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  • Bach's World
    • 2022-2023 Concerts >
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      • The Old Bach Archive
      • Christmas with Bach
      • The Little Organ Book
      • Bachapella
      • Arnstadt & Mülhausen
      • Bach Through the Years
    • 2022-23 Educational Events >
      • BachTalks
      • Saturday Sings!
    • 2022-23 Virtual Offerings >
      • The Choir Loft >
        • Feb. 5 - Winter's Chill - Dianna Morgan
        • Feb. 12 - The Heirs of Bach: Charles Ives - Steve Osborn
        • March 12 - The Heirs of Bach: Hugo Distler - Steve Osborn
      • Repertoire Exploration Projects
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    • Donate today!
  • Who we are and What we do
    • Mission Statement
  • Our Ensembles
    • Sonoma Bach Choir
    • Circa 1600
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  • Support
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Christ ist Erstanden, BWV 276 - J.S. Bach
One of the great things about sending out these pieces for you to peruse and learn and sing with is that not only do I get to share some of my favorite music, but I also get to discover (and then share) some of my new favorite pieces. This week's chorale is one of those.  It's a setting of 'Christ ist erstanden', an ancient hymn adapted from the great Easter sequence 'Victimae paschali laudes'. Many of you will recognize the first phrase, derived from the Latin source and passed through to Martin Luther's so-called 'bettering' of the old hymn, 'Christ lag in Todesbanden'. The latter of course is a pillar of the repertoire; but 'Christ ist erstanden' can stand on its own two feet, for sure.

The sturdy phrases are gathered into three distinct sections, each ending with 'Kyrieleis'. The sections are each different, and the first two build relentlessly to the final section, beginning 'Alleluia! Alleluia!' The 'Kyrieleis' which closes each section identifies the song as a 'Leise'. Some of you will remember this chorale as a sort of returning theme from our Seraphim concert, in settings by Arnoldus von Bruck and Michael Praetorius.

The present setting is truly amazing. I can't believe I didn't already know it! It's one of Bach's freestanding chorale settings--that is to say, it's not from any surviving cantata (though quite possibly it originated in a lost cantata or motet). It's filled with chromatism, jagged leaps, great interactions between alto and tenor, and has one of the most wide-ranging and awesome bass parts ever.

For the first time with the chorales, the attached materials include a German pronunciation recording, graciously made by Andrea. She even included a little lesson in distinguishing between the various pronunciations of 'er'. Also included, as usual, are score, text/translation, recording, midi file containing all parts, and individual midi files for each section.

Dig in! Listen first, then learn your part, and sing along at least on 'doo'.
​Then (if you need to)learn the German pronunciation, and give that a whirl.
Download Score
German Pronunciation
Midi Practice Track
Soprano Midi
Alto Midi
Tenor Midi
Bass Midi
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