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Download Booklet WEIHNACHTS.ORATORIUM Lhe Chistmas Oratorio appear as separate manuscripts, (Christmas Oratorio), BWV 248 and musically, too. each one stands on jts own. But from This work, which was given the title of'Oratorio'by such points as the choice of so orgmic a base key as D Bach himself, can be said to have a story-like nmative major and the juxtaposition of accounts of the nativity flow, and is not a group of independent, successively from Luke 2 and Matthew 2 (different tiom the readings performed pieces. In fact, it is a set of six sequential appointed for the church). we know that Bach conceived cantatas. The writing of the celebration of Christ,s bi.th of all six parts as one combined work. The naffation of as a cantata series takes as a presupposition the fact that the nativity story is entrusted to the tenor, in the r6le of Christmas is not an independent holiday but, like Japan- Evangelist, and other characters such as angels. Herod ese New Year, a fixed period of celebration. That is. and shepherds also apper. Although Mary does not speat Bach's Weihnachts-Orqtorium (Christmqs Oratorio) is directly, her supposed words and thoughts are taken as lruly a work grand on a scale which celebrates the whole the text of an alto solo in ftee verse. delightful season from rhe three days of Christmas The libretto is attributed to picander, the author of through New Year ro Epiphany (6th January). the St. Matthew Passion text. Picander probably con- The Christmas Orctorio rs one of the later works fered with Bach in producing skilful parodies of exist_ among Bach's church music. The composition probably ing cantatas. Parts I 4 incorporate music that originated took place in November and December 173,1. and the as BWV213 (The Choice of Her.zles) and BWV214 work was first perfomed between 25th December (Tdnet, of that ihr Pquken, erschqllet, h.ompetery, securar can- year md 6th January of the following year This was at tatas produced in 1733 for the Sachsen court. part 6, too, the time that Bach, taking a hiatus from his writing of contarns almost in its enthety a lost church cantata. church cantatas (which he had produced over a number For the first perfomance. the new sections produced of yers, beginning in 1723), had turned his energies to- by Bach included the music for the biblical narrative, wild secular music, which he played with the Collegium chorales, and the redtatiro a.compagnato parts. These Musicum in Leipzig. However, based on the facts that in are vuied pieces written with a mature technique, and 1733 the Kyrie ancl Gloria of the MaJs in B minor \|erc among them, the ftee union of chomle and recitative is presented at the Sachsen court and that. after the CrriJF notable. Other new music included the sinfonia in pat 2 mas Oratorio, Bach produced a succession of funher and the alto aria (No.3l), 'oratorios' in Pan 3 and also perhaps rhe works entitled (Eastet Oratorio, Ascension openrng chorus of Part 5. The first pedomance was at Oratoio), it can be suggested that Bach was endeavour- both the Nikolaikirche md rhe Thomaskirche: Bach went ing to break new ground in church music. This is back and forth with his choir between these two matn connected with his incrcased tendency in his later years churches of Leipzig. It appears that other perfomances to mange pre-existing materials according to new, higher took place in l'13914O. t744/45 and t'l45/46. concepts. Thus, in the Christmas Or?/oria. existins can_ lata choru\es and aria' are reanimated with neu Iexl\ and mediated by newly-composed recitatives and chor_ ales. The existing music was brilliantly vivid and abund- antly lydcal, and fomed a religious work well suited to the celebration of Christ's nativity and the consideration of its meaning. Even in the autograph, the six cantatas comprisine welcome thee, 1653) is set to PART I dith emltfungen (How can I the renowned Passion chorale melody by H L Hassler' Jauchzet, frohlocket, auf, preiset die Tage Expectation of the Nativity is heightened more and more' (Rejoice, exult, Praise those daYs) Christmas DaY (25th Dercmber) No. 6: Recitative (Evangelist) On this day in 173'1. it was performed in the morning brings foilh the new-bom intant and lays him in a sewices at the Nikolaikirche and in the atiemoon N{ary during G manger. From here. the music moves into a pastoral at the Thomaskirche. Beginning with a chorus sparkling major. with joy, the nanative unfolds throughout the subsequent movements with Joseph and Mary s anival in Belhlehen No.7: Chorale (Soprano) and Recitative (Bass' and the birth of Jesus in the stable. The orchestration .1ndanre. G najor. 