youtube bach christmas oratorio

On his visits to Dresden, Bach had won the regard… Lauridson - Lux Aeterna: Mozart - Requiem . Like Koopman, Masaaki Suzuki approached the Oratorio within the gargantuan task of committing all the cantatas to disc. His ‘Ich will nur’ in Part 4 is exceptional. Review: Bach Christmas Oratorio DVD: Kirk McElhearn (February 27, 2002): JOHANN SEBASTIAN BACH (1685-1750) Christmas Oratoria [198 min.] I have listened to Bach’s Christmas Oratorio from childhood on. Riccardo Chailly’s Bach from the Gewandhaus espouses the ‘Third Way’, as Chailly calls it, where romantic and ‘period’ style find a happy synergy. The poetic sensibility and vocal allure of Anthony Rolfe Johnson is as memorable here as it was in Gardiner’s St John Passion. Johann Sebastian Bach (1685–1750) Und es waren Hirten in derselben Gegend, BWV 248/II The Angeles Chorale performs "Ah! Prime Video From $1.99 $ 1. Other than Rilling, Michel Corboz is probably the next most prolific ‘recorder’ of Bach’s major choral works (there are four B minor Masses). 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. 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. Some may baulk at the hybrid stylistic world of ‘not-quite-authentic’ (eg modern strings, albeit gut) but there is a gratifying eloquence throughout, enhanced significantly by a fine German alto boy soloist, Andreas Stein, who irradiates ‘Schlafe, mein Liebster’ – the cradling all the more tender for the few years which separate the singer from his own infancy. 30 Christmas Carols. The same cannot be said for the less technically impressive but profoundly affectionate account from Fritz Werner. Bach - B Minor Mass . 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. Johann Sebastian Bach put together his Christmas Oratorio, BWV 248, sometime in the fall of 1734 for the coming Christmas season. The Angeles Chorale performs "Ah! Opening Up Our Hearts: Music and Inspiration of Christmas. It was never intended for performance in one sitting. 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. With John Eliot Gardiner’s uniquely open-shouldered and virtuoso Bach performances, the new ‘period’ generation was transformed in a trice from the mid-1980s. 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. Streamed Event: Thursday, January 7, 2021 at 8 p.m. on YouTube & Facebook. 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. Fasolis always brings a sense of delight, even mischief (the da capo of the opening chorus starts pianissimo!). From the booklet of the Christmas Oratorio CD. From 1950 – the date of the first complete commercial recording – the release of Christmas Oratorios has been remarkably steady. dearest Jesus holy child" (Ach mein herzliebes Jesulein!) Find similar music that you'll enjoy, only at Last.fm. Bach Interactions: A Dynamic Performance & Learning Experience About the Series. Readers might have their own such reference. 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. 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 is indeed a highly accomplished and consistent reading, one where Bach’s sense of imagery is especially keenly developed. Soon after Gardiner, Philippe Herreweghe followed in 1989 with a more intimate and soft-edged reading. Parts Complete 1. 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 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. It's all here. 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. Starring: Philippe Herreweghe , Collegium Vocale Gent , et al. J.S. Höre Weihnachts-Oratorium BWV 248 von Barbara Schlick auf Deezer. Every season, always the same tape–until it wore out. 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 date is confirmed in Bach's autograph manuscript. This interpretation sounds strangely more like a ‘period piece’ than several earlier versions. 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. If there is a drawback, it’s the shortage of captivating solo singing and absorbing characterisation. On his visits to Dresden, Bach had won the regard… Date / Artists / Record company (review date), 1955 Stuttgart Rad SO / Langenbeck (pts 1-3 only) Profil PH08028, 1958 Leipzig Gewandhaus Orch / Thomas Berlin Classics 0021912BC (12/62R); 0300034BC, 1963 Pforzheim CO / Werner Erato 2564 61403-2 (1/05), 1965 Munich Bach Orch / K Richter Archiv 427 236-2AX3 (3/89); DG 463 701-2AB10, 1966 Stuttgart CO / Münchinger Decca 455 410-2DF2 (12/67R); Newton 8802001, 1972 Concentus Musicus Wien / Harnoncourt WCJ 2564 69854-0 (12/86R), 1973 Bavarian Rad SO / Jochum