| Und es waren Hirten in derselben Gegend | |
|---|---|
| Part II ofChristmas Oratorio | |
| Christmas cantata byJ. S. Bach | |
 Autograph of the beginning of the Sinfonia | |
| Catalogue | BWV 248 II |
| Text | |
| Performed | 26 December 1734 (1734-12-26):Leipzig |
| Movements | 14 |
| Vocal | SATB choir and soloists |
| Instrumental | |
Und es waren Hirten in derselben Gegend ("And there were shepherds in the same environs"),[1]BWV 248II (also written asBWV 248 II),[2] is a 1734Christmas cantata byJohann Sebastian Bach as the second part of hisChristmas Oratorio. Bach was thenThomaskantor, responsible for music at four churches inLeipzig, a position he had assumed in 1723.
The cantata follows thenativity of Jesus as narrated in theGospel of Luke. It covers theannunciation to the shepherds. An unknown librettist added text for reflectingrecitatives andarias and included stanzas fromLutheran hymns. Bach structured the cantata in 14 movements and scored it for four vocal parts and aBaroque orchestra with flutes, oboes and strings. He led the first performances at the two main churches of Leipzig on 26 December 1734 during morning andvespers services.
Part II of the oratorio begins, in contrast to the other parts, with the instrumentalSinfonia, a concerto of shepherds and angels. Atenor soloist narrates the Biblical story in recitative as theEvangelist. Thesoprano soloist makes a first appearance in the oratorio as theangel, and is followed by the choir representing the angels singing "Glory to God in the Highest". There are three chorales, one byJohann Rist and two byPaul Gerhardt, both using the melody of Luther's "Vom Himmel hoch, da komm ich her".
In 18th-centuryLeipzig, high holidays were celebrated on three consecutive days, with different prescribed readings and related music each day.Christmas, one of these high holidays, was celebrated from 25 to 27 December. For the principal churches,Thomaskirche andNikolaikirche, thedirector musices determined which music was to be performed during the services on Sundays and feast days.[3][4][5]
On the Second Day of Christmas, 26 December, Leipzig celebrated Christmas in even years andSaint Stephen's Day in uneven years, with different readings. For even years, the epistle for Christmas wasTitus 3:4–7 and the gospel wasLuke 2:15–20. The theme of the first reading is God's mercy appearing in Christ and that of the second theshepherds at the manger.[6]
Bach had become director musices in Leipzig in 1723.[3] Early in his tenure, he had composed thesechurch cantatas for the Second Day of Christmas, which was held asSt. Stephen's Day in uneven years:
In 1733,Augustus III of Poland succeeded his father,Augustus the Strong, as Elector of Saxony and took residence inDresden.[10] Bach hoped to become court composer for theCatholic Elector, and dedicated a Latin Missa to him that year, theKyrie–Gloria Mass in B minor, BWV 232 I.[10] Several ofBach's secular cantatas celebrating the Saxonian prince-electoral family were performed in Leipzig, including these two cantatas first performed in 1733:[11]
Bach composedhisChristmas Oratorio for theChristmas season from Christmas Day on 25 December 1734 toEpiphany on 6 January 1735.[15]Und es waren Hirten in derselben Gegend,BWV 248 II, for the Second Day of Christmas in 1734, is the second of six cantatas (or parts) constituting this oratorio. Its first cantata,Jauchzet, frohlocket! Auf, preiset die Tage, BWV 248 I, had been performed the previous day.[2]
While Part I of the oratorio covers the birth of Jesus, Part II is focused on theannunciation to the shepherds.[16] The story is told following the Gospel of Luke, interspersed with reflectingrecitatives,arias andchorales.[1] Deviating from the prescribed reading, the text of the cantata covers exclusively the announcement,[17] while the itinerary to Bethlehem and adoration are topics of Part III,Herrscher des Himmels, erhöre das Lallen, BWV 248 III, first performed on the Third Day of Christmas, 27 December 1734.[18]
The identity of thelibrettist of theChristmas Oratorio cantatas is unknown,[2] withPicander, who had collaborated with Bach earlier, a likely candidate.[20] The oratorio's libretto was published in 1734.[19] Thequotations from the Bible are rendered inMartin Luther's translation. The librettist included three stanzas fromLutheran hymns:Johann Rist's "Brich an, o schönes Morgenlicht" from "Ermuntre dich, mein schwacher Geist",[21]Paul Gerhardt's "Schaut hin! dort liegt im finstern Stall" from "Schaut, schaut, was ist für Wunder dar",[22] as the central movement of the cantata, and for the conclusion, by the same author, "Wir singen dir in deinem Heer" from "Wir singen dir, Immanuel".[2][23][24]
The three movements based on Lutheran hymn text usedLutheran chorale tunes associated with these hymns:[21][22][23]
Two extended movements ofBWV 248 II are based on music from the BWV 213 and 214 cantatas:[30]
BWV 248 II was first performed in the Thomaskirche on 26 December 1734 and repeated during avespers service at the Nikolaikirche the same day.[31]
The work is structured in 14movements. Bach scored it for four vocal soloists, afour-part choir (SATB) and aBaroque instrumental ensemble of twotraversos (Tra), twooboes d'amore (Oa), twooboes da caccia (Oc), twoviolins (Vl),viola (Va) andbasso continuo.[32] The wind instruments illustrate the sphere of the shepherds. A typical performance takes 29 minutes.[1]
The cantata begins with the instrumentalSinfonia, unlike all other parts of the oratorio. Thetenor soloist narrates the story as theEvangelist. The soprano soloist appears for the first time in the oratorio as the angel bringing the news. The choir represents the angels singing "Ehre sei Gott in der Höhe" (Glory to God in the Highest). The scene is reflected in two arias, an alto aria anticipating alullaby for the newborn and a tenor aria calling to run to the manger in joy.[33]
The following table follows theNeue Bach-Ausgabe (New Bach Edition). The numbers are continuous for the completeChristmas Oratorio, beginning with 10 for its second cantata. Thekeys andtime signatures are fromAlfred Dürr and use the symbol for common time.[33] The continuo, played throughout, is not shown.
