In the first, Harnoncourt directs his Concentus Musicus Wien in a highly staged, decidedly dated (1981) and surprisingly doctrinal reading from the Waldhausen Church. Opening Up Our Hearts: Music and Inspiration of Christmas. Every season, always the same tape–until it wore out. It’s a generously conceived and well-directed but rather low-key reading. Oratorio in the dramatic Handelian vein also encourages us to view this work on its own terms. Jonathan Freeman-Attwood Wednesday, December 10, 2014 Jonathan Freeman-Attwood listens to 65 years’ worth of recordings Richter presents a corporate muscularity juxtaposed with solo vocal warmth, especially from the luminous Janowitz and Wunderlich. Johann Sebastian BACH (1685-1750) Christmas Oratorio, BWV 248 [141:57] Mary Bevan & Joanne Lunn (sop) Clare Wilkinson & Ciara Hendrick (mezzo) Nicholas Mulroy & Thomas Hobbs (tenor) Matthew Brook & Konstantin Wolff (bass) Dunedin Consort/John Butt rec. 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. 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. JOHANN SEBASTIAN BACH: KARÁCSONYI ORATÓRIUM - NEGYEDIK KANTÁTA Babits - 1917-ben írott versének - gondolatait, kérését visszhangozza a negyedik kantáta tenor áriája és zárókorálja is: „…adj nékem erőt és bátorságot, hogy a szívem buzgó legyen! 5. Bach’s Christmas Oratorio has been treated very well on disc. 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. This playlist is of the original German Version of the Weihnachts Oratorium. For many it will satisfy beyond measure. The Christmas Oratorio is in six parts, each of them being intended for performance on one of the major feast days of the Christmas period. 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. MA Music, Leisure and Travel (I worked with the DVD.) In our own archives we list several first-rate choices, including sets from Harmonia Mundi (Jacobs), Hänssler (Rilling), and Channel Classics (Veldhoven). His expressive intentions are always likely to be compromised with such mercurial solo singing, though the terzetto ‘Ach wenn wird die Zeit’ is attractive and supple. II Album: J.S. It was never intended for performance in one sitting. The Angeles Chorale performs "Ah! Theil • 6. 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. Even so, Schreier’s Bach comes from within (and this is where he is more a Richter than a Rilling) and his understanding regularly makes disarming sense of the music. Parts Complete 1. The Christmas Oratorio presents itself as a cycle of similarly structured individual works whose continuity rests on the Christmas narrative according to the Gospels of Luke and Matthew as well as on the recurrence of certain types of settings and the dramaturgy typical of Bach’s cantata oeuvre. Fasolis always brings a sense of delight, even mischief (the da capo of the opening chorus starts pianissimo!). Howard Crook is a cultivated Evangelist but neither he nor the excellent Michael Chance and Peter Kooij can find that incremental sense of jubilation which the finest readings offer; the recording also lacks the precision of the finest choirs. 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. About Mark Allen Group Bach Interactions: A Dynamic Performance & Learning Experience About the Series. Thirty-plus years on and there’s a relaxed, almost southern-European feel alongside Harnoncourt’s recognition that with ‘powerful mental pictures’ (rather than intense action), the ‘galanterie’ of late Bach is especially fitting for the subject. Nothing could be further from the case in Ton Koopman’s performance, guided again by Prégardien but now as a far more compelling presence, and ignited by his exceptional Amsterdam colleagues and the especially evocative wind-playing (led by oboist Marcel Ponseele). This 1963 performance is aesthetically more in the Lehmann than Richter mould with its vocal intimacy (especially from the tender Evangelist Helmut Krebs) and open-hearted obbligato playing allowing the more pastoral qualities of the score to blossom. CHRISTMAS ORATORIO. Listen to Bach: Christmas Oratorio, BWV 248 - Part 2: Weihnachtstag: Choral, Bach: Christmas Oratorio, BWV 248 - Part 3: Weihnachtstag: Choral and more from Bach Christmas Oratorio. The sensational trumpet-playing of Maurice André aside (the last chorus the finest on disc), Richter yields irregularly to the emotional possibilities. But if you are looking to get sizzled on a holiday within your working holiday, see our 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. 