Easter Cantatas
Discussions

Bach's Easter: Theology, Oratorio Tradition, Cantata 4

William L. Hoffman wrote (April 5, 2018):
The final, triumphal portion of the Christological Cycle begins with the Resurrection of Jesus Christ, which symbolically represents the final part of the Great Parabola of descent-ascent, or the Uplifting in glory, also known as the anabasis or fulfillment, embracing the in-dwelling inhabitatio of unio mystica (mystical union) involving the sacred and divine, the eternal reincarnation of spirit and flesh. The Easter season/time of 50 days (six Sundays) is a unique period in the church year which, in Bach's Leipzig involved Easter Sunday to Misericordias Domini (second after Easter), designated de tempore (Proper Time) of the life of Jesus Christ, followed by the Gospel of John Farewell Discourse in the omnes tempore (Ordinary Time) tradition of the life of the church, embracing both times simultaneously in the paradoxes of humanity that is both sacred and profane and the Christ who is both truly man and God. The end of Easter is the eschatological celebration of God's eternal Time on Pentecost Sunday signifying God for us, with us, and within us in the Trinitarian divine dance, as Father Richard Rohr says,¹ as well as the birthday of the church.

Bach's first cantata for a designated service in the church year was BWV 4, "Christ lag in Todesbanden" (Christ lay in death's bonds) setting of Martin Luther's hymn, possibly introduced on Easter Sunday, 24 April 1707, as his probe piece for the position of Organist at St. Blasius Church in Mühlhausen (http://www.bach-cantatas.com/BWV4-D6.htm). Bach's Easter Sunday performance calendar continued with Cantata 31, "Der Himmel lacht! die Erde jubilieret" (The heavens laugh! The earth shouts with joy), introduced in Weimar in 1715 to a text of court poet Salomo Franck, and finally the Easter Oratorio: "Kommt, eilet und laufet"

(Come, hurry and run), BWV 249, 1 April 1725, to a text probably by Picander, with multiple reperformances of all three in Leipzig (http://www.bach-cantatas.com/LCY/Ostersonntag.htm), as well as Easter Sunday works of Georg Philipp Telemann, Johann Ludwig Bach, and Gottfried Heinrich Stölzel (http://www.bach-cantatas.com/BWV160-D.htm, http://www.bach-cantatas.com/LCY/Ostersonntag.htm, http://bach-cantatas.com/LCY/1736.htm).

The Easter season/time in Bach's Leipzig began and ended with two three-day festivals at Easter and Pentecost when Bach, following his annual presentation of an oratorio Passion on Good Friday — the fulcrum or rest/pivot of the Great Parabola — was required to present a cantata musical sermon also on Easter Monday and Tuesday. For Bach in his first years in Leipzig presenting three cycles of church year music, usually cantatas, this period theologically signified the centrality of Johannine theology with two versions of his St. John Passion that were followed by the St. Matthew Passion in 1727. Meanwhile, because Bach's Lenten endeavors were focused on the Passion sacred drama, he modified his compositional activities during Easter Season, which required six days of Easter and Pentecost festive cantatas, the Ascension Feast and the Trinity Festival. In his first Easter Season of 1724, Bach was able to present repeats of Weimar works on the two festive Sundays and then parodied Cöthen congratulatory vocal serenades for the two festive Mondays and Tuesdays of Easter and Pentecost During the final period of his second cycle, also requiring 14 cantatas for eight festival days, Bach in the 1725 Easter Season ceased composing new chorale cantatas, substituting works conceived possibly the previous year and followed by new works using new commissioned texts of Leipzig poet Mariane von Ziegler from Jubilate to Trinity Sunday. The next year in the 1726 Easter Season, Bach substituted cantatas of cousin Ludwig Bach while composing the St. Matthew Passion.

