t being a complete cantata for each
day, and all linked together by chorales which give it a unity of subject
and design. Like Wagner's "Ring der Nibelungen," it was given in
instalments, each part separate and complete in itself, and yet combining
to illustrate a given subject in its entirety. It is not an oratorio in
the modern sense; but the justification of its appellation as such is to
be found in Bach's own title, "Oratorium Tempore Navitatis Christi."

As the entire six parts are very rarely given, a general review of their
character will better suit the reader's purpose than a detailed review of
each. When it has been performed in this country, only the first two
parts have been given; while in England, though it has been presented
entire, the performance is usually confined to the first three, which
contain a complete story. The entire vocal score embraces no less than
sixty-four numbers,--which in itself constitutes a sufficient reason for
abridgment. In the first three parts the connecting narratives, recited
by the evangelist, are assigned to tenor and bass, and declare the events
associated with the birth of our Lord,--the journey to Bethlehem, the
birth in the manger, the joy of Mary, and the thanksgiving over the
advent of the Lord,--the choral parts being sung by the shepherds. The
fourth part, that for New Year's Day, relates the naming of Jesus, and
follows his career in a grand expression of faith and hope. The fifth
part illustrates the visit of the three kings, the anxiety of Herod when
he hears of the advent of the Lord, and the assurances given him to allay
his fears. In the sixth section the visitors depart to frustrate Herod's
designs, and choruses of rejoicing over the final triumph of the Lord
close the work. In his voluminous life of Bach, Spitta makes an
exhaustive analysis of the various parts, an abridgment of which will be
of interest in this connection.

The only variation from the particular character of each section is to be
found in the introduction of the first chorale in Part I. at the close of
Part VI., in the form of a brilliant choral fantasia.

"In the first three the Christmas feeling prevails most vividly; this
is effected in great measure by the chorales which are interspersed in
far greater numbers than in the last three, and which are almost all
familiar Christmas hymns. Most of them are simply set in four parts,
with highly ingenious applications of the church m