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 Reuss

BWV 230, Le Petite Band, Sigiwald Koken

BWV 140, Academy of Ancient Music, Choir of King's College, Stephen Cleobury

BWV 4, Pigmaleon, Raphael Pinchon

BWV 276, Chamber Choir of Europe, Nichol Matt

BWV 143, Amsterdam Baroque Orchestra & Choir, Ton Koopman

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Concepts Covered:

This study explores the origins of the German resurrection hymn Christ ist erstanden, transformed by Luther into Christ lag in Todesbanden, and how Bach distinctively set the jubilant "Hallelujah" across motets, cantatas, and a four-part chorale. It examines the etymology of "Alleluia," its liturgical role in the tempus clausum—when festive music ceased—and its observance under the Rule of Saint Benedict. The discussion concludes with the discovery of Bach’s annotated Calov Bible, offering insight into his theological and musical mindset.