A second factor motivated Bach's Easter period Grand Design. As cantor at St. Thomas church and school, Bach focused this seven weeks on his duties at the close of the school year on Trinity Sunday. He gave exams, auditioned new chorus members, chose assistants and special students, accounted for the musical and educational resources, and compiled annual reports involving a well-appointed church music for which he was steward. A third factor during the Easter Season and the termination of the chorale cantata cycle may have been because of the paucity of designated chorales in the Lutheran hymnbooks for the specific Sundays after Easter. "We possess a rich store of Passion music , but relatively few outstanding pieces of Easter music," observes Alfred Dürr.² "Such a disproportion is also perceptible in Bach's output. Settings of the Passion apparently laid such a strong claim on his creative power that no original Easter Sunday music survives from his mature years" after 1725.

Easter Saxon Reformation Traditions

The Leipzig observance of the Easter Season in Bach's time as music director involved a great tradition beginning with the city's acceptance of the Reformation in 1539 as part of its official establishment in Saxony through Duke Heinrich's Agenda, the same year it was published in Wittenberg as the governing document of the Lutheran church for almost 300 years. The services with music in the church year, first found in Valentin Schumann's hymn book published in Leipzig in 1539 and expanded in Valentin Bapst's edition in 1545, determined Bach's response with a well-ordered church music. "During Bach's tenure, the Dresden Hymnal served as a kind of model for others to follow," observes Martin Petzoldt.³ In addition, Johannes Bugenhagen's Evangeliumharmonie of the accounts of the Passion and Resurrection of Jesus Christ were prescribed for Holy Week and Easter.⁴

Along with the development of the Lutheran chorales central to Bach's calling was the unique Saxon Court tradition of musical Historia settings for the major observances of Christmas, the Passion, and Easter, particularly as found in the music of Kapellmeister Heinrich Schütz (1585-1672), with his first publication, Historia der Auferstehung Jesu Christi (Resurrection Story), SWV 50, Op. 3 (Dresden 1623) which uses the Bugenhagen text.⁵ The tradition of the liturgical-musical Passion was still found in Bach's Passion settings, observes Petzoldt (https://www.youtube.com/watch?v=iJpDvE9xRpA, 3:10).

The tradition of an Easter setting began with the "Osterhistorie by Jacobus Haupt, singer at the Dresden chapel," followed by the Auferstehungshistorie of Antonio Scandello (1517–1580), says Wolfram Steude in "Passions, Resurrection History and Dialogues" (https://www.brilliantclassics.com/media/511841/94361-Downloadable-Booklet.pdf: 19, text 83-88). Schütz's setting was performed annually until 1675, replacing Scandello's Easter History and eventually succeeded by Easter Historiae of younger musicians of the Dresden chapel (Johann Müller, Johann Wilhelm Furchheim and Nikolaus Adam Strungk), as the Dresden Catholic Chapel Easter tradition from until 1700. These Easter works, with instruments, choruses and multiple voices singing the roles of Jesus, Mary Magdalene and the Angel at the Tomb, had no model in Catholic tradition, being part of a post-Lutheran German vernacular historia genre specific to Dresden and best known throughout Germany as oratorio Passions. Meanwhile, the Italian sacred vulgate oratorio tradition of Carissimi, Stradella, Scarlatti, Mazzocchi, Federici, Pistocchi, Caldara, and Colonna flourished from 1660 to 1720, particularly in palaces in Rome where the Papacy had forbidden opera at any time of the year. It was a frank substitute for opera, with elaborate sets and cand numerous da capo arias, but no staging or choruses -- thus being a closet or static drama.

