we should say the same of the Gloria if we did not possess the church
cantata, _Halt im Gedaechtniss_. The Gloria begins with a triumphant
polyphonic chorus accompanied by a spirited symphony for strings. At the
words "et in terra pax" the time changes, and two flutes softly accompany a
single solemn melody in the altos. At the "laudamus te" the material of the
beginning returns, and is interrupted again by the calm slow movement, this
time in another key and for another voice, at the words "adoramus te."
Twice the "laudamus" and "adoramus" alternate in a finely proportioned
design; at last the words "gratias agimus tibi propter magnam gloriam tuam"
are set for the full chorus to the music of the slow movement, the strings
join with the flutes, and this most appropriate setting of those words is
finished. And yet it is quite impossible to regard this as superseding the
last chorus of _Halt im Gedaechtniss_. Not one bar or harmony of the
framework differs; yet the two versions are two independent works of art.
In the cantata the beginning is for instruments only; when the slow
movement (here adequately scored for a flute and two _oboe d' amore_)
begins, the basses, permanently separated from the rest of the chorus, sing
"Peace be unto you." The other voices then sing the triumph of the faithful
helped by the Saviour in their battle against the world. The slow movement
is, of course, set for bass alone throughout, and at the last recurrence of
the _allegro_ the bass continues to sing "Friede sei mit euch" through the
rest of the chorus, as if leading the chorus of humanity through strife to
the kingdom of heaven, and then the single voice of peace remains to the
end. Hardly a bar of the chorus-material is on the same themes in the two
versions.

The study of the sources of the Christmas oratorio will complete the
evidence on which we support our estimate of Bach's methods and range of
expression. It is certain that the occasional cantatas, from which all
except the chorale-tune numbers and those set to words from the Bible were
taken, date from shortly before the oratorio; and that Bach, being
incapable of putting inferior work even into birthday odes, rescued it from
oblivion by having the verses for the oratorio numbers built on the same
rhythms as those of the odes in order that he might use those occasional
works as a sketch (see _B.-G._, _Jahr._ xxxiv. preface). Be this as it may,
the alterations are confined to detail