Passion.' In the first part of
the oratorio we find two verses of Luther's Christmas hymn, 'Gelobet
seist du Jesu Christ;' first, the verse beginning 'Er ist auf Erden
kommen arm,' to the tune Luther composed for it, and the verse 'Ach,
mein herzliebes Jesulein,' to the tune (also of Luther's composition),
'Von Himmel hoch da komm ich her.' This last-mentioned tune is also
used twice in the second part, to the words 'Schaut hin, dort liegt im
finstern Stalle,' and 'Wir singen dir in deinem Heer,' arranged
differently each time. The chorales, 'Jesus, richte mein Beginnen,' in
the fourth part, and 'Dein Glanz all Finsterniss verzehrt,' in the
fifth part, are probably Bach's own compositions."

The first two parts of the work are the only ones which need special
notice for the purposes of the oratorio-goer. The first part opens with a
brilliant prelude, introduced by the drum, which Bach, like Beethoven,
sometimes treated as a solo instrument. It preludes the narrative bidding
Zion prepare to meet her Lord,--a simple, touching melody, followed by
the chorale, "How shall I fitly meet Thee and give Thee welcome due," set
to the old passion-hymn, "O Haupt, voll Blut und Wunden,"--a solemn and
even mournful melody, which at first appears incongruous in the midst of
so much jubilation. It is the same melody which Bach frequently uses in
different harmonic forms in his "St. Matthew Passion." It is introduced
here in the midst of the Christmas festivity for a special purpose.
Bitter gives it the following significance:--

"We see the Angel of Death unveil his pale face, bend over the cradle
of the Lord, and foretell his sorrows. The Child hears the song which
one day, sung to other words, will be his death-song."

The composer's evident intention was to impress the hearer with the fact
that the object of the divine advent on earth was the passion of our
Lord. At the close of the work the same chorale appears, but it has
another meaning. It is there an exultant expression of Christ's victory
over sin and death. As the chorale dies away, the narrative is resumed,
leading up to another chorale, "For us to earth he cometh poor," combined
with an orchestral symphony and bass recitative. The next number is a
bass aria with trumpet accompaniment, "Lord Almighty, King all glorious,"
and is followed by a chorale set to the words of Martin Luther's
Christmas hymn, which also occurs in other parts of the work, dif