Certainly, this latest production has much going for it, whether on CD, DVD, or Blu-ray. Review: Bach Christmas Oratorio DVD: Kirk McElhearn (February 27, 2002): JOHANN SEBASTIAN BACH (1685-1750) Christmas Oratoria [198 min.] It comprises six cantatas, suitable for performing separately during the so-called twelve days of Christmas. Bach, Christmas Oratorio - Philippe Herreweghe, Collegium vocale Gent. The Angeles Chorale performs "Ah! 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. Riccardo Chailly’s Bach from the Gewandhaus espouses the ‘Third Way’, as Chailly calls it, where romantic and ‘period’ style find a happy synergy. This interpretation sounds strangely more like a ‘period piece’ than several earlier versions. JOHANN SEBASTIAN BACH (1685-1750)\r\r\"Weihnachtsoratorium\" Cantata No. There’s also ample evidence of why Barbara Schlick and Kurt Equiluz are among the most perceptive Bachians of their generation. One of the festive season's most established classics, Bach's Christmas Oratorio describes the nativity, the adoration of the shepherds and, slightly less festively, the circumcision and naming of Jesus. 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. 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. His ‘Ich will nur’ in Part 4 is exceptional. Bach, Christmas Oratorio, BWV 248-V, at the Sunday after New Year – Herod and the Magi. The Sinfonia to Part 2 is as touching an evocation of abiding shepherds as you’ll find. 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. Judging by the autograph score, he was working fast. 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. Rilling increasingly took a pragmatic view towards traditional practice, paying only ‘lip service’ to period performance, which resulted in pangs of conscience with respect to tempi, ornament, balance and articulation. Purchase: Javascript is required for this feature. Listen to Bach: Christmas Oratorio, BWV 248 - Part 2: Weihnachtstag: Choral, Bach: Christmas Oratorio, BWV 248 - Part 3: Weihnachtstag: Choral and more from Bach Christmas Oratorio. Und es waren Hirten in derselben Gegend, BWV 248. It’s a generously conceived and well-directed but rather low-key reading. The next performance was not until 17 December 1857 by the Sing-Akademie zu Berlin under Eduard Grell. Bernarda Fink has her head buried in her copy but the Evangelist, Christoph Genz, sings without any music and tells the story without flinching. One of Bachs reasons for these performances was his search for a more permanent home for the music of three large-scale occasional works. Gramophone is part of 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. Greyfriars Kirk, Edinburgh, 7-12 September 2015 LINN CKD499 [75:16 + 66:41] John Butt’s Bach and Handel recordings with the … From the booklet of the Christmas Oratorio CD. Readers might have their own such reference. For the Christmas Oratorio, Bach cleverly used music he had already composed, adapting it for a new purpose. 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. The soprano Sibylla Rubens makes an operatic ‘scena’ out of the tempestuous recitative and fervent aria ‘Nur ein Wink’ in Part 6. JOHANN SEBASTIAN BACH: 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! Among a large number of German recordings from the 1980s to the current day, Peter Schreier is another major Bach figure of the period. Jauchzet, frohlocket, auf, preiset die Tage, BWV 248. 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. Erősíts meg engem, hogy …felemelkedjem! 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 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 reading coincided neatly with the conclusion of his complete cantata series. Parts Complete 1. MA Music, Leisure and Travel Theil • 6. 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. 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. - 0.0/10 2 4 6 8 10 (-) - V / V / V - 276×⇩ - BachFan. Somewhere between the theological concentration of Richter and the generous, unaffected Werner comes the 1966 Decca account from Karl Münchinger and his Stuttgarters. A A. Jauchzet, frohlocket Jauchzet, frohlocket, auf, preiset die Tage, Rühmet, was heute der Höchste getan! Harnoncourt’s considered identity with each ‘event’ in the narrative places the work outside anything remotely pragmatic or generic. The chorales squeeze the last pips and the adagissimo in the Part 2 Sinfonia says too much about the artist and not enough about Bach. 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. Fasolis always brings a sense of delight, even mischief (the da capo of the opening chorus starts pianissimo!). Bach's "Christmas Oratorio" is nowadays more likely to be heard and appreciated on record than in live performances. 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. As a backpacker in New Zealand, everywhere is your “bach”, so you have that covered. Part I: The First Day of Christmas. 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. 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). 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. Bach: Christmas Oratorio BWV 248, part 1/2 Ich möchte YouTube-Inhalte aktivieren und stimme zu, dass Daten von YouTube geladen werden. 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