Luogo e data di registrazione		Augustinus Kerk, AMUZ, Antwerp (Belgium) - 19/21 December 2010
	Registrazione: live / studio		studio
	Recording Staff		Eckhard Steiger
	Prima Edizione CD		ACCENT - ACC 25314 - (1 CD) - durata 74' 56" - (p) 2010 (c) 2011 - DDD
	Note		-

COMMENTARY on the cantatas presented here These four Christmas cantatas were written in Leipzig. BWV 91 (Christmas Day) and BWV 122 (the Sunday after Christmas) are from 1724, while the other two, BWV 57 (for the Second Day of Christmas, the Feast of St. Stephen) and BWV 151 (for the Third Day of Christmas) were written in 1725. Both the works from 1724 are so-called Chorale Cantatas. There are two types of this genre: the first simply takes over an existing hymn completely as the text without further arrangement. In the second the poet uses an entire existing hymn text as a basis, where he retains certain verses of the original (at least the first and last verses), and reworks other verses with new words, so that a text emerges, which gives rise to a new musical setting (with arias and recitatives). Our Cantatas BWV 91 and BWV 122 from 1724 belong to this second type. “Gelobet seist Du, Jesu Christ”, BWV 91 (“Blessed art Thou, Jesus Christ”) This chorale cantata for Christmas Day of 1724 uses as a basis the seven-verse hymn by Martin Luther (from 1529), with the same opening text. The anonymous poet took over the first and last verses of Luther’s hymn word for word as the beginning and end of the whole. He also used the second verse verbatim, but he mixed it with new lines of his own (Recitativo No. 2); the other verses are transformed into arias (Nos. 3 and 5) and a recitativo accompagnato (No. 4). The Luther hymn, “Gelobet seist Du, Jesu Christ” (Blessed art Thou, Jesus Christ) was an integral part of the Christmas Day service; we may presume that the text and melody were very well known to the faithful, so that they could follow the course of the composition better than we can, who today, for the most part, no longer feel this familiarity. The first stanza (No. 1, Chorus) tells how the host of angels rejoice at the birth of Jesus to the virgin (Mary). Naturally, festive, colourful music is suitable here. In addition to the voices and strings, Bach brings in two high horns in G with timpani, besides the frequent use of the oboe trio. At the beginning of the 12-bar instrumental introduction a ‘pedal note’ on G is heard (i.e. for 12 bars, the same G note is held or repeated, without other notes interfering). Bach combines this, in an imitative way, with a rapid ascending scale motif (in semiquavers) and a descending arpeggio motif (in quavers), and the horns hold a long G major chord. Thus, gradually, a joyful jumble develops, but transparently conceived. Then the horns themselves take over the rapid semiquavers, with a more ‘circular’ motif. These various motif elements are found, by the end of the movement, in a richer and more inventive variety in all the parts. The hymn text is presented in five separate blocks, line by line (four lines and a final Kyrie eleison). The soprano sings the wellknown chorale melody in long equal notes (without instrumental doubling; the melody hides itself, so to speak, rather discreetly in the general jubilation), while the three lower voices take on the existing instrumental motifs and develop them further. In the fourth line (“Des freuet sich der Engel Schar” – “for which the Angelic Host rejoices”) attention is drawn to how lively is the joy of the Angelic Host. No. 2 is a Recitativo for soprano and basso continuo, which, as already mentioned, includes the second stanza of Luther’s hymn, framed by new additional verses from the Baroque poet. As in many similar cases (the process was familiar to Bach), it is made clear in the composition which are the new and which are the old lines. Bach sets the Luther quotations to the old Chorale tune, which he treats contrapuntally (the basso continuo plays the repeated fragment of the Chorale twice as fast as it occurs in the hymn and at differing pitches). In contrast, the new verses are treated in a free secco style. The Chorale text and the newer commentary by the poet form a Baroque to and fro, which very skilfully combines the old and the new (the Kyrie eleison of Luther at the end of each verse is omitted here). No. 3 is an Aria for tenor with the three oboes and basso continuo, whose text is a reworking of the third and fourth verses of Luther’s hymn. The new text has two parts (A and B) each of three lines belonging together, which Bach repeats as a mirror image (AB / BA). The piece sounds like a kind of chaconne, with its typical dotted rhythm. Bach took inspiration