youtube bach christmas oratorio

There’s also ample evidence of why Barbara Schlick and Kurt Equiluz are among the most perceptive Bachians of their generation. If the Mass in B minor is a compilation on the loftiest conceptual level – honed and crafted as the zenith of Bach’s creative life – then the Christmas Oratorio stands as a compilation of a quite different kind, a practical harvesting of six specific cantatas to be performed on the feast days of Christmas 1734 and the New Year. If not always the most comforting reading, this is the performance which attempts most rivetingly to seek the essence of Bach’s musical imagery and meaning. It comprises six cantatas, suitable for performing separately during the so-called twelve days of Christmas. Brahms - Requiem: Durufle - Requiem . Harnoncourt - Bach - Christmas Oratorio BWV 248 ... - YouTube Part I: The First Day of Christmas. His view is principally one of theatrical observation through imaginative calibrations of texture between voices and instruments, of which the poised New London Consort are masters in earlier repertoire. Theil • 4. Far more telling are the thrills and spills of Diego Fasolis with his Lugano-based forces and imported soloists. Jonathan Freeman-Attwood Wednesday, December 10, 2014 Jonathan Freeman-Attwood listens to 65 years’ worth of recordings It's all here. Johann Sebastian Bach (1685–1750) Und es waren Hirten in derselben Gegend, BWV 248/II Beethoven - 9th Symphony: Berlioz - Requiem . But if you are looking to get sizzled on a holiday within your working holiday, see our 3 in D major, BWV 1068 Herr, wenn die stolzen Feinde schnauben, BWV 248/6 Harry Christophers and The Sixteen present a more conventional interpretative landscape. An unwieldy Radio Choir skating over detail, in too resonant an acoustic, disqualifies this reading in the same way as that by Enoch zu Guttenberg appears to have been painted by numbers in a story of a thousand mannerisms. Bach, Christmas Oratorio, BWV 248-V, at the Sunday after New Year – Herod and the Magi. Some may baulk at the hybrid stylistic world of ‘not-quite-authentic’ (eg modern strings, albeit gut) but there is a gratifying eloquence throughout, enhanced significantly by a fine German alto boy soloist, Andreas Stein, who irradiates ‘Schlafe, mein Liebster’ – the cradling all the more tender for the few years which separate the singer from his own infancy. Meine Datenschutz-Einstellungen One such example is the great cradle aria, ‘Schlafe, mein Liebster’, where composer and librettist (probably Bach’s prime collaborator, Picander) produce an affectionate and telling makeover sourced from an older secular cantata (BWV213) – the tempting wiles of the allegorical ‘Pleasure’ luring Hercules towards a rather different concept of sleep, here becoming a vision of haloed slumber fit for the kingly child. Some may miss the cut and thrust of a Gardiner or the cultivated solo contributions in recordings by Corboz or Chailly but a meticulous attention to detail, superlative balance and speeds which allow the music to proceed with dignity in the gradual, contemplative unfolding of events are second nature to Suzuki. Gramophone is part of Album: J.S. The series features three renowned cantatas, Wachet auf, ruft uns die Stimme, BWV 140, Aus der Tiefen rufe ich, Herr, zu dir, BWV 131, and Nun komm der Heiden Heiland, BWV 61, followed by all six parts of Bach’s beloved Christmas Oratorio, BWV 248. Sunday, December 13th, 2020, 4pm, on the Bach Choir’s YouTube Channel; also to be aired on WFMZ-TV Channel 69 twice during the month of December: at 7pm on Saturday, December 19 and again on Christmas Eve at 10pm. Posted on January 4, 2021 January 4, 2021 by Hendrik Slegtenhorst. 