passiontide: Hymn of the Day, "Herr Jesu Christ, wahr Mensch und Gott" (Lord Jesus Christ, true man and God, NLGB 338, Death & Dying); and the Communion/Pulpit Hymns, "O Jesu Christ, meins Lebens Licht" (O Jesus Christ, my life's light, NLGB 374, Death & Dying), "In dich hab ich gehoffet, Herr" (In you I have placed my hope, Lord, NLGB 254, Psalm 31), and "Christe, der du bist Tag und Licht" (Christ, you are the day and light, NLGB 205 Catechism evening song). These also were the same designated chorales for the 5th Sunday in Lent, Judica, in the NLGB.

Bach also may have set a parody work for Judica, based on Picander's 1728-29 cycle text, BWV 209a "Böse Welt, schmäh immerhin" (Evil world, degrading anyhow, https://archive.org/stream/bub_gb_GSJLAAAAcAAJ#page/n140/mode/1up), closing with the chorale, "Mir hat die Welt." It is borrowed from solo soprano Cantata BWV 209, "Non sa che sia dolore" (He does not know what sorrow is, http://www.bach-cantatas.com/BWV209.htm), which has similar affections. It is an by adaptation of Gustav Adolf Theill, published in 1983 (https://www.worldcat.org/title/bose-welt-schmah-immerhin-kantate-zum-sonntag-judica-nach-bwv-209/oclc/159405685, recording, https://www.apesound.de/en/LP/Classics/Johann-Sebastian-Bach-1685-1750-Verschollene-Kantaten-Vol-2-LP.html).

Johannine Christological Events

There are three Johannine Christological events in the life of Jesus Christ that affirm his divinity and place within the Trinity: The baptism of Jesus at thbeginning of his ministry, the Transfiguration of Jesus on Mount Tabor in which the Father reaffirms the divinity of the Son in the presence of prophets Moses and Elijah, and the Festival of Palm Sunday with Jesus' triumphal entry into Jerusalem which also triggers the plot to crucify him. The Transfiguration also alludes to the Resurrection as well as the Incarnation in John 1:14: "The Word became flesh and made his dwelling among us" and "We have seen his glory, the glory of the one and only Son, who came from the Father, full of grace and truth" and John 18:28-30.

John the Baptist

The Feast of the Nativity of John the Baptist is observed on June 24 and involves his father, Zachariah's blessing and prophecy, Luke 1:57-80,http://www.bach-cantatas.com/Read/John-Baptist.htm, http://www.bach-cantatas.com/LCY/M&C-John.htm). Most appropriate for this feast is chorale Cantata BWV 7, Christ, unser Herr, zum Jordan kam (Christ our Lord came to the Jordan), based on Martin Luther's vernacular baptismal Catechism chorale of Jesus' Baptism by John in the Jordan river, presented on 24 June 1724 (details, http://www.bach-cantatas.com/BWV7-D4.htm). The Feasts of the Birth of John the Baptist (June 24) and the Visitation of Mary (July 2) were both celebrated as principal festivals which could displace the Sunday observance. Both required the performance of a cantata and concerted settings of the Latin Missa: Kyrie-Gloria, BWV 233-236 and Sanctus, BWV 237.

Related John the Baptist Christological works from Advent are Cantata BWV 132, "Bereitet die Wege, bereitet die Bahn!" (Prepare the ways, prepare the path!), for the 4th Sunday in Advent, 1 John 19:28 (http://www.bach-cantatas.com/BWV220-D.htm), and Cantata 186a, "Ärg're dich o Seele, nicht" (Be not concerned, O soul), Matt. 11:2-10 (John in Prison), for the 3rd Sunday in Advent (1716), https://www.youtube.com/watch?v=_qluCadpg-8, https://www.bach-digital.de/receive/BachDigitalWork_work_00000226?lang=en, http://www.bach-cantatas.com/BWV186-D4.htm, http://www.bach-cantatas.com/Read/Advent3.htm). Bach preserved Cantata 132 and reworked Weimar Cantata BWV 186a for the 7th Sunday after Trinity 1723. Cantata 132 "amplified the spiritual understanding of John the Baptist's witness . . . the primary thrust of the Gospel," says Chafe (Ibid.: 100). The 3rd Day of Christmas gospel reading is John Chapter 1, Prologue, a poem of Jesus; divine identity, telling of Jesus' cosmic incarnation as the Word and Light that was with God, creator and life itself, born of God before creation that became flesh, and that mankind is God's children. The gospel themes, says Chafe (Ibid.: 101) are antithesis of light and darkness, oneness of Jesus and the Father, and the "filial relationship of the faithful to God" in glory grace and truth of the Christus Victor. Cantata 64 best exemplifies this teaching, followed by Cantata 133, "Ich freue mich in dir" (I rejoice in you), see http://www.bach-cantatas.com/BWV133-D4.htm: "Fugitive Notes: 2nd and 3rd Days of Christmas").