| No. | Title | Text | Type | Vocal | Winds | Strings | Key | Time |
|---|---|---|---|---|---|---|---|---|
| 10 | Sinfonia | 2Tra 2Oa 2Oc | 2Vl Va | G major | 12/8 | |||
| 11 | Und es waren Hirten in derselben Gegend | Luke 2:8–9 | Recitative | T | ||||
| 12 | Brich an, o schönes Morgenlicht | Rist | Chorale | SATB | 2Tra 2Oa 2Oc | 2Vl Va | G major |  |
| 13 | Und der Engel sprach zu ihnen Fürchtet euch nicht | Luke 2:10-11 | Recitative | T S | 2Vl Va | |||
| 14 | Was Gott dem Abraham verheißen | anon. | Recitative | B | 2Oa 2Oc | 2Vl Va | ||
| 15 | Frohe Hirten, eilt, ach eilet | anon. | Aria | T | Tra | E minor | 3/8 | |
| 16 | Und das habt zum Zeichen | Luke 2:12 | Recitative | T | ||||
| 17 | Schaut hin! dort liegt im finstern Stall | Gerhardt | Chorale | SATB | 2Tra 2Oa 2Oc | 2Vl Va | C major | |
| 18 | So geht denn hin! | anon. | Recitative | B | 2Ob 2Oc | |||
| 19 | Schlafe, mein Liebster, genieße der Ruh | anon. | Aria | A | Tra 2Oa 2Oc | 2Vl Va | G Major | 2/4 |
| 20 | Und alsobald war da bei dem Engel | Luke 2:13 | Recitative | T | ||||
| 21 | Ehre sei Gott in der Höhe | Luke 2:14 | Chorus | SATB | 2Tra 2Oa 2Oc | G major |  | |
| 22 | So recht, ihr Engel, jauchzt und singet | anon. | Recitative | B | ||||
| 23 | Wir singen dir in deinem Heer | Gerhardt | Chorale | SATB | 2Tra 2Oa 2Oc | 2Vl Va | G major | 12/8 |
The cantata begins with the instrumentalSinfonia.[1][34] Set in G major, it is in a triple meter insiciliano rhythm.Albert Schweitzer likened the music to a concerto of the shepherds, playing oboes, and the angels playing strings and flute in unison with the first violin. The movement is aternary form, ABA', repeating the beginning modified after a middle section, and this a forerunner of the classicalsonata form, as Dürr notes. Each section is in again three groups, taking the analogy to the sonata form further: string music, as a first theme, is followed by oboe music as a second theme and combined music as the closing group.[16] The movement is the only purely instrumental music in theChristmas Oratorio.[35]
The absence of a chorus in the first movement signifies the stillness of the nightly scene, giving more weight to the voices to follow. The major choral movement in this cantata is the representation of the angels' song.[16]
Thetenor soloist as theEvangelist begins the narration insecco recitative after Luke:"Und es waren Hirten in derselben Gegend" ("And there were shepherds in the same region"),[24] describing the shepherds in the fields, frightened by the apparition of angels.[24][36]
In the response to the shepherds being afraid, they are told in a chorale not to fear.[37] The stanza "Brich an, o schönes Morgenlicht"[21] ("Break forth, o lovely light of morning"),[24] which Bach set for four parts, is taken from a hymn by Johann Rist, "Ermuntre dich, mein schwacher Geist":[21]
Brich an, o schönes Morgenlicht,
Und laß den Himmel tagen!
Du Hirtenvolk, erschrecke nicht,
Weil dir die Engel sagen,
Daß dieses schwache Knäbelein
Soll unser Trost und Freude sein,
Dazu den Satan zwingen
Und letztlich Friede bringen!
