J.S. Bach, Christ ist erstanden (BWV 627)
“He is not here; he has risen, just as he said. Come and see the place where he lay.” (Matthew 28:6)
The German Easter hymn, Christ ist erstanden (Christ is risen) is likely the oldest liturgical song to originate in the German vernacular. According to records, the first verse was sung as early as 1100 to venerate the cross.[1] It has inspired music by composers from the sixteenth century through to the present day, growing to become cherished by German musicians for its long history and usage in both the Roman Catholic and Lutheran traditions.
The text, alongside an English translation by Myles Coverdale, goes thus:
| Christ ist erstanden Von der Marter alle, Des solln wir alle froh sein, Christ will unser Trost sein. Kyrieleis. Wär er nicht erstanden, So wär die Welt vergangen; Seit daß er erstanden ist, So lobn wir den Vater Jesu Christ. Kyrieleis. Halleluja, Halleluja, Halleluja! Des solln wir alle froh sein, Christ will unser Trost sein. Kyrieleis. |
Christe is now rysen agayne From His death and all His payne: Therfore wyll we mery be, And rejoyse with Him gladly. Kirieleyson, Had He not rysen agayne, We had ben lost, this is playne: But sen He is rysen in dede. Let us love Hym all with spede. Kirieleyson. Now is tyme of gladnesse. To synge of the Lorde’s goodnesse: Therfore glad now wyll we be, And rejoyse in Hym onely. Kirieleyson. |
Bach uses this chorale to compose one of the most compelling chorale-prelude of the Orgelbüchlein (BWV 599-644), his unfinished collection of 46 organ chorales, originally intended as a chorale cycle of 164 pieces to cover the liturgical year. Of the four chorales dealing with the theme of the Resurrection, Christ ist erstanden is the most substantial, at 4-5 minutes, longer than the three others combined and the second longest of the set, after the Lenten chorale, O Mensch bewein.
Unlike any other work of the set, Bach treats Christ ist erstanden to a longer, more complex and thrilling structure of three parts, marking the three verses of the chorale. According to musicologist Russell Stinson, “Bach is the only composer known to have set all three stanzas of the chorale within a single work.”[2]
The first section of the Christ ist erstanden simply, yet majestically, presents the chorale melody, derived from Victimae paschali laudes, a sequence for Easter by Wipo of Burgundy.1 The inner parts present a small three-note figure, similar to a mordent, which Bach expands in the latter parts of the piece.
The second section is noticeably more active, infused with Bach’s deft contrapuntal writing.
The third section combines the majesty of the first section with the contrapuntal flare of the second section, suggestive of the glory and triumph of the Easter story.
Through the three sections of Christ ist erstanden Bach builds excitement gradually, by slowly extending motifs and increasing harmonic and textural intensity. The musical highlight and exception within the Orgelbüchlein for its length and sense of evolution, the chorale is reminiscent of the slow build in intensity and excitement of the Easter story. From the celebration of the institution of the Holy Communion on Maundy Thursday, through the harrowing events of Good Friday, the expectation of Holy Saturday, building through the Easter Vigil and culminating in the triumph of Easter morning, when Christ broke the bonds of death and burst forth out of the tomb. Christ is risen! Alleluia!
Frederick Frostwick, April 2020
Footnotes
[1] Fischer, Michael (2007). “Christ ist erstanden”. Historisch-Kritisches Liederlexikon des Deutschen Volksliedarchivs (in German). Retrieved 7 April 2017.
[2] https://bachorgelbuchlein.wordpress.com/page/2/
Bibliography
Robert Cummings, Christ ist erstanden (I), chorale prelude for organ, BWV 627 (BC K57) (Orgel-Büchlein No. 29)