Bach also composed Weimar Cantata, BWV 70a, "Wachet! betet! betet! wachet! (Watch, pray. Pray, watch; Luke 21: 25-36), for the 2nd Sunday in Advent and adapted it as Cantata 70 for the 26th Sunday after Trinity 1723. Two chorale cantatas also are appropriate for the Feast of John the Baptist: Chorale Cantata 129, "Gelobet sei der Herr, / Mein Gott, mein Licht, mein Leben" (Praised be the Lord, / my God, my light, my life), Trinity Sunday 1726; and Chorale Cantata 137, "Lobe den Herren, den mächtigen König der Ehren" (Praise the Lord, the mighty king of honour), 1725 (Trinity 12, ?Town Council).

Transfiguration

Transfiguration as the anticipation of the Resurrection was an important event for Martin Luther https://steadfastlutherans.org/2016/01/luthers-notes-on-the-gospel-transfiguration/). It is an affirmation of eternal life, the prophets Moses and Elijah also affirming Jesus as the Messiah through the Theology of the Cross. Historically, the Transfiguration as the last Sunday after Epiphany was not officially part of the Lutheran Church Year with no designated hymns, yet like Jesus' Baptism is an event essential to the Christian. Weimar Cantata 80a, “Alles, was von Gott geboren” (All that which of God is fathered), with the Luther chorale "A Mighty Fortress is our God" was originally designed to emphasize its origins in 1526-26 as a Lenten Psalm Hymn, based on Psalm 46:1, Deus noster refugiam (God is our refuge and strength, full text, http://www.kingjamesbibleonline.org/Psalms-Chapter-46/), which is most appropriate as a Transfiguration hymn. In Leipzig, Cantata 80a was transformed into a hybrid chorale Cantata 80 for Reformation.

There are several Bach vocal works appropriate for today's three-lectionary on the Transfiguration of our Lord. For Year A, Matthew's Gospel (17:1-9), is the 1724 chorale Cantata 130 for the feast of Michael and All-Angels, with its majesty of the transfigured Christ, the defeat of evil, and Elijah's chariot in heaven, says Sutterlund (Ibid.: 340). For Year B and the Gospel of Mark 9:2-9 (https://www.biblegateway.com/passage/?search=Mark+9%3A2-9&version=KJV), is the 1727 Motet BWV 225, "Singet dem Herrn ein neues Lied" ( Sing to the Lord a new song, Psalm 149:1) which reveals the heavenly splendor as well as brevity of the Transfiguration and life itself, "Wir sind nur Staub" (We are only dust), 225/2/6b. The Year B alternate is 1725 Ascension festival Cantata 128, "Auf Christi Himmelfahrt allein" (On Christ's ascension [journey to heaven] alone) which us Christ's final transfiguration. For Year C, the Gospel of Luke 9:28-36, https://www.biblegateway.com/passage/?search=Luke+9%3A28-36&version=KJV) is the undated St. Michael's Motet, BWV 50, "Nun ist das Heil und die Kraft" (Now is the salvation and the strength, Rev. 12:10) with the triumph of the Kingdom of God over evil. The Year C alternative is 1723 pre-Lenten Quinquagesima Cantata 22, "Jesus nahm zu sich die Zwölfe" (Jesus took the twelve to himself, Luke 18:31), with Jesus' announcement of their trip to Jerusalem with the commentary (no. 3): "Sie wollen beiderseits, wenn du verkläret bist, / Zwar eine feste Burg auf Tabors Berge bauen; / Hingegen Golgatha, so voller Leiden ist" (they want on both sides, when you have been transfigured, / to build indeed a strong fortress on Mount Tabor; / in contrast, Golgotha, that is full of suffering), https://www.youtube.com/watch?v=73eNqNSjt0M.

Palm (Passion) Sunday

The preparation of the time of the Passion begins when Jesus goes to Jerusalem in triumph on Palm Sunday, says Paul Zeller Strodach,⁹ and the authorities response is to plot his death. In Bach's time in Leipzig during Lenten the feast of the Annunciation on March 25 was observed and when it fell on Palm Sunday, that event also was observed. Bach composed one work for Palm Sunday, Cantata 182 "Himmelskönig, sei willkommen" (Heavenly King, be welcomed) in Weimar on 25 March 1714, when Palm Sunday coincided with the Feast of the Annunciation (Mariä Verkündigung, Mary as the mother of Jesus) and the work served both services. Cantata 182 was repeated in Leipzig on 25 March 1724, in a double bill with lost Cantata BWV 1135=199, "Siehe, eine Jungfrau ist schwanger (See, a virgin is pregnant). There are six versions of Cantata 182, with the final version dated to 1728 with a final performance of this version after 1728. Palm Sunday and the Annunciation feast also occurred on March 25 in Leipzig in 1725 and 1736 (http://www.bach-cantatas.com/LCY/Palmsonntag.htm). The dual celebration of joy at the entry into Jerusalem and the sorrow of the impending sacrifice are found in the internal texts of Cantata 182 (http://www.bach-cantatas.com/Texts/BWV182-Eng3.htm).

