Bach's "Christmas Oratorio" is nowadays more likely to be heard and appreciated on record than in live performances. The music of the alto aria is soothing, with a lilting rhythm. 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. J.S. His major study of Bach’s Christmas Oratorio was published by Oxford University Press in 2016. While we had been servants of the devil before, now the Child has honored us by elevating us to the citizenry of the angels. contributions 16:06, 27 September 2007 (UTC) Interest of the translation: The German article is much more detailed than the English one. 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. 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. Bach’s skillful juxtaposition and assimilation of musical ideas and musical topoi correlates with Martin Luther’s interpretation of the angelic choir in Lk. Bach uses the string instruments of the orchestra (here doubled by the flutes) to depict the arrival of the angels. For the historical instructions see Template:Translation/Instructions, Either the page is no longer relevant or consensus on its purpose has become unclear. Available at, 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 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 angel then urges the shepherds to go to the manger and to see “the miracle” that has taken place. 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. For much of his life, Bach was in charge of music at St. Thomas Lutheran Church in Leipzig, Germany. to watch this page]. [5] Symbolically speaking, the angels serve as a model for the music of the shepherds. The angels play an elegantly flowing siciliano motive, while the shepherds interject with a simpler, more rustic theme. Each group also has its unique musical ideas. Bach, the Christmas Oratorio text does not appear in Picander's published collection "Ernst-Schertzhaffte und Satyrische Gedichte" (Leipzig 1737), which seems to indicate that it was perhaps a joint effort rather than entirely his own work. 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. 7, 9) Chorale Text: < [5] For a more detailed discussion of this movement see Rathey, Bach’s Christmas Oratorio, 197–207. The encounter between the human and divine spheres takes place in sound. They are now our best friends. Bach essentially follows the same pattern he had already used in the opening sinfonia, now applied to a setting of the central biblical text. 2. encounter during the translation process. [8] For the function of the lullaby and the emotional understanding of Christmas in Bach’s time see the chapter “From Love Song to Lullaby” in Markus Rathey, Bach’s Major Vocal Works: Music, Drama, Liturgy (New Haven and London: Yale University Press), 2016. 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. The shepherds encounter the message of Jesus’s birth in music and their first response is music. . 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 Although Troutbeck’s translation tried to … Music as a theme features prominently in the second part of the oratorio, performed on December 26, 1734 in the St. Thomas Church. 2, the story of the Three Wise Men from Mt. When Johann Sebastian Bach (1685­–1750) composed his Christmas Oratorio for the Christmas season 1734/35, he tackled a very ambitious project. Christmas Oratorio III 1 (24). [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. . Year of release: 2001 [7] Christoph Starke, Synopsis Bibliothecae Exegeticae in Novum Testamentum: Kurzgefaster Auszug Der gründlichsten und nutzbarsten Auslegungen über alle Bücher Neues Testaments, vol. 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. 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. 19). 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. The scriptural basis for the second part is the encounter of the shepherds with the angels on the fields before Bethlehem (Lk. 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. 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). Do not forget [9] Gesetze der Schule zu S. Thomae (Leipzig:Breitkopf, 1733), 5. 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. An instrumental sinfonia depicts the bucolic scene in the fields close to Bethlehem. 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. Jauchzet, frohlocket, auf, preiset die Tage, BWV 248. . The basis for this publication are Bach’s autograph score and the … Auf, preiset die Tage (Shout for joy, exult, rise up, praise the day), BWV 248 I (also written as BWV 248 I), is a 1734 Christmas cantata by Johann Sebastian Bach that serves as the first part of his Christmas Oratorio. Bach composed his Christmas Oratorio for the Christmas season from Christmas Day on 25 December 1734 to Epiphany on 6 January 1735. He is a leading Bach scholar and currently president of the American Bach Society. The focus is no longer only on the shepherds; it is wider. Choral Sheet Music. 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! 1, Article 1. [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. refresh your breast, feel the delight” (no. The students of the St. Thomas School who sang the work in 1734/35 would have been familiar with this idea. 