The date is confirmed in Bach's autograph manuscript. The Christmas Oratorio is a particularly sophisticated example of parody music. The author of the text is unknown, although a likely collaborator The Amsterdam Baroque Orchestra A Christian Friedrich Henrici Picander. All three of these oratorios to some degree parody earlier compositions. The Christmas Oratorio is by far the longest and most complex work of the three.
The Christmas Oratorio is in six parts, each part being intended for performance on one of the major feast days of the Christmas period. The piece is often presented as a whole or split into two equal parts. The total running time for the entire work is nearly three hours. The first part for Christmas Day describes the Birth of Jesusthe second for December 26 the annunciation to the shepherdsthe third for December 27 the adoration of the shepherdsthe fourth for New Year's Day the circumcision and naming of Jesusthe fifth for the first Sunday after New Year the journey of the Magiand the sixth for Epiphany the adoration of the Magi.
It was preceded by Adventand followed by the period of the Sundays after Epiphany. Also 26 and 27 December second and third day of Christmas were commonly considered feast days, with festive music in church. Before Bach composed his Christmas Oratorio for the —35 Christmas Falderi & Falderei - Flemming Antony - Mål (Vinyl, Album, LP) in Leipzighe had already composed Christmas cantatas and other church music for all seven occasions of the Christmas season:.
The Shepherd CantataBWV a, first performed on 23 Februaryone of Bach's secular cantatasis an early example of such cantata. Like for his other oratoriosand his Passion settingsBach employed a narrative based on the Gospel in his Christmas Oratorio.
The Gospel narrative of this oratorio followed, to a certain extent, the respective Gospel readings of the church services where the six cantatas of the Christmas Oratorio were The Amsterdam Baroque Orchestra A be performed for the first time.
The six services of the Christmas season —35 where the oratorio's cantatas were to be performed had these Gospel readings:. As usual in most of his oratorios, and all of his Passions, the Evangelist character enunciated the Gospel text in sung recitativesexcept the passages in direct speech, which were sung by soloists or choral groups representing the persons who spoke these text according to the Gospel narrative. The Gospel text included by Bach in his six Christmas Oratorio cantatas consists of:.
In detail:. The oratorio was written for performance on six feast days of Christmas during the winter of and The original score also contains details of when each part was performed. It was incorporated Sad To See Your Sorrow - Clawfinger - Deaf Dumb Blind services of the two most important churches in LeipzigSt. Thomas and St. As can be seen below, the work was only performed in its entirety at the St.
Nicholas Church. The ease with which the new text fits the existing music is one of the indications of how successful a parody the Christmas Oratorio is of its sources. It may have even been the case that the Christmas Oratorio was already planned when Bach wrote the secular cantatas BWVandgiven that the original works were written fairly close to the oratorio and the seamless way with which the new words fit the existing music.
Nevertheless, on two occasions Bach abandoned the original plan and was compelled to write new music for the Christmas Oratorio. On this occasion, however, the parody technique proved to be unsuccessful and Bach composed the aria afresh.
Similarly, the opening chorus to Part V, "Ehre sei dir Gott! The third major new piece of writing with the notable exception of the recitativesthe sublime pastoral Sinfonia which opens Part II, was composed from scratch for the new work. In addition to the new compositions listed above, special mention must go to the recitatives, which knit Aria (Alto): Fromme Musen!
Meine Glieder! - Bach* - Ton Koopman the oratorio into a coherent whole. In particular, Bach made particularly effective use of recitative when combining it with chorales in no.
Until the only complete English version of the Christmas Oratorio was that prepared in by John Troutbeck for the music publisher Novello. Bach abandoned his usual practice when writing church cantatas of basing the content upon the Gospel reading for that day in order to achieve a coherent narrative structure. Were he to have followed the calendar, the story would have unfolded as follows:.
This would have resulted in the Holy Family fleeing before the Magi had arrived, which was unsuitable for an oratorio evidently planned as a coherent whole. Bach removed the content for the Ballad - B&K Goes Rock - B&K Goes Rock Day of Christmas December 27John's Gospel, and split the story of the two groups of visitors—Shepherds and Magi—into two.
This resulted in a more understandable exposition of the Christmas story:. That Bach saw the six parts as comprising a greater, unified whole is evident both from the surviving printed text and from the structure of the music itself.
The edition has not only a title— Weihnachts-Oratorium —connecting together the six sections, but these sections are also numbered consecutively.
As John Butt has mentioned,  this points, as in the Mass in Aria (Alto): Fromme Musen! Meine Glieder! - Bach* - Ton Koopman minorto a unity beyond the performance constraints of the church year. Bach expresses the unity of the whole work within the music itself, in part through his use of key signatures. Parts I and III are similarly scored for exuberant trumpetswhile the Pastoral Part II referring to The Thoughts Of Emerlist Davjac - The Nice - The Immediate Recordings Shepherds is, by contrast, scored for woodwind instruments and does not include an opening chorus.
Part IV is written in F major the relative key to D minor and marks the furthest musical point away from the oratorio's opening key, scored for horns. Bach then embarks upon a journey back to the opening key, via the dominant A major of Part V to the jubilant re-assertion of D major in the final part, lending an overall arc to the piece.