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. John Butt delivers another revelatory performance which propelled this recording onto many of 2016's 'Best of' lists. Bach - Christmas Oratorio. Here, Pickett seems less attracted to long-term rhetorical investment than capturing the essence of the moment – such as the solicitous arioso duet ‘Jesu, du mein liebstes Leben’: Catherine Bott and Michael George, beautifully accompanied, provide an unforgettable vignette. Theil • 5. Receive a weekly collection of news, features and reviews, Jonathan Freeman-Attwood 4.0 out of 5 stars 12. Readers might have their own such reference. While only intermittently fulfilling, for many of the fixtures hard-wired into Rilling, this is still distinguished on many levels and never less than exciting. Experience Part I of Bach's "Christmas Oratorio" thrillingly delivered by the Consort musicians and soloists for FREE on Christmas Day. ‘Herr, dein Mitleid’, the duet for soprano and bass, is the pick of the set pieces. Programme. Claron McFadden, soprano Bernarda Fink, alto Christoph Genz, tenor Dietrich Henschel, bass Morteverdi Choir English Baroque Soloists, John Eliot Gardiner Rec: 23 & 27 December, 1999, Herderkirche, Weimar, Germany. Und es waren Hirten in derselben Gegend, BWV 248. Certainly, this latest production has much going for it, whether on CD, DVD, or Blu-ray. I initially missed this recording when it was released and what a loss it would have been: relish the concerted spiritedness from top to bottom. An unwieldy Radio Choir skating over detail, in too resonant an acoustic, disqualifies this reading in the same way as that by Enoch zu Guttenberg appears to have been painted by numbers in a story of a thousand mannerisms. Höre Weihnachts-Oratorium BWV 248 von Barbara Schlick auf Deezer. Carolyn Sampson is irresistible throughout. Riccardo Chailly’s Bach from the Gewandhaus espouses the ‘Third Way’, as Chailly calls it, where romantic and ‘period’ style find a happy synergy. From 1950 – the date of the first complete commercial recording – the release of Christmas Oratorios has been remarkably steady. René Jacobs’s idea of the work could not be more radically different: brazen, grand choruses, purposeful, operatic-style recitatives (with endlessly distracting strumming) and biting arias which, in their strutting gait, extrovert articulation and tonal opulence border on the vain – from Andreas Scholl’s busy ‘Bereite’ to a frenetic terzetto in Part 5. 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. And that leaves John Eliot Gardiner and his English Baroque Soloists in the last few days of the 20th century in the Herderkirche in Weimar: an intimate space with gripping ensembles (especially fine instrumental obbligati) and, mostly, excellent solo singing. The most memorable feature is a young Dietrich Fischer-Dieskau on the kind of form which earmarked him for posterity in the famous St Matthew for Richter a few months earlier. Auf, preiset die Tage, BWV 248/1 Herrscher des Himmels, erhöre das Lallen, BWV 248/3 Intermission Orchestral Suite No. Streamed Event: Thursday, January 7, 2021 at 8 p.m. on YouTube & Facebook. One longs for something altogether less harnessed. 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). Theil • 4. | That is just one means to seek original coloration in the score, fervently explored with exquisite, if not always flawless, instrumental mosaics and radiant singing. Bach’s Christmas Oratorio has been treated very well on disc. mezzo - Gerhild Romberger violin solo - Mariana Todorova OCRTVE - dir, Carlos Kalmar 2014 dearest Jesus holy child" (Ach mein herzliebes Jesulein!) Jauchzet, frohlocket, auf, preiset die Tage, BWV 248. 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 1984 reading coincided neatly with the conclusion of his complete cantata series. Christmas Carol Songbook Bach's "Christmas Oratorio" is nowadays more likely to be heard and appreciated on record than in live performances. The 1984 account of the Oratorio is hardly revelatory but it is a sprightly, texturally bright and tidy reading. The orchestral playing is supremely polished, assured and with pinpoint nuancing. This is the version for all-round delight and unexpected wonder. Nine virtual programs offer some of the finest works in the cantata and oratorio repertory. Johann Sebastian Bach (1685–1750) Und es waren Hirten in derselben Gegend, BWV 248/II It comprises six cantatas, suitable for performing separately during the so-called twelve days of Christmas. As a backpacker in New Zealand, everywhere is your “bach”, so you have that covered. 