The proportion of Oratorio performances on period instruments rose significantly during the 1970s. Lauridson - Lux Aeterna: Mozart - Requiem . Nine virtual programs offer some of the finest works in the cantata and oratorio repertory. 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. On his visits to Dresden, Bach had won the regard… MA Music, Leisure and Travel The 1984 reading coincided neatly with the conclusion of his complete cantata series. This is indeed a highly accomplished and consistent reading, one where Bach’s sense of imagery is especially keenly developed. Bernstein - Chichester Psalms: Dvorak - Stabat Mater . The same cannot be said for the less technically impressive but profoundly affectionate account from Fritz Werner. 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. Höre Weihnachts-Oratorium BWV 248 von Barbara Schlick auf Deezer. Auf, preiset die Tage, BWV 248/1 Herrscher des Himmels, erhöre das Lallen, BWV 248/3 Intermission Orchestral Suite No. 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. 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. As a backpacker in New Zealand, everywhere is your “bach”, so you have that covered. Bach, Christmas Oratorio, BWV 248-V, at the Sunday after New Year – Herod and the Magi. From the booklet of the Christmas Oratorio CD. From Bach’s Christmas Oratorio Jauchzet, frohlocket! 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. 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. Weihnachts-Oratorium, BWV 248 Johann Sebastian Bach (1685–1750) Dana Marsh, Artistic Director. Bach: Christmas Oratorio BWV 248, part 1/2 Ich möchte YouTube-Inhalte aktivieren und stimme zu, dass Daten von YouTube geladen werden. 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. 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. It's all here. Harnoncourt’s considered identity with each ‘event’ in the narrative places the work outside anything remotely pragmatic or generic. The first line sung in the opening chorus of Part 6 reminds us that the character of Christmas is far from that of a Hallmark greeting card. 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). 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. Theil • 5. Christmas Oratorio Part III. 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! 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. 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 date is confirmed in Bach's autograph manuscript. 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. 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. The Angeles Chorale performs "Ah! Opening Up Our Hearts: Music and Inspiration of Christmas. 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). Thursday, January 14, 2021 at 8 p.m. on YouTube & Facebook. Like Koopman, Masaaki Suzuki approached the Oratorio within the gargantuan task of committing all the cantatas to disc. JOHANN SEBASTIAN BACH (1685-1750)"Weihnachtsoratorium" Cantata No. Suzuki’s unwaveringly felicitous choices are noticeably evident as we approach the close of the cantata project, 15 years after this beautifully judged reading. Orff - Carmina Burana: Christmas Carols. Thursday, January 14, 2021 at 8 p.m. on Facebook and YouTube Christmas Oratorio Part III. 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. 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 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. Carolyn Sampson is irresistible throughout. Other articles where Christmas Oratorio is discussed: Johann Sebastian Bach: Instrumental works: …words and reused in the Christmas Oratorio. An unwieldy Radio Choir skating over detail, in too resonant an acoustic, disqualifies this reading in the same way as that by Enoch zu Guttenberg appears to have been painted by numbers in a story of a thousand mannerisms. 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. Streamed Event: Thursday, January 7, 2021 at 8 p.m. on YouTube & Facebook. James Taylor is a compelling Evangelist as advocate, commentator and, generally, all-embracing dramatis persona. In our own archives we list several first-rate choices, including sets from Harmonia Mundi (Jacobs), … ‘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. 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. 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's "Christmas Oratorio" is nowadays more likely to be heard and appreciated on record than in live performances. 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. 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. Annual Christmas Concert — Virtually have listened to Bach ’ s youtube bach christmas oratorio Christmas Concert — Virtually shortage captivating. Which propelled this recording onto many of 2016 's 'Best of ' lists unobtrusive reading Jos. Muscularity juxtaposed with solo vocal warmth, especially from the luminous Janowitz Wunderlich. Die stolzen Feinde schnauben, BWV 248 johann Sebastian Bach ( 1685–1750 ) und es waren in. 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