19. Aria - Alto

This aria is taken directly from Cantata 213 where it appears with different words under the title Schlafe, mein Liebster und pflege der Ruh – Sleep my Dearest and Cultivate Peace. Here, in a delightful addition to the biblical narrative, this rich and comforting lullaby urges the shepherds to sing the new-born child to sleep. The words are illustrated by a gentle rocking motion present in a couplet motif in the bass part. The alto is the personification of the angel – note how the flute part, which is only present when the alto is singing, hovers continuously above the alto’s line like a halo. This music, which was originally written as a lullaby for a son of the gods in the Hercules cantata, addresses the Christ child equally well.

Schlafe mein Liebster, genieße der Ruh, 
wache nach diesem vor aller Gedeihen!
Labe die Brust, empfinde die Lust 
wo wir unser Herz erfreuen! (D.C.)
Sleep, my dearest, enjoy your rest, 
then awake so that all may flourish!
Gladden the breast, experience the pleasure 
where our hearts rejoice! (D.C.)

20. Evangelist     Text: St Luke 2: v 13 

Und alsobald war da bei dem Engel die Menge der himmlischen Heerscharen, die lobten Gott,
und sprachen:
And suddenly there was with the angel a multitude of the heavenly host praising God
and saying:

21. Chorus     Text: St Luke 2: v 14 

In musical theatre through the ages the chorus is used to give context to the musical setting of the story. In twentieth century examples one has only to think of choruses of orphans, policemen, cockneys, cowboys, chimney sweeps, and even munchkins to see how this is so. In his settings of the passion, Bach uses his chorus variously as disciples, faithful believers, the angry mob on the streets of Jerusalem, and impartial onlookers. Handel, in his Messiah, uses the chorus to represent Angels at this point in the plot. Writing seven years earlier, Bach does exactly the same thing here. This chorus has a particularly fast harmonic pace, with continuous and rapid changes of chord over a constantly moving bass part.

“Ehre sei Gott in der Höhe! Und Friede auf Erden und den Menschen ein Wohlgefallen.” “Glory to God in the highest, and on Earth peace, goodwill toward men.”

22. Recitative - Bass

So recht, ihr Engel, jauchzt und singet, 
daß es uns heut so schön gelinget! 
Auf denn! Wir stimmen mit euch ein, 
uns kann es so wie euch erfreun. 
You are right, you angels, to exult and sing,
that we prosper so well today!
Arise then!  We will join your song
And rejoice as you do.

23. Chorale     Text: Paul Gerhardt, 1656

To conclude this part the music returns to the subtle rocking twelve-eight time signature which began this section. The chorale melody “vom Himmel hoch” appears for the third time, this time in a gentle dance style. As at the conclusion of Part 1, Bach again treats it with interpolations, this time by the more soothing combination of flutes and oboes, which reprise the same melodic material as movement 10, which opened Part 2, thus providing a cyclic unity to this section of the work and a, doubtless intentional, similarity of structure between Parts 1 and 2.

Wir singen dir in deinem Heer,
aus aller Kraft Lob, Preis und Ehr,
daß du, o lang gewünschter Gast,
dich nunmehr eingestellet hast.
We sing to you in your host
with all our might, praise, glory and honour,
that you, O long awaited guest, 
have now appeared to us.