for the material of the motif from the first line: “Gott, dem der Erden Kreis zu klein…” (God, for whom the earth is too small ...). The dotted oboe motif in the opening bars (in canon with the three following each other) is directed to the heavens (upward), but the similarly dotted reply of the continuo in the second bar points downward – the combination of the two is surely Bach’s suggestion of the “All” of the earth, which for God is too small. In a charming Baroque contrast to this is the third line: “(dieser Gott) will in der engen Krippe sein” (this God) wants to be in the narrow manger). Likewise, the tenor soloist takes over the expressive motifs of the oboes (in which his own embellishment upward to heaven should be noted!). At the start of the second part the tenor sings “Erscheinet uns das ew’ge Licht…” (to us appears the eternal light...), these words naturally set to a descending scale. The light shines down from on high, and at the same time the three oboes interject short phrases, clearly illustrating brief flashes of light. The word “ew’ge” (eternal) is illustrated by a long sustained note for the voice. During the last repetition of the second line, just as reasonably, there is a long emotional vocalise on “fassen” (to hold) (suggesting the “embrace” here). This aria again shows Bach’s absolute mastery of text treatment – so penetrating and refined, yet still so understandable for the less specialized audience. A recitativo accompagnato for bass and strings follows this (No. 4), which reworks the fifth verse of Luther’s hymn. It is an official call to Christendom to welcome the Creator. (It is assigned to the bass, in order to emphasize the paternal authority of the Church?). Where the poet writes, “er kömmt zu dir um dich für seinen Thron / Durch dieses Jammertal zu führen” (He comes in order to lead thee to His Throne / through this vale of tears), Bach gratefully takes the opportunity to develop this latter line as a complex chromatic web in adagio tempo (“Jammertal” – “vale of tears”!); what is remarkable is how, despite all the sadness, the main movement is upwards, where God’s Throne is to be found! There follows a Duet for soprano and alto with all the violins in unison (No. 5): a reworking of Luther’s sixth verse: “Die Armut, so Gott auf sich nimmt / Hat uns ein ewig Heil bestimmt” (The poverty, which God assumes, / hath ordained an eternal salvation for us). Into this movement also Bach has woven a great and eloquently beautiful richness, which reveals how devoutly, how profoundly he considered his text from every angle, in order to make it musically comprehensible. The basso continuo presents a steady Andante-Bass (the eternal course of time!): striding quavers support the entire structure. The violins play almost endlessly a repetitive dotted rhythm, which probably indicates the hard, laborious life of Jesus (the poverty that God “auf sich nimmt ohne Unterlass” (assumes without respite)). That there are two voices singing in duet provides several opportunities to illustrate the symbolism of the text. In the first place it illustrates quite simply the plural form (“…hat uns ein ewig Heil bestimmt” (...hath ordained an eternal salvation for us)). The layout also makes possible fascinating and harmonious frictions between the two solo parts, which are in accordance with the text (for example the plaintive dissonance between the two voices on “Armut”, both at the beginning and again later). Also the opposite, as a contrast, perfect peaceful harmony is illustrated by thirds and sixths (for example on “ein ewig Heil” (an eternal salvation) or on “ein Überfluss an Himmelsschätzen” (a profusion of Heaven’s gifts)). This duet is even more eloquent in the B-part of the aria, where the notation really illustrates a theology. The poet now addresses the faithful directly and tells them: “Sein (Jesu) menschlich Wesen machet euch den Engelsherrlichkeiten gleich / Euch zu der Engel Chor zu setzen” (In taking human form He (Jesus) makes thee like the glorious Angels / placing thee in the Angelic choir). This double nature (man compared to angels) is suggested by the same two voices: the human beings on the one hand are depicted in the soprano by shaking syncopations and at the same time in the alto are characterised by a slow rising chromatic line. This line undoubtedly points to the rise of human beings towards angelic glory, from which the words come; then both the separate lines alternate between the two voices. Angelic glory always has a rising semiquaver line. In this B part of the aria the dotted rhythm ostinato in the violins is sometimes dropped, and is even now and then transferred to the basso