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The solo singing is seamlessly distinguished, from Anne Sofie von Otter’s bloom-filled and pliably decorated ‘Bereite dich’ to the recitative quartet at the end. Here, Pickett seems less attracted to long-term rhetorical investment than capturing the essence of the moment – such as the solicitous arioso duet ‘Jesu, du mein liebstes Leben’: Catherine Bott and Michael George, beautifully accompanied, provide an unforgettable vignette. mezzo - Gerhild Romberger violin solo - Mariana Todorova OCRTVE - dir, Carlos Kalmar 2014 | Jauchzet, frohlocket, auf, preiset die Tage, BWV 248. The poetic sensibility and vocal allure of Anthony Rolfe Johnson is as memorable here as it was in Gardiner’s St John Passion. 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. Werner was a quiet and unassuming poet of Bach and he is supported with almost peerless empathy by his long-term Evangelist, Helmut Krebs, and some radiant instrumental characterisation. Bach composed the six-part “Christmas Oratorio” (“Weihnachts Oratorium”) in 1734 for two Leipzig churches, St. Thomas and St. Nicholas, for which he served as music director. The 1984 account of the Oratorio is hardly revelatory but it is a sprightly, texturally bright and tidy reading. It’s a generously conceived and well-directed but rather low-key reading. 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. Gardiner's Christmas Oratorio: Josh Klasinski wrote (January 17, 2007): This past Christmas and indeed over the entire holiday season reaching up to the present I have had the immense pleasure of becoming intimately acquainted with what is certainly one of Bach's most fully realized and extraordinary works, the Christmas Oratorio. Johann Sebastian BACH (1685-1750) Christmas Oratorio, BWV 248 [141:57] Mary Bevan & Joanne Lunn (sop) Clare Wilkinson & Ciara Hendrick (mezzo) Nicholas Mulroy & Thomas Hobbs (tenor) Matthew Brook & Konstantin Wolff (bass) Dunedin Consort/John Butt rec. The Christmas Oratorio is a particularly sophisticated example of the parody technique. Like Koopman, Masaaki Suzuki approached the Oratorio within the gargantuan task of committing all the cantatas to disc. Münchinger is never less than dependable. Mark Padmore has developed into an Evangelist of far greater range since 1993. One might long for perspicacious readings from the 1950s and 1960s by the likes of Hans Grischkat, Karl Ristenpart, Ferdinand Grossmann, Fritz Lehmann, Kurt Thomas and Karl Richter – some of which are available – but few constitute much more than a repository of exceptional individual movements. Bach's Christmas Oratorio – which recording is best? The music involved was … On his visits to Dresden, Bach had won the regard… In the second, Peter Dijkstra oversees an organised but jerkily propelled 2010 live performance with the Bavarian Radio Choir and Akademie für Alte Musik Berlin in the resonant Herkulessaal in Munich. Bach - B Minor Mass . That’s the reason Karl Richter’s (second) recording remains my emotional reference to this day. 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. Bach, Christmas Oratorio, BWV 248-V, at the Sunday after New Year – Herod and the Magi. Review: Bach Christmas Oratorio DVD: Kirk McElhearn (February 27, 2002): JOHANN SEBASTIAN BACH (1685-1750) Christmas Oratoria [198 min.] Soon after Gardiner, Philippe Herreweghe followed in 1989 with a more intimate and soft-edged reading. Brahms - Requiem: Durufle - Requiem . Nine virtual programs offer some of the finest works in the cantata and oratorio repertory. No such problems occur for Philip Pickett, who brings a warm and integrated palette to the pastoral chorus elements. The chorales are vintage Monteverdi Choir, though the choruses are not as embracing or electric as one feels they could have been. Theil • 5. Part I: The First Day of Christmas. Every season, always the same tape–until it wore out. It was written for the Christmas season of 1734 incorporating music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a now lost church cantata, BWV 248a. Somewhere between the theological concentration of Richter and the generous, unaffected Werner comes the 1966 Decca account from Karl Münchinger and his Stuttgarters. His expressive intentions are always likely to be compromised with such mercurial solo singing, though the terzetto ‘Ach wenn wird die Zeit’ is attractive and supple. Bernarda Fink has her head buried in her copy but the Evangelist, Christoph Genz, sings without any music and tells the story without flinching. 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. 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. Gramophone is brought to you by Mark Allen Group Theil * #457257 - 148.15 MB, 99 pp. Thursday, January 14, 2021 at 8 p.m. on YouTube & Facebook. One longs for something altogether less harnessed. If there is a drawback, it’s the shortage of captivating solo singing and absorbing characterisation. Part II: The Second Day of Christmas. 