Good Friday Passion Oratorios: Matthew, Mark, John

Christ sacrifice for the satisfaction of atonement in the synoptic gospels is emphasized in the opening choruses of his two Passions according to the St. Matthew Passion, BWV 244, "Kommt, ihr Töchter, helft mir klagen" (Come, you daughters [of Jerusalem], help me to lament" and the chorale, "O Lamm Gottes, unschuldig" (O Lamb of God, innocent), most appropriate for Year A, the Matthew Gospel, Chapters 26-27 (https://www.biblegateway.com/passage/?search=Matthew+26-27&version=KJV), and for Year B, Mark's Gospel, Chapters 14-15 (https://www.kingjamesbibleonline.org/Mark-Chapter-14/, https://www.kingjamesbibleonline.org/Mark-Chapter-15/), with the St. Mark Passion, BWV 247, "Geh, Jesu, geh zu deiner Pein (Go, Jesus, go unto thy pain! / I will unceasingly lament thee / Till me thy comfort reappeareth, / When I am reconciled with thee."

An appropriate setting for Palm Sunday of Year C, Luke's Gospel https://www.biblegateway.com/passage/?search=Luke+22-23&version=KJV) is Bach's early 1708 Cantata 106, "Gottes Zeit ist die allerbeste Zeit" (God's time is the very best time) with the two Lukan references to Jesus last words from the cross: "In deine Hände befehl ich meinen Geist" (Into your hands I commit my spirit, 23:46; https://www.youtube.com/watch?v=R959qeVjQfA) and "Heute wirst du mit mir im Paradies sein" (Today you will be with me in paradise), music, https://www.youtube.com/watch?v=ONE0s528hl0: "SHOW MORE": 11:22, 13:48.

Bach's settings of the synoptic Passions of Matthew and Mark emphasize the two most important Lutheran theological precepts, Luther's so-called "Theology of the Cross," which is inextricably bound to Luther's doctrine of "Justification by Grace through Faith" (see 'Theological Keys," http://www.bach-cantatas.com/Articles/SMP-Spiritual-Hoffman.htm#Lutheran). Imbedded in these two Passions is Anselm's substitution theory of sacrificial atonement (https://en.wikipedia.org/wiki/Satisfaction_theory_of_atonement), in contrast to the Johannine Christus Victor concept (https://en.wikipedia.org/wiki/Christus_Victor) in the St. John Passion, BWV 245, "Herr, unser Herrscher" (Lord, our ruler). The Christus Victor concept is the more acceptable today while Bachs four versions of Johannine Passion oratorio embrace three distinct theological interpretations: the 1724 and last version 1749 include two dramatic episodes from Matthew's Passion account, Peter's weeping following his denial of Jesus (26:75) and the earthquake and rending of the veil of the temple at Jesus death (27:51-52). Bach radically altered his John Passion in 1725, substituting two chorale choruses and three arias to give the work a decidedly atonement emphasis while in the 1732 version, Bach removed the choruses and arias as well as the two references from Matthew, making it a "pure" Christus Victor" rendering.

Passion Pasticcios 1740s

There is still considerable debate among Bach scholars as to the last of the five Passions listed in Bach's Obituary. The celebrated settings of Matthew and John went to Emmanuel in the 1750 estate division while Friedemann probably received Mark and the apocryphal Luke Passion, BWV 246 which were listed in Breitkopf's Catalogue in the 1760s. The fifth, which may not be a gospel-based Passion oratorio setting, is sheer conjecture. The so-called Weimar Passion of 1717, presented in Gotha on Good Friday (https://www.bach-digital.de/receive/BachDigitalWork_work_00001533?lang=en) still has not been accepted into the BWV canon, despite considerable research and the finding that some music was utilized in the St. John Passion. A recent work now under consideration is known as a Pasticccio Passion (https://en.wikipedia.org/wiki/Wer_ist_der,_so_von_Edom_kömmt#Ein_Lämmlein_geht_und_trägt_die_Schuld,_GraunWV_B:VII:4). Its core music is from a c1730 Passion cantata of Carl Heinrich Graun, with additional music of Telemann, Bach (BWV 127/1 and 1088), Johann Christoph Altnikol chorale settings and a motet of Johann Kuhnau, now possibly to Italian musical models of Francesco Durante or Antonio Lotti. It represents the culmination of the German poetic oratorio Passion tradition, emphasizing popular poetic and musical styles as well as chorales and the old-style motet (http://www.bach-cantatas.com/Vocal/BWV1088-Gen.htm). It possibly was performed by Bach in Leipzig, 1743-1748, and by Altnikol at the Thomaskirche in Leipzig on Good Friday, March 23, 1750.

