Get it as soon as Mon, Jun 8. The Christmas Oratorio begins and ends, significantly, with the Passion chorale, much in the manner of many nativity paintings of the period that show in the background a little sapling growing which is meant to be the tree from which the cross will be made. The shepherds retreat, praising God for what they have witnessed. and C.P.E. The aria is a wonderful piece, full of the trickiest phrasing and unexpected ideas, very much in the manner of the opening chorus. ... Bach Christmas Oratorio BWV 148 Vocal Score Barenreiter 5014a. Encore broadcast from December 1, 2018. %PDF-1.5 %�쏢 x��]�%E����n wv�E�^�i��V$&~��7�O($&���bUWWթ����;B��[��>�s����,�>/�?��o�?��oC�����/����~8�����a��������7��1����۳J=�u�OS! Bach's Christmas Oratorio was compiled for the Christmas church festival at Leipzig for the season of 1734-5. The compiler of the libretto remains unknown, but most scholars believe that Christian Friedrich Henrici (under the pseudonym Picander), a German poet and the librettist for many of Bach’s Leipzig cantatas, probably gathered and arranged the texts. The movement that follows for bass soloist and the sopranos of the choir is among one of the most interesting movements in the entire cantata canon of Bach. ?�����kDz��a�ý�uU�MW���Ǫ��z�������j��eѵ�8t��Y�@sx]ԝ�,��cʟUr���˙��?�Gk��!�x��MK~�����jo��Ղ���>��T��q�̯�͕b��EY��4�-Z���cS�����=���Y��]ٍ���G�v,�����_g�T��M=�bj������o�u����Wgb�]^���Ʈ�����}���\�L������)�yɡ��t�'�^w�T*�we3 �?���^�{SO�!�����Z��呇f�e��#��`�؎+[�����$�ᷗ�����'�CW�����nf���ϖ�3:�d&����K.ohF�ȟ��ԟ�O��_���l٩ԝv��! <> Melamed is professor at the Indiana University Jacobs School of Music, and serves as president of the American Bach Society and director of the Bloomington Bach Cantata Project. The unsophisticated, yet beautiful chorale Brich an, o schönes Morgenlicht contemplates the child’sradiance. Such are the qualities we’ve learned to respect in the “Northern Character” of Like for his other oratorios, and his Passion settings, Bach employed a narrative based on the Gospel in his Christmas Oratorio. The concluding chorale, short and symmetrical, is almost rustic in character, and its message somewhat stark. christmas oratorio oratorio de noel vocal score Nov 16, 2020 Posted By Eiji Yoshikawa Publishing TEXT ID a478a27f Online PDF Ebook Epub Library christmas oratorio oratorio de noel vocal score this is the best area to door christmas oratorio oratorio de noel vocal … PART I Jauchzet, frohlocket, auf, preiset die Tage Together, these six cantatas comprise the Christmas Oratorio as it was never performed under Bach’s direction. NOTES. Cantata for Epiphany. 17. Because of this, it is difficult to judge the extent to which Bach viewed the work as an entity. The six cantatas which comprise the oratorio were designed for Christmas Day and the two following days, the Feast of the Circumsion, the Sunday after New Year and the Feast of the Epiphany. The final chorale brings back the radiant horns to close this wonderful, rich work. Bach composed the Christmas Oratorio in 1734. It begins with the most unabandoned and cheerful chorus and is the only one of the six cantatas to end with a plain chorale. In this “Musical Notes with T. Herbert Dimmock,” learn about J.S. Similar to the Matthew and John passions, it includes a tenor Evangelist who narrates the story of the birth of Christ as it appears in Luke 2:1–21 and Matthew 2:1–12. After a bit of narration, the soprano sings an accompanied recitative and aria, rather abstract in its condemnation of Herod and its pronouncement of God’s power. Bach Christmas Oratorio Symphony of Harmony and Invention / The Sixteen / Harry Christophers, cond. The alto then sings an aria with violin describing Mary’s innermost feelings of the miracle of the birth. This is among the most beautiful of all the chorales in the Christmas Oratorio. Tanglewood Festival Chorus. The first three cantatas unrolled on Christmas day (which, in liturgical terms, is the First Day of the Feast of Christmas) and the two days immediately following. Cantata for the second day of Christmas. 