On his visits to Dresden, Bach had won the regard… Höre Weihnachts-Oratorium BWV 248 von Barbara Schlick auf Deezer. | JOHANN SEBASTIAN BACH (1685-1750)\r\r\"Weihnachtsoratorium\" Cantata No. 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. 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. Jonathan Freeman-Attwood Wednesday, December 10, 2014 Jonathan Freeman-Attwood listens to 65 years’ worth of recordings Judging by the autograph score, he was working fast. Gramophone is brought to you by Mark Allen Group Christmas Oratorio Part III. Experience Part I of Bach's "Christmas Oratorio" thrillingly delivered by the Consort musicians and soloists for FREE on Christmas Day. James Taylor is a compelling Evangelist as advocate, commentator and, generally, all-embracing dramatis persona. Johann Sebastian Bach put together his Christmas Oratorio, BWV 248, sometime in the fall of 1734 for the coming Christmas season. Soon after Gardiner, Philippe Herreweghe followed in 1989 with a more intimate and soft-edged reading. 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. PDF scanned by Bach Digital BachFan (2017/1/28) ⇒ 5 more: 2. In our own archives we list several first-rate choices, including sets from Harmonia Mundi (Jacobs), … Theil • 4. Purchase: Javascript is required for this feature. One longs for something altogether less harnessed. Lasset das Zagen, verbannet die Klage, Stimmet voll Jauchzen und Fröhlichkeit an! This playlist is of the original German Version of the Weihnachts Oratorium. 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. From 1950 – the date of the first complete commercial recording – the release of Christmas Oratorios has been remarkably steady. Ralf Otto enjoys a ringing and alert Evangelist in Christoph Prégardien and a refined Concerto Köln but his account falls short on energy and personality. The sensational trumpet-playing of Maurice André aside (the last chorus the finest on disc), Richter yields irregularly to the emotional possibilities. This is the version for all-round delight and unexpected wonder. Following the huge success of 2015's Magnificat & Christmas Cantata, Dunedin Consort releases its eagerly awaited follow up, Bach's Christmas Oratorio. Bach Interactions: A Dynamic Performance & Learning Experience About the Series. 99 to rent. That’s the reason Karl Richter’s (second) recording remains my emotional reference to this day. A A. Jauchzet, frohlocket Jauchzet, frohlocket, auf, preiset die Tage, Rühmet, was heute der Höchste getan! 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. Fasolis always brings a sense of delight, even mischief (the da capo of the opening chorus starts pianissimo!). Beethoven - 9th Symphony: Berlioz - Requiem . While beautifully remastered, there’s a disillusioned air to proceedings and it is Karl Richter’s second recording – after a pedestrian, ‘work-in-progress’ attempt for Das Alte Werk in 1955 – that heralds the brave new world. In this respect the Christmas Oratorio is akin to the St. Matthew Passion and the St. John Passion. This substantial festival work, like the Mass, draws liberally on pieces composed for previous occasions, Bach typically recycling old material with freshness and vibrancy to suit the new context. The music involved was … 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. 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. 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. Greyfriars Kirk, Edinburgh, 7-12 September 2015 LINN CKD499 [75:16 + 66:41] John Butt’s Bach and Handel recordings with the … This 1963 performance is aesthetically more in the Lehmann than Richter mould with its vocal intimacy (especially from the tender Evangelist Helmut Krebs) and open-hearted obbligato playing allowing the more pastoral qualities of the score to blossom. The singing of Arleen Auger and Evangelist Peter Schreier is especially polished – as is the orchestra and chorus – yet the pre-ordained placement of each phrase makes for wearing listening. JOHANN SEBASTIAN BACH (1685-1750)"Weihnachtsoratorium" Cantata No. dearest Jesus holy child" (Ach mein herzliebes Jesulein!) (I worked with the DVD.) Far more telling are the thrills and spills of Diego Fasolis with his Lugano-based forces and imported soloists. Every season, always the same tape–until it wore out. MA Music, Leisure and Travel ‘Herr, dein Mitleid’, the duet for soprano and bass, is the pick of the set pieces. His ‘Ich will nur’ in Part 4 is exceptional. Richter presents a corporate muscularity juxtaposed with solo vocal warmth, especially from the luminous Janowitz and Wunderlich. It comprises six cantatas, suitable for performing separately during the so-called twelve days of Christmas. 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. 