Bach served as Thomaskantor of Leipzig, musical director for liturgical services at St. Thomas and three other Lutheran churches in the city. We have outstandingly beautiful liturgical music for the entire year from Bach: Advent and Christmas oratorios, his famous works on the Passion, and music for major feast days. He also composed a number of so called Lutheran Masses, with parts reduced to the Kyrie and Gloria. His complete Catholic Mass, the Mass in B Minor, is truly his masterpiece, finished shortly before his death.
Bach’s Easter Oratorio was performed first on April 1, 1725, although it was reworked in following years. Its libretto is not scriptural, but embodies the reactions of four people to the empty tomb: Peter (tenor), John (bass), Mary Magdalene (alto), and the other Mary, mother of James (soprano).
The music contrasts the unexpected joy of the Resurrection with the grief that the disciples had prepared for their mourning at the tomb. The “laughter and merriment” of the first duet can be heard in the voices of the singers themselves. And yet, even after this joy, we still sense the anxiety of the disciples bring with them, the “myrrh” of which the other Mary sings. In the center of the work, Mary proclaims to John and Peter that the angel announced that Christ has risen and they find the empty shroud. This leads to a beautiful reflection of how our own death will become gentle—with peaceful and soothing music to match in a tenor aria. The following recitative and aria for the female voices express an intense longing and expectation. The trumpets erupt, with the triumphal voices of the choir following, to end on a note of exultant celebration!
The music can help us to express our own joy in the Resurrection. Enjoy! [1]
Text:
| Cantata for the First day of Easter | |
| 1. Sinfonia | 1.Symphony |
| 2. Arie (Duett) T B Kommt, eilet und laufet, ihr flüchtigen Füße, Erreichet die Höhle, die Jesum bedeckt! Lachen und Scherzen Begleitet die Herzen, Denn unser Heil ist auferweckt. |
2.Aria (Duet) Tenor, Bass Come, hurry and run, you speedy feet, reach the cavern which conceals Jesus! Laughter and merriment accompanies our hearts, since our Savior is risen again. |
| 3. Rezitativ (Maria Magdalena [A], Maria Jacobi [S], Petrus [T], Johannes [B]) Maria Magdalena O kalter Männer Sinn! Wo ist die Liebe hin, Die ihr dem Heiland schuldig seid? Maria Jacobi Ein schwaches Weib muß euch beschämen! Petrus Ach, ein betrübtes Grämen Johannes Und banges Herzeleid Peter, Johannes Hat mit gesalzen Tränen Und wehmutsvollem Sehnen Ihm eine Salbung zugedacht. Maria Jacobi, Maria Magdalena Die ihr, wie wir, umsonst gemacht. |
3. Recitative (Mary Magdalene [A], Mary, Mother of James [S], Peter [T], John [B]) Mary Magdalene O cold hearts of men! Where has your love gone, that you owe to the Savior? Mary, Mother of James A weak woman must put you to shame! Peter Alas, a troubled grieving John and anxious heartache Peter, John along with salty tears and woeful longing were intended as a salve for Him. Mary, Mother of James, Mary Magdalene Which you, like us, prepared in vain. |
| 4. Arie S Seele, deine Spezereien Sollen nicht mehr Myrrhen sein. Denn allein Mit Lorbeerkranze prangen, Stillt dein ängstliches Verlangen. |
4. Aria Soprano O soul, your spices need no longer be myrrh. For only crowning with the laurel wreath will quiet your anxious longing. |
| 5. Rezitativ (Petrus [T], Johannes [B], Maria Magdalena [A]) Petrus Hier ist die Gruft Johannes Und hier der Stein, Der solche zugedeckt. Wo aber wird mein Heiland sein? Maria Magdalena Er ist vom Tode auferweckt! Wir trafen einen Engel an, Der hat uns solches kundgetan. Petrus Hier seh ich mit Vergnügen Das Schweißtuch abgewickelt liegen. |
5. Recitative (Peter [T], John [B], Mary Magdalene [A]) Peter Here is the grave John and here the stone which sealed it. Where, however, can my Savior be? Mary Magdalene He is risen from the dead! We encountered an angel who gave us these tidings. Peter Here I behold, with pleasure, His shroud lying tossed aside. |
| 6. Arie T Sanfte soll mein Todeskummer, Nur ein Schlummer, Jesu, durch dein Schweißtuch sein. Ja, das wird mich dort erfrischen Und die Zähren meiner Pein Von den Wangen tröstlich wischen. |
6. Aria Tenor Gentle shall my death-throes be, only a slumber, Jesus, because of your shroud. Indeed, it will refresh me there, and the tears of my suffering it will tenderly wipe from my cheeks. |
| 7. Rezitativ und Arioso (Duett) S A Indessen seufzen wir Mit brennender Begier: Ach, könnt es doch nur bald geschehen, Den Heiland selbst zu sehen! |
7. Recitative (Duet) Soprano, Alto Meanwhile we sigh with burning desire: Ah, could it only happen soon, to see the Savior ourselves! |
| 8. Arie A Saget, saget mir geschwinde, Saget, wo ich Jesum finde, Welchen meine Seele liebt! Komm doch, komm, umfasse mich; Denn mein Herz ist ohne dich Ganz verwaiset und betrübt. |
8. Aria Alto Tell me, tell me quickly, say where I can find Jesus, whom my soul loves! O come, come, embrace me; for without You my heart is completely orphaned and wretched. |
| 9. Rezitativ B Wir sind erfreut, Daß unser Jesus wieder lebt, Und unser Herz, So erst in Traurigkeit zerflossen und geschwebt, Vergißt den Schmerz Und sinnt auf Freudenlieder; Denn unser Heiland lebet wieder. |
9. Recitative Bass We are delighted that our Jesus lives again, and our hearts, which first dissolved and floated in grief, forget the pain and imagine songs of joy; for our Savior lives again. |
| 10. Chor Preis und Dank Bleibe, Herr, dein Lobgesang. Höll und Teufel sind bezwungen, Ihre Pforten sind zerstört. Jauchzet, ihr erlösten Zungen, Daß man es im Himmel hört. Eröffnet, ihr Himmel, die prächtigen Bogen, Der Löwe von Juda kommt siegend gezogen! |
10. Chorus Praise and thanks remain, Lord, your hymn of praise. Hell and the devil are conquered, its gates are destroyed. Rejoice, you rescued tongues, so that you are heard in heaven. Open, o heavens, your magnificent drawbridges, the Lion of Judah approaches in triumph! |