Vox Christi, Latin for Voice of Christ, is a setting of Jesus' words in a vocal work such as a Passion, an Oratorium or a Cantata. Conventionally, for instance in Protestant music of the Baroque era, the vox Christi is set for a bass voice.
Evangelist and vox Christi combination in Bach's St Matthew Passion
In Protestant Germany the words of the vox Christi are in German: when the vocal work contains a sung Gospel reading, such as in Bach's Passions, the words are taken from Luther's Bible translation, but the words may also be free verse, as for instance in the Brockes Passion. In either case the composition may also contain a setting of an Evangelist's words, which are traditionally set for a tenor voice.
Apart from a difference in voice type, settings of Jesus' words in recitatives can be further differentiated from surrounding text settings by, for instance, giving them a more arioso character, or setting them accompagnato (while the Evangelist and other characters sing secco).
In Bach's extant Passion compositions the vox Christi bass combines with an Evangelist's tenor voice. The Evangelist narrates the story in the Gospel's exact words in recitative secco. In the St John Passion the words of Jesus are set as recitatives secco leaning toward arioso. In the St Matthew Passion they are in accompanied recitative, that is they are additionally highlighted by an accompaniment of strings and basso continuo.[1] The Vox Christi also appears in Bach's Christmas Oratorio, and in his Ascension Oratorio.
In Bach's church cantatas the vox Christi may utter either literal words from the Bible which are neither direct quotes of or even attributed to Christ but are presented in the context of the musical work as being made by Christ, or extra-biblical words, for example in a dialogue between the Bridegroom (Christ) and the Bride (the Soul), or in an address to the Bride.
In Himmelskönig, sei willkommen, BWV 182, (25 March 1714), Bach's first cantata in Weimar, for Palm Sunday coinciding with Annunciation, verses from a Psalm are treated as if Jesus said them, set as the only recitative of the cantata, expanding to an Arioso: "Siehe, ich komme, im Buch ist von mir geschrieben" ("Lo, I come: in the volume of the book [it is] written of me, I delight to do thy will." Psalms40:7—8.
In Nun komm, der Heiden Heiland, BWV 61, (2 December 1714) the bass sings the words of Christ from the Book of Revelation: "Siehe, ich stehe vor der Tür und klopfe an. So jemand meine Stimme hören wird und die Tür auftun, zu dem werde ich eingehen und das Abendmahl mit ihm halten und er mit mir." ("Behold, I stand at the door, and knock: if any man hear my voice, and open the door, I will come in to him, and will sup with him, and he with me. " Revelation3:20.
In Barmherziges Herze der ewigen Liebe, BWV 185, (14 July 1715), the bass summarizes admonitions from the Sermon on the Mount, all introduced by the keywords "Das ist der Christen Kunst" (That is the Christian art).
In Bereitet die Wege, bereitet die Bahn, BWV 132, (22 December 1715) the question Wer bist du? (Who are you), posed to St. John in the Gospel, is given to the bass, as if Jesus asked the listener this question.
In Mein Gott, wie lang, ach lange? BWV 155, (19 January 1716) serious questions get answered by words of consolation, sung by the bass as the vox Christi, almost as an arioso on the words "Damit sein Gnadenlicht dir desto lieblicher erscheine" (so that the light of His grace might shine on you all the more brightly).
In Jesus nahm zu sich die Zwölfe, BWV 22 (7 February 1723, Oculi Sunday), the cantata starts with a scene from the Gospel, the announcement of suffering in Jerusalem, quoting Luke18:31,34. The tenor as the Evangelist begins the narration from the verse 31, Jesus nahm zu sich die Zwölfe (Jesus gathered the twelve to Himself). The bass sings the announcement of the suffering, Sehet, wir gehn hinauf gen Jerusalem (Behold, we go up to Jerusalem), A choral fugue illustrates the reaction of the disciples.
In Mein liebster Jesus ist verloren, BWV 154, (9 January 1724) the bass sings in an arioso the answer of Jesus, found in the temple 12 years old, to the questioning of his desperate parents: "Wisset ihr nicht, daß ich sein muß in dem, das meines Vaters ist?" ("Do you not know that I must be in that which is My Father's?", Luke2:49.