The Dresden court liturgical-musical Historia of the Resurrection followed Protestant tradition instead of the Catholic settings traced to Adrian Willaert's 1559 motet, Victimae paschali laudes,⁶ and Palestrina's Easter Season psalm motets for the six Sundays in Easter: Terra tremuit, Angelus Domini II a 5, Deus, Deus meus, Lauda anima mea, Jubilate Deo, Benedicite gentes, and Ad coenam Agni providi. Although the Lutheran Passion tradition followed the Catholic use of designated Passion tones, antiphons and chants, the Easter settings in the oratorio tradition apparently did not begin until Handel's liturgical-poetic drama, "La resurrezione," HWV 47 (https://en.wikipedia.org/wiki/La_resurrezione, https://www.youtube.com/watch?v=s_dqQuUQLkM), premiered in Rome in 1708, about the same time as Bach's Easter chorale Cantata BWV 4, "Christ lag in Todesbanden" (Christ lay in death's bonds) setting of Luther's hymn.

Bach, Handel Easter Oratorios

Originally composed in 1725, Bach's Easter Oratorio, BWV 249 (https://www.youtube.com/watch?v=tWcpB15Ta2w&index=83&list=FLmvJAFT1H5qmyxaWkkn3PwQ), is contemplative, pictorial Italianate work, parodied from a congratulatory, pastoral shepherds' cantata, "Entfliehet, verschwindet, entweichet, ihr Sorgen" ( BWV. 249a) celebrating the birthday of Duke Christian of Saxony-Weissenfels on the 23 February 1725, which has four mythological characters in a Picander text. Unlike Schütz’s Resurrection oratorio which covers the three-day Easter feast of Resurrection, Walk to Emmaus, and Christ’s appearance before the Disciples, Bach only was interested in the Resurrection story. While there is no record of reperformances of Bach's Christmas and Ascension Oratorios, his original Easter setting was changed to an oratorio in 1738, followed by performances about 1743-46, and on 6 April 1749, one of his last documented presentations.

Four elements are common to Bach's and Handel's Easter Oratorios: a festive instrumental introduction, the use of da capo arias (all four in Bach), music using various forms of the gigue and gavotte dance, and primary characters singing arias and ensemble dialogue using poetic rather than biblical text. In Handel's case there are two distinct settings: the underworld exchanges between an Angel (soprano) and Lucifer (bass) and the earthly biblical setting of the mortal characters Mary Magdalene (soprano), Mary Cleophas (mezzo), and St. John the Evangelist (tenor) - the same three biblical characters in Bach's Easter Oratorio, plus Peter. Handel's assigned libretto by Carlo Sigismondo Capece provides operatic emotions from weeping and lament to delight, joy and triumph, with Handel's unerring gift for characterization. Bach's libretto and treatment are grounded in the Schütz manner of intimacy and reflection. Another common element is the composers' reuse of existing music. In the case of Handel, he was legion at recycling his vocal music, beginning with the instrumental sarabande in his first opera, Almira (Hamburg 1705), later used as an aria in his first oratorio, "The Triumph of Time and Truth" (Rome 1707), and finally the famed castrato aria, "Lascia ch'io pianga" in Rinaldo (London 1711). In "La Resurrezione" near the end is John's tenor aria "Caro figlio" (Dear son), which also had its origins in Hamburg and later was used also in Rinaldo as the aria "Cara sposa" (Dear wife).

The final portion of Handel's Messiah, the definitive and popular Christological oratorio, observes the Resurrection and eschatological conflict and resolution, following the extensive Christmas and Good Friday sections (https://en.wikipedia.org/wiki/Messiah_(Handel), "Organisation and numbering of movements"). Bach in the 1740s completed his Christological Cycle in his great "Great" Mass in B Minor, adding the central Credo Trinitarian statement, and the celebratory Sanctus-Benedictus-Osanna, and final Agnus Dei. A comparison of the two composers and their works show strong biographical parallels as well as their emphasis on sacred drama, observes Alfred Mann.⁷ Within a decade in the first quarter of the 18th century, the two composers initially created Passion settings, Handel with the 1718 poetic Brockes Passion oratorio, and Bach with the 1724 biblical oratorio St. John Passion. In the succeeding decade they achieved mastery of their choral art with their unique genre of oratorio, Bach focusing on feast day settings, Handel on Old Testament stories, both often using borrowed materials, Bach his own, Handel his and others. Finally, in these two best-known works — Handel using biblical passages and Bach the traditional Latin Mass Ordinary, — "the text is interpreted as the 'Drama of Redemption'," concludes Mann (Ibid.: 178).:

