whole period of the Christmas festivities of 1734-35, starting with Part Christmas Oratorio, BWV 248. In the last decades of the 17th century, the feast of Christmas in Lutheran Germany underwent a major transformation when theologians and local governments waged an early modern war on Christmas, discouraging riotous pageants and carnivalesque rituals in favor of more personal and internalized expressions of piety. The performances were divided between his two churches: Parts I, II, IV Login | Register . Before Bach composed his Christmas Oratorio for the 1734–35 Christmas season in Leipzig, he had already composed Christmas cantatas and other church music for all seven occasions of the Christmas season: Four of these third cycle cantatas for the Christmas season, BWV 110, 57, 151 and 16, were on a text from Georg Christian Lehms's Gottgefälliges Kirchen-Opffer cantata libretto cycle, which had been published in 1711. Mp3s Sheetmusic: Johann Sebastian Bach BWV 248 Christmas oratorio Oratorio Time: 135'00. The date is confirmed in Bach's autograph manuscript. Addeddate 2013-09-12 06:16:59 External_metadata_update 2019-04-11T22:47:49Z Identifier ChristmasOratorioBWV248 Scanner Internet Archive HTML5 Uploader 1.4.1. 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. John Sebastian Bach's Christmas Oratorio, composed in 1734, both reflects this new piety and conveys the composer's experience living through this tumult during his own childhood and early career. The Christmas Oratorio, or Weihnachts-Oratorium, is actually a set of six sacred cantatas, each depicting a different scene from Christ's birth. And never mair from thee depart. A well-known English version of that stanza is "Oh, my dear heart, young Jesus sweet", the first stanza of "Balulalow", as, for instance, sung by Sting:[47][48]. Genug, mein Schatz geht nicht von hier, Und da die Engel von ihnen gen Himmel fuhren, 3 trumpets, timpani, 2 flutes, 2 oboes, strings (violin I, II, viola) and continuo (cello, violone, organ and bassoon), 3 trumpets, timpani, 2 flutes, 2 oboes, strings and continuo (cello, violone, organ and bassoon), 2 flutes, 2 oboe d'amore, 2 oboe da caccia, strings, continuo, Recitative (Evangelist, tenor; Angel, soprano), 2 oboe d'amore, 2 oboe da caccia, strings, continuo, 2 oboe d'amore, 2 oboe da caccia, continuo, Trumpet I, II, III, timpani, flute I, II, oboe I, II, strings, continuo, Flute I, II, oboe d'amore I, II, strings, continuo, Flute I, II, oboe I, II, strings, continuo, Horns I, II, oboe I, II, strings, continuo, Oboe d'amore I solo, organ senza continuo, Trumpet I, II, III, timpani, oboe I, II, strings, continuo, BWV 248a (lost church cantata); Words: Georg Werner, 1648, Before his Leipzig period he composed, as part of. To reinforce this connection, between the beginning and the end of the work, Bach re-uses the chorale melody of Part I's "Wie soll ich dich empfangen" in the final chorus of Part VI, "Nun seid ihr wohl gerochen"; this choral melody is the same as of "O Haupt voll Blut und Wunden", which Bach used five times in his St Matthew Passion. [46], Martin Luther's 1539 "Vom Himmel hoch, da komm ich her" melody appears in three chorales: twice on a text by Paul Gerhardt in Part II of the oratorio, and the first time, in the closing chorale of Part I, with the 13th stanza of Luther's hymn as text. Image credit: Appaloosa/Wikimedia Commons. Bach: Christmas Oratorio WEIHNACHTS-ORATORIUM, BWV 248. Markus Rathey's book is the first thorough study of this popular masterpiece in English. B. Freut euch und jubiliert 33 of the oratorio appears to be based on, This page was last edited on 1 December 2020, at 22:47. "Jauchzet, Frohlocket, Auf, Preiset Die Tage", (Chorus)", "Christmas Oratorio, BWV 248 - Christmas … 38 and 40 which frame the "Echo Aria" ("Flößt, mein Heiland"), no. An analysis of Johann Sebastian Bach's Christmas Oratorio focusing on the self-borrowings in Part I of the Oratorio. In his Christmas Oratorio, Johann Sebastian Bach incorporated successful music from earlier works he had composed for special occasions, such as coronations and royal birthdays.By giving a place in the liturgical repertoire to previously composed choruses and arias, Bach ensured the survival of some of his very finest treasures for posterity. The Christmas Oratorio was conceived as a set of six If a Sunday fell between 27 December and 1 January, also on this first Sunday after Christmas a church service with music was held, and similar for a Sunday between 1 and 6 January (second Sunday after Christmas, or: first Sunday after New Year). 39 in part IV. The structure of the story is defined to a large extent by the particular requirements of the church calendar for Christmas 1734/35. this text in your own programmes, but if you do please (i), , and (ii) The Christmas Oratorio is by far the longest and most complex work of the three.[1]. Instead, he used the model from BWV 215 for the bass aria "Erleucht' auch meine finstre Sinnen" in Part V. Similarly, the opening chorus to Part V, "Ehre sei dir Gott!" Buy 2 SACDs online. It is in six parts, with each part to be performed on one of the days of the Christmas festivities, but is usually performed in two sections. Bach then embarks upon a journey back to the opening key, via the dominant A major of Part V to the jubilant re-assertion of D major in the final part, lending an overall arc to the piece. Expression of the Oratorio was conceived as a librettist for his cantatas: mp3s video... 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