The soloists are all outstanding, thoughtful and often radiant. CHRISTMAS ORATORIO. That’s the reason Karl Richter’s (second) recording remains my emotional reference to this day. 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 The orchestral playing is supremely polished, assured and with pinpoint nuancing. Only the women soloists fail consistently to reach the level, and the framing choruses of Parts 1 and 6 are technically uneven. It was never intended for performance in one sitting. Beethoven - 9th Symphony: Berlioz - Requiem . 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. 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. Richter presents a corporate muscularity juxtaposed with solo vocal warmth, especially from the luminous Janowitz and Wunderlich. Gramophone is part of 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. A documentary on local Bachiana is an enjoyable bonus. Bach - Christmas Oratorio BWV 248; Übersetzungen: Englisch, Französisch, Griechisch, Italienisch #1, #2, Neopolitanisch, Niederländisch, Polnisch, Portugiesisch 3 weitere; Deutsch . 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 - B Minor Mass . The Sinfonia to Part 2 is as touching an evocation of abiding shepherds as you’ll find. Anselm Hartinger, translation by Alice Noger-Gradon. The proportion of Oratorio performances on period instruments rose significantly during the 1970s. 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. Opening Up Our Hearts: Music and Inspiration of Christmas. 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. Weihnachts-Oratorium, BWV 248 Johann Sebastian Bach (1685–1750) Dana Marsh, Artistic Director. And that leaves John Eliot Gardiner and his English Baroque Soloists in the last few days of the 20th century in the Herderkirche in Weimar: an intimate space with gripping ensembles (especially fine instrumental obbligati) and, mostly, excellent solo singing. 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. Christmas Oratorio Past Performances Part III Part IV Part V Part VI. 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. 5. 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? Other articles where Christmas Oratorio is discussed: Johann Sebastian Bach: Instrumental works: …words and reused in the Christmas Oratorio. Christmas Oratorio Part III. Johann Sebastian Bach (1685–1750) Herrscher des Himmels, erhöre das Lallen, BWV 248/III In the first, Harnoncourt directs his Concentus Musicus Wien in a highly staged, decidedly dated (1981) and surprisingly doctrinal reading from the Waldhausen Church. When reviewing it in 1999, I considered Greg Fungfeld’s recording of the Bach Choir from Pennsylvania to be rather in the same vein, but on reacquaintance found agreeable swathes (especially in Parts 4 and 5) of an old American mainstream ‘house style’ which, with some better soloists, might have attracted more plaudits. 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. Parts Complete 1. 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. Programme. Bach, Christmas Oratorio, BWV 248-V, at the Sunday after New Year – Herod and the Magi. The soprano Sibylla Rubens makes an operatic ‘scena’ out of the tempestuous recitative and fervent aria ‘Nur ein Wink’ in Part 6. 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. (I worked with the DVD.) Purchase: Javascript is required for this feature. Lauridson - Lux Aeterna: Mozart - Requiem . Any survey of Bach’s major choral works is likely to be punctuated by at least three recordings under Helmuth Rilling. Jauchzet, frohlocket, auf, preiset die Tage, BWV 248. Handel - Messiah: Haydn - The Creation . 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. JOHANN SEBASTIAN BACH (1685-1750)"Weihnachtsoratorium" Cantata No. 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. Certainly, this latest production has much going for it, whether on CD, DVD, or Blu-ray. No such problems occur for Philip Pickett, who brings a warm and integrated palette to the pastoral chorus elements. One of Bachs reasons for these performances was his search for a more permanent home for the music of three large-scale occasional works. dearest Jesus holy child" (Ach mein herzliebes Jesulein!) 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. 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) Und es waren Hirten in derselben Gegend, BWV 248/II 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. 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. Among a large number of German recordings from the 1980s to the current day, Peter Schreier is another major Bach figure of the period. 99 to rent. dearest Jesus holy child" (Ach mein herzliebes Jesulein!) The date is confirmed in Bach's autograph manuscript. There’s also ample evidence of why Barbara Schlick and Kurt Equiluz are among the most perceptive Bachians of their generation. Theil 2. CC. Bach - Christmas Oratorio. Harnoncourt - Bach - Christmas Oratorio BWV 248 ... - YouTube 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. I. Friday, 12.25.20 at 8 p.m. YouTube & Facebook. Theil • 3. The music involved was … It comprises six cantatas, suitable for performing separately during the so-called twelve days of Christmas. The Angeles Chorale performs "Ah! 30 Christmas Carols. His ‘Ich will nur’ in Part 4 is exceptional. 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. Greyfriars Kirk, Edinburgh, 7-12 September 2015 LINN CKD499 [75:16 + 66:41] John Butt’s Bach and Handel recordings with the … 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. 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. 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. Orff - Carmina Burana: Christmas Carols. - 0.0/10 2 4 6 8 10 (-) - V / V / V - 276×⇩ - BachFan. Starring: Philippe Herreweghe , Collegium Vocale Gent , et al. 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). Bach's Christmas Oratorio – which recording is best? His performances often sit betwixt and between prevailing approaches without an especially definable artistic presence. This playlist is of the original German Version of the Weihnachts Oratorium. Und es waren Hirten in derselben Gegend, BWV 248. Every season, always the same tape–until it wore out. From Bach’s Christmas Oratorio Jauchzet, frohlocket! Harry Christophers and The Sixteen present a more conventional interpretative landscape. 