continuo. Further changes also occur in the parts: as, for example, the ascending chromatic line is found in the violin part and in the basso continuo. Another feature is that, in the course of the B-part, Bach uses the vocal beginning of the A section again, but with the B-text. A simple chorale (No. 6) on the original text of Martin Luther’s seventh verse closes this wellproportioned cantata. As a last feature it should be noted how Bach includes the two horns and timpani – initially discreet, but, in the final Kyrie eleison, with a strikingly festive and ornamented figure (pointing upwards!). “Selig ist der Mann”, BWV 57 (Blessed is the man) This work was written for the Second Day of Christmas 1725. The 26th December is also the Feast of St. Stephen, the first martyr of the church. As we read in the Acts of the Apostles, he was stoned to death. The text of the Cantata BWV 57 deals with this theme of martyrdom, thus it is not connected with the Christmas story. The cantata is written for two soloists (soprano and bass), who take part in a dialogue as the soul and Jesus (as also, for example, in Cantata 21 “Ich hatte viel Bekümmernis” (I had much distress). Only in the simple final chorale is the full vocal quartet required. The instrumentation consists of two oboes and taille (alto oboe) with strings. The text of this Cantata is by G. Chr. Lehms (1684-1717), who wrote texts for several annual cantata cycles, which were set by composers such as J. Chr. Graupner, among others. “Selig ist der Mann” comes from Lehm’s 1711 annual cycle. No. 1 is an Aria for Basso with all the instruments – so there is no opening chorus. Lehm’s libretto begins with a quotation from the Epistle of James (1, 12): “Selig ist der Mann, der die Anfechtung erduldet; denn nachdem er bewähret ist, wird er die Krone des Lebens empfangen” (Blessed is the man that endureth temptation: for when he is tried, he shall receive the crown of life). This fragment is actually very appropriate for the story of Stephen, and we can understand Lehm’s choice in starting with it. That Bach sets this text for bass solo can be compared with other passages in other cantatas, where the bass clearly represents the VOX DEI. God’s voice does not actually speak directly here, but the Epistle of James, as part of the Scripture, still has a Divine Authority, which is traditionally entrusted to a bass (the archetype of the Good Lord with the long beard, in Heaven?). The key is G minor – the key of the deep-felt passion, the unimaginable abyss. Die – rather than give into temptation: that is the profound power of martyrdom. The movement has a five-part fabric: the four instrumental voices and the bass soloist are completely equal. Bach would not be Bach, if he did not let the form of his motifs be determined by the text. The term ‘Anfechtung’ (temptation) gives rise to the opening motif, which is repeated in the upper voices three times consecutively, answered immediately as a mirror image in the basso continuo. The repeated and simultaneous reuse of the two contrasted forms of the main motif (the original and its mirror image) clearly indicates the antithesis, the conflict – what is temptation other than an inner conflict? Other rhetorical beauties of this aria are the long sustained notes on selig – bewähret – erduldet (saved – tried – endured), which time and again suggests the duration. At the end of the instrumental introduction, incidentally, this sustained note had already been heard in the basso continuo, in combination with a plaintive, downward chromatic line in the upper voice (the pain of martyrdom?). This combination, by the way, is occasionally repeated later. The setting of the word ‘Krone’ (crown) for the last time, shortly before the end, is intentionally vivid. A Recitativo secco (No. 2) follows for soprano, “the soul” (Anima). She is oppressed, “findet im Ach und Schmerz (ihr) ewig’s Leiden” (she finds in lamentation and grief (her) suffering for ever). Lehms cleverly added his lines to some quotations from St. Matthew (with the “rauen Wölfen” (savage wolves) and with the “recht verlassnes Lamm” (quite abandoned lamb)). In the absence of the consolation of Jesus, sings the Anima, “So müsste Mut und Herze brechen/und voller Trauren sprechen” (so must my courage and my heart break / and I sing full of sorrow): With this colon, the No. 3 in the libretto is introduced, a Soprano Aria with strings, in which the Anima continues her previous thoughts: “Ich wünschte mir den Tod / Wenn Du, mein Jesus, mich nicht liebtest” (I would wish to die / if Thou, my Jesus, loveth me not). Musically, this aria is the counterweight, or rather the parallel piece, to the