In addition, Bach assembled c.1747 another pasticcio from the St. Mark oratorio Passion once attributed to Reinhard Keiser, and inserted seven arias from the Handel Brockes Passion oratorio, "Keiser-Handel Pasticcio Passion," Bach Compendium BC D 5b (https://www.bach-digital.de/receive/BachDigitalWork_work_00001680?lang=en, https://en.wikipedia.org/wiki/Brockes_Passion), which will be performed at the Bach Leipzig Festival in 2019 (https://www.carusmedia.com/images-intern/medien/30/3550203/3550203x.pdf). Bach divided the Passion into two parts, appropriate for the Good Friday vespers in Leipzig when he added the chorale "So gehst du nun, mein Jesu", BWV 500a (https://www.bach-digital.de/receive/BachDigitalWork_work_00000571?lang=en), as a conclusion for the first part. In this version he also slightly modified the "O hilf, Christe, Gottes Sohn" and "O Traurigkeit, o Herzeleid" chorale settings.

Easter Italianate Oratorio
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Besides the Good Friday Passion suffering and sacrificial death of Jesus Christ, the other central event in his life was his resurrection on Easter Sunday, the essential beliefs of all Christians. Bach composed a special, Italianate Easter Oratorio, BWV 249, "Kommt, eilet und laufet" (Come, hurry and run). It was parodied in 1725 from a secular birthday serenade and his first active collaboration with poet Picander. In its textual and musical allusions to the St. John Passion, Bach’s Easter Oratorio as it was conceived in 1725 resembles a concise, poetic Gospel harmonization similar to Johannes Bugenhagen’s Die historia des leydens vnd der Aufferstehung vnsers Herrn aus der vier Evangelisten (Wittenberg: 1530), with its Johannine emphasis. Bach’s Easter Oratorio was not only the central workin a Johannine trilogy of the Passion, Resurrection, and Farewell Discourse of 1725, but laid the groundwork for his sacred trilogy of feast day oratorios presented in 1734-35.

Another important Reformation figure in the development of feast days was its leading theologian, Philipp Melanchthon (1497-1560, https://en.wikipedia.org/wiki/Philip_Melanchthon), in 1539 set 11 hymn verses in Latin as a paraphrase of the original Latin text of the Epistle, Dicimus grates tibi (http://matthaeusglyptes.blogspot.com/2011/09/dicimus-grates-tibi.html, Lord God, to thee we all give praise), using the associated chant melody, followed by his own 11-verse German vernacular paraphrase, "Laßt uns von Hertzen" (Let us from hearts), to an old German melody. Ironically, Melanchthon, who had abhorred the Roman Catholic practice of the veneration of saints and relics, eventually advocated and instituted liturgical observances of the Marian Feasts and saints John the Baptist and the Archangel Michael. Subsequently, in 1554, Paul Eber composed a 12-verse setting of Melanchthon's Latin hymn, "Herr Gott, dich loben alle wir" (Lord God, we all Thank you).

For the Easter Oratorio plot, characters, and themes, Bach begins with the brief Markan Resurrection account, 16:1-8. Here the two Marys go to Christ’s tomb on Easter Sunday to anoint the body in Jewish tradition, find the tomb empty, and are told by a young man (angels in the other versions) that Christ is risen. They are instructed to tell the disciples and Peter that Christ goes to Galilee where he can be seen. To this basic account in the first Gospel, Bach conflates the Johannine story, Chapter 20, in which Mary Magdalene finds the empty tomb and runs away, coming upon Peter and John, suggesting that his body has been removed from the sepulchre “and we know not where they have laid him” (KJV). The two disciples run to the sepulcher, John arriving first and seeing only the burial linen clothes inside, followed by Peter who sees the napkin (burial shroud) outside the tomb. “Then the disciples went away again unto their own home” (John 20:10). At this point in John’s gospel, Mary Magdalene weeps at the sepulcher and is asked by two angels inside why she is weeping. She turns around and sees a man she supposes is the gardener, who calls her “Mary,” and she replies “Master.” Here Bach portrays the story in the manner of a theological dialectic as established by Martin Luther in his Theology of the Cross, that Jesus Christ is truly man and truly God at the same time, while Bach’s music is heard by the congregation who are, simultaneously, saints and sinners.