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? Some may miss the cut and thrust of a Gardiner or the cultivated solo contributions in recordings by Corboz or Chailly but a meticulous attention to detail, superlative balance and speeds which allow the music to proceed with dignity in the gradual, contemplative unfolding of events are second nature to Suzuki. He applies flair and elegance – leading from the front as Evangelist – but his soloists too often seem trapped in reconciling between old and new vocal styles. The Dresden Kammerchor and vocal soloists fulfil Chailly’s ambition for unremitting leanness and breathtaking mobility, and yet my heart tends to sink under gymnastic survey and über-elegance. He borrowed the music for the opening chorus from another cantata, but forgot and copied the old words into the score, which he then had to cross out. Thursday, January 14, 2021 at 8 p.m. on YouTube & Facebook. Theil * #457257 - 148.15 MB, 99 pp. Christmas: Oratorio, Forerunners, Cantata 142, Rathey Book Review Following the early German baroque tradition of Michael Praetorius and Heinrich Schütz, Bach’s predecessors as Cantor at the Thomas School and Church in Leipzig helped lay the groundwork for Bach’s Christmas Oratorio, BWV 248, in its content and form. Jonathan Freeman-Attwood Wednesday, December 10, 2014 Jonathan Freeman-Attwood listens to 65 years’ worth of recordings Other articles where Christmas Oratorio is discussed: Johann Sebastian Bach: Instrumental works: …words and reused in the Christmas Oratorio. The solo singing is seamlessly distinguished, from Anne Sofie von Otter’s bloom-filled and pliably decorated ‘Bereite dich’ to the recitative quartet at the end. The author of the text is unknown, although a likely collaborator was Christian Friedrich Henrici (Picander). 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. The same cannot be said for the less technically impressive but profoundly affectionate account from Fritz Werner. The series features three renowned cantatas, Wachet auf, ruft uns die Stimme, BWV 140, Aus der Tiefen rufe ich, Herr, zu dir, BWV 131, and Nun komm der Heiden Heiland, BWV 61, followed by all six parts of Bach’s beloved Christmas Oratorio, BWV 248. ‘Herr, dein Mitleid’, with Lynn Dawson and Klaus Mertens, is played out like a love duet and yet it fits a canvas of sprung vitality which, mostly, renders the rough edges undistracting. When reviewing it in 1999, I considered Greg Fungfeld’s recording of the Bach Choir from Pennsylvania to be rather in the same vein, but on reacquaintance found agreeable swathes (especially in Parts 4 and 5) of an old American mainstream ‘house style’ which, with some better soloists, might have attracted more plaudits. Das Weihnachtsoratorium BWV 248 ist ein sechsteiliges Oratorium für Soli (), gemischten Chor und Orchester von Johann Sebastian Bach.Die einzelnen Teile wurden erstmals vom Thomanerchor in Leipzig in den sechs Gottesdiensten zwischen dem ersten Weihnachtsfeiertag 1734 und dem Epiphaniasfest 1735 in der Nikolaikirche und der Thomaskirche aufgeführt. Theil • 3. A A. Jauchzet, frohlocket Jauchzet, frohlocket, auf, preiset die Tage, Rühmet, was heute der Höchste getan! Erősíts meg engem, hogy …felemelkedjem! Following the huge success of 2015's Magnificat & Christmas Cantata, Dunedin Consort releases its eagerly awaited follow up, Bach's Christmas Oratorio. Robert Tear is not the most idiomatic Bachian, and the addition of an over-characterising Dietrich Fischer-Dieskau to an English mix of objectively crisp chamber playing sounds disorientating in this magnificent chapel. From the booklet of the Christmas Oratorio CD. There are three complete DVDs of Bach’s Christmas Oratorio. Weihnachts-Oratorium, BWV 248 Johann Sebastian Bach (1685–1750) Dana Marsh, Artistic Director. Mark Padmore has developed into an Evangelist of far greater range since 1993. Judging by the autograph score, he was working fast. Werner was a quiet and unassuming poet of Bach and he is supported with almost peerless empathy by his long-term Evangelist, Helmut Krebs, and some radiant instrumental characterisation. Bach's Christmas Oratorio – which recording is best? That’s the reason Karl Richter’s (second) recording remains my emotional reference to this day. I have listened to Bach’s Christmas Oratorio from childhood on. Johann Sebastian Bach (1685–1750) Herrscher des Himmels, erhöre das Lallen, BWV 248/III 30 Christmas Carols. Christmas Oratorio Past Performances Part III Part IV Part V Part VI. If selected recordings of the St Matthew Passion from this period are more durable for their insightful dramatic and poetic judgement, fewer revelations can be found in post-war Oratorios. Carolyn Watkinson’s delectable ‘Schlafe, mein Liebster’ is a genuine highlight. Bach, Christmas Oratorio - Philippe Herreweghe, Collegium vocale Gent. In our own archives we list several first-rate choices, including sets from Harmonia Mundi (Jacobs), … Anselm Hartinger, translation by Alice Noger-Gradon. The 64th movement and final chorus of the Oratorio only, in full score. 