Year of release: 2001 Gradually, however, the oboes adopt musical ideas from the strings, and in the final moments of the sinfonia, the strings and oboes play the same motive. 3: 4-7 / Acts 6: 8-15 & 7: 55-60; Gospel: Matthew 23: 35-39 / Luke 2: 15-20 Bach: Christmas Oratorio, BWV 248 / Part Five - For The 1st Sunday In The New Year - No. With this composition Bach not only tapped into a long history of music for the celebration of the birth of Christ, he also created a celebration of music itself and of music as a mode of human and divine encounter. 2, as well as free poetry and hymns. Emmanuel Music is a Boston-based ensemble of singers and instrumentalists founded in 1970 by Craig Smith to perform the complete sacred cantatas of J.S. Original Recording Format: DSD 64. [3] The festive setting of the praise of the angels is the climax of Part II, only followed by a short recitative for bass and a final chorale stanza. Bibeltext, Kirchenlieder und freie Dichtung (evtl. Bach. (2016) “Music and Divine Encounter in Bach’s Christmas Oratorio,” The Yale ISM Review: Vol. . . Even though the text does not mention it directly, the divine praise from the human chorus is again modeled on the praise sung by the angels. to watch this page]. This phenomenon is due in part to cultural conventions; but throughout history, Christmas has also inspired musical imagination more than any other Christian feast. From the booklet of the Christmas Oratorio CD. In the hymn setting the singers join the angels and praise the newborn Son of God: “We sing to you, amid your host, with all our power . [2] Some of the parts were also repeated during the Vespers services; for the liturgical context see Markus Rathey, Johann Sebastian Bach’s Christmas Oratorio: Music, Theology, Culture (Oxford and New York: Oxford University Press, 2016), 120–125. Buy Christmas Oratorio (SATB ) by J. S. Bach at Bach’s sinfonia enacts this synthesis musically by leading the two musical choirs, which are distinct in motive and color, to a sonic synthesis. I. Friday, 12.25.20 at 8 p.m. YouTube & Facebook. CHRISTMAS ORATORIO Weihnachts-Oratorium, BWV 248 The opening chorus, “Celebrate, rejoice, rise up and… glorify what the Highest has done today,” was completely original. . 3: No. Do not forget that you, O long-desired guest, have now presented yourself” (no. . . Feel the delight.”. After the alto lullaby, the Evangelist announces the arrival of the heavenly hosts, and the angels sing their “May honor be to God on high,” the angelic Gloria. 1, Article 1. [9] Gesetze der Schule zu S. Thomae (Leipzig:Breitkopf, 1733), 5. Bach’s skillful juxtaposition and assimilation of musical ideas and musical topoi correlates with Martin Luther’s interpretation of the angelic choir in Lk. The second part of the oratorio (like the other parts as well), ends with a setting of a common congregational hymn. All of J.S.Bach's major choral works, including the Christmas Oratorio (1874), the Magnificat (1874), and the St Matthew and St John Passions (1894 and 1896 respectively), were translated by him for the music publisher Novello. The lullaby that follows is a beautiful alto aria, which meditates on the intimate relationship between the believer and Jesus: “Sleep, my most beloved, enjoy your rest . While we had been servants of the devil before, now the Child has honored us by elevating us to the citizenry of the angels. 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. 7, 9) Chorale Text: While the biblical narrative expects the angels to sing their angelic Gloria, nowhere do we read in the Gospel of Luke that the shepherds made music as well. An instrumental sinfonia depicts the bucolic scene in the fields close to Bethlehem. Weihnachts-Oratorium, BWV 248 Johann Sebastian Bach (1685–1750) Dana Marsh, Artistic Director. Jauchzet, Frohlocket - Christians, Be Joyful (J. S. Bach: Christmas Oratorio, Part I) Words: Original German text is attributed by some to Christian Friedrich Henrici Music: Jauchzet, Frohlocket (J. S. Bach: Christmas Oratorio, Part I) | Johann Sebastian Bach 2:8–14), culminating in the angelic song “Ehre sei Gott in der Höhe” (May honor be to God on high). Earthly music was a reflection of heavenly music; the voices of the human choir emulated the angelic voices. The music of the alto aria is soothing, with a lilting rhythm. 1). If this request was not resolved and is still valid, please re-request it by following the instructions at, This translation system has been deprecated in favour of, This page was last edited on 30 September 2009, at 21:47. The opening chorus is a celebration of music as a means of expressing the joy that will later be announced by the angels in the Gloria. 