Easter Season Johannine Farewell Settings

Beginning with the third Sunday after Easter (Jubilate), the post-Resurrection Sunday Gospels in Bach’s time, involving the work and witness of the Paraclete (Holy Spirit, advocate, intercessor), primarily focus on Jesus Christ’s Farewell Discourse and promise of the Second Coming to his Disciples (John, Chapter 16). The Sundays, Gospel themes and Bach works are: Jubilate [3rd Sunday after Easter, "Make a joyful noise"], John 16: 16-23, "Sorrow turned to joy" in "Christ's Farewell"; Cantate [4th Sunday after Easter, "Sing"], John 16: 16-23, "The work of the Paraclete (Holy Spirit)"; Rogate [5th Sunday after Easter, "Pray"], John 16: 23-30, "Prayer in the name of Jesus" as Christ's Promise to the Disciples; Exaudi [Sunday after Ascension, "Hear"], John 15: 26-16: 4, "Spirit will come" in the "Witness of the Paraclete"; Cantatas. The Pentecost Gospel is the last of the five unique Jesus’ farewell discourses to his disciples in John’s gospel, Chapters 14-16; Whit Sunday [1st Day of Pentecost], John 14: 23-31 "Promise of the Paraclete" as "The Gift of Peace." John's Gospel for Pentecost Monday is the iconic passage 3:16-21, "God so loved the World" (https://www.biblegateway.com/passage/?search=John+3:16-21&version=KJV), and the Gospel for Pentecost Tuesday is John 10:1-10, "The Good Shepherd and His Sheep" (https://www.biblestudytools.com/kjv/john/passage/?q=john+10:1-10). And the Gospel for Trinity Sunday, John 3:1-16, "Nicodemus comes to Christ in the night" (https://www.biblegateway.com/passage/?search=John+3%3A1-16&version=KJV).

The nine consecutive Ziegler Johannine cantata libretti Bach commissioned have seven incipits from John's gospel, a chorale incipit and a quotation from Jeremiah 17:9 in the final Trinityfest work, BWV 176: *BWV 103,"Ihr werdet weinen und heulen" (You will weep and howl, John 16:20), Jubilate; *BWV 108, "Es ist euch gut, daß ich hingehe (It is good for you that I should go away, John 16:7), Cantate; *BWV 87, "Bisher habt ihr nichts gebeten in meinem Namen" (Until now you have asked nothing in my name, John 16:24), Rogate; *BWV 128, "Auf Christi Himmelfahrt allein" (On Christ's ascension [journey to heaven] alone), Ascension; *BWV 183, "Sie werden euch in den Bann tun" (They will put you under a ban, John 16:2), Exaudi; *BWV 74, "Wer mich liebet, der wird mein Wort halten" (Whoever loves me will keep my word, John 14:23), Pentecost Sunday; *BWV 68, "Also hat Gott die Welt geliebt" (God so loved the world, John 3:16), Pentecost Monday; *BWV 175, "Er rufet seinen Schafen mit Namen (He calls his own sheep by name, John 10:3), Pentecost Tuesday and; *BWV 176, "Es ist ein trotzig und verzagt Ding" (There is something obstinate and desperate, Jeremiah 17:9), Trinity Sunday.

Following the Johannine setting of the Easter Oratorio and his special min-cycle of the Johannine Farewell Discourse cantatas, Bach set the last event in the life of Jesus Christ as an oratorio (historia) using the Bugenhagen Evangelienharmonie. While various composers wrote ascension cantatas, including sons Friedemann, Emmanual, and Jihann Christoph Friedrich, there is no record of another ascension oratorio and it should be noted that the most popular category of "Christmas Oratorio" often had no historiae citation of the gospel narrative, instead being a series of poetic Christmas cantatas by Gottfried Heinrich Stölzel, Telemann and others. Heinrich Schütz's 1660 Christmas Story (Weihnachtshistorie, https://en.wikipedia.org/wiki/Christmas_Story_(Schütz)) is a true historia preceded by a three day setting of the Resurrection Story (Auferstehungshistorie) in 1623 at the Saxon Court. The gospel harmony paraphrases the passages from the Lukan Epistle historical account, Acts 1:1-11 (Jesus' Preparation and Ascension), as well as the day's Gospel, Mark 16:14-20 (Great Commission, Ascension), text http://www.bach-cantatas.com/Read/Ascension.htm and Luke's abbreviated Gospel Account (24:50-53, https://www.biblegateway.com/passage/?search=Luke+24%3A50-53&version=KJV). Coming near the end of the Johannine Gospel account, there is no John account of the Ascension, only the inference that the event was another transfiguration or illumination of Jesus' divinity with the Father, followed by the final triumph of the Trinity through the Holy Spirit at Pentecost and Trinityfest Sunday. Jesus' physical ascension in his human nature was a link to those left behind, reinforcing the certainty of salvation for the faithful below, said Lutheran theologians, while reinforcing the Doctrine of Justification instead of Preordination.