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. Bach, Christmas Oratorio - Philippe Herreweghe, Collegium vocale Gent. The proportion of Oratorio performances on period instruments rose significantly during the 1970s. Purchase: Javascript is required for this feature. In this respect the Christmas Oratorio is akin to the St. Matthew Passion and the St. John Passion. CHRISTMAS ORATORIO. - 0.0/10 2 4 6 8 10 (-) - V / V / V - 276×⇩ - BachFan. 99 to rent. Other articles where Christmas Oratorio is discussed: Johann Sebastian Bach: Instrumental works: …words and reused in the Christmas Oratorio. Meine Datenschutz-Einstellungen The date is confirmed in Bach's autograph manuscript. Auf, preiset die Tage, BWV 248/1 Herrscher des Himmels, erhöre das Lallen, BWV 248/3 Intermission Orchestral Suite No. Thirty-plus years on and there’s a relaxed, almost southern-European feel alongside Harnoncourt’s recognition that with ‘powerful mental pictures’ (rather than intense action), the ‘galanterie’ of late Bach is especially fitting for the subject. Beethoven - 9th Symphony: Berlioz - Requiem . The soprano Sibylla Rubens makes an operatic ‘scena’ out of the tempestuous recitative and fervent aria ‘Nur ein Wink’ in Part 6. On his visits to Dresden, Bach had won the regard… Bach composed the six-part “Christmas Oratorio” (“Weihnachts Oratorium”) in 1734 for two Leipzig churches, St. Thomas and St. Nicholas, for which he served as music director. Vulgar velvet packaging jars with the tasteful and unobtrusive reading from Jos van Veldhoven and the Netherlands Bach Society. Theil • 6. This playlist is of the original German Version of the Weihnachts Oratorium. The most memorable feature is a young Dietrich Fischer-Dieskau on the kind of form which earmarked him for posterity in the famous St Matthew for Richter a few months earlier. Harry Christophers and The Sixteen present a more conventional interpretative landscape. As a backpacker in New Zealand, everywhere is your “bach”, so you have that covered. Readers might have their own such reference. A documentary on local Bachiana is an enjoyable bonus. 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. J.S. 5. 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. James Taylor is a compelling Evangelist as advocate, commentator and, generally, all-embracing dramatis persona. It was never intended for performance in one sitting. Starring: Philippe Herreweghe , Collegium Vocale Gent , et al. Among a large number of German recordings from the 1980s to the current day, Peter Schreier is another major Bach figure of the period. The Bach Choir of Bethlehem’s Annual Christmas Concert — Virtually. JOHANN SEBASTIAN BACH: KARÁCSONYI ORATÓRIUM - NEGYEDIK KANTÁTA Babits - 1917-ben írott versének - gondolatait, kérését visszhangozza a negyedik kantáta tenor áriája és zárókorálja is: „…adj nékem erőt és bátorságot, hogy a szívem buzgó legyen! Bach’s celebrated Christmas Oratorio forges a link between birth and deliverance: the birth of Christ is not only the birth of light, of innocence; this joyful event is equally characterized by suffering. It comprises six cantatas, suitable for performing separately during the so-called twelve days of Christmas. 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 Arias from J. S. Bach’s Christmas Oratorio, traditional carols, readings from sacred and secular texts Receive a weekly collection of news, features and reviews, Jonathan Freeman-Attwood Older versions often seem undisciplined and texturally aleatoric by today’s standards. 30 Christmas Carols. 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. The essence of this pioneering reading is captured in the visceral, chamber-like instrumental playing of Concentus Musicus, a kind of Renaissance-style pageantry to the choruses, an intimate acoustic and the extraordinary veracity of Kurt Equiluz’s Evangelist. The next performance was not until 17 December 1857 by the Sing-Akademie zu Berlin under Eduard Grell. 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. 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. In our own archives we list several first-rate choices, including sets from Harmonia Mundi (Jacobs), … The first line sung in the opening chorus of Part 6 reminds us that the character of Christmas is far from that of a Hallmark greeting card. The Angeles Chorale performs "Ah! How best can the performer pace the narrative of the complete Oratorio in a story which lacks the urgency and action propelled by protagonists – the likes of Jesus, Peter, Pilate and the crowd in the Passions – while retaining the discrete contemplative world of each of the six ‘tableaux’ or cantatas? 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. Prime Video From $1.99 $ 1. Thursday, January 14, 2021 at 8 p.m. on Facebook and YouTube Christmas Oratorio Part III. Christmas Oratorio Past Performances Part III Part IV Part V Part VI. Höre Weihnachts-Oratorium BWV 248 von Barbara Schlick auf Deezer. „…maradj mindig mellettem! From the booklet of the Christmas Oratorio CD. International licensing, If you are a library, university or other organisation that would be interested in an institutional subscription to. 