Credo Et resurrexit Settings: Bassani, Palestrina

The Credo in the Mass Ordinary uses the text of the expanded Nicene Creed with its central focus on Christ's Resurrection: "Et resurrexit tertia die secundum scripturas. Et ascendit in coelum, sedet ad dexteram Dei Patris, et iterum venturus est cum gloria judicare vivos et mortuos, cujus regni non erit finis." (And on the third day he rose again according to the scriptures. And ascended into heaven. And sits at the right hand of the Father. And he shall come again with glory, to judge both the quick and the dead; whose kingdom shall have no end.). Bach set the music as a five-part tutti chorus with trumpets and drums https://www.youtube.com/watch?v=ZDNKBo9TKWA), which may have originated in the celebratory serenade, "Entfernet euch, ihr heitern Sterne" (Disperse yourselves, ye stars serenely), BWV Anh. 9 for the visiting Saxon Prince Augustus "The Strong," on 12 May 1727, during the Leipzig Easter Fair at the height of the Easter Season (http://www.bach-cantatas.com/BWVAnh9-D.htm).

Bach possibly presented two other settings of the Credo in the 1740s: Giovanni Battista Bassani, Intonation to the 1709 Credo in unum Deum, ⁸ No 5 of Acroama Missale (https://soundcloud.com/sanctiandree/02-giovanni-battista-bassani-credo-in-unum-deum-no-5-of-acroama-missale), and Palestrina's 1590 Missa sine nomine (https://www.youtube.com/watch?v=8PwrJAafxyE, 3:45), with a Credo in imitative Renaissance style.⁹ To the former, Bach added an Intonation, BWV 1081 (https://www.youtube.com/watch?v=gf-HysgwcdE,

Christ lag in Todesbanden
|
Bach's earliest Easter setting, "Christ lag in Todesbanden," is also one of Luther's earliest chorale settings in 1524, which "seems to have strong correlations with parts of the Eucharistic sequence for Easter, Victimae paschali laudes, believed to have been written by Wipo of Burgundy in the 11th century, says Wikipedia (https://en.wikipedia.org/wiki/Christ_lag_in_Todesbanden), and BCW http://www.bach-cantatas.com/CM/Christ-ist-erstanden.htm). "This was transformed, gradually into a 'Leise,' a devotional German pre-Reformation song with a number of stanzas, but maintaining strong characteristics of plainsong. A new version was published in the Erfurt Enchiridion of 1524 and adapted the same year by Johann Walter in his choral hymnal Eyn geystlich Gesangk Buchleyn" (http://www.bach-cantatas.com/CM/Christ-lag-in-Todesbanden.htm, http://www.bach-cantatas.com/Texts/Chorale012-Eng3.htm. In his text, Luther emphasizes his Theology of the Cross (https://en.wikipedia.org/wiki/Theology_of_the_Cross) and Jesus Christ's sacrifice for humanity as well as his Doctrine of Justification (https://en.wikipedia.org/wiki/Theology_of_Martin_Luther) by grace through faith alone (sola fide). Bach probably encountered the ubiquitous "Christ Lag in Todesbanden" beginning at the turn of the 18th century in the vocal works of Buxtehude, Pachelbel, and Kuhnau and the organ chorale preludes of Tunder, Scheidt, Böhm, and Zachow.

