Weihnachts-Oratorium Programme Notes 17

62. Aria - Tenor

This purposeful aria is accompanied by two oboes d’amore. Again, Bach chooses a minor tonality to illustrate the words.

Nun mögt ihr stolzen Feinde schrecken; was könnt ihr mir für Furcht erwecken?
Mein Schatz, mein Hort ist hier bei mir.
Ihr mögt euch noch so grimmig stellen, droht nur, mich ganz und gar zu fällen! Doch seht, mein Heiland wohnet hier.

Now, you arrogant enemies, may try to scare me; what sort of fear can you arouse in me?
My treasure, my refuge, is here with me though you may appear ever so fierce and have threatened to cast me down once and for all!
Yet see, my saviour lives here!

63. Recitative – Soprano, Alto, Tenor, Bass

Each of the six disparate entries in this recitative follows the same melodic shape of a rising fourth followed by a descending arpeggio, but the voices come together, homophonically, harmoniously, and therefore symbolically, for the third line of the text.

Was will der Höllen Schrecken nun, Was will uns Welt und Sünde tun, Da wir in Jesu Händen ruhn?	What will the terror of hell do now? What will the world do for us? Since we rest in the hands of Jesus

64. Chorale

The Christmas Oratorio ends with a richly decorated version of the 'Passion chorale' melody with trumpets and timpani, rejoicing in Christ's victory over death, devil, sin and hell, and echoing the bright and optimistic feel of movement 1. This was the melody used for movement number 5, and the chorale which Bach sets on five separate occasions in the St Matthew Passion. This time the words are by Georg Werner and were written in 1648.

Nun seid ihr wohl gerochen An eurer Feinde Schar; Denn Christus hat zerbrochen, Was euch zuwider war. Tod, Teufel, Sünd und Hölle Sind ganz und gar geschwächt; Bei Gott hat seine Stelle Das menschliche Geschlecht.	Now you are well avenged On the host of your enemies; Christ has broken in pieces What was against you. Death, Devil, sin and hell are weakened once and for all; With God is the place For the human race.

Programme notes and listening commentary by Peter Parfitt