bass aria (No. 1, G minor): the same tempo, as well as the ¾ time. The main emotion here is clearly the sadness and the longing (I wish to die) – hence the choice of the C minor key. In addition, this aria is a model of pure five-part writing, but a thematic separation remains between the instruments and the soprano: the main motif of the instruments at the beginning is never sung by the soprano (Anima) – illustrating both the isolation, and the loneliness of the unhappy soul ... The main instrumental motif, as it is heard in the first violins at the beginning, corresponds entirely to the words, not yet spoken, “Ich wünschte mir den Tod” (I would wish to die): a rising line in the first bar (the hopeful wishes), then an abrupt fall downwards (the death?). This image is repeated continuously, in the basso continuo as well. When, finally, the Anima herself sings these words, the picture is less clear: it is indeed only conditional (“ich wünschte mir… wenn nicht...” (I would wish ... if not ..)), they do not indicate the conclusive reality. At the beginning of the B-part the basso continuo, which so far has been limited to a quiet quaver figure and an andante bass still indicating the duration, is suddenly more active. It pushes itself forward with versions of the violin motif from the opening bars. Meanwhile, the first violins are in parallel with the Anima “Ja, wenn du mich annoch betrübtest” (Yes, if Thou still makes me sad). The aria ends with a repetition of the A-text, but the setting is not identical. A short Recitativo secco for duet (No. 4) follows, in which Jesus (bass) extends hand and heart to the unfortunate soul ‘die Hand und das Herze anreicht’ – to which the soul, deeply soothed and grateful, replies: “Ach, süßes Liebespfand / Du kannst die Feinde stürzen / Und ihren Grimm verkürzen” (Ah, sweet pledge of love / Thou can bring down the enemies / And shorten their wrath). In the following Aria for the Bass and strings (No. 5) Jesus is portrayed (as the soul has already announced) as one who, in the battle, can vanquish the enemies, who always proceed against the soul. Stylish martial music in the A-section of the aria suggests this quarrel to us: a trumpet-like motif in repeated semiquavers springs, to and fro, from the violin parts and the basso continuo. In the B section of the text, however, this battle motif disappears altogether. Here slower sighing figures (appoggiaturas) predominate, “Bedrängter Geist, hör auf zu weinen” (Cease crying, afflicted soul) in accordance with the text. The “Kummerwolken” (clouds of sorrow), which will disappear soon, are aptly described in a four-part instrumental fabric consisting of horizontal lines entering canonically. The painter Bach overlooks nothing... In the Recitativo Duet (No. 6) with basso continuo the dialogue between the soul and Jesus is terminated. Jesus promises the soul eternal rest and life. She responds to these words with a long impassioned monologue, in which she sings of her longing for that life after death in vivid language: “Ach, striche mir der Wind schon über Gruft und Grab”… “Wohl denen, die im Sarge liegen und auf den Schall der Engel hoffen”… (Ah, the wind strikes me already over tomb and grave ... Happy are those that lie in their coffin, and hope to hear the sound of angels ...) In this eager expectation, the soul (soprano) continues in the subsequent Aria with solo violin and basso continuo (No. 7): “Ich ende behende mein irdisches Leben” (I swiftly end my earthly life) (note in the text the dactylic Amphibrach foot: short-long-short in constant repetition!). This aria, in its apparently relative simplicity, contains, on the other hand, numerous masterly features. Bach transformed the binary character of the text into a stirring fast triple time, similar to a passepied, wholly in keeping with the feeling that is alive here in the Anima. The solo violin part initially displays, not by chance, a downward movement: the end of life, ‘down to death’. The rest of the violin part alternates between rather circular movements and the downward movement already described. When the Anima enters, it is remarkable how her singing expresses a certain indifference; death does not deter her, quite the opposite. With all this joy (actually more the anticipation of joy) the key is nevertheless still G Minor (the agitato key, the hidden abyss – as we have already seen at the beginning of the Cantata). Bach paints his words carefully: for “Freuden” (joy) there is always an ascending interval or a longer rising line; on the other hand, on “Scheiden” (to depart) the movement is downwards. On “verlang” (yearn) there is a long held note (the duration, repeated!), sometimes