Following the Johannine setting of the Easter Oratorio and his special min-cycle of the nine Ziegler Johannine Farewell Discourse cantatas, Bach set the last event in the life of Jesus Christ as the Ascension Oratorio, BWV 11, "Lobet Gott in seinen Reichen" (Praise God in his kingd(historia) using the Bugenhagen poetic Evangelienharmonie. While various composers wrote ascension cantatas, including sons Friedemann, Emanuel, and Johann Christoph Friedrich, there is no record of another ascension oratorio and it should be noted that the most popular category of "Christmas Oratorio" often had no historiae citation of the gospel narrative, instead being a series of poetic Christmas cantatas by Gottfried Heinrich Stölzel, Telemann and others. Heinrich Schütz's 1660 Christmas Story (Weihnachtshistorie, https://en.wikipedia.org/wiki/Christmas_Story_(Schütz)) is a true historia preceded by a three day setting of the Resurrection Story (Auferstehungshistorie) in 1623 at the Saxon Court. The gospel harmony paraphrases the passages from the Lukan Epistle historical account, Acts 1:1-11 (Jesus' Preparation and Ascension), as well as the day's Gospel, Mark 16:14-20 (Great Commission, Ascension), text http://www.bach-cantatas.com/Read/Ascension.htm and Luke's abbreviated Gospel Account (24:50-53, https://www.biblegateway.com/passage/?search=Luke+24%3A50-53&version=KJV). Coming near the end of the Johannine Gospel account, there is no John account of the Ascension, only the inference that the event was another transfiguration or illumination of Jesus' divinity with the Father, followed by the final triumph of the Trinity through the Holy Spirit at Pentecost and Trinityfest Sunday. Jesus' physical ascension in his human nature was a link to those left behind, reinforcing the certainty of salvation for the faithful below, said Lutheran theologians, while reinforcing the Doctrine of Justification instead of Preordination.

Lutheran Historiae Tradition

The German Historiae tradition dates to the mid-16 century. "There are also numerous Historiae by Schütz and other composers for the feasts of Christmas, Easter, Pentecost, St John Baptist and other religious festivities," says Prof. Dr. Wolfram Steude.10 The best known and most enduring tradition centered on Christmas (Weinachts), Easter, and the Passion and was observed in many German Lutheran communities into the 19th century (for details of this tradition, see http://www.bach-cantatas.com/Topics/Easter-Cantatas.htm, "Easter Saxon Reformation Traditions." The Schütz (1585-1672) historiae came out of the Dresden Court tradition of Antonio Scandello (1517–1580, John Passion, Easter) and were replaced by later musicians at the Dresden Chapel, most notably Nikolaus Adam Strungk (1640-1700), who presented his Die Auferstehung Jesu in 1688 and who was admired by both Bach and Handel (http://www.bach-cantatas.com/Lib/Strungk-Nicolaus-Adam.htm). Schütz in 1623 published his Easter Oratorio, SWV 50, "Historia von der Auferstehung, History of the Resurrection, http://www3.cpdl.org/wiki/index.php/Historia_von_der_Auferstehung,_SWV_50_(Heinrich_Schütz)). In 1645 he published his setting of the Seven Last Words of Christ. In 1664 he composed the "Historia der Geburt Jesu Christi" (History of the birth of Jesus Christ, http://musc520-musical-styles-s14.wikia.com/wiki/Heinrich_Schutz:_Historia_der_Geburt_Jesu_Christi_(1664):_Oratorio) and the next two years published oratorio settings of the Passions of Luke, and Matthew.

Key to the texts were the biblical account of each event as well as Johannes Bugenhagen’s Gospel harmony, Evangelienharmonie, with its Johannine emphasis. The Lutheran historia biblical account began with statements as an introit/exordium and ended with a conclusio, says Howard E. Smither.11 There also were rare historia festive settings of John the Baptist (Elias Gerlach, 1612) and Pentecost, Philipp Heinrich Erlebach's Actus pentecostalis (1690) and Friedrich Wilhelm Zachow's Actus pentecostalis (1690-1702), says Smither (Ibid.: 29). Two other oratorios are Johann Kuhnau Actus Stephanicus for the feast of St. Stephen, December 26, and Abraham Petzoldt's Actus [in festo Michaelis] (c.1690-1702).

Another key element in Bach's oratorios was the use of dance-style music. The cultural and theological basis for dance came from Martin Luther who saw the biblical sense of joy as an expression of allegiance with God. The Psalms of David are full of music and dance references. Soon, folk custom, an ingredient in the development of chorales, spread church dancing on saints; days and festivals, observes Joyce Irwin.12 By the High Middle Ages, there is dancing in the churches, regardless of civil prohibitions, she says. The courts readily accepted dance and by the turn of the 18th century it had become part of concerted music, witness Handel's Oratorio, La Resurrezione, which has a number of arias set in dance style. Bach also readily accepted dance: his early Wedding Quodlibet, BWV 524, was given at Bach family gatherings. He began in 1725 systematically introducing dance-style into both sacred and secular cantatas as well as serenades and drammi per musica, including syncopated Scottish Snap (Lombard rhythm) and polonaise-style favored by the Court in Dresden. Often, Bach was able to recycle through parody joyous profane music in his large-scale works, most notable the Christmas Oratorio. In music of sorrow Bach introduced dance-style music with poignant texts, notably in his the closing "rest in the grave" choruses of his Passions: John with a menuett, Matthew with a sarabande, and Mark with a gigue. This is an expression of the Ecclesiastes dictum (3:4), "a time to weep and a time to laugh; a time to mourn and a time to dance." Bach conflated both.