In Jesus schläft, was soll ich hoffen? BWV 81, (30 January 1724) the bass sings in an arioso, central within the cantata, the question of Jesus: "Ihr Kleingläubigen, warum seid ihr so furchtsam?" (Why are ye fearful, O ye of little faith?), Matthew8:26.
The sixth movement of Halt im Gedächtnis Jesum Christ, BWV 67, (16 April 1724) is an "operatic scene", with the bass serenely repeating the words of Jesus from the Gospel, "Peace be with you", four times (three times each), contrasted by agitated choral answers which see Jesus as help in the battle, in strengthening of the weary in spirit and body, and in overcoming death.
Cantata Wo gehest du hin? BWV 166, (7 May 1724) is opened by the bass singing a quote from the gospel, the third Farewell Discourse, but turned into a general question about the direction of life.
In the cantata Wahrlich, wahrlich, ich sage euch, BWV 86, (14 May 1724) the bass sings in the opening movement three times the promise from the Farewell Discourse of Jesus: "Verily, verily, I say unto you, whatsoever ye shall ask the Father in my name, he will give you" (John16:23).
Bach uses the Vox Christi in several cantatas of his second cycle (1724–1725):
In Jesu, der du meine Seele, BWV 78, (10 September 1724) a bass recitative is accompanied by strings, Die Wunden, Nägel, Kron und Grab ("The wounds, nails, crown and grave"), reminiscent of the vox Christi in Bach's St. Matthew Passion.
In other cantatas of the second cycle:
In the first movement of Ich bin ein guter Hirt, BWV 85, (15 April 1725), the bass sings "I am a good shepherd" from the Gospel.
Jesus speaks twice in Bisher habt ihr nichts gebeten in meinem Namen, BWV 87, (6 May 1725), in movement 1 accompanied by strings, doubled by oboes, in movement 5 accompanied by the continuo: "In the world you have fear; however be comforted, I have conquered the world."
In the first movement of Sie werden euch in den Bann tun, BWV 183, (13 May 1725), the announcement of Jesus from the second Farewell Discourse is set as a recitative of only five measures, accompanied by long chords of the four oboes, two oboi da caccia and two oboi d'amore on a pedal point of the continuo, creating a "sepulchral" sound.
The central movement of Brich dem Hungrigen dein Brot, BWV 39, (23 June 1726) is a line from the Epistle to the Hebrews 13:16, Wohlzutun und mitzuteilen vergesset nicht ("To do good and to share, forget no"). Bach treats it, as if Jesus said the words himself, between arioso and aria.
In Siehe, ich will viel Fischer aussenden, BWV 88 (21 July 1726, 5th Sunday after Trinity), the Evangelist begins part 2 with a recitative on Luke5:10, "Jesus sprach zu Simon" (Jesus said to Simon), the following direct speech of Jesus, calling Peter as his disciple, is sung by the bass: "Fürchte dich nicht; den von nun an wirst du Menschen fahen" (Fear not, from henceforth thou shalt catch men).
The central movement of Es wartet alles auf dich, BWV 187, (4 August 1726) is Darum sollt ihr nicht sorgen ("Therefore do not be anxious") from the Sermon on the Mount. The words of Jesus are sung by the bass, accompanied by the violins in unison and the continuo, which also takes part in their motifs.
In Ich geh und suche mit Verlangen, BWV 49, (3 November 1726), a cantata for soprano and bass soloists which is termed a Dialogus between the Bride (the Soul) and the Bridegroom (Jesus), the soprano is the Bride and the bass, the vox Christi, is the Bridegroom.
In Wachet auf, ruft uns die Stimme, BWV 140, (25 November 1731) Jesus "appears" with the "Soul" in movement 3, a duet for soprano and bass, Wann kommst du, mein Heil? ("When will you come, my salvation?").[2]
In Schwingt freudig euch empor, BWV 36, (2 December 1731) in the bass aria beginning part II, "Willkommen, werter Schatz!" (Welcome, worthy treasure!) the bass voice is the vox Christi, addressing the bride.
Some basses and baritones are especially known for singing the words of Jesus in Bach's Passions, including:
