Other than Rilling, Michel Corboz is probably the next most prolific ‘recorder’ of Bach’s major choral works (there are four B minor Masses). Theil 2. Christmas Oratorio Past Performances Part III Part IV Part V Part VI. There are three complete DVDs of Bach’s Christmas Oratorio. Orff - Carmina Burana: Christmas Carols. If you like trebles in Bach—and specifically in the Christmas Oratorio—why not opt for those that Bach, a few generations back, worked with himself? The Angeles Chorale performs "Ah! In the first, Harnoncourt directs his Concentus Musicus Wien in a highly staged, decidedly dated (1981) and surprisingly doctrinal reading from the Waldhausen Church. Oratorio in the dramatic Handelian vein also encourages us to view this work on its own terms. Fasolis always brings a sense of delight, even mischief (the da capo of the opening chorus starts pianissimo!). 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. 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. Gardiner's Christmas Oratorio: Josh Klasinski wrote (January 17, 2007): This past Christmas and indeed over the entire holiday season reaching up to the present I have had the immense pleasure of becoming intimately acquainted with what is certainly one of Bach's most fully realized and extraordinary works, the Christmas Oratorio. If Fasolis temporarily held sway in my affections, Harnoncourt’s later version is my top choice: an account elevating these six great tableaux to a level where Bach, at his most mature and luminous, irresistibly conveys the wonders of Christmas. A new music service with official albums, singles, videos, remixes, live performances and more for Android, iOS and desktop. Bernstein - Chichester Psalms: Dvorak - Stabat Mater . „…maradj mindig mellettem! Review: Bach Christmas Oratorio DVD: Kirk McElhearn (February 27, 2002): JOHANN SEBASTIAN BACH (1685-1750) Christmas Oratoria [198 min.] Find similar music that you'll enjoy, only at Last.fm. In this respect the Christmas Oratorio is akin to the St. Matthew Passion and the St. John Passion. Rilling’s later version from 1999 follows a similar template but the choruses crackle here with considerably more glee and variety, and each part infectiously follows the last with connective logic (the wise men’s arrival from the East is handled with seasoned timing). Some may baulk at the hybrid stylistic world of ‘not-quite-authentic’ (eg modern strings, albeit gut) but there is a gratifying eloquence throughout, enhanced significantly by a fine German alto boy soloist, Andreas Stein, who irradiates ‘Schlafe, mein Liebster’ – the cradling all the more tender for the few years which separate the singer from his own infancy. As a backpacker in New Zealand, everywhere is your “bach”, so you have that covered. This is indeed a highly accomplished and consistent reading, one where Bach’s sense of imagery is especially keenly developed. The “Kyrie” and “Gloria” of the Mass in B Minor, written in 1733, were also dedicated to the elector, but the rest of the Mass was not put together until Bach’s last years. The poetic sensibility and vocal allure of Anthony Rolfe Johnson is as memorable here as it was in Gardiner’s St John Passion. 3 in D major, BWV 1068 Herr, wenn die stolzen Feinde schnauben, BWV 248/6 Bach - B Minor Mass . International licensing, If you are a library, university or other organisation that would be interested in an institutional subscription to. Johann Sebastian Bach put together his Christmas Oratorio, BWV 248, sometime in the fall of 1734 for the coming Christmas season. 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. 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. Harnoncourt’s considered identity with each ‘event’ in the narrative places the work outside anything remotely pragmatic or generic. Date / Artists / Record company (review date), 1955 Stuttgart Rad SO / Langenbeck (pts 1-3 only) Profil PH08028, 1958 Leipzig Gewandhaus Orch / Thomas Berlin Classics 0021912BC (12/62R); 0300034BC, 1963 Pforzheim CO / Werner Erato 2564 61403-2 (1/05), 1965 Munich Bach Orch / K Richter Archiv 427 236-2AX3 (3/89); DG 463 701-2AB10, 1966 Stuttgart CO / Münchinger Decca 455 410-2DF2 (12/67R); Newton 8802001, 1972 Concentus Musicus Wien / Harnoncourt WCJ 2564 69854-0 (12/86R), 1973 Bavarian Rad SO / Jochum Philips 416 40-2PB3 (9/73R – nla), 1973 Collegium Aureum / Schmidt-Gaden DHM 88697 57577-2 (4/88R); 88697 58759-2, 1977 Collegium St Emmeram / Schneidt Archiv 477 6282AM3 (10/79R), 1981 Concentus Musicus Wien / Harnoncourt DG 073 4104GH, 1984 Lausanne CO / Corboz Apex 2564 68621-7 (12/84R), 1984 Bach