Christ lag in Todes Banden, BWV 4

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Christ lag in Todes Banden, BWV 4
Christ lag in Todes Banden (also spelled

Christ lag in Todes Banden
Todesbanden;[a] "Christ lay in death's bonds"[2] or "Christ
BWV 4
lay in the snares of death"),[3] BWV 4, is a cantata for Easter
by German composer Johann Sebastian Bach, one of his Chorale cantata by J. S. Bach
earliest church cantatas. It is agreed to be an early work
partly for stylistic reasons and partly because there is
evidence that it was probably written for a performance in
1707. Bach went on to complete many other works in the
same genre, contributing complete cantata cycles for all
occasions of the liturgical year. John Eliot Gardiner
described it as Bach's "first-known attempt at painting
narrative in music".[4]
Christ lag in Todes Banden is a chorale cantata, a style in

which both text and music are based on a hymn. In this
instance, the source was Martin Luther's hymn of the same
name, the main hymn for Easter in the Lutheran church. The
composition is based on the seven stanzas of the hymn and
its tune, which was derived from Medieval models. Bach
used the unchanged words of a stanza of the chorale in each
of the seven vocal movements, in the format of chorale
variations per omnes versus (for all stanzas), and he used its
tune as a cantus firmus. After an opening sinfonia, the
variations are arranged symmetrically: chorus–duet–solo–
chorus–solo–duet–chorus, with the focus on the central
fourth stanza about the battle between Life and Death. All
movements are in E minor, and Bach achieves variety and
Soprano part from opening chorus with text
intensifies the meaning of the text through many musical
in Bach's own hand, St. Thomas Church,
forms and techniques.
Leipzig, 1724/1725
Christ lag in Todes Banden is Bach's first cantata for Easter Key E minor
– in fact, his only extant original composition for the first Occasion First Day of Easter
day of the feast – and his earliest surviving chorale cantata.
Chorale "Christ lag in Todes Banden"
It was related to his application for a post at a Lutheran
by Martin Luther
church at Mühlhausen. He later twice performed it as
Performed 24 April 1707[1]
Thomaskantor in Leipzig, beginning in 1724 when he first
celebrated Easter there. Only this second version survives. It Published 1851
is scored for four vocal parts and a Baroque instrumental Duration About 20 minutes
ensemble with two components, an instrumental "choir" of Movements 8
cornetto and three trombones doubling the choral voices
Vocal SATB
(only in the 2nd Leipzig performance in 1725 were these
used), and a string section of two violins, two violas, and Instrumental Cornetto · 3 trombones · 2
continuo. While this scoring reflects the resources at Bach's violins · 2 violas · continuo
disposal (the cornetto and brass players would have been
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24. 4. 3. 오후 8:15 Christ lag in Todes Banden, BWV 4 - Wikipedia
available because of the city band tradition in Leipzig),[5] it was old-fashioned and exemplifies a 17th-
century Choralkonzert (chorale concerto) style; the lost scoring of the earlier performances was perhaps
similar.
Gardiner calls Bach's setting of Luther's hymn "a bold, innovative piece of musical drama", and observes
"his total identification with the spirit and letter of Luther's fiery, dramatic hymn".[4]
Composition history
Background
Bach is believed to have written Christ lag in Todes Banden in 1707.
He was a professional organist aged 22, employed from 1703 in
Arnstadt as the organist of the New Church (which replaced the
burned Bonifatiuskirche, and is today known as the Bach Church).[6]
At age 18, he had inspected the new organ built by Johann Friedrich
Wender, was invited to play one Sunday, and was hired. The organ
was built on the third tier of a theatre-like church.[6] Bach's duties as a
church musician involved some responsibility for choral music, but
the exact year he began composing cantatas is unknown. Christ lag in The restored Wender organ which
Todes Banden is one of a small group of cantatas that survive from his Bach played in Arnstadt at the
early years.[7] According to the musicologist Martin Geck, many New Church (now the Bach
details of the score reflect "organistic practice".[8] Church)
In Arnstadt, the Kantor (church musician) Heindorff was responsible

for church music in the Upper Church and the New Church where Bach was the organist. He typically
conducted music in the Upper Church and would appoint a choir prefect for vocal music in the New
Church. Musicologist Christoph Wolff notes that "subjecting his works to the questionable leadership of a
prefect"[7] was not what Bach would have done. Therefore, most cantatas of the period are not for Sunday
occasions, but restricted to special occasions such as weddings and funerals. Christ lag in Todes Banden
is the only exception, but was most likely composed not for Arnstadt but for an application to a more
important post at the church of Divi Blasii in Mühlhausen.[9]
Bach's early cantatas

Bach's early cantatas are Choralkonzerte (chorale concertos) in the style of
the 17th century, different from the recitative and aria cantata format
associated with Neumeister that Bach started to use for church cantatas in
1714.[11] Wolff points out the relation of Bach's early cantatas to works by
Dieterich Buxtehude, with whom Bach had studied in Lübeck.[7] Christ lag in
Todes Banden shows similarities to a composition of Johann Pachelbel based
on the same Easter chorale.[11] Although there is no evidence that Bach and
Pachelbel met, Bach grew up in Thuringia while Pachelbel was based in the
same region, and Bach's elder brother and teacher Johann Christoph Bach
studied with Pachelbel in Erfurt.[12] Another of Pachelbel's works appears to
be referenced in the early Bach cantata, Nach dir, Herr, verlanget mich,
BWV 150, and there has been recent speculation that Bach wanted to pay
Portrait of the young Bach
tribute to Pachelbel after his death in 1706.[13]
(disputed)[10]
The texts for Bach's early cantatas were drawn mostly from Biblical passages
and hymns.[14] Features characteristic of his later cantatas, such as recitatives and arias on contemporary
poetry, were not yet present,[15] although Bach may have heard them in oratorios by Buxtehude, or even
earlier.[14] Instead, these early cantatas include 17th-century elements such as motets and chorale
concertos.[16][17] They often begin with an instrumental sinfonia or sonata (sonatina).[14] The following
table lists the seven extant works composed by Bach until 1708, when he moved on to the Weimar
court.[18]
Bach's early cantatas
Date Occasion BWV Incipit Text source
Nach dir, Herr, verlanget

