It was never intended for performance in one sitting. II Recommended Citation: Rathey, Markus. SKU: 30809. 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. Choral Sheet Music. As he had already done in the opening sinfonia, Bach establishes a juxtaposition between the divine sphere in the first section and the human sphere in the second section; in the third section, he leads these two spheres to a synthesis by combining musical ideas from the first two sections. . (2016) “Music and Divine Encounter in Bach’s Christmas Oratorio,” The Yale ISM Review: Vol. Bach: Christmas Oratorio, BWV 248 / Part Five - For The 1st Sunday In The New Year - No. Bach: Christmas Oratorio WEIHNACHTS-ORATORIUM, BWV 248. 2, the story of the Three Wise Men from Mt. His major study of Bach’s Christmas Oratorio was published by Oxford University Press in 2016. Although Troutbeck’s translation tried to … 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. Bach composed the six-part “Christmas Oratorio” (“Weihnachts Oratorium”) in 1734 for two Leipzig churches, St. Thomas and St. Nicholas, for which he served as music director. For an English translation and remarks on the theological and musicological context of this view of music see Rathey, Bach’s Christmas Oratorio, 191. 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. Bach’s sinfonia enacts this synthesis musically by leading the two musical choirs, which are distinct in motive and color, to a sonic synthesis. refresh your breast, feel the delight” (no. It is the call to all mankind to join the choir of angels: “Quite right, you angels: shout and sing. 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. 3: No. Each group also has its unique musical ideas. . English Translation in Interlinear 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. 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. 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. Already the opening movement of the oratorio begins with the praise of God through music: “Shout, exult, arise, praise the days [of Christmas]. The shepherds, on the other hand, are represented by the nasal sound of the oboes—again a typical feature in Baroque iconography. 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. Program Notes J.S. 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. . Und es waren Hirten in derselben Gegend, BWV 248 II, for the Second Day of Christmas in 1734, is the second of six cantatas (or parts) constituting this oratorio. [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). They belong to the feast like roasted chestnuts and peppermint sticks. Bach was then Thomaskantor, responsible for church music at four churches in Leipzig, a position he had assumed in 1723. 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. The scriptural basis for the second part is the encounter of the shepherds with the angels on the fields before Bethlehem (Lk. . Harmony between God and man is represented by musical harmony. In particular, you can use {{Doubt | original sentence 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. 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 . 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. 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 students of the St. Thomas School who sang the work in 1734/35 would have been familiar with this idea. 1, Article 1. Christmas Oratorio III 1 (24). The basis for this publication are Bach’s autograph score and the … This material is licensed under a Creative Commons Attribution 4.0  License. J.S. Earthly music was a reflection of heavenly music; the voices of the human choir emulated the angelic voices. Music—here the songs and psalms sung in the honor of God—serves as a celebration of the birth of Jesus. 24). 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. 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 . 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. Facebook Twitter. It consists of six cantatas that between them tell the story of the Nativity, and the events of the following week or so. When Johann Sebastian Bach (1685­–1750) composed his Christmas Oratorio for the Christmas season 1734/35, he tackled a very ambitious project. . Bach divides the text of the heavenly chorus into three sections: the praise of God on high, the peace on earth, and the great pleasure to humankind. He is a leading Bach scholar and currently president of the American Bach Society. 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. 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. Anselm Hartinger, translation by Alice Noger-Gradon. 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. Bach composed his Christmas Oratorio for the Christmas season from Christmas Day on 25 December 1734 to Epiphany on 6 January 1735. 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. [4] Cf. 2:8–14), culminating in the angelic song “Ehre sei Gott in der Höhe” (May honor be to God on high). . An instrumental sinfonia depicts the bucolic scene in the fields close to Bethlehem. Bach essentially follows the same pattern he had already used in the opening sinfonia, now applied to a setting of the central biblical text. J.S. Jauchzet, frohlocket, auf, preiset die Tage, BWV 248. 14). 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] 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. I. Christmas and music seem to belong together. 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. Available at http://ismreview.yale.edu, PDF: music-and-divine-encounter-in-bachs-christmas-oratorio_rathey, Music and Divine Encounter in Bach’s Christmas OratorioMarkus Rathey, The Magi and the Manger: Imaging Christmas in Ancient Art and RitualFelicity Harley-McGowan and Andrew McGowan, Sant’Apollinare Nuovo, RavennaArthur P. Urbano, Born in Us Today: The Gospel of IncarnationWendy Farley, A Meeting of Domestic and Liturgical Rites: Joy and Light in Orthodox ChristmasNicholas E. Denysenko, Christmas in Fear, or Looking over One’s Shoulder at the CrècheSusan K. Roll, The Grinch that Didn’t Steal Christmas: A Reformation StoryBruce Gordon, Can We Still See Calvary from Bethlehem?R. The alto aria is soothing, with a setting of a common congregational hymn oratrio hope... Charge of music History at the Yale Institute of sacred music and their first response is music 1685–1750 Dana! Sinfonia depicts the bucolic scene in the last two measures, the story the... Text see Rathey, Bach was then Thomaskantor, responsible for church music at four churches in Leipzig,.. Sacred cantatas of J.S one sitting and sing ( evtl bucolic scene in the New Year no... By themselves es waren Hirten in derselben Gegend, BWV 248 Johann Sebastian Bach ( 1685­–1750 composed. The events of the St. Thomas School who sang the work in would... Was in charge of music History at the Yale School of music at St. Thomas Lutheran church in,... 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