A personal view of Luther and Bach in their Georgenkirche in Eisenach some 200 years apart and the significance of "Christ lag in Todesbanden" is provided in John Eliot Gardiner's 2007 liner notes to the his 2000 Bach Cantata Pilgrimage presentation there. "First published in 1524, Luther’s hymn brings the events of Christ’s Passion and Resurrection vividly to life, depicting both the physical and the spiritual ordeals Christ needed to undergo in order to bring about man’s release from the burden of sin. The narrative begins with a backward glance at Christ in the shackles of death, and ends with his jubilant victory and the feast of the Paschal Lamb, and the way Luther unfolds this gripping story has something of the folk or tribal saga about it, full of colour and incident. In this, his first-known attempt at painting narrative in music, Bach shows himself equal to the task of matching music to words, alert to every nuance, scriptural allusion, symbol and mood. Not content merely to mirror the text, one senses him striving to bring to it an extra dimension, following Luther’s own ideal in which music brings the text to life, and in doing so, drawing on a whole reservoir of learning to date: music learnt by heart as a boy, the family’s rich archive of in-house motets and Stücken, music put before him as a chorister in Lüneburg as well as works that he had studied or copied under the aegis of his various mentors, his elder brother Johann Christian, Boehm, Reincken and Buxtehude."
© John Eliot Gardiner 2007

Bach's Easter Sunday Cantata 4 was premiered as early as 24 April 1707 at the early main service of the Divi Blassi church in Mühlhausen before the sermon (not extant) on the day's Gospel, Mark 16:1-8, by Superintendent Johann Adolf Frohne (1652-1713), says Martin Petzoldt in Bach Commentary, vol. 2, Advent to Trinityfest.¹⁰ A second version (Bach Compendium A54b), the one that survives today, was presented on 9 April 1724 during the early main service communion at the Leipzig Nikolaikirche, following the sermon (not extant) of Superintendent Salomon Deyling (1677-1755), and possibly repeated the same day at the Universitätskirche St. Paul. It was repeated in 1 April 1725 with trumpet and three trombones added. The day's Epistle, 1 Cor. 5:6-8 (Christ as sacrificial Passover) was the main reading and sermon subject at the afternoon vespers (http://www.bach-cantatas.com/Read/Easter-Sunday.htm). The Introit Psalm was No. 110, Dixit Dominius, Make a joyful noise unto the Lord (https://www.biblegateway.com/passage/?search=Psalm+100&version=KJV), says Petzoldt (Ibid.: 669). Cantata 4 also is appropriate for Easter Monday and Tuesday and Bach may have repeated it on those days in 1724 and 1725.

Cantata 4 "is a secession of beauties, with many strikingly dramatic features, and presents a unity rarely attained in the series [of chorale cantata]s, even though we see it in traces of Böhm, Pachelbel and Buxtehude," says W. Gillies Whittaker.¹¹ "One has only to compare it with Kuhnau's cantata to the same text to see the tremendous advance made in the art of composition in a short time." "The diversified treatment of the canto, the plasticity given to it in the various numbers, the rich resource of treatment, and the variety obtained in spite of the facts that all eight numbers are in the same key, E minor, that the first two lines of the tune are repeated, that all eight cadential notes are either tonic or dominant, constitute one of the miracles of Bach's genius."

Bach’s other uses of this best-known Luther Easter Season Leipzig service hymn are the organ prelude BWV 625 (Orgelbüchlein No. 34), composed in Weimar c.1712-13. There are two miscellaneous organ chorale settings: BWV 695 (Kirnberger Collection) perhaps composed in early Weimar period, and BWV 718, showing early North German influence, c.1700. Two free-standing, unattached four-part chorales, BWV 277 and 278, appear to have been composed subsequent to Cantata 4 closing chorale in 1724. Since all three are in the key of E Minor, they may have been alternate settings for subsequent performance of Cantata 4 for the Easter Festival of 1725 and later. Bach may have planned to use either BWV 277 or 278 in his Picander cycle to close P-28, using stanza 6 (no other music was set) on Easter Sunday, April 29, 1729. In addition, four-voice chorale BWV 279 was composed to close Cantata BWV158, “Der Friede sei mit dir” (1 Samuel 25:6) in E Major, probably for Easter Tuesday 1725 (music, https://www.youtube.com/watch?v=ftDN4fCMZ70).