1707? Penitence 150 Psalm 25, anon.
mich
Christ lag in Todes

1707? Easter 4 Luther
Banden
Aus der Tiefen rufe ich,

1707? Penitence 131 Psalm 130
Herr, zu dir
mainly Psalm 146, two stanzas of Jakob

Lobe den Herrn, meine
1 Jan 1708? New Year's Day 143 Ebert's hymn "Du Friedefürst, Herr Jesu
Seele
Christ"
Inauguration of the mainly Psalm 74, with added biblical

4 Feb 1708 71 Gott ist mein König
town council quotations
5 Jun 1708? Wedding? 196 Der Herr denket an uns Psalm 115:12–15
Gottes Zeit ist die

compilation of seven biblical quotations,
16 Sep 1708? Funeral 106 allerbeste Zeit (Actus
three hymns and free poetry
tragicus)
Bach uses the limited types of instruments at his disposal for unusual combinations, such as two
recorders and two viole da gamba in the funeral cantata Gottes Zeit ist die allerbeste Zeit, also known as
Actus Tragicus. He uses instruments of the continuo group as independent parts, such as a cello in Nach
dir, Herr, verlanget mich and a bassoon in Der Herr denket an uns.[14] The cantata for the inauguration
of a town council is richly scored for trumpets, woodwinds and strings.[19] Wolff notes:
The overall degree of mastery by which these early pieces compare favourably with the best
church compositions from the first decade of the eighteenth century ... proves that the young
Bach did not confine himself to playing organ and clavier, but, animated by his Buxtehude visit,
devoted considerable time and effort to vocal composition. The very few such early works that
exist, each a masterpiece in its own right, must constitute a remnant only ... of a larger body of
similar compositions.[14]
The Bach scholar Richard D. P. Jones notes in The Creative Development of Johann Sebastian Bach:
His remarkable flair for text illustration is evident even in the early cantatas, particularly the two
finest of them, the Actus tragicus, BWV 106, and Christ lag in Todes Banden, BWV 4. We
already sense a powerful mind behind the notes in the motivic unity of the early cantatas, in the
use of reprise to bind their mosaic forms together ...[20]
Readings and chorale

The prescribed readings for the feast day were from the First letter to the Corinthians ("Christ is our
Easter lamb" – 1 Corinthians 5:6–8) and from the Gospel of Mark (the Resurrection of Jesus – Mark
16:1–8).[21][22]
The reformer Martin Luther wrote several hymns in German to be used in

church services. His hymn "Christ lag in Todes Banden"[23] was based on the
Latin hymn "Victimae Paschali Laudes", and first published in 1524.[24] It
became a main Easter hymn in German Lutheranism. The hymn stresses the
struggle between Life and Death. The third stanza refers to the "sting of
death", as mentioned in 1 Corinthians 15. The fifth stanza relates to the
"Osterlamm", the Paschal Lamb. The sacrificial "blood" ("Its blood marks our
doors")[11] refers to the marking of the doors before the exodus from Egypt.
The final stanza recalls the tradition of baking and eating Easter Bread, with
the "old leaven" alluding again to the exodus, in contrast to the "Word of Portrait of Martin Luther, c.
Grace",[25] concluding "Christ would ... alone nourish the soul."[25] In 1529. Luther wrote the text
contrast to most chorale cantatas that Bach composed later in Leipzig, the of the hymn and derived
text of the chorale is retained unchanged, which he did again only in late the melody from a
traditional older tune.
chorale cantatas.[26]
Performances
Christ lag in Todes Banden survives in a version from the 1720s when Bach
held the position of Thomaskantor (director of church music) in Leipzig.
There is documentary evidence suggesting that this Easter Sunday cantata
was premiered in 1707. It is known that Bach performed a cantata of his own
composition at Easter in 1707 as a part of his application for the post of
organist of Divi Blasii in Mühlhausen, and this may have been Christ lag in
Todes Banden.[1][14] By this time, Bach was already demonstrating ingenuity
in keyboard music, as known from the early works in the Neumeister
Collection. Christ lag in Todes Banden is a significant milestone in his vocal
music. It was completed seven years before his sequence of Weimar cantatas,
begun in 1714 with Himmelskönig, sei willkommen, BWV 182,[27] and 17
years before he started a complete annual cycle of chorale cantatas in Leipzig Organ of Divi Blasii in
in the middle of 1724 with O Ewigkeit, du Donnerwort, BWV 20.[28] Mühlhausen, where the
cantata was possibly first
Bach would have been attracted to Mühlhausen for its status as a free performed
imperial city and the tradition of vocal music in its churches. Wolff notes that
Bach possibly sent two other cantata scores with his application, and once he
knew the date of the audition may have composed Christ lag in Todes Banden in addition. A month after
Easter, on 24 May 1707, an agreement was reached to hire Bach, who seems to have been the only
candidate considered seriously.[29]
Bach performed the cantata again while Thomaskantor in Leipzig, notably at his first Easter there on 9
April 1724.[30] He also performed it the following year on 1 April 1725,[30] in his second cycle of Leipzig
cantatas, a cycle of chorale cantatas based on Lutheran hymns. It followed in the cycle some forty newly
composed cantatas. This early work fits the cycle in the sense that it is based on a chorale, but its style is
different from the others.[11]
Music
Structure and scoring