a more complex portrayal. In the B section of the aria the violin plays its earlier motifs again, but the Anima imitates (almost carelessly) a few times, on “ich sterbe” (I’m dying), the dying-affekt in a short, almost plaintive interjection; it culminates, finally, on the question of “was schenkest Du mir?” (what givest Thou me?) now that I am giving myself to Thee? Here the little word “was” (what) is used very effectively as an isolated interjection. The aria ends by analogy with this abrupt question mark. An answer to this question is not given directly, rather it can be distilled from the following closing Chorale (No. 8). Here Bach has intervened in Lehms’s libretto: he did not set the final Chorale text provided by Lehms, but chose another Chorale (by Ahasverus Fritsch, 1668), which connects more clearly with the question in the last aria. It is a Chorale in a joyous triple time “Richte dich, Liebste, nach meinem Gefallen…“ (Depend, beloved, on my pleasure ...). “Süßer Trost, mein Jesus kömmt“, BWV 151 (Sweet comfort, my Jesus comes) This cantata was heard in 1725 on the first day after the St. Stephen cantata (BWV 57) discussed above, that is the 27th December, the third day of Christmas. As with BWV 57 Bach took the text from Lehms annual cycle of 1711. Here we are again totally in the Christmas atmosphere. The transverse flute and the oboe d’amore represent the shepherds and the rural life of Bethlehem (think of the numerous paintings from the Baroque period). The No. 1 is a Soprano Aria, beginning in 12/8 time, which Bach has marked Molt’adagio. We hear a kind of Siciliano, very stylized and introverted. The flute delights in meditatively playing around with the melody, which will be sung later by the soprano. The oboe d’amore quietly doubles the first violins, which, in parallel thirds and sixths with the second violins and viola, conjure up an idyllic, very ‘Christmassy’ harmony, discreetly supported by some bass notes. Sometimes it happens that the improvising flute and the upper line come together in a moving unison, in which even the basso continuo becomes lyrical and adds to the rural ambiance. The Text by Lehms: “Süßer Trost, mein Jesus kömmt / Jesus wird anitzt geboren! ...” (Sweet comfort, my Jesus comes / Jesus is born today!...) is put in the mouth of the soprano, so that we think instinctively of the Virgin Mary, though here it is not the pregnant woman about to give birth, but rather the eternal Mother of God, who is astonished by her motherhood, and gratefully thinks about and enjoys it. At the same time, in the context of Christian mythology, these thoughts should also live at the heart of Christendom; gratitude for the comfort, which the Christ Child brings us. With the B-part of this aria the character changes completely. Lehms writes: “Herz und Seele freuet sich / Denn mein liebster Gott hat mich / Nun zum Himmel auserkoren” (Heart and soul rejoice / For my dearest God / hath now chosen me for Heaven), and Bach appropriately marks the score Vivace. Instruments and voices scan this new text, and the soprano launches into a suitable vocalise on “Freuet” (Rejoice), which is immediately taken up by the flute. So both compete in joyful figures, in which the flute, in an ascending passage, points to the word “Himmel” (heaven). The da capo of the A-part brings us back again into the earlier meditative world of the beginning. There follows (No. 2), a Recitativo secco for bass, in which the listener finds explained the whole theological background to the theme – what the birth of Jesus means, or should mean, for the Christian. In the last line it is summarized as follows: “Gott wird ein Mensch und will auf Erden / Noch niedriger als wir und noch viel ärmer werden” (God becomes a man and intends on earth / to become both more humble than us and much poorer). In the following Aria (No. 3) for alto with oboe d’amore and strings, it is striking how the melodic line of the main motif time and again is placed in the low levels, how the line repeatedly points downward (the humiliation!) until on the word “Trost” (comfort) it suddenly goes upwards. Bach achieves, in this rhetorical manner, a discreetly increased and ideal unity between the fragments, which follow one after the other. This aria is a long, constantly developing Andante, through which the feeling for the time is expressed intensely, and thus for the steady progress of human life, which should be lived with Christian composure. Blessings will come – as promised by the poet – from poverty and humility, whose heavy burden Bach almost makes us feel physically through a certain monotony and the long duration of the aria. The