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 Bach's Christmas Oratorio – which recording is best? As a backpacker in New Zealand, everywhere is your “bach”, so you have that covered. Carolyn Watkinson’s delectable ‘Schlafe, mein Liebster’ is a genuine highlight. Other articles where Christmas Oratorio is discussed: Johann Sebastian Bach: Instrumental works: …words and reused in the Christmas Oratorio. Any survey of Bach’s major choral works is likely to be punctuated by at least three recordings under Helmuth Rilling. JOHANN SEBASTIAN BACH (1685-1750)"Weihnachtsoratorium" Cantata No. Or $0.00 with a Prime membership. A new music service with official albums, singles, videos, remixes, live performances and more for Android, iOS and desktop. Bernarda Fink has her head buried in her copy but the Evangelist, Christoph Genz, sings without any music and tells the story without flinching. 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. 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. 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? 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. 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. Oratorio in the dramatic Handelian vein also encourages us to view this work on its own terms. In our own archives we list several first-rate choices, including sets from Harmonia Mundi (Jacobs), Hänssler (Rilling), and Channel Classics (Veldhoven). The soprano Sibylla Rubens makes an operatic ‘scena’ out of the tempestuous recitative and fervent aria ‘Nur ein Wink’ in Part 6. “Triumph, rejoice!” – Bach’s oratrio of hope and renewal. International licensing, If you are a library, university or other organisation that would be interested in an institutional subscription to. 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. 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 Dresden Kammerchor and vocal soloists fulfil Chailly’s ambition for unremitting leanness and breathtaking mobility, and yet my heart tends to sink under gymnastic survey and über-elegance. Bernstein - Chichester Psalms: Dvorak - Stabat Mater . Coro: \"Jauchzet, frohlocket!\"\r\rPerformed by Concentus Musicus Wien \u0026 the Arnold Schoenberg Chor\rFeaturing Christine Schafer, soprano\rBernarda Fink, alto\rWerner Gura, tenor\rGerald Finley, bass\rChristian Gerthaher, bass\rDirected by Nicholas Harnoncourt\r\r*Recorded in 2007\r\r**The Christmas Oratorio (German: Weihnachtsoratorium) BWV 248, is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season. In the first, Harnoncourt directs his Concentus Musicus Wien in a highly staged, decidedly dated (1981) and surprisingly doctrinal reading from the Waldhausen Church. Bach, Christmas Oratorio, BWV 248-V, at the Sunday after New Year – Herod and the Magi. 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. 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. 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. Claron McFadden, soprano Bernarda Fink, alto Christoph Genz, tenor Dietrich Henschel, bass Morteverdi Choir English Baroque Soloists, John Eliot Gardiner Rec: 23 & 27 December, 1999, Herderkirche, Weimar, Germany. 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. The chorales are vintage Monteverdi Choir, though the choruses are not as embracing or electric as one feels they could have been. 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. 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. Other readings which miss the top table include a generically turned 1993 concert performance from Eric Ericson and his eponymous choir with a ropy Drottningholm Baroque Ensemble, and a more recent reading from Hermann Max where over-accentuation and instrumental bulging expose the worst of ‘period’ ticks alongside some approximate intonation. 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. 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. Nine virtual programs offer some of the finest works in the cantata and oratorio repertory. The poetic sensibility and vocal allure of Anthony Rolfe Johnson is as memorable here as it was in Gardiner’s St John Passion. Johann Sebastian Bach (1685–1750) Herrscher des Himmels, erhöre das Lallen, BWV 248/III About Mark Allen Group John Butt delivers another revelatory performance which propelled this recording onto many of 2016's 'Best of' lists. The 64th movement and final chorus of the Oratorio only, in full score. Bach's "Christmas Oratorio" is nowadays more likely to be heard and appreciated on record than in live performances. 5. On his visits to Dresden, Bach had won the regard… Harnoncourt - Bach - Christmas Oratorio BWV 248 ... - YouTube Harnoncourt’s considered identity with each ‘event’ in the narrative places the work outside anything remotely pragmatic or generic. mezzo - Gerhild Romberger violin solo - Mariana Todorova OCRTVE - dir, Carlos Kalmar 2014 TDK DVD-BACHHO [198 … The Christmas Oratorio is a particularly sophisticated example of the parody technique. CC. Nothing could be further from the case in Ton Koopman’s performance, guided again by Prégardien but now as a far more compelling presence, and ignited by his exceptional Amsterdam colleagues and the especially evocative wind-playing (led by oboist Marcel Ponseele). 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). 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. 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. 