Bach structured the cantata in eight movements: an instrumental sinfonia and seven vocal movements
corresponding to the stanzas of the hymn. The duration is given as 22 minutes.[3]
The title of the original parts of the first Leipzig performance is (in Johann Christoph Altnickol's
handwriting): "Feria Paschatos / Christ lag in Todes Banden / a.4. Voc: / Cornetto / 3 Trombon. / 2
Violini / 2 Viole / con / Continuo / Di Sign. Joh.Seb.Bach",[31][b] In this late version, Bach scored the
work for four vocal parts (soprano (S), alto (A), tenor (T), and bass (B)), and a Baroque instrumental
ensemble consisting of strings, brass and continuo.[30][32] The brass parts, a choir of cornetto (Ct) and
three trombones (Tb) playing colla parte with the voices at times, may have been added in the 1720s.
They may also possibly represent the original scoring, in the style of the 17th-century polychoral
tradition.[11]
The scoring of the cantata Christ lag in Todes Banden has been described as "archaic"[33] and its style
"medieval":[22]
The string section consists of two violin parts (Vl) and two viola parts (Va); this indicates an older
practice as for instance found in 17th-century church cantatas by Bach's ancestors (see
Altbachisches Archiv), and in Jesus Christus ist um unsrer Missetat willen verwundet, a Passion
setting from the early 18th century (or older) which Bach had performed a few years after
composing the cantata Christ lag in Todes Banden. In the first half of the 18th century the
standard for a string section soon evolved to two violin parts, one viola part and continuo.
The cornett used in the cantata was an instrument that belonged to an earlier age: by the second
quarter of the 18th century it had almost entirely disappeared from Bach's compositions.
The brass instruments were only used for the 1 April 1725 version of the work. The other
performances (24 April 1707, 8 April 1708, and 9 April 1724) were performed without brass
instruments (i.e., Cornetto and three Trombones).
The first version (1707 and 1708) concluded with the words of Verse 7 of the Chorale, but the
music was that of Movement 2 (Verse 1 of the Chorale). In 1724 and 1725, Bach changed this out
to the now-used 4-part Chorale setting.
There is relatively little distinction between choral sections of the cantata and sections for vocal
soloists;[22] one editor commented that the "whole cantata may be sung as chorus".[34] This
compares to the clearer demarcation between choral movements and movements for vocal
soloists in Bach's later works. However, the number of voices the composer intended per part
remains somewhat contentious, and recordings of the work differ considerably in the
configurations deployed.
The harmony is often modal, instead of the modern tonal system.[22]
In the following table of the movements, the scoring and keys follow the Neue Bach-Ausgabe. The keys
and time signatures are taken from the book on all cantatas by the Bach scholar Alfred Dürr, using the
symbol for common time (4/4) and alla breve (2/2).[3] The continuo, played throughout, is not shown.
Movements of Christ lag in Todes Banden, BWV 4
No. Title Type Vocal Brass Strings Key Time.
1 Sinfonia 2Vl 2Va E minor
Christ lag in Todes Banden

Versus 1 Chorus SATB Ct 3Tb 2Vl 2Va E minor
Halleluja
Versus 2 Den Tod niemand zwingen kunnt Aria Duetto SA Ct Tb E minor
Versus 3 Jesus Christus, Gottes Sohn Aria T 2Vl E minor
Versus 4 Es war ein wunderlicher Krieg Chorus SATB E minor
Versus 5 Hier ist das rechte Osterlamm Aria B 2Vl 2Va E minor 3/4
Versus 6 So feiern wir das hohe Fest Aria Duetto ST E minor
Versus 7 Wir essen und leben wohl Chorale SATB Ct 3Tb 2Vl 2Va E minor
Hymn tune
Luther's hymn is based on the 12th-century Easter hymn "Christ ist erstanden" (Christ is risen), which
relies both in text and melody on the sequence for Easter, Victimae paschali laudes.[24][35] A new version
was published by Luther in 1524 and adapted by Johann Walter in his Wittenberg hymnal for choir, Eyn
geystlich Gesangk Buchleyn (1524). A slightly modified version appeared in 1533 in a hymnal by
Kluge.[24] This chorale tune would have been familiar to Bach's congregations. Bach composed other
arrangements during his career, including the two chorale preludes BWV 625 and BWV 718, and the
"Fantasia super Christ lag in Todes Banden", BWV 695. Bach's organ works and the version in the
cantata (see below) use the passing notes and regular rhythmic patterns of the 1533 version.[24]
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Movements
Unlike in Bach's later cantatas, all movements are in the same key. The cantata begins with an
instrumental sinfonia. The seven stanzas are treated in seven movements as chorale variations per omnes
versus (for all stanzas), with the melody always present as a cantus firmus.[35] All stanzas end on the
word Halleluja.[36]
The symmetrical sequence of the seven stanzas is a feature more often found in Bach's mature
compositions: chorus – duet – solo – chorus – solo – duet – chorus.[16] The musicologist Carol
Traupman-Carr notes the variety of treatment of the seven stanzas, while retaining the same key and
melody:[35]
1. Polyphonic chorale fantasia

