Bach's Christmas Oratorio
By Metropolitan Chrysostomos of Mani
By Metropolitan Chrysostomos of Mani
Johann Sebastian Bach was born in 1685 in Eisenach, in central Germany, and died in 1750 in Leipzig — indeed, blind. Shortly before his death, he dictated his final musical piece, whose theme was: “Before Your throne, Lord, I now draw near.” As is internationally known, he was a supreme composer who found rich inspiration in the texts of Holy Scripture.
Among his artistic works is also his noteworthy creation, the Christmas Oratorio. Bach has bequeathed to us three oratorios: the Christmas Oratorio, the Easter Oratorio, and the Ascension Oratorio — if we exclude the three surviving works titled Passions (according to Matthew, Mark, and John), which, although written in the oratorio form, together with other similar works came to constitute a distinct genre bearing the classical name Passions, such as those by Schütz, Telemann, Handel, and others.
In general, the oratorio is similar to melodrama, with the difference that in it the participating figures remain stationary on the stage and, for the most part, do not wear costumes. An oratorio also consists of the following parts: an orchestral introduction; solo pieces for the acting characters (e.g., arias); small vocal ensembles (e.g., duets); choruses; and occasionally a short symphony. Usually the subject matter is religious in character. Figures from both the Old and the New Testament appear. There are also exceptions with non-religious subjects, such as historical or purely allegorical works. Of course, Handel is considered the “father of the oratorio,” having written thirty-two oratorios; nevertheless, Bach also devoted himself diligently to this genre of classical music, taking as his basis the religious cantata (cantatae), inspired by Gospel passages for Sundays or major Feasts. Moreover, for twenty-seven years he held the position of cantor at the Church of St. Thomas in Leipzig.
Specifically, the Christmas Oratorio consists of six cantatas, which were initially composed separately so that each could be performed on its appointed day during the feasts of Christmas, New Year’s Day, and Epiphany, namely:
1. for the first day of Christmas,
2. for the second day,
3. for the third day,
4. for New Year’s Day,
5. for the Sunday after New Year’s Day, and
6. for the Feast of Epiphany.
However, since they shared the common theme of the Nativity of Christ on the one hand, and symmetry and proportion in form on the other, they were later (in 1734) united by Bach himself into a remarkable organic whole, forming the masterful Christmas Oratorio, which was performed that same year in Leipzig.
Of its sixteen chorales, seven are written with polyphonic contrapuntal treatment, while the remaining ones are in the type of the so-called “chorale.” They hymn Christ and the Most Holy Theotokos, and between the chorales the voice of the Evangelist (tenor) is also heard, recounting the events of the Nativity according to the Holy Gospels. The Angels are also heard (soprano), as well as Herod (bass). After these follow the recitatives and arias, which express reflections on the Nativity. Finally, the well-known “Christmas Symphony” brings the work to its conclusion.
We considered it useful to present this work of the great composer — indeed, just before the great Despotic Feast of Christmas — because, as it has aptly been said, this work is recognized as “the strongest and purest musical ambrosia” and as a “triumph of the spirit.”
Especially in our own days, when Europe tends to lose its Christian roots, there is an absolute need for due attention to be given and for clear legislation to exist, so that this cultural legacy may not degenerate and be distorted, leading to complete atheism and nihilism. The causes of this situation in European life are clearly many, arising both from the Latin ecclesiological conception and from the ideology of the neo-Enlightenment — issues of exceptional interest, which nevertheless require careful study. Yet a voice of reflection must once again be heard, so that the phenomenon of a post-Christian Europe may be halted. And indeed here in Greece as well, there is a sense of bitterness over the irreverence toward Christianity occurring in the European sphere, since we do not remain indifferent in spiritual and cultural terms.
No one should forget that the European edifice has Christian cultural foundations — and in this regard, Bach proves it.
Source: Translated by John Sanidopoulos.