tenor then concludes with a simple brief word of thanks (Recitativo Secco, No. 4): “Weil du nun ganz allein des Vaters Burg und Thron aus Liebe gegen uns verlassen / So wollen wir dich auch dafür in unser Herze fassen” (Since for love of us alone Thou left the Father’s mansion and throne / So we also wish to take Thee into our hearts). The cantata ends with a simple four-part Chorale (No. 5). It is the eighth Verse of “Lobt Gott, ihr Christen allzugleich” (Praise God, ye Christians all together) by N. Hermann, 1560. The basic idea here is that God, through the birth of Jesus, has unlocked the gates of paradise again (“der Cherub steht nicht mehr dafür” (the guardian angel stands there no more) – so it is said briefly and vivdly in the third line of this verse, to indicate that entry is now free for the devout Christian). “Das neugeborne Kindelein”, BWV 122 (The little newborn Child) It was on the 31st December, the First Sunday after Christmas in 1724, that this Chorale cantata was heard. The text of the four-verse hymn by Cyriacus Schneegass (1597) combined the Feasts of Christmas and New Year: ”Das neugeborne Kindelein / Das herzeliebe Jesulein / Bringt abermal ein neues Jahr / Der auserwählten Christenschar” (The little newborn Child / The beloved little Jesus / brings in once again a New Year / for the throng of Chosen Christians), it says right away in the first verse. The author of the text, who extended this short hymn with his own lines, has remained unknown, but he has retained verses 1 and 4 (that is the first and last of the original) for nos. 1 and 6 of the Cantata texts. The third verse of the old hymn he used as no. 4 of the Cantata, and added his own lines to it. He has rewritten the second original verse, and used it in the second and third movements of the Cantata as a basic idea – though then combined it with the theme of the Fall of Man from the Old Testament, which (as A. Dürr has noted) is often found in Christmas texts. Movement 5 of the Cantata is newly written, but inspired by the closing verse of C. Sneegass, 1597. Missing in this cantata text is any direct reference to the lessons for that Sunday – a fact which we find quite rarely in Bach’s cantatas. Bach has set this cantata for 2 oboes, taille (alto oboe) and strings, but we must remember again that at the time oboes were particularly used as ‘shepherd’s instruments’, and that Christmas and shepherds are closely linked with each other in our tradition. The Cantata begins with a Chorus (No. 1), in which all the instruments take part. In the 15-bar instrumental introduction a motif is presented, which is completely independent of the old Chorale motif, and remains so; the latter is always sung in the soprano with long notes (as is often the case), while the three lower voices use a motif derived from the Chorale in a free contrapuntal style. The G minor key stands in this case for an inward-looking yet active joy; the original Chorale melody is in triple time (as we meet again in the final Chorale). The opening movement maintains this lively character. The result is an overall light dancing affekt (like a Menuet / Passepied). The four lines of the original verse are performed in four distinct “blocks”, each alternating with instrumental interludes. Each line has its own web in the lower voices. In the last verse the bass develops an extended vocalise on the word “Christenschar” (throng of Christians): an illustration of the diversity, the size of the throng? The following Aria for Bass (No. 2) with only basso continuo is a pure Bicinium for two deep parts, one of which is sung, but the other is played. The text is like a definite exhortation from God. That is why Bach has used the bass voice here, as it were the VOX DEI, even if the text is not verbatim from the scriptures. The affekt is strong, because the poet puts words in the mouth of God. Man sins daily, but he should still have had to give joy to the angels, since they have announced the divine comfort of the reconciliation. The composition is impressive in its complex two-part texture, in which the instrumental bass forms the wordless support, above which the Vox Dei can distinguish itself. After this particular piece there follows an equally unique and contrasting fragment: a Recitativo accompagnato for soprano (No. 3) with three high recorders and basso continuo (The recorders were probably played by the three oboists). As in the preceding movement where a strong judgment is heard from the depths, here we are surprised from the heights, through the message (from the soprano), that the angels now rejoice with us over our salvation. God has again opened Paradise to us, after he had