2. Duet, with "walking bass" in continuo
3. Trio sonata
4. Polyphonic and imitative, woven around chorale melody
5. Homophonic with elaborate continuo line
6. Duet, using trio sonata texture with extensive imitation
7. Four-part chorale setting (Leipzig version)
John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage in 2000,
calls Bach's setting of Luther's hymn "a bold, innovative piece of musical
drama", observing that Bach was "drawing on medieval musical roots (the
hymn tune derives from the eleventh-century plainsong Victimae paschali
laudes)", and noting Bach's "total identification with the spirit and letter of
Luther's fiery, dramatic hymn".[4] Bach could follow "Luther's ideal in which
music brings the text to life".
Sinfonia
John Eliot Gardiner, who

conducted the Bach
Cantata Pilgrimage, in
2007
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The cantata begins with an instrumental sinfonia a work in the style of an overture to a contemporary
Venetian opera, with chordal passages and occasional polyphony.[11] It introduces the first line of the
melody.[37] The mood is sombre, recalling the "Death's bonds" of the first line of the hymn: Christ's death
on the cross and burial.[35]
Versus 1
The opening stanza, "Christ lag in Todes Banden" (Christ lay in death's bonds)[2] is treated as a chorale
fantasia. Without instrumental opening, the movement starts with the chorale tune sung by the soprano
in very long notes, with all other parts entering soon after the soprano begins each choral statement.[35]
The alto line is derived from the chorale tune, while the viola parts principally reinforce the alto and tenor
voices. The violin parts are independent and, as Traupman-Carr notes, "further activate the texture with a
virtually continuous exchange of sixteenth-note snippets".[35] The figure in the violins known as
suspiratio (sigh) reflects "Christ's suffering in the grip of death".[4]
The final Halleluja is faster, giving up the fantasia format for a four-part fugue in motet style, with all
instruments doubling the voices.[35][38] The style of the movement recalls the 16th-century stile antico,
although the style is still unmistakably Bach's.[33]
Versus 2
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The second stanza, "Den Tod niemand zwingen kunnt" (No one could defeat death),[2] is set as a soprano
and alto duet, over an ostinato continuo.[38] It deals with "humanity helpless and paralysed as it awaits
God's judgement against sin". Bach has the music almost freeze on the first words "den Tod" (death), and
the word "gefangen" (imprisoned) is marked by a sharp dissonance between the soprano and alto.[39] In
the Halleluja, the voices imitate each other in long notes in fast succession, creating a sequence of
suspensions.[35]
Versus 3
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The third stanza, "Jesus Christus, Gottes Sohn" (Jesus Christ, God's Son),[2] is a trio of the tenor, two
obbligato violins and continuo. The tenor sings the chorale melody almost unchanged.[38] The violins
illustrate first how Christ slashes at the enemy. The music stops completely on the word "nichts"
(nothing). The violins then present in four notes the outline of the cross, and finally the tenor sings a
joyful "Halleluja" to a virtuoso violin accompaniment.[39]
Versus 4
"Es war ein wunderlicher Krieg, da Tod und Leben rungen" (It was a
strange battle, that death and life waged),[2] is the center of the
symmetrical structure. It is sung by the four voices, accompanied only by
the continuo. The alto sings the cantus firmus, transposed by a fifth to B-
Dorian,[38] while the other voices follow each other in a fugal stretto with
entries just a beat apart until they fall away one by one. In the final
Halleluja in all four voices, the bass descends nearly two octaves.[40]
Versus 5
Resurrection of Jesus on the

title page of a Luther Bible,
1769
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Stanza five, "Hier ist das rechte Osterlamm" (Here is the true Easter-lamb),[2] is sung by the bass alone,
accompanied at first by a descending chromatic line in the continuo which has been compared to the
Crucifixus of the Mass in B minor, but changing to "a dance-like passage of continuous eighth notes"
when the voice enters.[35] For every line of the stanza, the bass sings a chorale tune, then repeats the
words in counterpoint to the part of the tune repeated in the strings, sometimes transposed.[38] Taruskin
describes this: "With its antiphonal exchanges between the singer and the massed strings ... this setting
sounds like a parody of a passacaglia-style Venetian opera aria, vintage 1640".[33] The bass sings the final
victorious Hallelujas, spanning two octaves.[41]
Versus 6
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"So feiern wir das hohe Fest" (So we celebrate the high festival),[2] is a duet for soprano and tenor
accompanied only by the ostinato continuo.[38] The chorale is shared by the voices, with the soprano
singing it in E minor, the tenor in B minor.[35] The movement is a dance of joy: the word "Wonne" (joy) is
rendered in figuration that Gardiner finds reminiscent of Purcell.[41] Bach incorporates the solemn
rhythms of the French overture into this verse, reflecting the presence of the word "feiern" (celebrate) in
the text. It may be the first time that Bach used these rhythms.[33]
Versus 7
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Bach's original setting of the final stanza, "Wir essen und leben wohl" (We eat and live well),[2] is lost; it
may have been a repeat of the opening chorus.[1][33][38] In Leipzig, he supplied a simple four-part
setting.[41]
Manuscripts and publication

Bach's original score is lost. A set of autograph parts has survived and is kept in the Bach-Archiv Leipzig.
The parts were copied from the autograph score by six scribes, four of them known by name, including
the composer.[31]
A manuscript score by Franz Hauser, dating from c. 1820–1839, is held by the Staatsbibliothek zu Berlin
– Preußischer Kulturbesitz. It bears a comment on page 178: "Nach den auf der Thomasschule
befindlichen / Original / : Autograph: / Stimmen in Partitur gebracht. / Lp. d 16. Oct. 33. / fHauser"
(After the original autograph parts in the Thomasschule, rendered in a score, Leipzig, 16 October
1833).[42]
The cantata was first published in 1851 as No. 4 in the first volume of the Bach-Gesellschaft Ausgabe
(BGA), edited by Moritz Hauptmann.[43] Half a century later a vocal score of the cantata appeared in
Novello's Original Octavo Edition, under the title Christ Lay in Death's Dark Prison. The piano reduction
was by John E. West, and the translation of the cantata's text by Paul England.[44] In 1905 this vocal score
was republished in the United States by H. W. Gray.[45] Henry S. Drinker's translation Christ lay by death
enshrouded appeared in a score edited by Arnold Schering and published by Eulenburg in 1932.[46] In
1967 Schering's score edition was republished by W. W. Norton with an extended introduction and
bibliography by Gerhard Herz.[47] Breitkopf & Härtel, the publisher of the BGA, produced various
editions of the cantata separately, for instance in 1968 a vocal score with Arno Schönstedt's piano
reduction and Charles Sanford Terry's translation (Christ lay in Death's grim prison).[48]
The New Bach Edition (Neue Bach-Ausgabe, NBA) published the score in 1985, edited by Alfred Dürr,
with the critical commentary published the next year.[49] In 1995 Carus produced a revised edition of
Hänssler's 1981 Christ lag in Todes Banden, edited by Reinhold Kubik. Both the Hänssler and the Carus
edition contained Jean Lunn's Christ lay in death's cold prison translation. Carus followed the NBA's
... in Todes Banden spelling for the German title. In 2007 Carus republished their score edition with an
introduction by Hans-Joachim Schulze.[50] Bach Digital published high-resolution facsimile images of the
autograph manuscript parts and of Hauser's score.[31][42] Also in the 21st century, Serenissima Music
published a vocal score of Christ lag in Todes Banden compatible with Kalmus' performance material
based on the BGA.[51][52]
Recordings and performances

Bach's cantatas fell into obscurity after his death and, in the context of their revival, Christ lag in Todes
Banden stands out as being recorded early and having been recorded often; as of 2016, the Bach Cantatas
Website lists 77 different complete recordings, the earliest dating from 1931. The first recording was a
Catalan version arranged by Francesc Pujol with Lluís Millet conducting the Orfeó Català: this 1931
performance was released on three 78 rpm discs by the label "La Voz de su Amo" (His Master's Voice) in
1932.[21] The cantata was recorded twice under the direction of Nadia Boulanger, a 1937 version recorded
in Paris and a 1938 version recorded in Boston.[21]
There are several recordings from the decades immediately after the war. Robert Shaw recorded the
cantata in 1946 and again in 1959. Günther Ramin conducted the Thomanerchor in 1950, the anniversary
of Bach's death. The same year, Fritz Lehmann conducted the choir of the Musikhochschule Frankfurt
with soloists Helmut Krebs and Dietrich Fischer-Dieskau. Karl Richter and his Münchener Bach-Chor
first recorded it in 1958.[21]
Nikolaus Harnoncourt recorded Christ lag in Todes Banden in 1971 in a historically informed
performance with original instruments and male singers (the upper two parts are sung by boys and the
countertenor Paul Esswood). This was at the start of the first project to record all Bach's sacred cantatas,
"J. S. Bach – Das Kantatenwerk" on Teldec.[21] Christ lag in Todes Banden has since been included in the
other "complete sets", conducted by Rilling, Gardiner, Koopman, Leusink, and Suzuki (details of these
recordings are given in the discography article).[21]
Music from the cantata was performed as early as 1914 at the Proms (at that time held in the Queen's
Hall), although the complete work was not heard in this concert series until 1978, when it was given at St
Augustine's church, Kilburn.[53]
Transcriptions
In 1926 Walter Rummel published a piano arrangement of the cantata's fourth movement, "Jesus
Christus, Gottes Sohn".[54] George Copeland recorded this transcription in 1938 (re-issued on CD
2001),[55] and Jonathan Plowright recorded it in 2005.[56]
After he had recorded his orchestration of the chorale prelude Christ lag in Todesbanden, BWV 718, in
1931,[57] Leopold Stokowski recorded his arrangement for symphonic orchestra of BWV 4's fourth
movement in 1937.[58] As Chorale from the Easter cantata Christ lag in Todesbanden the arrangement's
score was published by Broude Brothers in 1951.[59][60] Later the arrangement was also recorded by José
Serebrier and Robert Pikler.[61]
Notes
a. The two-word version was Luther's original and has again been adopted by the NBA.
b. The title of the parts in English: Feast of Easter Christ lag in Todes Banden for 4 voices, cornetto, 3
trombones, 2 violins, 2 violas with continuo.
References
1. Bach digital 1707 2014. 13. Geck 2006.
2. Dellal 2012. 14. Wolff 2002, p. 100.
3. Dürr 2006, p. 262. 15. Dürr 2006, p. 11.
4. Gardiner 2007, p. 15. 16. Dürr 2006, p. 12.
5. Geck 2006, p. 286. 17. Wolff 2002, p. 158.
6. Gardiner 131 2007, pp. 12–13. 18. Wolff 2002, pp. 162–163.
7. Wolff 2002, p. 99. 19. Bischof 2016.
8. Geck 2006, p. 285. 20. Jones 2007, p. 131.
9. Wolff 2002, pp. 99 (https://books.google.com/ 21. Oron 2015.
books?id=YtJVFiHnepcC&pg=PA99)–100 (http 22. Zwang & Zwang 2005.
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23. Browne 2005.
&pg=PA100).
24. Braatz & Oron 2011.
10. Towe, Teri Noel. "The Portrait in Erfurt Alleged
to Depict Bach, the Weimar Concertmeister" 25. Dürr 2006, p. 263.
(https://web.archive.org/web/2011071607434 26. Dürr 2006, p. 266.
7/http://www.npj.com/thefaceofbach/09w624.h 27. Dürr 2006, p. 258.
tml). The Face of Bach. Archived from the 28. Dürr 2006, p. 387.
original (http://www.npj.com/thefaceofbach/09
29. Wolff 2002, pp. 102–103.
w624.html) on 16 July 2011. Retrieved 28 April
2014. 30. Bach digital 1724 2014.
11. Dürr 2006, p. 264. 31. D-LEb Thomana 4 at Bach digital 2014.
12. Jones 2007, p. 5. 32. Bischof 2015.
33. Taruskin 2010, pp. 343–347. 47. Herz 1967.