311 414) here calls for 3 trumpets, timpani.2 flutes' 2-oboes' 2 A considerarion of the meaning oi the Nativity Follow- oboes d'amore. strings and contlnuo. ing the two oboes d amore. the soprano sings the sixth verse of Luther's Christmas chonle Gelobet seist du' No,1: Chorus (D major.3/8) Jesu Christ (Praised be thou, Jesus Clrisl, 152'l), and The musical idea of the magnilicent opening, in uhich the bass interjects comments from line to line' lhe limpani \el\ lhe lime and lhen trumpet' lotn cone' ponds with the texi of the original piece' the first chorus No.8: Aria (Bass, D major. 2/4) of BWV 214 \Tihet, illr Puuken' e$Lhallet' Trcnpeten)' with trumpet accompaniment. it proclaims beautil'ully altered to express the jo) 01' A brave aria Here it has been '8reat piece rhe infant to be Lord. mighty King' This Christmas. was originallY No.7 of BWV 2l'1 No. 2r Recitative (Evangelist) visit \o.9: Chorale (D major, 4/4) The Evangelist (Luke, in this case) begins with the Luther's Christmas chorale Vom Himmel to Bethlehem. The time for Marl"s Verse l3 of of Joseph and Mary I tla komm ich her (From Hearen high to eafth has come. Itotlt, delivery be a ronre. 1535) describes a plea that our hearts nay for Jesus. The trumpets and timpani' as if evoking an Rccitative bed \o. -Ji the chor- wel- irnage of the host of angels, frame each half of As if interrupting the nanator. the alto proclaims a ale. come as a bride to her bridegroom Two oboes d amore ('oboes of love') accompany PART II No.4: Aria (Alto, A minor, 3/U) lhe Und es waren Hirten in derselben Gegend Above a light dance rh)'thm' the alto enjoins Zion (And there [ere in the same country shepherds abiding) of the faithful' to prepare to $elcome the nultitude (26th Her- Sccrttd Du,- of Chrislnds Dercnlb'r) Saviour. Originally the text fbr this aria recoLLnted Part 2 was perfomed al the Thomaskirche in the moming' cules' leave-taking liorn Pleasure a completel) ditler- in the aftemoon The theme is (BWV 213. No.9) and at the Nikolaikirche ent sortollheme with {he angel's announcement to the shepherds camped in the lield (Luke 2: 8-1 l): the angels' rvords (A nlinor. '1l'1) their fl"ocks r.-o.5: Chorale l it is are buill in() a great chorus. In collrasl with Pan Verse I of Paul Gerhardl s Advent chorale Wie soll ich 1 a pastoral drama with a caln flavour. The orchestration No.l6: Recitative(Evangelisr) is for 2 flutes.2 oboes d'amore.2 oboes da caccia, Continuingon from No.13 with the wordsof the angel, stnngs and continuo. the Evangelistnanates the sign to the shepherds:a baby lying in a manger No. l0: Sinfonia (G major I 2/8) This is the only instrumental piece contained in any of No. l7: Chorale (C major,.f4) the six parts of work. the The pastorale in l2l8 time has Verse 8 of Paul Gerhardr's Christmas chorale Scrdrr, appeared in Christmas music since ancient times. The schdut,v,us istfir Wunderdar (Look, look, '|hqt is this distance between lightly moving lines for llutes and niracle. 1667) gives a vivid preview of the appearance violins and the melody of the group of oboes (the fomer of the infant. representing the music of the angels, the latter that of the :hepherds r gradually shrjnks as the mu\ic propre\se\. No.l8: Recitatiye(Bass) The bassenjoins the shepherdsto go where the child is No. l1: Recitative (Evangelist) to sing him lullabies.The rocking patternof a cradle The Evangelist describes the scene of the shepherds in appearsin the continuo. the lields and rhe glory of God shining in the sky. Here a pattem appeils in the continuo which vividly describes No.19: Aria (Alro,c major.2/4) the descent of the angel. The settingfor this aria is the scenein the stable,where a lullaby soothesthe hean. Throughout.the flute accomp- No.12: Chorale (c majo\ 414) aniesan octaveabove the voice: perhapsthis is meantto As if impatienrly waiting for the Evangelist to end, rhe symbolizeangelic support lbr rhe singingMary. chorus enters with verse 9 of Johann Rist,s Christmas chorale Ermuntre dich, nein scha,d(.her Geist (Hq|e No.20: Recitative(Evangelist) courage, mt" b'eak soul, 1611). The resulr is as refteshing As the angel finishesspeaking, the sky nlls wirh rhe as the light ofdawn. hostsof heaven.and the praisesof God begin. No. l3: Recitativ€ (Evangetisr. Angel) No.2l: Chorus (G major,2/2) The angel (soprano) reils the .Fear 'Glory shephefds: not: today to God in the highest,and peaceon earth., This in David's city the Saviour has been bom.' lively and magnificent chorus encompassesthree parls: the glory of cod, rhe eanh s peace,and the joy of maD_ No.
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