Halt im Gedächtnis Jesum Christ, BWV 67

Bach structured the cantata in seven movements, arranged symmetrically around a central chorale. He scored the work for three vocal soloists (alto, tenor, bass), a four-part choir and a Baroque instrumental ensemble of corno da tirarsi (Ct, a slide horn that Bach scored for a short period), flauto traverso (Ft), two oboes d'amore (Oa), two violins (Vl), viola (Va), and basso continuo.[7][8]

In the following table of the movements, the scoring follows the Neue Bach-Ausgabe.[7] The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4).[3] The continuo, playing throughout, is not shown.

Movements of Halt im Gedächtnis Jesum Christ

No.	Title	Text	Type	Vocal	Winds	Strings	Key	Time
1	Halt im Gedächtnis Jesum Christ	Timotheus 2:8	Chorus	SATB	Ft 2Oa	2Vl Va	A major
2	Mein Jesus ist erstanden	anon.	Aria	T	Oa	2Vl Va	E major
3	Mein Jesu, heißest du des Todes Gift	anon.	Recitative	A
4	Erschienen ist der herrlich Tag	Herman	Chorale	SATB	Ct Ft 2Oa	2Vl Va
5	Doch scheinet fast	anon	Recitative	A
6	Friede sei mit euch	anon.	Aria e Coro	B SAT	Ft 2Oa	2Vl Va	A major	3/4
7	Du Friedefürst, Herr Jesu Christ	Ebert	Chorale	SATB	Ct Fl 2Oa	2Vl Va

The opening chorus reflects the contrast of hope and resurrection versus simultaneous remembrance and doubt, which is present throughout the cantata. The chorus is structured in symmetry in seven sections,[9] beginning with an instrumental sinfonia of all instruments, the horn introducing a theme representing remembrance in a melody which resembles the choral tune of "O Lamm Gottes, unschuldig" which Bach would later use as a cantus firmus in the opening movement of his St Matthew Passion. Bach thus alludes to the idea that Jesus suffered innocently for the "sins of the world" before he rose again. In the second section, this melody is sung by the sopranos, while the lower voices stress the word "Halt" (hold) by several homophonic chords. In the third section, the sopranos repeat the melody in a fugue, while the altos simultaneously sing a countersubject that rises in fast movement for more than an octave, illustrating the resurrection. The fourth section is a reprise of the sinfonia with the voices added, then a variation of sections 2 to 4 follows as 5 to 7.[3]

The tenor aria Mein Jesus ist erstanden (My Jesus is arisen)[1] is accompanied by an obbligato oboe d'amore. The theme is presented in the opening by the strings and later picked up by the voice, illustrating the word "auferstanden" by an upward run.[4]

The Easter hymn "Erschienen ist der herrlich Tag"[10] marks the center of the composition. In symmetry, it is framed by two alto recitatives, the second a reprise of the first.[9]

The idea of a solo singer alternating with a chorus is extended in the following movement, the bass aria with chorus Friede sei mit euch (Peace be with you). A string introduction depicts in agitated forte passages in 4/4 time the attack of the enemies. John Eliot Gardiner describes it as "a dramatic scena in which the strings work up a storm to illustrate the raging of the soul's enemies".[2] In sharp contrast the bass as the vox Christi (voice of Christ) sings the greeting of Jesus from verse 19 of the Gospel, "Peace be with you", three times, accompanied by woodwinds in dotted rhythm in 3/4 time, marked piano. Musicologist Julian Mincham describes the music as serene, a "gentle, rocking, almost cradle-like rhythm creating a perfect atmosphere of peaceful contemplation". The upper voices of the choir (without basses) answer to the music of the introduction, seeing Jesus as help in the battle ("hilft uns kämpfen und die Wut der Feinde dämpfen"). The greeting and answering is repeated two more times in two stanzas of the poem, reflecting the strengthening of the weary in spirit and body ("erquicket in uns Müden Geist und Leib zugleich"), and finally overcoming death ("durch den Tod hindurch zu dringen"). The following fourth appearance of "Peace be with you" is accompanied by both woodwinds and strings, and peace is finally achieved.[3][9] Klaus Hofmann describes the movement as an "operatic scene" and continues "Bach resorts to unconventional means; he shows himself as a musical dramatist and, in the process, stresses the element of contrast: he comments upon the words of the faithful with agitated, tumultuous string figures, whilst Jesus' peace greeting sounds calmly and majestically, embedded in pastoral wind sonorities."[4] Bach adapted this movement as the Gloria of his Missa in A major, BWV 234.[8]

The closing chorale "Du Friedefürst, Herr Jesu Christ" is a four-part setting.[3][11]