34. Bach, Johann Sebastian (composer), Luther, 48. Schönstedt 1968.
Martin (author), West, John E. (editor) and 49. Dürr NBA 1985.
England, Paul (translator). Christ lay in death's
50. Carus 2007.
dark prison. (http://hdl.handle.net/1802/2949
0) Novello & Co. (Plate No. 12053), c.1900– 51. Kalmus 1933.
1905. OCLC 678916151 (https://www.worldcat. 52. Serenissima 2012.
org/oclc/678916151) 53. "All Performances of Johann Sebastian Bach:
35. Traupman-Carr 2002. Cantata No. 4, 'Christ lag in Todes Banden',
36. Dürr 1971, p. 232. BWV 4 at BBC Proms" (https://www.bbc.co.uk/
proms/events/works/95ee25ab-dd51-4d08-88
37. Dickey 2015.
00-3945264e10ea). BBC. Retrieved
38. Dürr 2006, p. 265. 24 November 2018.
39. Gardiner 2007, p. 16. 54. Rummel 1926.
40. Gardiner 2007, pp. 16–17. 55. Naxos Historical.
41. Gardiner 2007, p. 17. 56. Hyperion 2006.
42. D-B Mus. ms. Bach P 1159/XI, Fascicle 5 at 57. Stokowski prelude.
Bach digital 2014. 58. Stokowski cantata.
43. Heidelberg 2014.
59. Published 1951.
44. Novello.
60. Broude Brothers 1951.
45. Gray 1905. 61. Serebrier.
46. Schering 1932.
Cited sources
General sources
"Christ lag in Todes Banden (early version) BWV 4; BC A 54a / Chorale cantata (1st Easter Day)" (ht
tp://www.bach-digital.de/receive/BachDigitalWork_work_00000005?lang=en). Bach digital website,
managed by Bach Archive, SLUB, SBB and Leipzig University. 2014. Retrieved 21 December 2014.
"Christ lag in Todes Banden (Leipzig version) BWV 4; BC A 54a / Chorale cantata (1st Easter Day)"
(http://www.bach-digital.de/receive/BachDigitalWork_work_00000004?lang=en). Bach digital
website. 2014. Retrieved 21 December 2014.
"D-LEb Thomana 4" (http://www.bach-digital.de/receive/BachDigitalSource_source_00003219). Bach
digital website. 2014. Retrieved 8 February 2016.
"D-B Mus. ms. Bach P 1159/XI, Fascicle 5" (http://www.bach-digital.de/receive/BachDigitalSource_s
ource_00002172). Bach digital website, managed by Bach Archive, SLUB, SBB and Leipzig
University. 2014. Retrieved 8 February 2016.
Editions in English
West, John E., ed. (1900–1905). Christ lay in death's dark prison. Translated by England, Paul.
Novello & Co. hdl:1802/29490 (https://hdl.handle.net/1802%2F29490). OCLC 678916151 (https://w
ww.worldcat.org/oclc/678916151).
West, John E., ed. (1905). Christ Lay in Death's Dark Prison (Christ lag in Todesbanden): Easter
Cantata (https://www.amazon.com/Cantata-Orchestra-English-version-England/dp/B0000CSJ0E).
Translated by England, Paul. New York, NY: The H. W. Gray Co., Inc.
Schering, Arnold, ed. (1932). Cantata No. 4: Christ lag in Todesbanden – Christ lay by death
enshrouded (http://pictures.abebooks.com/ANTIQUARIATDARAS/15970488097.jpg). Translated by
Drinker, Henry S. New York, NY: Eulenburg. OCLC 12938956 (https://www.worldcat.org/oclc/129389
56).
Hauptmann, Moritz, ed. (1933). Cantata No. 4: Christ lag in Todesbanden, BWV 4 (https://www.ama
zon.com/Christ-lag-Todesbanden-BWV-Score/dp/B00UJ21PC6). Kalmus.
Herz, Gerhard, ed. (1967). Cantata No. 4: Christ lag in Todesbanden: an authoritative score,
backgrounds, analysis, views and comments (http://trove.nla.gov.au/work/7863430?q&sort=holdin
gs+desc&_=1463224796520&versionId=44497585). W. W. Norton. OCLC 2869218 (https://www.wo
rldcat.org/oclc/2869218).
Schönstedt, Arno, ed. (1968). Kantate Nr. 4 am Osterfest: "Christ lag in Todesbanden" – Cantata
No. 4 for Easter: "Christ lay in Death's grim prison" (http://www.abebooks.com/servlet/BookDetails
PL?bi=15858649503&searchurl=tn%3Dchrist%2520lag%2520todesbanden%26sortby%3D17%26n%
3D100121503). Translated by Terry, Charles Sanford. Breitkopf & Härtel.
Schreck, Gustav; Marissen, Michael, eds. (2012). Cantata No. 4: Christ lag in Todesbanden – BWV
4. Serenissima. ISBN 978-1-932419-48-1.
Editions
Dürr, Alfred, ed. (1985). "Kantaten zum 1. Ostertag". Kantaten (https://web.archive.org/web/201606