3 / 20 min —INTERMISSION 20 MINUTES— BACH Christmas Oratorio, Cantatas 4, 5 and 6 / 75 min. The soprano chorale returns with the bass recitatives. Bach’s Christmas Oratorio, one of the composer’s most lavish musical achievements, comprises six cantatas that were written to be performed on consecutive feast-day mornings from the Nativity through Epiphany. The chorale tune Vom Himmel hoch, one of the most beloved of the chorales, paints a darkish picture of the child in the gloomy stable where oxen once fed setting the scene for the gorgeous slumber aria for alto, flute, and strings. The shape of the fifth cantata is wholly determined by the emotional impact of the narrative. 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. Judging by the autograph score, he was working fast. However, one might point to the unifying aspect of the same chorale used in the first and last cantatas. These recitatives are unified by lyrical meditations, or arias. The offering of praise is now directed more towards Jesus rather than to God, and the entire cantata is focused on the naming of the baby. ... INTERNATIONAL BUYERS PLEASE NOTE THAT BECAUSE AT 1ST CLASS AIRMAIL IS NO INSURANCE & NO TRACKING# AND I LOST SOME RECORDS IN THE PAST , YOU MUST CONTACT ME FIRST !!! The Christmas Oratorio parades 64 arias, choruses, and recitatives past its audience. From Christmas Day to Epiphany in the 18th century, the town of Leipzig celebrated the birth of Jesus and the events surrounding it not with a single feast day, but with a "season"—six special commemorations occurring between Christmas Day and the Feast of the Epiphany; the birth of Jesus (December 25), the announcement to the shepherds by a host of angels (December 26), the adoration of the baby by the shepherds (December 27), the circumcision and naming of Jesus (New Year’s Day), the coming of the Magi from the East to find the child "born King of the Jews" (the Sunday after New Year’s Day), and finally the Magi’s worship with their gifts (January 6). Program Notes for Dec 13, 2008 Seth Lachterman J. S. Bach — Weihnachts-Oratorium (1734) S.248 (The Christmas Oratorio) German music, especially northern liturgical music, seems to have a deserved reputation of being cerebral, contemplative, and rather somber. FREE Shipping on orders over $25 shipped by Amazon. De�%?����)�%����K42�Y\J(��9��_ɇ����]U�x�Pd�gdCv�'����-gp\���> ?Z��@���"�H�ۢF�>�f��i��[��7�3�y�e:ϬkC+ܔV5��eʾ饍���m /�b~�QM�|�>4�܁�?�V���zy�μ���Lğ[��ޅ#D{�Q:��/����B�8�5� The opening chorus of the Christmas Oratorio is a paraphrase, taken from the secular birthday cantata for Maria Josepha, Queen of Poland and Electress, BWV 214 , from which Bach subsequently parodied a number of movements for the oratorio. The two horns give a peaceful, otherworldly quality to the opening chorus, a paraphrase from BWV 213. Sheet music $20.17 $ 20. J.S. While the narration is concerned with the arrival of the Wise Men, much of the music exhibits a darker cast heading toward Lent. Bach’s exuberant Part V of his Christmas Oratorio, and the musical journey Bach creates for the listener. 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). Equally convincing is the fact that all of the opening choruses are in three—an understood symbol of the Holy Trinity—and the oratorio commences and concludes in D major. pc��>��kd꒺�����nO^'��s�Z�U� su,c(F�����2]�(�=I,�� 3.+��4?��9�����D����ĭ� �$!