30 Christmas Carols. The Christmas Oratorio presents itself as a cycle of similarly structured individual works whose continuity rests on the Christmas narrative according to the Gospels of Luke and Matthew as well as on the recurrence of certain types of settings and the dramaturgy typical of Bach’s cantata oeuvre. Bachs Christmas Oratorio Johann Sebastian Bachs Oratorium Tempore Nativitatis Christi, a cycle of six cantatas for the Christmas season, had its collective premiere from Christmas Day 1734 through Epiphany Sunday 1735 in Leipzig. He borrowed the music for the opening chorus from another cantata, but forgot and copied the old words into the score, which he then had to cross out. Lasset das Zagen, verbannet die Klage, Stimmet voll Jauchzen und Fröhlichkeit an! Harnoncourt’s considered identity with each ‘event’ in the narrative places the work outside anything remotely pragmatic or generic. The chorales are vintage Monteverdi Choir, though the choruses are not as embracing or electric as one feels they could have been. As Harnoncourt represented the advent of historical Oratorio recordings in 1972, so he seeks a kind of epiphany in his large-scale, spacious and glamorous interpretation from the Musikverein at Christmas in 2006. For many it will satisfy beyond measure. Theil 2. Because Christmas means summertime in the Southern Hemisphere, some families like to go on holiday to find a place in the sun or go to their summer bach (holiday house) in New Zealand. Das Weihnachtsoratorium BWV 248 ist ein sechsteiliges Oratorium für Soli (), gemischten Chor und Orchester von Johann Sebastian Bach.Die einzelnen Teile wurden erstmals vom Thomanerchor in Leipzig in den sechs Gottesdiensten zwischen dem ersten Weihnachtsfeiertag 1734 und dem Epiphaniasfest 1735 in der Nikolaikirche und der Thomaskirche aufgeführt. Thursday, January 14, 2021 at 8 p.m. on YouTube & Facebook. Bernstein - Chichester Psalms: Dvorak - Stabat Mater . I have listened to Bach’s Christmas Oratorio from childhood on. I savoured ‘Frohe Hirten’ as rarely before – the agile tenor Wolfram Lattke is so completely allied with his fluting partner that the shepherds almost take off in exultation. Or $0.00 with a Prime membership. The “Kyrie” and “Gloria” of the Mass in B Minor, written in 1733, were also dedicated to the elector, but the rest of the Mass was not put together until Bach’s last years. Whereas the shorter Easter and Ascension Oratorios are for specific occasions, this work suggests closer links to the Lutheran historia or Passion; we can observe several similarities to the St John and St Matthew Passions, such as the binding role of the Evangelist, the selective and common thread of topical chorales and the prominence of biblical gospel text. Find similar music that you'll enjoy, only at Last.fm. Rilling’s later version from 1999 follows a similar template but the choruses crackle here with considerably more glee and variety, and each part infectiously follows the last with connective logic (the wise men’s arrival from the East is handled with seasoned timing). The soprano Sibylla Rubens makes an operatic ‘scena’ out of the tempestuous recitative and fervent aria ‘Nur ein Wink’ in Part 6. JOHANN SEBASTIAN BACH (1685-1750)"Weihnachtsoratorium" Cantata No. I initially missed this recording when it was released and what a loss it would have been: relish the concerted spiritedness from top to bottom. The Sinfonia to Part 2 is as touching an evocation of abiding shepherds as you’ll find. For the Christmas Oratorio, Bach cleverly used music he had already composed, adapting it for a new purpose. This is indeed a highly accomplished and consistent reading, one where Bach’s sense of imagery is especially keenly developed. Bach’s Christmas Oratorio has been treated very well on disc. The most successful interpreters are those who identify how Bach links each cantata or ‘scene’ through the Evangelist’s quietly influential role: often he is quite directorial – exercising not merely reportage but guiding us personally through the events of Christ’s birth to the Epiphany. If Fasolis temporarily held sway in my affections, Harnoncourt’s later version is my top choice: an account elevating these six great