05132407/https://www.baerenreiter.com/fileadmin/ecs/BA5064-01/pdf/9790006463114_Innenansich
t.pdf) (PDF) (in German). Vol. 9. Bärenreiter. Archived from the original (https://www.baerenreiter.co
m/fileadmin/ecs/BA5064-01/pdf/9790006463114_Innenansicht.pdf) (PDF) on 5 June 2016.
Kubik, Reinhold, ed. (2007). Christ lag in Todes Banden – Christ lay in death's cold prison – BWV 4
(https://www.carusmedia.com/images-intern/medien/30/3100400/3100400x.pdf) (PDF). Translated
by Lunn, Jean. Carus. OCLC 762198060 (https://www.worldcat.org/oclc/762198060).
Books
Dürr, Alfred (1971). Die Kantaten von Johann Sebastian Bach (https://archive.org/details/diekantate
nvonjo0002durr) (in German). Vol. 1 (4 ed.). Deutscher Taschenbuchverlag. ISBN 3-423-04080-7.
Dürr, Alfred (2006). The Cantatas of J. S. Bach: With Their Librettos in German-English Parallel Text
(https://books.google.com/books?id=m9JuwslMcq4C&pg=PA262). Translated by Richard D. P.
Jones. Oxford University Press. ISBN 978-0-19-929776-4.
Geck, Martin (2006). Johann Sebastian Bach: Life and Work. Translated by John Hargraves.
Harcourt. ISBN 978-0-15-100648-9.
Jones, Richard D. P. (2007). The Creative Development of Johann Sebastian Bach, Volume I: 1695–
1717: Music to Delight the Spirit (https://books.google.com/books?id=-Pdssru1i8oC&pg=PA5).
Oxford University Press. ISBN 978-0-19-816440-1.
Taruskin, Richard (2010). Music in the Seventeenth and Eighteenth Centuries. The Oxford History
of Western Music. Vol. 2. New York: Oxford University Press. ISBN 978-0-19-538482-6.
Wolff, Christoph (2002). Johann Sebastian Bach: The Learned Musician (https://books.google.com/
books?id=NHpL3cQg0_UC&pg=PA99). Oxford University Press. ISBN 978-0-393-32256-9.
Zwang, Philippe; Zwang, Gérard (2005). Guide pratique des cantates de Bach (Second revised and
augmented edition.) (https://books.google.com/books?id=d7t5DUoUMJkC) (in French).
L'Harmattan. pp. 43–44 (http://www.youscribe.com/catalogue/livres/art-musique-et-cinema/musiqu
e/guide-pratique-des-cantates-de-bach-178613). ISBN 978-2-296-42607-8.
Online sources
Bischof, Walter F. (2015). "BWV 4 Christ lag in Todes Banden" (https://web.archive.org/web/201005