Cantata 4 Sources & Provenance. The second version survives in the original parts set, D-LEb Thomana 4, inherited in 1750 by Anna Magdalena, donated to the Thomas School and now found in the Leipzig Bach-Archiv since 1985 (https://www.bach-digital.de/receive/BachDigitalSource_source_00003219). It is assumed that Friedemann inherited the 1724 new score which is lost, and also the doublets (https://www.bach-digital.de/receive/BachDigitalSource_source_00025402).

Appropriate Bach Easter Festival Cantatas

Bach's Cantata 4 is best represented in today's three-year lectionary with the A Year gospel text of Matthew 28:1-10, where the apocalyptic earthquake makes the believers vow in the chorale's sixth stanza, "So keep we all this holy feast," observes John S. Sutterlund.¹² The alternative is the 1729 Easter Cantata 145 "Ich lebe, mein Herze, zu deinem Ergötzen" (I live, my heart, for your delight), suggests the Mary Magdalene's good news, he says. For today's year B, the gospel of Mark (16:1-8), Easter Cantata 31, Der Himmel lacht! die Erde jubilieret" (The heavens laugh! The earth shouts with joy) addresses the simplicity of the occasion, while the alternative is the Easter Oratorio, BWV 249. For Year C, Luke's account (24:1-12): the most appropriate cantata is 1725 chorale setting, BWV 137, "Lobe den Herren, den mächtigen König der Ehren" (Praise the Lord, the mighty king of honour) and the alternative is 1724 Easter Cantata 66, "Erfreut euch, ihr Herzen" (Rejoice, you hearts).

By Bach’s time, the Third Day of Easter (Easter Tuesday) was becoming less important because the same event, Jesus’ appearance before the disciples, in Luke 24:36-47, "Der Friede sei mit dir," also is found on “Quasimodogeniti" (1st Sunday after Easter) in John’s Gospel, 20:19-31 with Christ’s same greeting, “Friede sei mit euch!” (Peace be unto you, 20:19). An enigma is Bach's Cantata BWV 158, "Der Friede sei mit dir" (Luke 24:36c), a hybrid work with the opening and closing movements for Easter Tuesday and the middle two movements for the Purification Feast (http://www.bach-cantatas.com/BWV158-D4.htm, https://www.bach-digital.de/receive/BachDigitalWork_work_00000192?lang=en). The previous Lukan text, 24:13-35, the unique Walk to Emmaus, was the gospel reading in Bach's Time for Easter Monday. Now, the two readings are combined, Luke 24:13-49, and are the Gospel for Easter Evening while the Walk to Emmaus is a spiritualrenewal movement, called Upper Room (https://en.wikipedia.org/wiki/Walk_to_Emmaus).

The first two days of the Easter Festival had highly structured liturgy while the third day used the ordinary liturgy. Gradually since Bach's time, Easter Tuesday and then Monday disappeared from the festival celebration. Now, different gospel readings are retained in the three-cycle readings for Easter Monday and the next two Sundays, established by Vatican II a half-century ago and adopted by mainline Protestant denominations.