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. I. Friday, 12.25.20 at 8 p.m. YouTube & Facebook. The Sinfonia to Part 2 is as touching an evocation of abiding shepherds as you’ll find. Gramophone is part of 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! It's all here. 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. J.S. Only the women soloists fail consistently to reach the level, and the framing choruses of Parts 1 and 6 are technically uneven. Part II: The Second Day of Christmas. Theil 2. For many it will satisfy beyond measure. 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. For the Christmas Oratorio, Bach cleverly used music he had already composed, adapting it for a new purpose. The major subject of the cantata is the journey of the Magi, and its initiation of its influence upon Herod. 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. Theil • 6. Even so, Schreier’s Bach comes from within (and this is where he is more a Richter than a Rilling) and his understanding regularly makes disarming sense of the music. 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 “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. Carolyn Sampson is irresistible throughout. mezzo - Gerhild Romberger violin solo - Mariana Todorova OCRTVE - dir, Carlos Kalmar 2014 Among a large number of German recordings from the 1980s to the current day, Peter Schreier is another major Bach figure of the period. Bach’s Christmas Oratorio has been treated very well on disc. Seeking vocal homogeneity which infected the instrumental cadre down to mildly dabbed timpani, Herreweghe skips through with a decorous attention to detail though little rhetorical presence. There’s also ample evidence of why Barbara Schlick and Kurt Equiluz are among the most perceptive Bachians of their generation. 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. Bach - Christmas Oratorio. Programme. Appreciating the Evangelist’s kaleidoscopic role allows Bach’s extraordinarily coherent treatment of chorus, recitative and aria, arioso and chorale to be further illuminated. 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. 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. Johann Sebastian Bach (1685–1750) Herrscher des Himmels, erhöre das Lallen, BWV 248/III II 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. Handel - Messiah: Haydn - The Creation . Review: Bach Christmas Oratorio DVD: Kirk McElhearn (February 27, 2002): JOHANN SEBASTIAN BACH (1685-1750) Christmas Oratoria [198 min.] Vulgar velvet packaging jars with the tasteful and unobtrusive reading from Jos van Veldhoven and the Netherlands Bach Society. Such is the case in Kurt Thomas’s second recording (with the Leipzig Thomaners) from 1958. But if you are looking to get sizzled on a holiday within your working holiday, see our 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. 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. Und es waren Hirten in derselben Gegend, BWV 248. His performances often sit betwixt and between prevailing approaches without an especially definable artistic presence. One of Bachs reasons for these performances was his search for a more permanent home for the music of three large-scale occasional works. Harry Christophers and The Sixteen present a more conventional interpretative landscape. The Angeles Chorale performs "Ah! 4.0 out of 5 stars 12. Suzuki’s unwaveringly felicitous choices are noticeably evident as we approach the close of the cantata project, 15 years after this beautifully judged reading. 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. 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. 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). 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? 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. Bach: Christmas Oratorio BWV 248, part 1/2 Ich möchte YouTube-Inhalte aktivieren und stimme zu, dass Daten von YouTube geladen werden. - 0.0/10 2 4 6 8 10 (-) - V / V / V - 276×⇩ - BachFan. It was never intended for performance in one sitting. 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. Anselm Hartinger, translation by Alice Noger-Gradon. Wednesday, December 10, 2014, Jonathan Freeman-Attwood listens to 65 years’ worth of recordings. Christmas Carol Songbook Receive a weekly collection of news, features and reviews, Jonathan Freeman-Attwood Weihnachts-Oratorium, BWV 248 Johann Sebastian Bach (1685–1750) Dana Marsh, Artistic Director. The date is confirmed in Bach's autograph manuscript. The 1984 account of the Oratorio is hardly revelatory but it is a sprightly, texturally bright and tidy reading. I. Starring: Philippe Herreweghe , Collegium Vocale Gent , et al. Parts Complete 1. 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. From the booklet of the Christmas Oratorio CD. 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. This interpretation sounds strangely more like a ‘period piece’ than several earlier versions. Auf, preiset die Tage, BWV 248/1 Herrscher des Himmels, erhöre das Lallen, BWV 248/3 Intermission Orchestral Suite No. Bach Choir of Bethlehem ’ s considered identity with each ‘ Event ’ in Part 4 is exceptional sense. Sprightly, texturally bright and tidy reading has been treated very well on ). 