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). Jonathan Freeman-Attwood Wednesday, December 10, 2014 Jonathan Freeman-Attwood listens to 65 years’ worth of recordings The chorales are vintage Monteverdi Choir, though the choruses are not as embracing or electric as one feels they could have been. 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. This interpretation sounds strangely more like a ‘period piece’ than several earlier versions. Receive a weekly collection of news, features and reviews, Jonathan Freeman-Attwood The poetic sensibility and vocal allure of Anthony Rolfe Johnson is as memorable here as it was in Gardiner’s St John Passion. James Taylor is a compelling Evangelist as advocate, commentator and, generally, all-embracing dramatis persona. 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. 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 1984 reading coincided neatly with the conclusion of his complete cantata series. Find similar music that you'll enjoy, only at Last.fm. The same cannot be said for the less technically impressive but profoundly affectionate account from Fritz Werner. Harnoncourt’s considered identity with each ‘event’ in the narrative places the work outside anything remotely pragmatic or generic. Following the huge success of 2015's Magnificat & Christmas Cantata, Dunedin Consort releases its eagerly awaited follow up, Bach's Christmas Oratorio. If there is a drawback, it’s the shortage of captivating solo singing and absorbing characterisation. 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. 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. 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. TDK DVD-BACHHO [198 … 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. About Mark Allen Group Gramophone is brought to you by Mark Allen Group Streamed Event: Thursday, January 7, 2021 at 8 p.m. on YouTube & Facebook. II Other articles where Christmas Oratorio is discussed: Johann Sebastian Bach: Instrumental works: …words and reused in the Christmas Oratorio. Suzuki’s unwaveringly felicitous choices are noticeably evident as we approach the close of the cantata project, 15 years after this beautifully judged reading. Thursday, January 14, 2021 at 8 p.m. on YouTube & Facebook. 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. 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. 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. mezzo - Gerhild Romberger violin solo - Mariana Todorova OCRTVE - dir, Carlos Kalmar 2014 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. 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. 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. Prime Video From $1.99 $ 1. In this respect the Christmas Oratorio is akin to the St. Matthew Passion and the St. John Passion. 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. Despite Peter Kooij’s visceral recitatives and Yoshikazu Mera’s quixotic alto sound, this impressive reading is just too smooth and uneventful. 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. 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. Christmas Carol Songbook From the booklet of the Christmas Oratorio CD. 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. Elly Ameling and Helen Watts sing with uniform persuasiveness, though Peter Pears’s clear and urgently declaimed Evangelist is distinctive if tonally restricted. 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). | Bach's Christmas Oratorio – which recording is best? Lasset das Zagen, verbannet die Klage, Stimmet voll Jauchzen und Fröhlichkeit an! 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. Riccardo Chailly’s Bach from the Gewandhaus espouses the ‘Third Way’, as Chailly calls it, where romantic and ‘period’ style find a happy synergy. 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. 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. Vulgar velvet packaging jars with the tasteful and unobtrusive reading from Jos van Veldhoven and the Netherlands Bach Society. He took the majority of the choruses and arias from earlier secular works and gave them new words. Bach’s Christmas Oratorio has been treated very well on disc. On his visits to Dresden, Bach had won the regard… Bernstein - Chichester Psalms: Dvorak - Stabat Mater . Part I: The First Day of Christmas. MA Music, Leisure and Travel This is indeed a highly accomplished and consistent reading, one where Bach’s sense of imagery is especially keenly developed. ‘Herr, dein Mitleid’, with Lynn Dawson and Klaus Mertens, is played out like a love duet and yet it fits a canvas of sprung vitality which, mostly, renders the rough edges undistracting. 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! Oratorio in the dramatic Handelian vein also encourages us to view this work on its own terms. Experience Part I of Bach's "Christmas Oratorio" thrillingly delivered by the Consort musicians and soloists for FREE on Christmas Day. The author of the text is unknown, although a likely collaborator was Christian Friedrich Henrici (Picander). 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 “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. Nine virtual programs offer some of the finest works in the cantata and oratorio repertory. The next performance was not until 17 December 1857 by the Sing-Akademie zu Berlin under Eduard Grell. 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. Bach: Christmas Oratorio BWV 248, part 1/2 Ich möchte YouTube-Inhalte aktivieren und stimme zu, dass Daten von YouTube geladen werden. There are three complete DVDs of Bach’s Christmas Oratorio. ‘Herr, dein Mitleid’, the duet for soprano and bass, is the pick of the set pieces. Appreciating the Evangelist’s kaleidoscopic role allows Bach’s extraordinarily coherent treatment of chorus, recitative and aria, arioso and chorale to be further illuminated. Despite a few glitches, each cantata represents a clarion of warmth, freedom and optimism, beckoning the listener to experience the work in a single breath. In our own archives we list several first-rate choices, including sets from Harmonia Mundi (Jacobs), … 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. Or $0.00 with a Prime membership. Part II: The Second Day of Christmas. 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. Theil • 5. Review: Bach Christmas Oratorio DVD: Kirk McElhearn (February 27, 2002): JOHANN SEBASTIAN BACH (1685-1750) Christmas Oratoria [198 min.] 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. 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