24). Add to cart. Bach plays with a common stereotype of shepherds’ music, the pastorale: lilting motives in triple meter over a simple, often static, bass. The book analyzes Bach’s masterwork from a musical, cultural, and theological perspective and sheds new light on Bach’s own compositional process. Program Notes J.S. Emmanuel Music continues to perform cycles of large-scale and chamber works by Bach, Handel, Mozart, Schubert, Brahms, Debussy, Haydn, Schoenberg, Weill, Wolf, Medelssohn, and Schumann under Artistic Director Ryan Turner. [7] Christoph Starke, Synopsis Bibliothecae Exegeticae in Novum Testamentum: Kurzgefaster Auszug Der gründlichsten und nutzbarsten Auslegungen über alle Bücher Neues Testaments, vol. We will join with you in song.” The text for the recitative finally spells out what the music had already represented several times, the combination of heavenly and human forces in the musical praise of God. However, for Bach and his anonymous librettist there is no question but that the encounter would have a musical component. Bach uses the string instruments of the orchestra (here doubled by the flutes) to depict the arrival of the angels. SKU: 30809. But again, even before the voices of the singers enter, Bach has already displayed the different voices of the orchestra in fanfares of praise: first the drums, then the flutes, followed by the oboes and the trumpets. After the announcement of Jesus’s birth, the text of the following recitative even calls the shepherds a “choir”: “What God has pledged to Abraham, he now lets be shown to the chorus of shepherds as fulfilled” (no. The theological synthesis is also musical synthesis. This idea also shapes the following movements of Part II of the oratorio. contributions 16:06, 27 September 2007 (UTC) Interest of the translation: The German article is much more detailed than the English one. [4] Cf. Harmony between God and man is represented by musical harmony. Frohe Hirten, eilt, ach eilet, For the historical instructions see Template:Translation/Instructions, Either the page is no longer relevant or consensus on its purpose has become unclear. The encounter between the human and divine spheres takes place in sound. In the Christmas Oratorio, Bach took virtually every solo from sacred music he had composed earlier and combined them with other choruses and instrumentals that were both new and old. < Its first cantata, Jauchzet, frohlocket! }} or {{Doubt | original sentence | 45 Chor: "Wo ist der neugeborne König der Juden?" [10] The idea of heavenly harmony and its sonic realization in earthly music was quite common in Baroque music theory as well as in theology; for a recent study of these concepts see Joyce I. Irvin, Foretastes of Heaven in Lutheran Church Music Tradition: Johann Mattheson and Christoph Raupach on Music in Time and Eternity, (Lanham: Rowman&Littlefield), 2015. The same is true for the opening movement of the third part of the oratorio: “Ruler of heaven, give heed to our babble, let our feeble songs praise you” (no. Corelli’s Christmas Concerto, Bach’s Christmas Oratorio, and the Christmas sections from Handel’s Messiah are an integral part of the public and private soundscapes between Thanksgiving and New Year’s Eve. In particular, you can use {{Doubt | original sentence For an English translation and remarks on the theological and musicological context of this view of music see Rathey, Bach’s Christmas Oratorio, 191. Bach therefore decided to split the oratorio into six separate parts, each of them to be performed before the sermon in morning services of one of the two major churches in Leipzig. Chorus (S, A, T, B) Ruler of heaven, give ear to our stammer, Let these our weary refrains bring thee pleasure, As thee thy Zion with psalms doth exalt! Bach essentially follows the same pattern he had already used in the opening sinfonia, now applied to a setting of the central biblical text. It is the call to all mankind to join the choir of angels: “Quite right, you angels: shout and sing. The angel then urges the shepherds to go to the manger and to see “the miracle” that has taken place. The shepherds, on the other hand, are represented by the nasal sound of the oboes—again a typical feature in Baroque iconography. [5] For a more detailed discussion of this movement see Rathey, Bach’s Christmas Oratorio, 197–207. Traces of a similar view of music can also be found in other movements of the oratorio, albeit not as concentrated as in Part II. [3] The translations of the texts from Bach’s oratorio follow the excellent translation by Michael Marissen, Bach’s Oratorios: The Parallel German-English Texts with Annotations (New York and Oxford: Oxford University Press, 2008). 