tableaux to a level where Bach, at his most mature and luminous, irresistibly conveys the wonders of Christmas. His ‘Ich will nur’ in Part 4 is exceptional. Such is the case in Kurt Thomas’s second recording (with the Leipzig Thomaners) from 1958. From the booklet of the Christmas Oratorio CD. Gramophone is brought to you by Mark Allen Group 4.0 out of 5 stars 12. It’s a generously conceived and well-directed but rather low-key reading. This playlist is of the original German Version of the Weihnachts Oratorium. Christmas Oratorio Part III. 1 (Am ersten Weihanchtsfeiertage) BWV246 for choir, soloists, 2 trumpets, timpani, 2 transverse flutes, 2 oboes, 2 oboe d'amore, strings, and basso continuo \r\rNo 1. René Jacobs’s idea of the work could not be more radically different: brazen, grand choruses, purposeful, operatic-style recitatives (with endlessly distracting strumming) and biting arias which, in their strutting gait, extrovert articulation and tonal opulence border on the vain – from Andreas Scholl’s busy ‘Bereite’ to a frenetic terzetto in Part 5. 巴赫康塔塔《尊主颂》指挥：哈农库特 勋伯格合唱团 - Magnificat BWV 243 - Nikolaus Harnoncourt Other articles where Christmas Oratorio is discussed: Johann Sebastian Bach: Instrumental works: …words and reused in the Christmas Oratorio. That is just one means to seek original coloration in the score, fervently explored with exquisite, if not always flawless, instrumental mosaics and radiant singing. Nikolaus Harnoncourt had quickly established his Bach credentials in the first volumes of the complete cantata series, co-directed with Gustav Leonhardt, and in 1972 recorded a performance which, in addition to his usual singers, employed a treble from the Vienna Boys’ Choir to sing all the soprano arias. A A. Jauchzet, frohlocket Jauchzet, frohlocket, auf, preiset die Tage, Rühmet, was heute der Höchste getan! Bach - B Minor Mass . From 1950 – the date of the first complete commercial recording – the release of Christmas Oratorios has been remarkably steady. Johann Sebastian Bach put together his Christmas Oratorio, BWV 248, sometime in the fall of 1734 for the coming Christmas season. dearest Jesus holy child" (Ach mein herzliebes Jesulein!) The 1984 reading coincided neatly with the conclusion of his complete cantata series. The sensational trumpet-playing of Maurice André aside (the last chorus the finest on disc), Richter yields irregularly to the emotional possibilities. “Triumph, rejoice!” – Bach’s oratrio of hope and renewal. Fasolis always brings a sense of delight, even mischief (the da capo of the opening chorus starts pianissimo!). If selected recordings of the St Matthew Passion from this period are more durable for their insightful dramatic and poetic judgement, fewer revelations can be found in post-war Oratorios. Like Koopman, Masaaki Suzuki approached the Oratorio within the gargantuan task of committing all the cantatas to disc. Readers might have their own such reference. Elly Ameling and Helen Watts sing with uniform persuasiveness, though Peter Pears’s clear and urgently declaimed Evangelist is distinctive if tonally restricted. Part II: The Second Day of Christmas. If you like trebles in Bach—and specifically in the Christmas Oratorio—why not opt for those that Bach, a few generations back, worked with himself? Johann Sebastian Bach (1685–1750) Herrscher des Himmels, erhöre das Lallen, BWV 248/III Less atmospheric – but rather more recognisable in terms of increasing technical surety and the aesthetic of objectivity which flavoured ‘early music’ at the cusp of the 1980s – is Hanns-Martin Schneidt’s reading with the Regensburger Domspatzen (whose director for 30 years was Georg Ratzinger, Pope Benedict XVI’s brother), which espouses safety to such lengths as to render the whole a disappointingly dour essay. There are two major commercial accounts of the Oratorio with homegrown Stuttgart forces and two others from Poland and Hungary (which are not under consideration). Other than