��n Gl�k�Dz�pi�������n,c���!���a8�k2�}�!j�5����atF���Юj��$H�)䵇/�=c�ScIX��w32'���d�7�A��DY��coXd��F�X8q�>i��ӎCC}{lQUYVY q9���ǃ���FD=i��N9'��N;�J��3w8� ��M���_��(�2�-����Kb���-�@<=p�B��U��/C��`H�|�3������S�1\w�횛~��2�� ���M7�����"���f#If�xfM��Z��C �)���>��"�(_�Ywvh~��|�}r�4�"A������ɢq�}��l���u����"�~8�'W�6c�-�_����߫;�L��='��Z�ɲX�m�ЪU��HS��P^|6��~R��/O����ж��+��>[6��Xg �s9�r7�N�� Vr ��ڝ&G�!��^��>���&��Co�0`Yuݏn�:��/?�_ wn�+2�@ %p1++�VV�W"Np�X���Z�]�@��� oSpۧD~!=�\���s���*/V�f�̓��W������=�&�n��[Z�$']�L6NmvB�f��5s�ͺ�� Bach: Program Notes from Mark Shapiro. Thursday, January 14, 2020 at 8 p.m. on YouTube & Facebook Christmas Oratorio Part III Herrscher des Himmels, erhöre das Lallen, BWV 248/III However, Bach’s congregations would have been familiar with it as it exists in previously heard cantatas, most notably BWV 135. When Bach unveiled the Christmas Oratorio in the last week of 1734 and the first week of 1735, each of the constituent cantatas was offered on a different day during the thirteen-day span that Lutherans recognize as the Feast of Christmas. On each of these days Bach’s congregation was inspired by a cantata that recounted one of these stories, commenting and reflecting upon the events and their meanings for the Christian individual and community. The third cantata completes the narrative wherein the shepherds and others hasten to the manger, extolling Jesus’ powers. Ms. Callahan has performed Bach’s Christmas Oratorio with J. Reilly Lewis and the Washington Bach Consort and previously has been engaged by them in Washington and in Germany to sing Bach’s Missae Breves and Mass in B Minor, the Magnificats of J.S. The first of the three plainly harmonized chorales Gelobet seist du, Jesu Christ, offers a summation of what the shepherds have been told. Surrounded by two oboes d’amore, the alto recitative expresses contentment with the impending birth, leading us to the first aria, a paraphrase from BWV 213, a cantata originally composed for the House of Saxony. The final chorale is the only one in a minor mode and is, perhaps, the most potent of the hymn tunes used in the oratorio so far. The opening chorus begins with the drums and is followed up by a mighty rush with the strings and winds to the dazzling entrance of the trumpets. Maestro Dimmock takes you into the music to deepen your appreciation and understanding of this cheerful work. ��Og�kJ! Tags: Andris Nelsons. The opening chorus has a complexion that is both passionate and vertiginous, going in one direction then veering off unexpectedly in another, as befits the text, which is concerned with the treachery of Herod. The Consort’s program notes are written by Bach scholar Daniel R. Melamed. u�(MT4$Dlt;k�ص��PΡ�����Ύ���m��i藕q��Bq�N��М��vٍ�:���a�Y���F I��*�4���'���k!�u׵%h"��C$�NJ�Dk1o����B�Z�>Z��uIF{��j]�ņ�O�5�*�,5�c[�'֙���BW6g������]���A�d��� pYUju��a�Kq+����o�v*����W%��l�Ur���XT�:j �x2O�)�%l�6#�Tj5e�]2j�mSQ��7��gm��� �����^�R�)���C�C�]�H����_t�����HU�Li�k�!�����>�p���٘c豦[�� ܃;��VZ���Bj������Ѫ�"T-&6"̴$00��bo��� ��&�vׂ�M@/�c�p�US},�dp/��c���@F G�퉍��:"��ִQX��^�'R�cP�à�a��B��S�_:RlCX��&Q��ɏ� F�.��0�b��!Ua� �iN`M"�@dR�c��ղͭP�V��F�+����X9��}@j>�3�jQ���%Y Individual cantata notes by Craig Smith, adapted by Ryan Turner, Emmanuel Music is the Ensemble-in-Residence at. �)�33GRwZԣ���LL��XS������t��o�P,���5��K_8�������gc�s�k � ���b�YI̙j��]����=�jlip����L��T����^�;�u��n�}H��L� �1jjD���'�[��ۍ.��OX)B���hr�n�[� ��G:���D���oX#���/6�q�kAq°'��A1���/oM>�d�z��r�l��������%��I;�,��s���D1 �E>����g�T�����\�2m�wu���j?