Meanwhile, in Bach's time, he and his colleagues composed cantatas for the three-day Easter Festival (https://en.wikipedia.org/wiki/Church_cantata#Easter, https://en.wikipedia.org/wiki/Church_cantata#Easter_Monday_(Easter_2), and https://en.wikipedia.org/wiki/Church_cantata#Easter_Tuesday_(Easter_3)). Notable are the works of Johann Ludwig Bach, which Sebastian presented (JLB 21, 10, 11; https://en.wikipedia.org/wiki/Johann_Ludwig_Bach), Georg Philipp Telemann, Christoph Graupner(https://en.wikipedia.org/wiki/List_of_cantatas_by_Christoph_Graupner#GWV_1128) and Gottfried Heinrich Stölzel. Since 2014, The Packard Humanities Institute, Paul Corneilson, have begun publishing the complete works of Carl Philipp Emmanuel Bach (https://web.archive.org/web/20140825052506/http://cpebach.org/toc/toc-Essential.html). Emmanuel was involved in two Picander cycle 1729 cantatas for the Easter Festival: "Ich bin ein Pilgrim auf der Welt," BWV Anh. 190; and "Ich lebe, mein Herze, zu deinem Ergötzen," BWV 145 (http://www.bach-cantatas.com/BWV145-D4.htm, Picander cycle of 1728–29, https://en.wikipedia.org/wiki/Picander_cycle_of_1728–29).

FOOTNOTES

¹ Richard Rohr, Divine Dance: The Trinity and Your Transformation (New Kensington PA: Whitaker House,2016: 117).
² Alfred Dürr, The Cantatas of J. S. Bach, ed. and trans. Richard D. P. Jones (Oxford University Press, 2005, 263).
³ Martin Petzoldt: “Liturgy and Music in Leipzig’s Main Churches” in Die Welt der Bach Kantaten, ed. Christoph Wolff, vol. 3: Johann Sebastian Bachs Leipziger Kirchenkantaten (Metzler/Bärenreiter, Stuttgart/Weimar, Kassel, 1999) pp. 68-93, Translated by Thomas Braatz © 2013, Bach Cantata Website, http://www.bach-cantatas.com/Articles/Leipzig-Churches-Petzold.pdf. See also, "Theology," BCW Articles, http://www.bach-cantatas.com/Articles/Theology[Hoffman].htm.
⁴ Johannes Bugenhagen, Historia Domini nostri J Chr. Passi et glorificati, ex Evangelist fideliiter contracta, et annotationibus aucta (Wittenberg 1526), Historia des lydendes unde upstandige unses Heren Jesu Christi uth den veer Euangelisten = Niederdeutsche Passionsharmonie von Johannes Bugenhagen, ed. Norbert Buske, facsimile print after d. Barther Edition of 1586. Berlin and Altenburg 1985.
⁵ Historia der Auferstehung, https://www.youtube.com/watch?v=mY5AEolkKg8, https://carusmedia.com/images-intern/medien/20/2005000/2005000x.pdf, https://translate.google.com/translate?hl=en&sl=de&u=https://de.wikipedia.org/wiki/Auferstehungshistorie&prev=search.
⁶ Adrian Willaert Victimae paschali laudes(http://imslp.org/wiki/File:PMLP651939-Victimae_paschali_laudes.pdf, https://www.youtube.com/watch?v=aRi6vni8wb8).
⁷ Alfred Mann, "Missa and Messiah: Culmination of the sacred drama,:" in A Bach Tribute: Essays in Honor of William H. Scheide, ed. Paul Brainard, Ray Robinson (Bärenreiter: Kassel, Hinshaw Music: Chapel Hill NC; 1993: 173ff).
⁸ Credo Intonation, BWV 1081, https://www.bach-digital.de/receive/BachDigitalSource_source_00018332, http://www.bach-cantatas.com/Vocal/BWV1081-Gen.htm.
⁹ Missa sine nomine, BWV deest, https://www.bach-digital.de/rsc/viewer/BachDigitalSource_derivate_00030913/db_musms16695_page017r.jpg; http://www.bach-cantatas.com/Vocal/BWV1081-Gen.htm.
¹⁰ 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: 672f).
¹¹ W. Gillies Whittaker, The Cantatas of Johann Sebastian Bach (London: Oxford University Press, 1959: I:207ff).
¹² John S. Sutterlund, Bach Through the Year: The Church Music of Johann Sebastian Bach and the Revised Common Lectionary (Minneapolis MN: Lutheran University Press, 2013: 51).

—————

To Come Easter Chorales & Motets