It is the call to all mankind to join the choir of angels: “Quite right, you angels: shout and sing. 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. Original Recording Format: DSD 64. This is the case here as well. Bach: Christmas Oratorio, BWV 248 / Part Five - For The 1st Sunday In The New Year - No. What is more, Christmas is probably the only Christian feast that has developed its own unmistakable musical idiom: triple meter, simple texture, slow harmonic rhythm, organ points—these are not only the ingredients for a musical pastoral but they likewise characterize a wide array of popular Christmas songs, from “In dulci jubilo” to “Silent Night.”, Even in a society like ours, where communal singing has lost most of its former significance, Christmas carols still count among the best-known songs with religious texts. It comprises six cantatas, suitable for performing separately during the so-called twelve days of Christmas. [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. Although Troutbeck’s translation tried to … However, his many other responsibilities, such as raising 20 … refresh your breast, feel the delight” (no. Music—here the songs and psalms sung in the honor of God—serves as a celebration of the birth of Jesus. 2. J.S. Markus Rathey is Professor of Music History at the Yale Institute of Sacred Music and the Yale School of Music. Bach composed his Christmas Oratorio for the Christmas season from Christmas Day on 25 December 1734 to Epiphany on 6 January 1735. For an English translation and remarks on the theological and musicological context of this view of music see Rathey, Bach’s Christmas Oratorio, 191. Bibeltext, Kirchenlieder und freie Dichtung (evtl. Arise then! that you, O long-desired guest, have now presented yourself” (no. It fits the stereotype of a lullaby. 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. [6] For the original text see Rathey, Bach’s Christmas Oratorio, 206. The liturgy in his Leipzig churches did not provide a place to perform a piece of more than two hours in length. contributions 16:06, 27 September 2007 (UTC) Interest of the translation: The German article is much more detailed than the English one. 3: 4-7 / Acts 6: 8-15 & 7: 55-60; Gospel: Matthew 23: 35-39 / Luke 2: 15-20 . Christmas and music seem to belong together. 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. Bach: Christmas Oratorio WEIHNACHTS-ORATORIUM, BWV 248. His other recent book, Bach’s Major Vocal Works, published by Yale University Press, includes a chapter on the Christmas Oratorio that explores the theological and liturgical contexts of the oratorio. [5] For a more detailed discussion of this movement see Rathey, Bach’s Christmas Oratorio, 197–207. Weihnachts-Oratorium, BWV 248 Johann Sebastian Bach (1685–1750) Dana Marsh, Artistic Director. Bach plays with a common stereotype of shepherds’ music, the pastorale: lilting motives in triple meter over a simple, often static, bass. The focus is no longer only on the shepherds; it is wider. [10] Music was part of how God revealed himself in the Christmas narrative, and it was at the same time a human answer: praise for the coming of Christ but also the expression of love and affection in the lullaby sung for the baby in the manger, “Sleep, my most beloved. 1, Article 1. . .”[6] A theological treatise from 1746 formulates this synthesis thus: “In Christo und durch Christum stimmen himmel und erde, Gott, Engel und menschen wieder zusammen.”[7] (In Christ and through Christ heaven and earth, God, angel, and men sound together). The opening chorus, “Celebrate, rejoice, rise up and… glorify what the Highest has done today,” was completely original. The shepherds, on the other hand, are represented by the nasal sound of the oboes—again a typical feature in Baroque iconography. [4] At the beginning of his sinfonia, Bach juxtaposes these two sonic groups: the strings begin, then they are interrupted by the oboes, then the strings take the lead again, and so forth. This phenomenon is due in part to cultural conventions; but throughout history, Christmas has also inspired musical imagination more than any other Christian feast. Download booklet. For the historical instructions see Template:Translation/Instructions, Either the page is no longer relevant or consensus on its purpose has become unclear. The shepherds encounter the message of Jesus’s birth in music and their first response is music. Eilt, ach eilet, eilt das holde Kind zu sehn! (2016) “Music and Divine Encounter in Bach’s Christmas Oratorio,” The Yale ISM Review: Vol. [5] Symbolically speaking, the angels serve as a model for the music of the shepherds. . To revive discussion, seek broader input via a forum such as the, https://en.wikipedia.org/w/index.php?title=Wikipedia:Translation/Christmas_Oratorio&oldid=317165385, Creative Commons Attribution-ShareAlike License, Wikipedia has migrated to a new template system. Buy Christmas Oratorio (SATB ) by J. S. Bach at jwpepper.com. Bach (1685-1750) created his Christmas Oratorio during 1734 for performance in church over the ensuing Christmas period. Earthly music was a reflection of heavenly music; the voices of the human choir emulated the angelic voices. The angelic Gloria is followed by a small recitative, sung by the bass voice, which connects the praise of the angels with the human response. Each group also has its unique musical ideas. 2:8–14), culminating in the angelic song “Ehre sei Gott in der Höhe” (May honor be to God on high). Break forth into song, full of shouting and rejoicing” (no. English Translation in Parallel Format Cantata BWV 248/1 - Shout for joy, exult, rise up, glorify the day Christmas Oratorio I: Event: Cantata for Christmas Day Readings: Epistle: Titus 2: 11-14 / Isaiah 9: 2-7; Gospel: Luke 2: 1-14 Text: Christian Friedrich Henrici (Picander); Paul Gerhardt (Mvt. encounter during the translation process. . In particular, you can use {{Doubt | original sentence 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. The music of the alto aria is soothing, with a lilting rhythm. While we had been servants of the devil before, now the Child has honored us by elevating us to the citizenry of the angels. 45 Chor: "Wo ist der neugeborne König der Juden?" [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. The basis for this publication are Bach’s autograph score and the … Bach's "Christmas Oratorio" is nowadays more likely to be heard and appreciated on record than in live performances. 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 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. 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. 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. Johann Sebastian Bach, John Eliot Gardiner, English Baroque Soloists, Nancy Argenta, Olaf Bär, Hans Peter Blochwitz, Alison Bury, Lisa Beznosiuk, Monteverdi Choir, Anne Sofie von Otter - Bach: Christmas Oratorio (Weihnachts Oratorium) - Amazon.com Music 2, the story of the Three Wise Men from Mt. Bach's Christmas oratorio // On St. Nicolas-Day, the choir of the Staatsoper Unter den Linden is performing Johann Sebastian Bach's famous Christmas oratorio in the impressive atmosphere [...] of the Church of Gethsemane. But again, the shepherds do not only appear as passive bystanders but the angel also encourages them to sing a lullaby for the newborn Child: “Then sing for him by his cradle—in a sweet tone and with united choir—this lullaby” (no. . 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. 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. They belong to the feast like roasted chestnuts and peppermint sticks. von Johann Friedrich Henrici [Picander]) With the edition of the Christmas Oratorio within the framework of the Stuttgart Bach Editions, Carus presents a scholarly edition for practical performance. The book analyzes Bach’s masterwork from a musical, cultural, and theological perspective and sheds new light on Bach’s own compositional process. 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. Facebook Twitter. 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