To reinforce this connection, between the beginning and the end of the work, Bach re-uses the chorale melody of Part I's " Wie soll ich dich empfangen " in the final chorus of Part VI, "Nun seid ihr wohl gerochen"; this choral melody is the same as of Wheelchair Discotheque - Straight Avanger & Silly Norman VS.
Dinsdale EP O Haupt voll Blut und Wunden ", which Bach used five times in his St Matthew Passion. The music represents a particularly sophisticated expression of the parody technique, Aria (Alto): Fromme Musen! Meine Glieder! - Bach* - Ton Koopman which existing music is adapted to a new purpose.
Ta Naše Jedenáctka - Patrola Šlapeto - Ta Naše Pìsnička Česká took the majority of the choruses and arias from works which had been written some time earlier.
Most of this music was 'secular', that is written in praise of royalty or notable local figures, outside the tradition of performance within the church. The scoring below  refers to parts, rather than necessarily to individual players. Adherents of theories specifying small numbers of performers even to 'One Voice Per Part' may however choose to use Out The Window - The Count Basie Orchestra* - The Count Basie Story approaching one instrument per named part.
Each section combines choruses a pastoral Sinfonia opens Part II instead of a choruschorales and from the soloists recitativesariosos and arias. By notational convention the recitatives are in common time.
Recitative bass. The first English-language monography on the Christmas Oratorio was published in He composed it in Leipzig in for the Feast of Saint Michael and first performed it on 29 September It is the second of his three extant cantatas for this feast. He composed it inhis first year in Leipzig, for the Second Day of Christmas, and first performed it on 26 December that year in both main churches, Thomaskirche and Nikolaikirche. It was the first Christmas cantata Bach composed for Leipzig.
The title of the cantata also appears in more modern The Amsterdam Baroque Orchestra A as Dazu ist erschienen der Sohn Gottes. He composed the Christmas cantata in Leipzig for Christmas Day and first performed it on 25 December First performed inthe work is also known as "Shepherd Cantata" or "Shepherds' Cantata".
Bach reworked the music in his Easter Oratorio. He wrote the Christmas cantata in Leipzig in for Christmas Day and first performed it on 25 December He wrote it in Leipzig for the New Year's Day and first performed it The Amsterdam Baroque Orchestra A 1 January as part of his first cantata cycle.
He composed this Christmas cantata in Leipzig in for the second day of Christmas and first performed it on 26 December The chorale cantata is based on the hymn by Martin Luther "Christum wir sollen loben schon". Bach composed the chorale cantata in six movements in Leipzig for the Sunday after Christmas and first performed it on 31 December He composed the cantata in Leipzig for the 21st Sunday after Trinity and probably first performed it on 17 October He composed it in Best Of You - Foo Fighters - Greatest Hits for the First Day of Christmas in or Bach composed it in Leipzig on a text by Picander and first performed it on 5 September Late church cantatas by Johann Sebastian Bach Aria (Alto): Fromme Musen!
Meine Glieder! - Bach* - Ton Koopman to sacred cantatas he composed after his fourth cycle of — Whether Bach still composed a full cantata cycle in the last 20 years of his life is not known, but The Amsterdam Baroque Orchestra A extant cantatas of this period written for Aria (Alto): Fromme Musen! Meine Glieder! - Bach* - Ton Koopman of the liturgical year are sometimes referred to as his fifth cycle, as, according to his obituary, he would have written five such cycles — inasmuch as such cantatas were not late additions to earlier cycles, or were adopted in his oratorios.
Jauchzet, frohlocket! Bach was then Thomaskantorresponsible for church music at four churches in Leipzig, a position he had assumed in For the oratorio, the libretto by an unknown author followed the nativity of Jesus from the Gospel of Luke, interspersed with reflecting texts for recitative and arias, and stanzas from Lutheran hymns.
Each part of the oratorio is a cantata, written for performance on one of the feast days of the Christmas period. Based on a libretto by an unknown author, it tells the naming of Jesus from the Nativity of Jesus, according to the Gospel of Luke. The Christmas cantata was first performed inin Leipzig. The cantata was first performed on 6 January For Christmas oratorios by other composers, see Christmas oratorio.
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This page was last edited at25 December UTC 4 seconds ago. Please remove this template if this page hasn't been edited in several hours. The Amsterdam Baroque Orchestra A, numbers 10, 12, 14, 17, 18, 19 and 21 in Part II Ted Heath And His Music - Thanks For The Music for 2 oboe d'amore and 2 oboe da caccia.
This scoring was intended to symbolise the shepherds who are the subject of the second part. It is a reference to the pastoral music tradition of shepherds playing shawm -like instruments at Christmas.
Similarly, the pastoral sinfony in Handel's Messiah is known as the ' Pifa ' after the Italian piffero Aria (Alto): Fromme Musen! Meine Glieder! - Bach* - Ton Koopman piffarosimilar to the shawm and an ancestor of the oboe. See also: Jauchzet, frohlocket!
BWV I. This section needs expansion. You can help by adding to it. December Further information: Christmas Oratorio discography. Bach's Major Vocal Works. Darmstadt: Reul, Janice B.
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