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. Appreciating the Evangelist’s kaleidoscopic role allows Bach’s extraordinarily coherent treatment of chorus, recitative and aria, arioso and chorale to be further illuminated. Streamed Event: Thursday, January 7, 2021 at 8 p.m. on YouTube & Facebook. 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. Christmas: Oratorio, Forerunners, Cantata 142, Rathey Book Review Following the early German baroque tradition of Michael Praetorius and Heinrich Schütz, Bach’s predecessors as Cantor at the Thomas School and Church in Leipzig helped lay the groundwork for Bach’s Christmas Oratorio, BWV 248, in its content and form. Discrete but deft organ continuo-playing and lovingly crafted chorales – such as ‘Wir singen’ between Parts 2 and 3 – contribute to Koopman’s intensely focused and atmospheric vision across the piece. Weihnachts-Oratorium, BWV 248 Johann Sebastian Bach (1685–1750) Dana Marsh, Artistic Director. Christmas Carol Songbook 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). For many it will satisfy beyond measure. 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. The 64th movement and final chorus of the Oratorio only, in full score. 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. Parts Complete 1. Johann Sebastian Bach put together his Christmas Oratorio, BWV 248, sometime in the fall of 1734 for the coming Christmas season. Und es waren Hirten in derselben Gegend, BWV 248. Judging by the autograph score, he was working fast. He took the majority of the choruses and arias from earlier secular works and gave them new words. Certainly, this latest production has much going for it, whether on CD, DVD, or Blu-ray. 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. It's all here. He applies flair and elegance – leading from the front as Evangelist – but his soloists too often seem trapped in reconciling between old and new vocal styles. Suzuki’s unwaveringly felicitous choices are noticeably evident as we approach the close of the cantata project, 15 years after this beautifully judged reading. Such is the case in Kurt Thomas’s second recording (with the Leipzig Thomaners) from 1958. 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. The Christmas Oratorio is in six parts, each of them being intended for performance on one of the major feast days of the Christmas period. 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. John Butt delivers another revelatory performance which propelled this recording onto many of 2016's 'Best of' lists. I have listened to Bach’s Christmas Oratorio from childhood on. Anselm Hartinger, translation by Alice Noger-Gradon. 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. 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. Each part is a cantata for 1 of 6 feast days within the 12 days of the Christmas season: The story begins with the birth of Jesus (for Christmas Day). Far more telling are the thrills and spills of Diego Fasolis with his Lugano-based forces and imported soloists. I. Friday, 12.25.20 at 8 p.m. YouTube & Facebook. No such stylistic scruples seem to affect Schreier’s first trumpet, Ludwig Güttler, though his flamboyant tendencies dissolve under his own baton to such an extent that the routine prevails. Johann Sebastian Bach (1685–1750) Herrscher des Himmels, erhöre das Lallen, BWV 248/III Howard Crook is a cultivated Evangelist but neither he nor the excellent Michael Chance and Peter Kooij can find that incremental sense of jubilation which the finest readings offer; the recording also lacks the precision of the finest choirs. The Christmas Oratorio, written for the turn-of-year feast days in 1734/35, was composed during a period in which Bach produced comparatively few new works for his Leipzig churches. Other articles where Christmas Oratorio is discussed: Johann Sebastian Bach: Instrumental works: …words and reused in the Christmas Oratorio. JOHANN SEBASTIAN BACH (1685-1750)\r\r\"Weihnachtsoratorium\" Cantata No. “Triumph, rejoice!” – Bach’s oratrio of hope and renewal. 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. Falling somewhere between the ruminative landscape of Richter (at his best) and Rilling’s sleek, homogeneous ensemble, Schreier is generally more stylistically inquisitive than both and musically his reading is more eventful than all of Rilling’s. Oratorio in the dramatic Handelian vein also encourages us to view this work on its own terms. Bach’s Christmas Oratorio has been treated very well on disc. But if you are looking to get sizzled on a holiday within your working holiday, see our Wednesday, December 10, 2014, Jonathan Freeman-Attwood listens to 65 years’ worth of recordings. 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. 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. 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Trinity Institute Of Professional Studies Placements, Where Did Phillis Wheatley Live, Dps Miyapur Youtube, Elder Scrolls Online Ps4 Digital Code, Santa Ana Winds Lyrics, Murshidabad To Durgapur Distance, Wyoming County Map, Snagit 2018 Not Recording Audio Windows 10,

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