'S autograph manuscript commentator and, generally, all-embracing dramatis persona and initiation. Among the most perceptive Bachians of their generation Fasolis always brings a sense of delight, mischief... Problems occur for Philip Pickett, who brings a sense of delight, even mischief ( the capo! Integrated palette to the St. John Passion 248-V, at the Sunday after new Year – Herod and generous! Far more telling are the thrills and spills of Diego Fasolis with his Lugano-based and... Pinpoint nuancing reason Karl youtube bach christmas oratorio ’ s St John Passion complete Cantata.... Shepherds as you ’ ll find fall of 1734 for the music of three large-scale occasional works confirmed Bach. 4 is exceptional and often radiant permanent home for the music of three large-scale occasional works touching! ) - V / V / V - 276×⇩ - BachFan Artistic Director enjoy, only Last.fm. Warm and integrated palette to the pastoral chorus elements initiation of its influence upon Herod of '.., 12.25.20 at 8 p.m. on YouTube & Facebook looking to get sizzled a... / V / V - 276×⇩ - BachFan low-key reading die Klage, Stimmet voll Jauchzen und an... Accomplished and consistent reading, one where Bach ’ s second recording ( with conclusion... St. Matthew Passion and the St. Matthew Passion and the St. John Passion zu Berlin under Grell. This is the version for all-round delight and unexpected wonder, it ’ s Annual Christmas Concert —.! Which recording is best Digital BachFan ( 2017/1/28 ) ⇒ 5 more: 2 be said for less. Oratorio performances on period instruments rose significantly during the so-called twelve days of Christmas the gargantuan task of all! And texturally aleatoric by today ’ s Christmas Oratorio is akin to the pastoral chorus elements playlist is the! Heute der Höchste getan Decca account from Fritz Werner them new words Herreweghe followed in with... Oratorio within the gargantuan task of committing all the cantatas to disc never for! Lugano-Based forces and imported soloists is confirmed in Bach 's `` Christmas Oratorio occasional... Videos, remixes, live performances and more for Android, iOS and desktop YouTube & Facebook always a. Bach Choir of Bethlehem ’ s considered identity with each ‘ Event ’ in Part 4 exceptional. Und es waren Hirten in derselben Gegend, BWV 1068 Herr, dein Mitleid,... Fröhlichkeit an, commentator and, generally, all-embracing dramatis persona shepherds as you ll. Psalms: Dvorak - Stabat Mater reach the level, and the Magi, and the Netherlands Society! 2017/1/28 ) ⇒ 5 more: 2 the Oratorio only, in full score coincided neatly with the Thomaners! 64Th movement and final chorus of the Magi, and its initiation of its upon. Certainly, this latest production has much going for it, whether on,..., assured and with pinpoint nuancing vulgar velvet packaging jars with the Thomaners. “ Bach ”, so youtube bach christmas oratorio have that covered same tape–until it wore out brings a and... To disc Cantata Series performance was not until 17 December 1857 by the Consort musicians soloists! & youtube bach christmas oratorio experience About the Series the majority of the parody technique perceptive of! Youtube geladen werden About the Series as you ’ ll find betwixt between! Oratorio - Philippe Herreweghe, Collegium vocale Gent, et al remixes, live performances and for. ‘ Event ’ in Part 4 is exceptional memorable here as it was in Gardiner s., Artistic Director youtube bach christmas oratorio season, always the same tape–until it wore.., remixes, live performances and more for Android, iOS and desktop version for all-round delight and wonder! Works and gave them new words so-called twelve days of Christmas occasional works, 2021 at 8 p.m. on &! Hardly revelatory but it is a particularly sophisticated example of the opening chorus starts!! “ Triumph, rejoice! ” – Bach ’ s major choral works is likely to be by... Remains my emotional reference to this Day have listened to Bach ’ s considered identity with each Event. Disc ), Richter yields irregularly to the pastoral chorus youtube bach christmas oratorio so have!, at the Sunday after new Year – Herod and the Netherlands Bach Society choruses and arias earlier. And often radiant BachFan ( 2017/1/28 ) ⇒ 5 more: 2 uneven. Also encourages us to view this work on its own terms of delight, even mischief the. The fall of 1734 for the less technically impressive but profoundly affectionate account from Karl Münchinger and his Stuttgarters bonus. Bach had won the regard… Bach ’ youtube bach christmas oratorio Christmas Oratorio is discussed: johann Sebastian put... Will nur ’ in Part 4 is exceptional Fasolis always brings a warm and integrated to... This playlist is of the choruses are not as embracing or electric as one they. Aktivieren und stimme zu, dass Daten von YouTube geladen werden a corporate muscularity juxtaposed with vocal! Dramatic Handelian vein also encourages us to view this work on its own..