Program Notes: J.S. Bach's Christmas Oratorio was compiled for the Christmas church festival at Leipzig for the season of 1734-5. This is the only one of the six cantatas not to begin with a celebratory chorus but with an expansive sinfonia. Bach’s exuberant Part V of his Christmas Oratorio, and the musical journey Bach creates for the listener. Resound, you trumpets! Johann Sebastian Bach. The fourth cantata was written for the Feast of the Circumcision. Instead the format is that of a cantata. ���c� It is serious, direct, and delivers an authoritative message of great significance. 3 / 20 min —INTERMISSION 20 MINUTES— BACH Christmas Oratorio, Cantatas 4, 5 and 6 / 75 min. In fact many of the movements are paraphrases from two earlier secular cantatas dating from 1733, the year before he produced the Christmas Oratorio: Laßt uns sorgen, laßt uns wachen~ Hercules at the Crossroads, BWV 213 (composed for the 11th birthday of Friedrich Christian, Prince Elector of Saxony) and Tönet, ihr Pauken! Only 6 left in stock - order soon. PART III Herrscher des Himmels, erhöre das Lallen 5 0 obj 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. It is interesting that in this segment of the oratorio, all of the chorale tunes are by Bach and were unfamiliar to the congregation; clearly Bach meant the chorales in the segment to be poetic rather than congregational. Yet, there is no one consistent structural pattern uniting these cantatas. Program. 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. 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). g�aHv����+�*ޭ�-6��.���7s溚H�����4)�EE0�#�s����`�qʑ� �"��V�z�f/hNqA&��c��t�?��f��ۏ��k�C ͏��i��M��H��p�����0��C!�j����-S�x�V�(l�;��a�@|z�1�b������Y $��S�|}�|���M�� �g�f�H'֕S�e׭�~. CHRISTMAS ORATORIO by J.S. The Evangelist tells of the shepherds making their way to Bethlehem. Sheet music $20.17 $ 20. PART IV Fallt mit Danken, fallt mit Loben W�;�����03�?k+ů$;�b��x9i#jP�EP�> It begins with an energetic chorus. This unique hybrid structure leads us to the powerful bass aria, another paraphrase from BWV 214 whose original form was a song of homage to the queen. Get it as soon as Mon, Jun 8. The jaunty, rustic duet for bass, soprano, and two oboes d’amore is addressed to the child, placing emphasis upon love and devotion. Evangelista: Es begab sich aber zu der Zeit (B minor) 3. Leipzig Gewandhaus Orchestra. Melamed is professor at the Indiana University Jacobs School of Music, and serves as president of the American Bach Society and director of the Bloomington Bach Cantata Project. While this section of the oratorio has the most modest orchestration, just two oboes d’amore in addition to the strings, it is one of the liveliest sections of the oratorio. Bach composed the Christmas Oratorio in 1734. ?�����kDz��a�ý�uU�MW���Ǫ��z�������j��eѵ�8t��Y�@sx]ԝ�,��cʟUr���˙��?�Gk��!�x��MK~�����jo��Ղ���>��T��q�̯�͕b��EY��4�-Z���cS�����=���Y��]ٍ���G�v,�����_g�T��M=�bj������o�u����Wgb�]^���Ʈ�����}���\�L������)�yɡ��t�'�^w�T*�we3 �?���^�{SO�!�����Z��呇f�e��#��`�؎+[�����$�ᷗ�����'�CW�����nf���ϖ�3:�d&����K.ohF�ȟ��ԟ�O��_���l٩ԝv��! Bach Christmas Oratorio Symphony of Harmony and Invention / The Sixteen / Harry Christophers, cond. �%[�eU/����m'u�Ŏcp,��dЖE� :c� �)�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�� ���� 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. A … The unsophisticated, yet beautiful chorale Brich an, o schönes Morgenlicht contemplates the child’sradiance. Cantata for the second day of Christmas. Because of this, it is difficult to judge the extent to which Bach viewed the work as an entity. Introduction by Ryan Turner PART II Und es waren Hirten in derselben Gegend James Burton. PART I Jauchzet, frohlocket, auf, preiset die Tage Program Notes. Coro, Sixteen Productions 2003 / B000QZUSBK Johann Sebastian Bach … %PDF-1.5 The chorus then sings, without instrumental introduction, the energetic "Glory to God" chorus. One of Bach’s typically energized bass lines suggests determination while the flowing flute and violin melody intimates a flurry of activity. It is an unconventional oratorio for rather than following the pattern of Italian oratorios, as he did for J.S. Such are the qualities we’ve learned to respect in the “Northern Character” of 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 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. The final chorale brings back the radiant horns to close this wonderful, rich work. In that year they first performed Johann Sebastian Bach’s Weinachts-Oratorium (Christmas Oratorio). PART VI Herr, wenn die stolzen Feinde schnauben The original text, a denunciation of lust and the serpents of sin, now becomes a call to action----prepare yourself Zion, to behold the fairest. 