The shepherds are told that the weak child shall be comfort and joy to them and all (using the first person plural) and will conquerSatan and ultimately bring peace.[24] Markus Rathey notes that this is an apocalyptic outlook within the oratorio.[38]
The narration continues, first sung by the Evangelist, "Und der Engel sprach zu ihnen" ("And the angel said to them"),[24] then continued by the angel's message, given to the soprano soloist, who appears here for the first time in the oratorio: "Fürchtet euch nicht" ("Do not be afraid").[24] The angel's recitative is accompanied by strings.[39]
The announcement of the angel is interrupted after telling of the birth of the Saviour, by a recitative and following aria. The bass sings the recitative, accompanied by the oboes representing the shepherds: "Was Gott dem Abraham verheißen" ("What God promised to Abraham").[17] It connects the message to the shepherds toAbraham, who also was a shepherd.[39]
The tenor sings an aria, calling the other shepherds to run to see the child: "Frohe Hirten, eilt, ach eilet" ("Joyful shepherds, hurry, oh hurry").[17] The aria in E minor is accompanied by solo flute.[17][40] The music is based on the aria "Fromme Musen, meine Glieder" from Bach's secular cantataTönet, ihr Pauken! Erschallet, Trompeten!, BWV 214, for the birthday ofMaria Josepha, Electress of Saxony.[15]
The announcement of the angel is continued: "Und das habt zum Zeichen" ("And this shall be a sign for you"),[17] mentioning swaddling-clothes and the manger.[17] The movement is marked to be sung by the tenor,[41] which shows, according to Dürr, the "essentially undramatic conception of the oratorio".[16]
At this point, the lowliness of the humble stable is reflected in achorale:[42] "Schaut hin! dort liegt im finstern Stall" (Look, there lies in a dark stable),[17] a setting for four parts of a stanza by Paul Gerhardt, which is sung to the melody of Martin Luther's "Vom Himmel hoch, da komm ich her".[22] This chorale, in the low key of C major, is the central movement of this cantata and thus also the midpoint of the first three parts of the oratorio, performed on the three days of Christmas:[43]
Schaut hin, dort liegt im finstern Stall,
Des Herrschaft gehet überall!
Da Speise vormals sucht ein Rind,
Da ruhet itzt der Jungfrau'n Kind.
Its focus is on the dark stable, expressing amazement that the Almighty, the Virgin's child, rests where a cow had fed.[44] Bach illustrates power over all by a rising scale of more than an octave in the bass line.[43]
Another reflecting recitative of the bass, again interrupting the Biblical account, calls the shepherds to go and marvel: "So geht denn hin, ihr Hirten, geht" ("Then go forth, you shepherds, go"),.[17] It is accompanied by the oboes as the first bass recitative.[45]
The aria is assigned to the alto voice.[45] It is a lullaby, as if imagined: "Schlafe, mein Liebster, genieße der Ruh" ("Sleep, my most beloved, enjoy your rest").[46] Set in G major, the voice is doubled by a flute playing anoctave higher, and all oboes and strings.[44] Bach based the music on "Schlafe, mein Liebster", a soprano aria fromLaßt uns sorgen, laßt uns wachen, BWV 213.[15]
The Evangelist continues the narration:[47] "Und alsobald war da bei dem Engel" ("And suddenly there was with the angel"), telling of the heavenly hosts.[16]
The choir represents the angels singing the words after Luke:[48] "Ehre sei Gott in der Höhe und Friede auf Erden und den Menschen ein Wohlgefallen." ("Glory to God on high and peace on Earth and goodwill towards mankind.").[16] Bach treats the three aspects differently, as in amotet. The instruments only accompany. The first section, about glory, is developed in densepolyphony based on apassacaglia-type bass. The second section, about peace, is set to apedal point. The third section, about goodwill, has livelythemes full ofcoloraturas.[49] After each idea has received extended treatment, the full text is repeated in the same sequence but condensed.[44]
The bass sings a third recitative, this time secco:[50] "So recht, ihr Engel, jauchzt und singet" ("Quite right, you angels, rejoice and sing"), calling to joyfully join the angels' song.[16]
The closing chorale[50] is another stanza by Gerhardt, to the same melody as the cantata's central chorale: "Wir singen dir in deinem Heer"[23] ("We sing to You within Your host"):[16]
Wir singen dir in deinem Heer
Aus aller Kraft Lob, Preis und Ehr,
Daß du, o lang gewünschter Gast,
Dich nunmehr eingestellet hast.
Using the first person plural, it includes everyone in singing praises with the angels because the long-awaited guest has finally appeared.[16] The chorale is set in G major, and instrumental motifs between the lines are taken from the opening Sinfonia, confirming the symmetry of the cantata's structure. The strings play in unison with the choir.[44]
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