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. Bach: Christmas Oratorio BWV 248, part 1/2 Ich möchte YouTube-Inhalte aktivieren und stimme zu, dass Daten von YouTube geladen werden. In this respect the Christmas Oratorio is akin to the St. Matthew Passion and the St. John Passion. 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 1992 Naxos recording under Geza Oberfrank with Hungarian forces is a far livelier affair with responsive soloists in the arias but, sadly, the Evangelist struggles badly in the high register. Gramophone is part of Falling somewhere between the ruminative landscape of Richter (at his best) and Rilling’s sleek, homogeneous ensemble, Schreier is generally more stylistically inquisitive than both and musically his reading is more eventful than all of Rilling’s. Harry Christophers and The Sixteen present a more conventional interpretative landscape. I. Friday, 12.25.20 at 8 p.m. YouTube & Facebook. This interpretation sounds strangely more like a ‘period piece’ than several earlier versions. While beautifully remastered, there’s a disillusioned air to proceedings and it is Karl Richter’s second recording – after a pedestrian, ‘work-in-progress’ attempt for Das Alte Werk in 1955 – that heralds the brave new world. Appreciating the Evangelist’s kaleidoscopic role allows Bach’s extraordinarily coherent treatment of chorus, recitative and aria, arioso and chorale to be further illuminated. The most successful interpreters are those who identify how Bach links each cantata or ‘scene’ through the Evangelist’s quietly influential role: often he is quite directorial – exercising not merely reportage but guiding us personally through the events of Christ’s birth to the Epiphany. - 0.0/10 2 4 6 8 10 (-) - V / V / V - 276×⇩ - BachFan. Orff - Carmina Burana: Christmas Carols. Starring: Philippe Herreweghe , Collegium Vocale Gent , et al. Münchinger is never less than dependable. The music involved was … dearest Jesus holy child" (Ach mein herzliebes Jesulein!) Such is the case in Kurt Thomas’s second recording (with the Leipzig Thomaners) from 1958. mezzo - Gerhild Romberger violin solo - Mariana Todorova OCRTVE - dir, Carlos Kalmar 2014 The Sinfonia to Part 2 is as touching an evocation of abiding shepherds as you’ll find. Purchase: Javascript is required for this feature. Despite a few glitches, each cantata represents a clarion of warmth, freedom and optimism, beckoning the listener to experience the work in a single breath. 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. 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. Despite Peter Kooij’s visceral recitatives and Yoshikazu Mera’s quixotic alto sound, this impressive reading is just too smooth and uneventful. Other articles where Christmas Oratorio is discussed: Johann Sebastian Bach: Instrumental works: …words and reused in the Christmas Oratorio. Handel - Messiah: Haydn - The Creation . There are two major commercial accounts of the Oratorio with homegrown Stuttgart forces and two others from Poland and Hungary (which are not under consideration). The poetic sensibility and vocal allure of Anthony Rolfe Johnson is as memorable here as it was in Gardiner’s St John Passion. 1 (Am ersten Weihanchtsfeiertage) BWV246 for choir, soloists, 2 trumpets, timpani, 2 transverse flutes, 2 oboes, 2 oboe d'amore, strings, and basso continuo \r\rNo 1. Johann Sebastian Bach (1685–1750) Herrscher des Himmels, erhöre das Lallen, BWV 248/III Meine Datenschutz-Einstellungen Suzuki’s unwaveringly felicitous choices are noticeably evident as we approach the close of the cantata project, 15 years after this beautifully judged reading. 99 to rent. No such problems occur for Philip Pickett, who brings a warm and integrated palette to the pastoral chorus elements. 