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. Earthly music was a reflection of heavenly music; the voices of the human choir emulated the angelic voices. It consists of six cantatas that between them tell the story of the Nativity, and the events of the following week or so. . Recommended Citation: Rathey, Markus. [4] Cf. 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. They belong to the feast like roasted chestnuts and peppermint sticks. 18).[8]. Buy Christmas Oratorio (SATB ) by J. S. Bach at Bach plays with a common stereotype of shepherds’ music, the pastorale: lilting motives in triple meter over a simple, often static, bass. that you, O long-desired guest, have now presented yourself” (no. - Rezitativ (Alt): "Sucht ihn in meiner Brust" by Anne Sofie von Otter and English Baroque Soloists and John Eliot Gardiner and The Monteverdi Choir 1:40 $1.29 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. 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. [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. If the angels are singing, the shepherds have to be imagined as following their example by singing, as well. Frohe Hirten, eilt, ach eilet, . 23). In the last two measures, the strings even drop out and the oboes of the shepherds play the angelic motive all by themselves. Its first cantata, Jauchzet, frohlocket! Paintings of the Nativity in the Renaissance and the Baroque frequently feature angels with instruments (often string instruments such as viola da gambas or violins), and the shepherds are often depicted bringing their flutes and reed instruments to the manger to play their simple tunes for the newborn Christ.[1]. 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. Singable English translation of Bachs Christmas Oratorio. Bibeltext, Kirchenlieder und freie Dichtung (evtl. [2] The first three parts were performed on the first, second, and third days of Christmas (Dec. 25–27), Part IV on New Year’s Day, Part V on the Sunday after New Year’s, and the last part on the Feast of the Epiphany, January 6, 1735. 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 II, for the Second Day of Christmas in 1734, is the second of six cantatas (or parts) constituting this oratorio. Weihnachts-Oratorium, BWV 248 Johann Sebastian Bach (1685–1750) Dana Marsh, Artistic Director. However, for Bach and his anonymous librettist there is no question but that the encounter would have a musical component. Break forth into song, full of shouting and rejoicing” (no. 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. Markus Rathey is Professor of Music History at the Yale Institute of Sacred Music and the Yale School of Music. Part II: The Second Day of Christmas. .”[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). Part I: The First Day of Christmas. 2, as well as free poetry and hymns. . [6] For the original text see Rathey, Bach’s Christmas Oratorio, 206. Bach. 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. SKU: 30809. This is the case here as well. 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. 5); Martin Luther (Mvts. 2:8–14), culminating in the angelic song “Ehre sei Gott in der Höhe” (May honor be to God on high). Program Notes J.S. 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. Feel the delight.”. 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 goal was a sonic and spiritual harmony between heaven and earth. The shepherds, on the other hand, are represented by the nasal sound of the oboes—again a typical feature in Baroque iconography. 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. 1). The text for the oratorio features the familiar Christmas narrative from Lk. 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. The hymn setting is accompanied by the instruments, and we hear again the musical motives from the opening sinfonia, as well as the intricate juxtaposition of strings (now playing together with the voices) and the nasal sound of the oboes. Bach - Christmas Oratorio The Netherlands Bach Society Bach. J.S. It comprises six cantatas, suitable for performing separately during the so-called twelve days of Christmas. I, Biel: Heilmann, 1746, col. 1039. I. Friday, 12.25.20 at 8 p.m. YouTube & Facebook. It was never intended for performance in one sitting. Anselm Hartinger, translation by Alice Noger-Gradon. CHRISTMAS ORATORIO. 45 Chor: "Wo ist der neugeborne König der Juden?" I. Christmas and music seem to belong together. However, the opening sinfonia is more than just a musical genre painting, it describes an encounter. Original Recording Format: DSD 64. Perhaps the greatest offering of all is Johann Sebastian Bach’s Christmas Oratorio. The theological synthesis is also musical synthesis. His listeners would have been familiar with paintings that associated the sound of the strings with the divine messengers. Music—here the songs and psalms sung in the honor of God—serves as a celebration of the birth of Jesus. In particular, you can use {{Doubt | original sentence possible translation}} to highlight the problems you This idea also shapes the following movements of Part II of the oratorio. 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.

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