Christological Completion: Michael & All-Angels

The final stage in a Christological cycle is the coming of Jesus Christ in judgement at the end of mankind's time, found in the Epistle text, Revelation 12:7-12, the symbolic angels defeat of evil, for the Feast of Michael and All-Angels, celebrated in Bach's time (and today) on September 29 when following the festive service, the gala Leipzig Fall Fair began the next Sunday on the Market Place. The gospel Matthew 18: 1-11, Who humbles himself shall be exalted, is found at BCW http://www.bach-cantatas.com/Read/Michael.htm). Of Bach's four cantatas for this feast day, the most symbolic was the final Cantata BWV 149, "Man singet mit Freuden vom Sieg" (Songs are sung with joy of victory, Psalm 118:15-16; http://www.bach-cantatas.com/BWV149-D4.htm), probably composed in 1728 or 1729 in collaboration with poet Picander. With trumpets and drums, the opening chorus in 9/8 dance style is a parody setting of Psalm 118:15, and the closing chorale is Martin Schalling’s 1569 "Herzlich lieb hab ich dich, o Herr" (From my heart I hold you dear, o Lord), using Stanza 3: Ach, Herr, laß dein' lieb' Engelein” (Ah Lord, let your dear angels). Cantata 149 involves Jesus Christ as the sacrificial Blood of the Lamb and the substitute for Michael as the ultimate force that defeats evil in the second half of the Revelation allegorical/eschatological drama,4 beginning with Chapter 12. This same Christological satisfaction theory of atonement is the thematic core of John Milton's epic-heroic poem, Paradise Lost of 1667.

Bach also may have composed an oratorio setting for the St. Michael's Feast in 1734 in a special church performance of the Michaelmas oratorio, BWV 248a (no title), held on Wednesday, September 29, a week before the Tuesday, October 5, an outdoor presentation of BWV 215, "Preise dein Glücke, gesegnetes Sachsen" (Praise your good fortune, Saxony, http://www.bach-cantatas.com/BWV215-D3.htm), in honor of the visiting Saxon Court. Bach parodied the alternating three accompagnati, two arias and the closing chorale chorus setting with the Passion melody. The original string music survives in the parts for Part 6 of the Christmas Oratorio, BWV 248VI. In between he set an appropriate plain chorale and three narrative recitatives in place of the St. Michael's hymn and narrative, Rev. 12:7-12.

Christological Latin Church Music, Chorale Settings.

Concurrent with the Christological oratorios and cantatas, Bach shaped Latin Church with its Christological emphasis, both in all the Mass ordinary movements (Kyrie, Gloria, Credo, Sanctus, and Agnus Dei) and the incarnation in the Magnificat, while also shaping Luther's vernacular hymns into the Deutsche Messe settings as well was setting the de tempore and omne tempore Lutheran chorales as vocal liturgical settings and instrumental organ chorale preludes introducing the service hymns to the congregation. Beginning in Weimar when he began to compose church service cantatas, Bach followed tradition by using plain chorale settings to close his cantatas while composing organ chorale preludes to introduce into the service appropriate hymns for the pulpit sermon, holy communion, and closing, making the service a veritable musical feast.

The Bach Compendium in the later 1980s catalogued all of Bach's Latin Church Music, including the Masses BWV 232-236 and an incomplete Kyrie-Gloria, BWV Anh. 29; Single Movements of the Mass Ordinary (Kyrie, Sanctus and a Credo Intonation (BWV 237-242); and the Magnificat, an arrangement, and Cantata 191 (http://www.bach-cantatas.com/Ref/IndexRef-BC-E.htm).

Synopsis - List by Group and BC Number - Work Group E

BC

BWV

BGA

NBA

Year

Title / Comments

Masses

E 1I-IV

232I-IV

VI

II/1

1748-49

Messe in h - Mass in B minor
I: Missa (Kyrie, Gloria) → E 2
II: Symbolum Niceum (Credo) → A 24, A 68, B 6, G 14, G 18
III: Sanctus → E 12
IV: Osanna, Benedictus, Agnus Sei et Dona nobis pacem → B 8, D 9, G 16, G 21, G 42

E 2

[232I]

Missa in h - Mass in B minor → A 117, B 8, E II, E 16

E 3

234

VIII

II/2

1738

Missa in A - Mass in A major → A 62, A 111, A 121, A 184

E 4

236

VIII

II/2

1738-39

Missa in G - Mass in G major → A 121, A 131, A 132, A 184

E 5

235

VIII

II/2

1738-39

Missa in g - Mass in G minor → A 37, A 110, A 119

E 6

233

VIII

II/2

1738-39?

Missa in F - Mass in F major → A 12, A 119, E7

Anh 29

Missa in c - Mass in C minor (incomplete) → Work Group T

Single Movements of the Mass Ordinary

E 7

233a

XLI

II/2

1708-17?

Kyrie "Christe, di Lamm Gottes" in F major → E 6

E 8

242

XLI

II/2

1727-31

Christe eleison in G minor (interpolation in Missa in C mninor by Francesco Durante) → Work Group X

Kyrie (?) in E minor (incomplete) → Work Group T

E 9

1081

-

1747-48

Credo in unum Deum in F major (Credo intonation to Missa in F major by Giovanni Battista Bassani) → Work Group X

E 10

237

XI/1

II/2

1723?