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. His performances often sit betwixt and between prevailing approaches without an especially definable artistic presence. The proportion of Oratorio performances on period instruments rose significantly during the 1970s. “Triumph, rejoice!” – Bach’s oratrio of hope and renewal. Bernstein - Chichester Psalms: Dvorak - Stabat Mater . On his visits to Dresden, Bach had won the regard… The date is confirmed in Bach's autograph manuscript. The soprano Sibylla Rubens makes an operatic ‘scena’ out of the tempestuous recitative and fervent aria ‘Nur ein Wink’ in Part 6. James Taylor is a compelling Evangelist as advocate, commentator and, generally, all-embracing dramatis persona. Somewhere between the theological concentration of Richter and the generous, unaffected Werner comes the 1966 Decca account from Karl Münchinger and his Stuttgarters. The Angeles Chorale performs "Ah! He took the majority of the choruses and arias from earlier secular works and gave them new words. Brahms - Requiem: Durufle - Requiem . Christmas Oratorio Part III. Greyfriars Kirk, Edinburgh, 7-12 September 2015 LINN CKD499 [75:16 + 66:41] John Butt’s Bach and Handel recordings with the … Harnoncourt - Bach - Christmas Oratorio BWV 248 ... - YouTube I. A documentary on local Bachiana is an enjoyable bonus. 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 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). Ameling features in both Eugen Jochum’s and Philip Ledger’s recordings from the 1970s, the latter with the Choir of King’s College, Cambridge, uncomfortably sharp and forced. One might long for perspicacious readings from the 1950s and 1960s by the likes of Hans Grischkat, Karl Ristenpart, Ferdinand Grossmann, Fritz Lehmann, Kurt Thomas and Karl Richter – some of which are available – but few constitute much more than a repository of exceptional individual movements. Only the women soloists fail consistently to reach the level, and the framing choruses of Parts 1 and 6 are technically uneven. Bachs Christmas Oratorio Johann Sebastian Bachs Oratorium Tempore Nativitatis Christi, a cycle of six cantatas for the Christmas season, had its collective premiere from Christmas Day 1734 through Epiphany Sunday 1735 in Leipzig. How best can the performer pace the narrative of the complete Oratorio in a story which lacks the urgency and action propelled by protagonists – the likes of Jesus, Peter, Pilate and the crowd in the Passions – while retaining the discrete contemplative world of each of the six ‘tableaux’ or cantatas? The Christmas Oratorio is a particularly sophisticated example of the parody technique. Older versions often seem undisciplined and texturally aleatoric by today’s standards. The Bach Choir of Bethlehem’s Annual Christmas Concert — Virtually. Part II: The Second Day of Christmas. CC. 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. Coro: \"Jauchzet, frohlocket!\"\r\rPerformed by Concentus Musicus Wien \u0026 the Arnold Schoenberg Chor\rFeaturing Christine Schafer, soprano\rBernarda Fink, alto\rWerner Gura, tenor\rGerald Finley, bass\rChristian Gerthaher, bass\rDirected by Nicholas Harnoncourt\r\r*Recorded in 2007\r\r**The Christmas Oratorio (German: Weihnachtsoratorium) BWV 248, is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season. 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. JOHANN SEBASTIAN BACH (1685-1750)\r\r\"Weihnachtsoratorium\" Cantata No. The singing of Arleen Auger and Evangelist Peter Schreier is especially polished – as is the orchestra and chorus – yet the pre-ordained placement of each phrase makes for wearing listening. Because Christmas means summertime in the Southern Hemisphere, some families like to go on holiday to find a place in the sun or go to their summer bach (holiday house) in New Zealand. The chorales squeeze the last pips and the adagissimo in the Part 2 Sinfonia says too much about the artist and not enough about Bach. 3 in D major, BWV 1068 Herr, wenn die stolzen Feinde schnauben, BWV 248/6 If not always the most comforting reading, this is the performance which attempts most rivetingly to seek the essence of Bach’s musical imagery and meaning. Bach’s celebrated Christmas Oratorio forges a link between birth and deliverance: the birth of Christ is not only the birth of light, of innocence; this joyful event is equally characterized by suffering. From Bach’s Christmas Oratorio Jauchzet, frohlocket! PDF scanned by Bach Digital BachFan (2017/1/28) ⇒ 5 more: 2. This is indeed a highly accomplished and consistent reading, one where Bach’s sense of imagery is especially keenly developed. 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