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). In his Hauspostille the Reformer states that through the birth of Christ, humans become co-citizens with the angels: “But he is not only our Lord, but he is also the Lord of the angels; and together with the angels we are members of the Lord’s domestic community. When the singers finally enter in measure 33, their “Shout, exult, arise” almost feels redundant, because that is exactly what the instruments have already done for quite a while. I, Biel: Heilmann, 1746, col. 1039. The liturgy in his Leipzig churches did not provide a place to perform a piece of more than two hours in length. Christmas and music seem to belong together. For much of his life, Bach was in charge of music at St. Thomas Lutheran Church in Leipzig, Germany. The scriptural basis for the second part is the encounter of the shepherds with the angels on the fields before Bethlehem (Lk. Part I: The First Day of Christmas. Already in the opening movement for Part II, however, Bach celebrates the encounter between the angels and the shepherds, albeit without words, only with the use of music. . Music—here the songs and psalms sung in the honor of God—serves as a celebration of the birth of Jesus. English Translation Cantata BWV 248/3 - Ruler of heaven, hear our inarticulate speech Christmas Oratorio III: Event: Cantata for the 3 rd Day of Christmas [St John's Day] Readings: Epistle: Hebrews 1: 1-14 / Ecclesiastical Letters 15: 1-8; Gospel: John 1: 1-14 The text for the oratorio features the familiar Christmas narrative from Lk. 2. sharing the joy of Bach’s music by broadening audiences in the nation’s capital, 3. nurturing the appreciation of Bach’s music through education and community outreach activities, and 4. interpreting the music of Bach for audiences of today, thereby ensuring his legacy. They belong to the feast like roasted chestnuts and peppermint sticks. English Translation in Parallel Format Cantata BWV 248/2 - And there were shepherds in the same area Christmas Oratorio II: Event: Cantata for the 2 nd Day of Christmas [St. Stefanus Day] Readings: Epistle: Titus. Bach composed his Christmas Oratorio for the Christmas season from Christmas Day on 25 December 1734 to Epiphany on 6 January 1735. [1] For an excellent overview of music and angels see Meredith J. Gill, Angels and the Order of Heaven in Medieval and Renaissance Italy (Cambridge: Cambridge University Press, 2014), especially pages 112–134. J.S. 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. The angels play an elegantly flowing siciliano motive, while the shepherds interject with a simpler, more rustic theme. However, the opening sinfonia is more than just a musical genre painting, it describes an encounter. This section is for all those who have requested this translation, are translating or proofreading this article, or just want to give some advice about the translation in progress. 18).[8]. The soothing sound of the Baroque pastoral and the festive splendor of concerto-movements from the first half of the eighteenth century seem to capture the Christmas spirit and are often appreciated even without a deeper knowledge of classical music. . II . He is a leading Bach scholar and currently president of the American Bach Society. The opening chorus, “Celebrate, rejoice, rise up and… glorify what the Highest has done today,” was completely original. Und es waren Hirten in derselben Gegend, BWV 248. Translation by Francis Browne ( Bach—Christmas Oratorio: Frohe Hirten Frohe Hirten, eilt, ach eilet, Eh ihr euch zu lang verweilet, Eilt, das holde Kind zu sehn! [6] For the original text see Rathey, Bach’s Christmas Oratorio, 206. J.S. Choral Sheet Music. The laws for the school (Schulordnung), recently revised in 1733, described the musical duties of the pupils by comparing them to a choir of angels: “When they are singing, they shall diligently remember the nature and the duties of the holy angels; this shall teach them that the singing of sacred songs is a glorious duty and how they should behave honorably while singing these songs.”[9], For Bach and his contemporaries, Christmas music was not only a way to set a sentimental mood, not only the celebration of a “Silent Night” or the sonic memory of jingling bells.

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