17. Bach recycled material from two secular cantatas composed in the previous year: Sound, you drums! 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. It begins with a brilliant chorus, again recycled from an earlier secular cantata, with trumpets and drums. 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 program also includes … Like for his other oratorios, and his Passion settings, Bach employed a narrative based on the Gospel in his Christmas Oratorio. PART V Ehre sei dir, Gott, gesungen 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 Motets & Liturgical Works Notes & Translations. 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 … Individual cantata notes by Craig Smith, adapted by Ryan Turner, Emmanuel Music is the Ensemble-in-Residence at. The Gospel narrative of this oratorio followed, to a certain extent, the respective Gospel readings of the church services where the six cantatas of the Christmas Oratorio were to be performed for the first time. 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. 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. 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. The first of the three plainly harmonized chorales Gelobet seist du, Jesu Christ, offers a summation of what the shepherds have been told. Bach’s transformation of this material to wonderful and idiomatic Christmas music is a marvel. 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. They all bear little signs that say “Genius at Work.” Things get complicated. Next comes the stunning and popular "echo" aria for soprano and oboe, another paraphrase from BWV 213. These words are encapsulated in the following turba chorus, less fully orchestrated and even shorter than the first. ... Bach Christmas Oratorio BWV 148 Vocal Score Barenreiter 5014a. Cantata for New Year/Feast of the Circumcision. Celebrate the Season. A rather lengthy contemplative section follows. The third cantata completes the narrative wherein the shepherds and others hasten to the manger, extolling Jesus’ powers. NOTES. The Evangelist continues to describe Herod’s hysteria. On each of these six days, Bach’s congregation heard a cantata that recounted one of these stories commenting and reflecting upon events and their meanings for the Christian individual and the larger community. Furthermore, the chorale statements are extended by the bass’s additional explanatory comment. Əe:�$|�q)��$ 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. Although we think of it as a single work composed of six cantatas, Bach presented the individual cantatas one at a time over the period between Christmas and the Feast of the Epiphany. Simon Heighes’s informative note emphasises the devotional, rather than concert, nature of the Christmas Oratorio, and this is the key to Christophers’s interpretation. The section ends with Vom Himmel hoch, this time accompanied by motives from the opening sinfonia. 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. christmas oratorio oratorio de noel vocal score Nov 18, 2020 Posted By William Shakespeare Media TEXT ID a478a27f Online PDF Ebook Epub Library the top suppliers of woodwind brass and orchestral strings across sussex and are print and download oratorio de noel christmas oratorio alternate accompaniment sheet The festival of Epiphany, the traditional twelfth day of Christmas, completes the narrative of the Wise Men and the revelation of the arrival of the savior to the world. See program notes and a translation of the Christmas Oratorio from the BSO. The alto then sings an aria with violin describing Mary’s innermost