10082111/http://webdocs.cs.ualberta.ca/~wfb/cantatas/4.html). University of Alberta. Archived
from the original (http://webdocs.cs.ualberta.ca/~wfb/cantatas/4.html) on 10 May 2010. Retrieved
13 September 2015.
Bischof, Walter F. (2016). "BWV 71 Gott ist mein König" (https://web.archive.org/web/20110807055
542/http://webdocs.cs.ualberta.ca/~wfb/cantatas/71.html). University of Alberta. Archived from the
original (http://webdocs.cs.ualberta.ca/~wfb/cantatas/71.html) on 7 August 2011. Retrieved
20 January 2016.
Braatz, Thomas; Oron, Aryeh (2011). "Chorale Melodies used in Bach's Vocal Works / Christ ist
erstanden" (http://www.bach-cantatas.com/CM/Christ-ist-erstanden.htm). Bach Cantatas Website.
Retrieved 13 September 2010.
Browne, Francis (2005). " "Christ lag in Todesbanden", Text and Translation of Chorale" (http://www.
bach-cantatas.com/Texts/Chorale012-Eng3.htm). Bach Cantatas Website. Retrieved 13 August 2010.
Dellal, Pamela (2012). "BWV 4 – Christ lag in Todesbanden" (https://www.emmanuelmusic.org/bach
-translations/bwv-4). Emmanuel Music. Retrieved 20 August 2022.
Dickey, Timothy (2015). "Cantata No. 4, "Christ lag in Todes Banden", BWV 4 (BCA 54)" (http://ww
w.allmusic.com/work/cantata-no-4-christ-lag-in-todes-banden-bwv-4-bca-54-c59973/description).
Allmusic. Retrieved 23 September 2015.
Gardiner, John Eliot (2007). Johann Sebastian Bach (1685-1750) / Cantatas Nos 4, 6, 31, 66, 134 &
145 (https://www.hyperion-records.co.uk/dc.asp?dc=D_SDG128) (Media notes). Soli Deo Gloria (at
Hyperion Records website). Retrieved 22 April 2019.
Gardiner, John Eliot (2007). Johann Sebastian Bach (1685-1750) / Cantatas Nos 24, 71, 88, 93, 131,
177 & 185 (https://www.hyperion-records.co.uk/dc.asp?dc=D_SDG141) (Media notes). Soli Deo
Gloria (at Hyperion Records website). Retrieved 22 April 2019.
Oron, Aryeh (2015). "Cantata BWV 4 Christ lag in Todesbanden" (http://www.bach-cantatas.com/B
WV4.htm). Bach Cantatas Website. Retrieved 23 September 2015.
Rummel, Walter (1926). "Jesus Christus, Gottes Sohn" (http://waltercosand.com/CosandScores/Com
posers%20Q-Z/Rummel,%20Walter/Bach-Rummel-Jesus_Christus_Gottes_Sohn.pdf) (PDF). Bach—
Rummel Adaptations (No. 7). London: J. & W. Chester. Retrieved 30 May 2016.
Serebrier, José. "Leopold Stokowski Transcriptions" (http://www.stokowski.org/Leopold_Stokowski_Tr
anscriptions.htm). stokowski.org. Retrieved 30 May 2016.
Traupman-Carr, Carol (2002). "Cantata BWV 4, Christ lag in Todes Banden" (http://www.bach.org/b
wv4.php). The Bach Choir of Bethlehem. Retrieved 23 September 2014.
"Chorale from the Easter cantata Christ lag in Todesbanden" (https://www.emsmusic.com/product_
p/emsg12499.htm). Broude Brothers. 1951. Retrieved 30 May 2016.
"Joh. Seb. Bach's Kirchencantaten; Bd. 1 / No. 1 – 10" (http://katalog.ub.uni-heidelberg.de/cgi-bin/t
itel.cgi?katkey=1246347). Universitätsbibliothek Heidelberg. Retrieved 8 April 2013.
"BACH Piano Transcriptions Rachmaninov, Cortot, Christie, Bartlett, Samaroff, Copeland, Cohen,
Kelberine, Gieseking, Backhaus, Janis, Rubinstein (Rare Rec.1930-47) Naxos Historical" (https://web.
archive.org/web/20160617201440/http://www.mdt.co.uk/bach-piano-transcriptions-rachmaninov-c
ortot-rare-rec-1930-47-naxos-historical.html). Naxos Historical. Archived from the original (http://w
ww.mdt.co.uk/bach-piano-transcriptions-rachmaninov-cortot-rare-rec-1930-47-naxos-historical.htm
l) on 17 June 2016. Retrieved 30 May 2016.
Timbrell, Charles (2006). "Bach: Piano Transcriptions – 6 (Walter Rummel / Jonathan Plowright
(liner notes)" (http://www.hyperion-records.co.uk/notes/67481-B.pdf) (PDF). Hyperion. Retrieved
30 May 2016.
"Catalog of Copyright Entries: Third series; Part 5A: Published Music" (https://books.google.com/b
ooks?id=oFghAQAAIAAJ&pg=PA10). Washington, D.C.: Library of Congress. 1951. p. 10. Retrieved
30 May 2016.
"Bach – Cantata No 4 Jesus Christus, Gottes Sohn (Christ lag in Todes Banden) BWV 4 – orch.
Stokowski" (https://web.archive.org/web/20160817202910/http://publicdomain.lafauniere.info/inde
x.php?-action=browse&-table=media&pk_media=%3D6393). publicdomain.lafauniere.info.
Archived from the original (http://publicdomain.lafauniere.info/index.php?-action=browse&-table=
media&pk_media=%3D6393) on 17 August 2016. Retrieved 30 May 2016.
"Bach – Chorale Prelude Christ lag in Todesbanden BWV 718 (orch. Stokowski)" (https://web.archiv
e.org/web/20160817185745/http://publicdomain.lafauniere.info/index.php?-action=browse&-table
=media&pk_media=%3D6272). publicdomain.lafauniere.info. Archived from the original (http://pu
blicdomain.lafauniere.info/index.php?-action=browse&-table=media&pk_media=%3D6272) on 17
August 2016. Retrieved 30 May 2016.
Further reading
Church, Michael (2012). "The Emperor of Atlantis/Christ lag in Todesbanden, English Touring
Opera, Linbury Studio, London" (https://www.independent.co.uk/arts-entertainment/classical/revie
ws/the-emperor-of-atlantischrist-lag-in-todesbanden-english-touring-opera-linbury-studio-london-
8201714.html). The Independent. Retrieved 3 May 2015.
Hewett, Ivan (2013). "Bach Marathon, Albert Hall, Review" (https://www.telegraph.co.uk/culture/mu
sic/classicalconcertreviews/9966825/Bach-Marathon-Albert-Hall-review.html). The Telegraph.
Retrieved 4 May 2015.
Wolff, Christoph, ed. (1997), The World of the Bach Cantatas: Early Selected Cantatas, W. W.
Norton, ISBN 0-393-33674-3
External links
Christ lag in Todes Banden, BWV 4: Scores at the International Music Score Library Project
Christ lag in Todes Banden (https://www.youtube.com/watch?v=3ffg4mU7FNE) on YouTube,
performed by Ensemble Orlando Fribourg, Laurent Gendre (conductor), 2016
English translation (https://www.uvm.edu/~classics/faculty/bach/BWV4.html) by Z. Philip Ambrose,
hosted at University of Vermont
Mincham, Julian (2010). "Chapter 42 BWV 4 & BWV 42, each commencing with a sinfonia" (http://
www.jsbachcantatas.com/documents/chapter-42-bwv-4-42/). jsbachcantatas.com. Retrieved
16 April 2010.
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24. 4. 3.

오후 8:15 Christ lag in Todes Banden, BWV 4 - Wikipedia

Christ lag in Todes Banden (also spelled

Christ lag in Todes Banden is a chorale cantata, a style in

In Arnstadt, the Kantor (church musician) Heindorff was responsible

Bach's early cantatas

Bach's early cantatas

Date Occasion BWV Incipit Text source

Nach dir, Herr, verlanget

Christ lag in Todes

Aus der Tiefen rufe ich,

mainly Psalm 146, two stanzas of Jakob

Inauguration of the mainly Psalm 74, with added biblical

Gottes Zeit ist die

Readings and chorale

The reformer Martin Luther wrote several hymns in German to be used in

Structure and scoring

Movements of Christ lag in Todes Banden, BWV 4

No. Title Type Vocal Brass Strings Key Time.

1 Sinfonia 2Vl 2Va E minor

Christ lag in Todes Banden

Versus 2 Den Tod niemand zwingen kunnt Aria Duetto SA Ct Tb E minor

Versus 3 Jesus Christus, Gottes Sohn Aria T 2Vl E minor

Versus 4 Es war ein wunderlicher Krieg Chorus SATB E minor

Versus 6 So feiern wir das hohe Fest Aria Duetto ST E minor

1. Polyphonic chorale fantasia

John Eliot Gardiner, who

Resurrection of Jesus on the

Manuscripts and publication

Recordings and performances

33. Taruskin 2010, pp. 343–347. 47. Herz 1967.

Dürr, Alfred, ed. (1985). "Kantaten zum 1. Ostertag". Kantaten (https://web.archive.org/web/201606

Bischof, Walter F. (2015). "BWV 4 Christ lag in Todes Banden" (https://web.archive.org/web/201005

Retrieved from "https://en.wikipedia.org/w/index.php?title=Christ_lag_in_Todes_Banden,_BWV_4&oldid=1214242801"

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