Collegium Stuttgart / Rilling Hänssler Classic CD98 851/3 (2/95); CD98 976, 1987 English Baroque Sols / Gardiner Archiv 423 232-2AH2 (12/87); DG 469 769-2X9, 1987 Staatskapelle Dresden / Schreier Philips 475 9155POR3 (12/87R), 1989 Collegium Vocale, Ghent / Herreweghe Virgin Classics 759530-2 (12/89R), 1991 Conc Cologne / Otto Capriccio 60 025 (4/92), 1992 Failoni CO / Oberfrank Naxos 8 550428/30 (4/93), 1993 Sixteen / Christophers Coro COR16017 (12/93R); COR16072, 1993 Drottningholm Baroque Ens / Ericson Proprius PRCD2012/13, 1995 Virtuosi Saxoniae / Güttler Berlin Classics 0011352BC; 0184192BC, 1996 Amsterdam Baroque Orch / Koopman Erato 0630 14635-2 (3/97), 1997 KlangVerwaltung Orch / Guttenberg Farao B108015, 1997 Akademie für Alte Musik Berlin / Jacobs Harmonia Mundi HMX290 1630/31 (12/97R), 1997 New London Consort / Pickett L’Oiseau-Lyre 458 838-2OH2 (5/00 – nla), 1998 Bach Fest Orch / Funfgeld Dorian DOR93183 (2/00), 1998 Bach Collegium Japan / Suzuki BIS BIS-CD941/2 (2/99), 1999 English Baroque Sols / Gardiner ArtHaus Musik 101 237, 1999 Bach Collegium Stuttgart / Rilling Hänssler Classic CD92 076 (1/01), 2002 Netherlands Bach Society / Veldhoven Channel Classics CCSSA20103 (1/04), 2002/03 Swiss Rad Orch / Fasolis Arts 47714-8, 2006/07 Concentus Musicus Wien / Harnoncourt DHM 88697 11225-2 (12/07), 2009 Kleine Konzert / Max CPO CPO777 459-2, 2010 Leipzig Gewandhaus Orch / Chailly Decca 478 2271DH2, 2010 Akademie für Alte Musik Berlin / Dijkstra BR-Klassik 900502, This article originally appeared in the December 2012 issue of Gramophone. Münchinger is never less than dependable. 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. 巴赫康塔塔《尊主颂》指挥：哈农库特 勋伯格合唱团 - Magnificat BWV 243 - Nikolaus Harnoncourt 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). Opening Up Our Hearts: Music and Inspiration of Christmas. 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. | 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). 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). Ralf Otto enjoys a ringing and alert Evangelist in Christoph Prégardien and a refined Concerto Köln but his account falls short on energy and personality. The date is confirmed in Bach's autograph manuscript. The Angeles Chorale performs "Ah! The Sinfonia to Part 2 is as touching an evocation of abiding shepherds as you’ll find. It was never intended for performance in one sitting. It comprises six cantatas, suitable for performing separately during the so-called twelve days of Christmas. This substantial festival work, like the Mass, draws liberally on pieces composed for previous occasions, Bach typically recycling old material with freshness and vibrancy to suit the new context. Meine Datenschutz-Einstellungen 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 The sensational trumpet-playing of Maurice André aside (the last chorus the finest on disc), Richter yields irregularly to the emotional possibilities. It was written for the Christmas season of 1734 incorporating music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a now lost church cantata, BWV 248a. About Mark Allen Group Bach’s Christmas Oratorio has been treated very well on disc. Bach - Christmas Oratorio. Harnoncourt - Bach - Christmas Oratorio BWV 248 ... - YouTube His view is principally one of theatrical observation through imaginative calibrations of texture between voices and instruments, of which the poised New London Consort are masters in earlier repertoire. Less atmospheric – but rather more recognisable in terms of increasing technical surety and the aesthetic of objectivity which flavoured ‘early music’ at the cusp of the 1980s – is Hanns-Martin Schneidt’s reading with the Regensburger Domspatzen (whose director for 30 years was Georg Ratzinger, Pope Benedict XVI’s brother), which espouses safety to such lengths as to render the whole a disappointingly dour essay. For the Christmas Oratorio, Bach cleverly used music he had already composed, adapting it for a new purpose. One longs for something altogether less harnessed. 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. 99 to rent. On his visits to Dresden, Bach had won the regard… Bernarda Fink has her head buried in her copy but the Evangelist, Christoph Genz, sings without any music and tells the story without flinching. A documentary on local Bachiana is an enjoyable bonus. - 0.0/10 2 4 6 8 10 (-) - V / V / V - 276×⇩ - BachFan. CHRISTMAS ORATORIO. CC. Or $0.00 with a Prime membership. Nine virtual programs offer some of the finest works in the cantata and oratorio repertory. 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