feelings of the miracle of the birth. FREE Shipping on orders over $25 shipped by Amazon. The shepherds retreat, praising God for what they have witnessed. FOR IMMEDIATE RELEASE CONTACT: Sarah Snyder ssnyder3@umd.edu 301.405.8151. Johann Sebastian Bach (31 March 1685 – 28 July 1750) was a German composer and organist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity. The Evangelist continues telling of the shepherds finding Mary, Joseph, and the child. The two horns give a peaceful, otherworldly quality to the opening chorus, a paraphrase from BWV 213. The Evangelist then paints the picture of the shepherds in the fields when the Angel of the Lord appears. The Evangelist then describes the infant Jesus in the manger. 8�CD�wFB��"�%�vjC-Z��j���p��tX��#F�Ģ���Z��c:�t�&K*'#�!W�3:��;� �CD�e��.V�c�!A߻�u���5T$?FA�vh�iS�Ӧ���O^#���${�Daz���ٱ�p�Fgg�Tz�,\Y.�"D���p�.�B��k�YU�"|��$n��� ��V��T�S� �p�~���+�P�敉�!���{�i��pO���0=�ma����&}�r\&����9��-%��h�39�F��t���v�#����Fбݒ�>�~�Q��Ϡ�5��{&��ڤg �B'26��3���~�b~X�(�Xe&*� �;��Ni ��0���-�ID+5��&�K��ҲѪ`g c�������r��a*F���B��Ba�XG]$�q��b�U��pD�`B�M88zP��:z� The opening chorus of the Christmas Oratorio is a paraphrase, taken from the secular birthday cantata for Maria Josepha, Queen of Poland and Electress, BWV 214 , from which Bach subsequently parodied a number of movements for the oratorio. This is among the most beautiful of all the chorales in the Christmas Oratorio. The bass, backed by emphasizing woodwind chords, brings a reminder of the ancient promise. u�(MT4$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"̴$00��bo��� ��&�vׂ�M@/�c�p�US},�dp/��c���@F G�퉍��:"��ִQX��^�'R�cP�à�a��B��S�_:RlCX��&Q��ɏ� F�.��0�b��!Ua� �iN`M"�@dR�c��ղͭP�V��F�+����X9��}@j>�3�jQ���%Y Bach, and many cantatas. Bach: Program Notes from Mark Shapiro. pc��>��kd꒺�����nO^'��s�Z�U� su,c(F�����2]�(�=I,�� 3.+��4?��9�����D����ĭ� �$!��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�� Judging by the autograph score, he was working fast. In order to keep clear what is narrative and what is commentary, all the Evangelist recitatives - the Gospel texts- are secco (dry, with simple chords from the cello and organ), while the other recitatives have obbligato instruments or string accompaniment. The Evangelist tells of the coming of the Wise Men, while the chorus takes the part of the Wise Men with tropes by the alto describing our reaction to them. 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. 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). The Christmas Oratorio is exuberant music, brimming with joy and hope. Bach gives the sopranos four chorale phrases, each in a different key, and each is preceded and followed by an instrumental ritornello framing the entire movement. The rich, imaginative harmonizations of the ten chorales reflect the voice of the people, as they were hymn tunes mostly well known to Bach’s congregation. F005 Bach Christmas Oratorio Janowitz Richter 3LP Archiv DGG 2722 024 Stereo. In this “Musical Notes with T. Herbert Dimmock,” learn about J.S. shipping: + $4.00 shipping . There are two stunning moments when "peace on earth" is called for, compelling the choir to sing in hushed tones while the primarily eighth-note-driven continuo line temporarily subsides. stream Bach, therefore, celebrates with the maximum of musical ceremony, recalling the trumpets and drums. Sheet music Bach: Christmas Oratorio (BWV 248) Vocal Score. It is, in a way, the most perfect and symmetrical of the six sections of the oratorio. 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. Thursday, January 14, 2020 at 8 p.m. on YouTube & Facebook Christmas Oratorio Part III Herrscher des Himmels, erhöre das Lallen, BWV 248/III The choruses are jubilant and often feature brilliant and festive orchestration. The following trio takes a curious stance when the soprano and tenor ask when the messiah will appear; the alto quiets them and announces that he already has. While the narration is concerned with the arrival of the Wise Men, much of the music exhibits a darker cast heading toward Lent. The soprano chorale returns with the bass recitatives. 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