Rilling, Michel Corboz is probably the next most prolific ‘recorder’ of Bach’s major choral works (there are four B minor Masses). International licensing, If you are a library, university or other organisation that would be interested in an institutional subscription to. The Christmas Oratorio (German: Weihnachts-Oratorium), BWV 248, is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season.It was written for the Christmas season of 1734 and incorporates music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a largely lost church cantata, BWV 248a. The music involved was … JOHANN SEBASTIAN BACH (1685-1750)\r\r\"Weihnachtsoratorium\" Cantata No. Handel - Messiah: Haydn - The Creation . Every season, always the same tape–until it wore out. Johann Sebastian Bach (1685–1750) Herrscher des Himmels, erhöre das Lallen, BWV 248/III Ameling features in both Eugen Jochum’s and Philip Ledger’s recordings from the 1970s, the latter with the Choir of King’s College, Cambridge, uncomfortably sharp and forced. The series features three renowned cantatas, Wachet auf, ruft uns die Stimme, BWV 140, Aus der Tiefen rufe ich, Herr, zu dir, BWV 131, and Nun komm der Heiden Heiland, BWV 61, followed by all six parts of Bach’s beloved Christmas Oratorio, BWV 248. One longs for something altogether less harnessed. Carolyn Watkinson’s delectable ‘Schlafe, mein Liebster’ is a genuine highlight. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. With John Eliot Gardiner’s uniquely open-shouldered and virtuoso Bach performances, the new ‘period’ generation was transformed in a trice from the mid-1980s. 5. MA Music, Leisure and Travel Riccardo Chailly’s Bach from the Gewandhaus espouses the ‘Third Way’, as Chailly calls it, where romantic and ‘period’ style find a happy synergy. Bach - Christmas Oratorio BWV 248; Übersetzungen: Englisch, Französisch, Griechisch, Italienisch #1, #2, Neopolitanisch, Niederländisch, Polnisch, Portugiesisch 3 weitere; Deutsch . Bach, Christmas Oratorio - Philippe Herreweghe, Collegium vocale Gent. Anselm Hartinger, translation by Alice Noger-Gradon. Date / Artists / Record company (review date), 1955 Stuttgart Rad SO / Langenbeck (pts 1-3 only) Profil PH08028, 1958 Leipzig Gewandhaus Orch / Thomas Berlin Classics 0021912BC (12/62R); 0300034BC, 1963 Pforzheim CO / Werner Erato 2564 61403-2 (1/05), 1965 Munich Bach Orch / K Richter Archiv 427 236-2AX3 (3/89); DG 463 701-2AB10, 1966 Stuttgart CO / Münchinger Decca 455 410-2DF2 (12/67R); Newton 8802001, 1972 Concentus Musicus Wien / Harnoncourt WCJ 2564 69854-0 (12/86R), 1973 Bavarian Rad SO / Jochum Philips 416 40-2PB3 (9/73R – nla), 1973 Collegium Aureum / Schmidt-Gaden DHM 88697 57577-2 (4/88R); 88697 58759-2, 1977 Collegium St Emmeram / Schneidt Archiv 477 6282AM3 (10/79R), 1981 Concentus Musicus Wien / Harnoncourt DG 073 4104GH, 1984 Lausanne CO / Corboz Apex 2564 68621-7 (12/84R), 1984 Bach Collegium Stuttgart / Rilling Hänssler Classic CD98 851/3 (2/95); CD98 976, 1987 English Baroque Sols / Gardiner Archiv 423 232-2AH2 (12/87); DG 469 769-2X9, 1987 Staatskapelle Dresden / Schreier Philips 475 9155POR3 (12/87R), 1989 Collegium Vocale, Ghent / Herreweghe Virgin Classics 759530-2 (12/89R), 1991 Conc Cologne / Otto Capriccio 60 025 (4/92), 1992 Failoni CO / Oberfrank Naxos 8 550428/30 (4/93), 1993 Sixteen / Christophers Coro COR16017 (12/93R); COR16072, 1993 Drottningholm Baroque Ens / Ericson Proprius PRCD2012/13, 1995 Virtuosi Saxoniae / Güttler Berlin Classics 0011352BC; 0184192BC, 1996 Amsterdam Baroque Orch / Koopman Erato 0630 14635-2 (3/97), 1997 KlangVerwaltung Orch / Guttenberg Farao B108015, 1997 Akademie für Alte Musik Berlin / Jacobs Harmonia Mundi HMX290 1630/31 (12/97R), 1997 New London Consort / Pickett L’Oiseau-Lyre 458 838-2OH2 (5/00 – nla), 1998 Bach Fest Orch / Funfgeld Dorian DOR93183 (2/00), 1998 Bach Collegium Japan / Suzuki BIS BIS-CD941/2 (2/99), 1999 English Baroque Sols / Gardiner ArtHaus Musik 101 237, 1999 Bach Collegium Stuttgart / Rilling Hänssler Classic CD92 076 (1/01), 2002 Netherlands Bach Society / Veldhoven Channel Classics CCSSA20103 (1/04), 2002/03 Swiss Rad Orch / Fasolis Arts 47714-8, 2006/07 Concentus Musicus Wien / Harnoncourt DHM 88697 11225-2 (12/07), 2009 Kleine Konzert / Max CPO CPO777 459-2, 2010 Leipzig Gewandhaus Orch / Chailly Decca 478 2271DH2, 2010 Akademie für Alte Musik Berlin / Dijkstra BR-Klassik 900502, This article originally appeared in the December 2012 issue of Gramophone. While only intermittently fulfilling, for many of the fixtures hard-wired into Rilling, this is still distinguished on many levels and never less than exciting. It was never intended for performance in one sitting. Weihnachts-Oratorium, BWV 248 Johann Sebastian Bach (1685–1750) Dana Marsh, Artistic Director. The Christmas Oratorio (German: Weihnachts-Oratorium), BWV 248, is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season.It was written for the Christmas season of 1734 and incorporates music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a largely lost church cantata, BWV 248a. In this respect the Christmas Oratorio is akin to the St. Matthew Passion and the St. John Passion. Erősíts meg engem, hogy …felemelkedjem! Werner Güra warms into the role of Evangelist but it is the poetic ambition of Christine Schäfer (‘Flösst, mein heiland’ magically projects the unpredictability of the outdoors) and her co-soloists that reinforces the inspiration which breezes over this penetrating and original encounter with the Oratorio. Despite the mollifying quality of Charles Daniels’s deeply satisfying and mature Evangelist, Fasolis takes brilliant expressive risks, if occasionally a touch close to the edge. Auf, preiset die Tage, BWV 248/1 Herrscher des Himmels, erhöre das Lallen, BWV 248/3 Intermission Orchestral Suite No. Robert Tear is not the most idiomatic Bachian, and the addition of an over-characterising Dietrich Fischer-Dieskau to an English mix of objectively crisp chamber playing sounds disorientating in this magnificent chapel. Ten years on, Richter is the ultimate purposeful and charismatic director with his seasoned Munich forces and stunning soloists: Gundula Janowitz, Christa Ludwig and Fritz Wunderlich (who had given us a hint of his delectable Evangelist in Parts 1‑3 for August Langenbeck). Mark Padmore has developed into an Evangelist of far greater range since 1993. The proportion of Oratorio performances on period instruments rose significantly during the 1970s. JOHANN SEBASTIAN BACH (1685-1750)"Weihnachtsoratorium" Cantata No. The 1992 Naxos recording under Geza Oberfrank with Hungarian forces is a far livelier affair with responsive soloists in the arias but, sadly, the Evangelist struggles badly in the high register. The same cannot be said for the less technically impressive but profoundly affectionate account from Fritz Werner. A new music service with official albums, singles, videos, remixes, live performances and more for Android, iOS and desktop. The 64th movement and final chorus of the Oratorio only, in full score. Suzuki’s unwaveringly felicitous choices are noticeably evident as we approach the close of the cantata project, 15 years after this beautifully judged reading. Bach's "Christmas Oratorio" is nowadays more likely to be heard and appreciated on record than in live performances. In our own archives we list several first-rate choices, including sets from Harmonia Mundi (Jacobs), … Appreciating the Evangelist’s kaleidoscopic role allows Bach’s extraordinarily coherent treatment of chorus, recitative and aria, arioso and chorale to be further illuminated. Under Eduard Grell, assured and with pinpoint nuancing touching an evocation of abiding as! Today ’ s considered identity with each ‘ Event ’ in Part 4 is exceptional of Oratorio performances on instruments! Rühmet, was heute der Höchste getan Oratorio in the fall of 1734 for the music of three occasional... 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