ڕ���iOH�� ��@��Ԗ���0L9g���q���Q���0��P�G�}FPr�� ���� Bach had composed virtually all of his cantatas when he came to assemble the Christmas Oratorio. Erschallet, Trompeten, (written to celebrate the birthday of Maria Josepha, Queen of Poland and Electress). See program notes and a translation of the Christmas Oratorio from the BSO. Program Notes. Nonetheless the Christmas Oratorio was never performed under Bach’s direction as you will hear it this evening, condensing these six days and six cantata performances into a single performance of the paramount events of this thrice-told tale. F005 Bach Christmas Oratorio Janowitz Richter 3LP Archiv DGG 2722 024 Stereo. Program. CHRISTMAS ORATORIO by J.S. �X��@����n�1&T0:��������{���+�'k�z�G=S?v�`:��[�_���g��]��ŲPk��u�s���Ԯ�DW��'���,�"��jn� Coro, Sixteen Productions 2003 / B000QZUSBK Johann Sebastian Bach … This evening’s performance compresses these six days and their … A wonderful and grand setting of Vom Himmel hoch, da komm ich her, with trumpets and drums punctuating each cadence, ends the cantata. PART II Und es waren Hirten in derselben Gegend WINTER LIGHTS BACH'S CHRISTMAS ORATORIO, PART V & CANTATA 153 Sunday, January 5 at 4 p.m. Church of the Redeemer, 5603 N. Charles Street, Baltimore PURCHASE TICKETS Plan Your Visit FULL PROGRAM: Bach’s Christmas Oratorio Part V: Ehre sei dir, Gott, gesungen Bach’s Cantata 153: Schau, lieber Gott, wie meine Feind Albinoni’s With the four oboes as shepherds accompanied by flutes and strings as the heavenly choir of angels, the gently undulating dotted rhythms shape a lush, pastoral effect. Two short recitatives act as a bridge to the first aria of the cantata, the first accompanied by strings and the second by the oboe choir. Also in … Join us for the grand finale of Bach’s six-part Oratorio as the Minnesota Chorale celebrates the naming and adoration of the Christ in the last three passionate cantatas of this soaring, sacred work. The section ends with Vom Himmel hoch, this time accompanied by motives from the opening sinfonia. The Christmas Oratorio is exuberant music, brimming with joy and hope. Motets & Liturgical Works Notes & Translations. Introduction by Ryan Turner The Evangelist continues to describe Herod’s hysteria. Cantata for the Sunday after New Year. PART V Ehre sei dir, Gott, gesungen It is serious, direct, and delivers an authoritative message of great significance. Resound, you trumpets! Bach, and many cantatas. After more narration and a chorale setting, Bach abandons the Wise Men, and in the tenor recitative and aria again concentrates on the treachery of Herod. Bach, therefore, celebrates with the maximum of musical ceremony, recalling the trumpets and drums. Furthermore, the chorale statements are extended by the bass’s additional explanatory comment. PART VI Herr, wenn die stolzen Feinde schnauben The choruses are jubilant and often feature brilliant and festive orchestration. Next comes the stunning and popular "echo" aria for soprano and oboe, another paraphrase from BWV 213. Leipzig Gewandhaus Orchestra. Darzu ist erschienen der Sohn Gottes (For this the Son of God appeared), BWV 40, is a church cantata by Johann Sebastian Bach.He composed it in 1723, his first year in Leipzig, for the Second Day of Christmas, and first performed it on 26 December that year in both main churches, Thomaskirche and Nikolaikirche.It was the first Christmas cantata Bach composed for Leipzig. Although collectively the individual movements of the Christmas Oratorio form a continuous musical account of the Christmas story, Bach did not conceive the oratorio as one uninterrupted work, in the manner of Handel’s oratorios, but rather as six separate cantatas to be performed on six separate occasions - the three days of Christmas (25 th, 26 th and 27 th), New Year’s Day, the Sunday after New … The chorales in the first and last cantatas Cantata notes by Craig Smith, adapted Ryan... 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