expelled us from it; for this we should also be grateful. The soprano sings the lines in a flowery recitative style, during which the Chorale melody is heard clearly from the highest recorder, supported closely by the other two in “close harmony”, truly the angel choir singing for us. There follows a Trio (No. 4) for soprano, alto and tenor (with violins and viola in unison) – all supported by an endless repetitive motif in the basso continuo (roughly equivalent to an English Ground, familiar to us from the seventeenth century). The character of this Ground is similar to a Siciliano. As Alfred Dürr correctly points out, Bach deliberately used the middle pitch register after he had, in the two previous numbers, symbolically used the low and high registers (in the bass Bicinium, No. 2, as the voice of God, whereas the soprano in No. 3, is ‘accompagnato’ with recorders, the singing of angels). In fact, in this passage the connection between high and low is established: God (the Infant Jesus) has become a man, who can now even fight against the devil. This all takes place in the middle – of our life. Exactly as it appears in the text, we also find two levels musically combined with each other. As mentioned, the poet has used the four original lines of the third verse verbatim, but has also composed four new lines in the same metre. Soprano and tenor sing this new text and thus form a perfect duet, supported by the basso continuo. To this the alto, doubled by the violins and viola, adds clearly separate sections of the old Chorale text with the original melody, and transforms the duet into a trio at these points. As the old Chorale verse displays a formal entity (with each pair of lines rhyming as usual and with their own train of thought), so does the new text. Here the rhyme is similarly formed, and the lines follow one another with an inner logic. Alongside the first new line (in the soprano and tenor) the alto still sings the first line of the old Chorale verse, in which the newly composed line always explains the old line, heard at the same time. Similarly, the second, third and fourth lines are each combined in the poem. Both the old and the new text express confidence in the protection of God (the Infant Jesus). The following Recitativo accompagnato (No. 5) for bass and strings is an added text by the Baroque poet, inspired by the fourth (thus the last) Chorale verse, which will follow verbatim later as the end of the cantata. With its exclamation “O ... etc” repeated five times, this poem seeks to achieve the effect of worship. It springs from the poet’s own feelings. The old Chorale texts are generally less subjective, they are directed to the community with more collective thoughts. We follow Bach’s ornaments on “O sel’ge Zeit” (O blessed time), and the important role of the strings, for example with the harmonic tension on “Trübsal” (sorrow), and the beautiful variation at the end, after “und Gott der Lippen Opfer bringt!” (and bring God offerings from our lips). The poet achieves some particularly successful phrases in this fragment: for example “O Glaube, der sein Ende sieht” (O faith that sees its end): that faith, which even from the beginning is mostly asked or almost demanded from us by others, can be ended here, since we now see that the Son of God came to us (in other words, what one can see, perceive one must no longer accept as faith!). As a poetic picture this line has a direct effect, and here I must allow myself a personal, continuing thought, which is important to me, though it comes outside the actual framework of the Cantata text. Quite generally, for people trying to understand the Mystery of the Existence, it is (in my opinion) a release no longer to have to understand this mystery so much as a faith, and then have to be dependent on this ‘faith’, as long as it still finds the strength in the heart to survive. It is sufficient to open ones eyes to take in the truth, to see how this mystery of life is visibly present in the smallest as in the largest phenomenons in this world, and how it is at the root of everything. “Your faith will save you” (as many religions preach time and again), but rather it becomes clear how other, more personal ways lie open to the experience, if we want it ... (but of course such thoughts probably played no rôle for Bach as one of the devout Lutherans of his time.) The Chorale (No. 6) is, as already mentioned, the final verse of the old hymn, set simply in four parts for all the participants: an inwardly joyful song in triple time, completely appropriate for the Christmas-New Year period. Sigiswald Kuijken Translation by Christopher Cartwright and Godwin Stewart