Sanctus in C major

E 11

238

XI/1

II/2

Sanctus in C major

E 12

[232III]

Sanctus in D major → E1III

239

XI/1

II/9

Sanctus in D minor → Work Group X

240

XI/1

II/9

Sanctus in G major → Work Group X

Addendum

E 17

241

XLI

II/9

1747-48

Sanctus in E major (arrangement of Sanctus from Johann Kaspar Kerll's Missa Superba)

Magnificat

E 13

243a

XI/3

II/3

1723

Magnificat in E flat major → A 10, E 14

E 14

243

XI/3

II/3

1728-31

Magnificat in D major → E 13

E 15

1082

-

I/9

1740-42

Suscepit Israel (arrangement of a movement from Antonio Caldara's Maginificat in C major) → Work Group X

E 16

191

XLI

I/2

1740

Gloria in excelsis Deo → E 2

→ Work Groups T, V, X

Chorale Settings: Preludes, Plain Hymns

Besides extensive use of Latin, Bach also systematically observed another Matin Luther practice, the widespread use of chorales within a Christological framework of hymns for the entire church year which included liturgical and psalm settings as well as thematic chorales such as Jesus Hymns. The following are the collections of Bach's organ chorale settings (https://en.wikipedia.org/wiki/List_of_organ_compositions_by_Johann_Sebastian_Bach),

as found in his works catalog: Orgelbüchlein for the church year (45), BWV 599-644; Schübler Chorales (cantata transcriptions) (6), BWV 645-650; Eighteen Great Leipzig Chorales (18), BWV 651-668; Clavierübung III, Mass & Catechism Chorales (21), BWV 669-689; Kirnberger Collection Chorales (24); BWV 690-713; Miscellaneous Chorales (52), 714-765; Chorale Variations (6), 766-771; and Neumeister Collection (31), BWV 1090-1120; details The 389 plain chorale settings from vocal works, including 186 free-standing hymns, BWV 253-438, were published in 1783-87 and a few additional harmonizations are found in collections of students Johann Ludwig Dietel (1735), Christian Friedrich Penzel, and possibly others (http://www.bach-cantatas.com/Topics/Chorale-Collections.htm).

FOOTNOTES

¹ Marcus Rathey, Bach’s Major Vocal Works: Music, Drama, Liturgy (New Haven CN: Yale University Press, 2016.
² John S. Setterlund, Bach Through the Year: The Church Music of Johann Sebastian Bach and the Revised Common Lectionary (Minneapolis MN: Lutheran University Press, 2013: 8).
³ Anne Leahy, in J. S. Bach’s “Leipzig Chorale Preludes, ed. Robin A Leaver (Lanham MD: Scarecrow Press, 2011: 144).
⁴ Markus Rathey, Chapter 11, "The Bridegroom and the Enemy (Part VI)," Johann Sebastian Bach’s Christmas Oratorio: Music, Theology, Culture (New York: Oxford University Press, 2016: 357).
⁵ Tanya Kavorkian: Baroque Piety: Religion, Society and Music in Leipzig, 1650-1750 (London & New York, Routledge, 2016: 210).
⁶ Christoph Wolff, Johann Sebastian Bach, Learned Musician, updated ed. (New York & London: W. W. Norton, 2013, 290).
⁷ Gardiner notes, BCW http://www.bach-cantatas.com/Pic-Rec-BIG/Gardiner-P19c[sdg115_gb].pdf; Recording details, BCW http://www.bach-cantatas.com/Performers/Gardiner-Rec3.htm#P19; recording, https://www.youtube.com/watch?v=J6u2jB0OMF8.
⁸ Eric Chafe, Part I, Introductory Themes, Chapter 3, "Johannine Themes," in J. S. Bach’s Johannine Theology: The St. John Passion and the Cantatas for Spring 1725 (Oxford University Press, 2014: 100).
⁹ Paul Zeller Strodach, The Church Year: Studies in the Introits, Collects, Epistles, and Gospels (Philadelphia PA: United Lutheran Publication House, 86ff).
¹⁰ Howard E. Smither, A History of the Oratorio, Vol. 2, "The Oratorio in the Baroque Era: Protestant German and England (Chapel Hill: University of North Carolina Press, 1977: 3).
¹¹ Dr. Wolfram Steude, Schütz Recordings, http://www.mymusicbase.ru/PPS4/sd_4884.htm.
¹² Joyce Irwin, "Dancing in Bach's Time: Sin or Permissible Pleasure," in Bach and the Counterpoint of Religion. Bach Perspectives 12, ed. Robin A. Leaver, in conjunction with American Bach Society (Urbana: University of Illinois Press, 2018, 21).

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To Come: Summary of Church Cycle Occasional Music of Joy and Sorrow