96: Alleluia! Bach's Jubilant Ululation.

The oldest surviving (ca. 1100) German church melody is centered around Easter and the resurrection: Christ ist erstanden. Luther adapted this into Christ lag in Todesbanden. Both texts culminate in a triumphant “Hallelujah!”What kind of music could Bach compose for such a joyous word? In every instance, it demands a distinctly exalted treatment. We discuss the origins of the word Alleluia, and analyze the music when the word appears in his motets, cantatas and a four-part chorale. Plus, the story of the discovery of Bach’s personal bible, the Calov Bible.Here’s the word in the autograph of Singet dem Herrn ein neues Lied (can’t you feel his joy writing this?)Performers in today’s episode:BWV 225, Vocalconsort Berlin, Daniel ReussBWV 230, Le Petite Band, Sigiwald KokenBWV 140, Academy of Ancient Music, Choir of King's College, Stephen CleoburyBWV 4, Pigmaleon, Raphael PinchonBWV 276, Chamber Choir of Europe, Nichol MattBWV 143, Amsterdam Baroque Orchestra & Choir, Ton KoopmanHallelujah!We Rely On Listener Support! How to Donate to this Podcast:The best way to support this podcast, is to become a paid subscriber at WTFBach.comYou can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachThank you for listening! Thank you for your support.Reach us at Bach (at) WTFBach (dot com)Concepts Covered: This epiosde of the podcast explores the origins of the German resurrection hymn Christ ist erstanden, recomposed by Luther into Christ lag in Todesbanden, and how Bach musically sets the word "Hallelujah" across his motets, cantatas, and his four-part chorales. We examine the etymology of "Alleluia," its liturgical role in the tempus clausum—when festive music ceases— the observance under the Rule of Saint Benedict. The episode ends with a mention of the discovery of Bach’s annotated Calov Bible, offering us a possible glimpse into his theological and musical mindset. Get full access to W.T.F. Bach? at wtfbach.substack.com/subscribe