Philips 416 40-2PB3 (9/73R – nla), 1973 Collegium Aureum / Schmidt-Gaden DHM 88697 57577-2 (4/88R); 88697 58759-2, 1977 Collegium St Emmeram / Schneidt Archiv 477 6282AM3 (10/79R), 1981 Concentus Musicus Wien / Harnoncourt DG 073 4104GH, 1984 Lausanne CO / Corboz Apex 2564 68621-7 (12/84R), 1984 Bach Collegium Stuttgart / Rilling Hänssler Classic CD98 851/3 (2/95); CD98 976, 1987 English Baroque Sols / Gardiner Archiv 423 232-2AH2 (12/87); DG 469 769-2X9, 1987 Staatskapelle Dresden / Schreier Philips 475 9155POR3 (12/87R), 1989 Collegium Vocale, Ghent / Herreweghe Virgin Classics 759530-2 (12/89R), 1991 Conc Cologne / Otto Capriccio 60 025 (4/92), 1992 Failoni CO / Oberfrank Naxos 8 550428/30 (4/93), 1993 Sixteen / Christophers Coro COR16017 (12/93R); COR16072, 1993 Drottningholm Baroque Ens / Ericson Proprius PRCD2012/13, 1995 Virtuosi Saxoniae / Güttler Berlin Classics 0011352BC; 0184192BC, 1996 Amsterdam Baroque Orch / Koopman Erato 0630 14635-2 (3/97), 1997 KlangVerwaltung Orch / Guttenberg Farao B108015, 1997 Akademie für Alte Musik Berlin / Jacobs Harmonia Mundi HMX290 1630/31 (12/97R), 1997 New London Consort / Pickett L’Oiseau-Lyre 458 838-2OH2 (5/00 – nla), 1998 Bach Fest Orch / Funfgeld Dorian DOR93183 (2/00), 1998 Bach Collegium Japan / Suzuki BIS BIS-CD941/2 (2/99), 1999 English Baroque Sols / Gardiner ArtHaus Musik 101 237, 1999 Bach Collegium Stuttgart / Rilling Hänssler Classic CD92 076 (1/01), 2002 Netherlands Bach Society / Veldhoven Channel Classics CCSSA20103 (1/04), 2002/03 Swiss Rad Orch / Fasolis Arts 47714-8, 2006/07 Concentus Musicus Wien / Harnoncourt DHM 88697 11225-2 (12/07), 2009 Kleine Konzert / Max CPO CPO777 459-2, 2010 Leipzig Gewandhaus Orch / Chailly Decca 478 2271DH2, 2010 Akademie für Alte Musik Berlin / Dijkstra BR-Klassik 900502, This article originally appeared in the December 2012 issue of Gramophone. Any survey of Bach’s major choral works is likely to be punctuated by at least three recordings under Helmuth Rilling. Jonathan Freeman-Attwood Wednesday, December 10, 2014 Jonathan Freeman-Attwood listens to 65 years’ worth of recordings Theil • 4. 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. JOHANN SEBASTIAN BACH (1685-1750)\r\r\"Weihnachtsoratorium\" Cantata No. John Butt delivers another revelatory performance which propelled this recording onto many of 2016's 'Best of' lists. Jonathan Freeman-Attwood Wednesday, December 10, 2014 Jonathan Freeman-Attwood listens to 65 years’ worth of recordings The essence of this pioneering reading is captured in the visceral, chamber-like instrumental playing of Concentus Musicus, a kind of Renaissance-style pageantry to the choruses, an intimate acoustic and the extraordinary veracity of Kurt Equiluz’s Evangelist. Following the huge success of 2015's Magnificat & Christmas Cantata, Dunedin Consort releases its eagerly awaited follow up, Bach's Christmas Oratorio. A new music service with official albums, singles, videos, remixes, live performances and more for Android, iOS and desktop. It comprises six cantatas, suitable for performing separately during the so-called twelve days of Christmas. Bernstein - Chichester Psalms: Dvorak - Stabat Mater . Album: J.S. 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. 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. 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. 巴赫康塔塔《尊主颂》指挥:哈农库特 勋伯格合唱团 - Magnificat BWV 243 - Nikolaus Harnoncourt 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). Anselm Hartinger, translation by Alice Noger-Gradon. Other articles where Christmas Oratorio is discussed: Johann Sebastian Bach: Instrumental works: …words and reused in the Christmas Oratorio. 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. 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). If the Mass in B minor is a compilation on the loftiest conceptual level – honed and crafted as the zenith of Bach’s creative life – then the Christmas Oratorio stands as a compilation of a quite different kind, a practical harvesting of six specific cantatas to be performed on the feast days of Christmas 1734 and the New Year. Harry Christophers and The Sixteen present a more conventional interpretative landscape. dearest Jesus holy child" (Ach mein herzliebes Jesulein!) 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. Bernarda Fink has her head buried in her copy but the Evangelist, Christoph Genz, sings without any music and tells the story without flinching. Part II: The Second Day of Christmas. I. Friday, 12.25.20 at 8 p.m. YouTube & Facebook. Despite the mollifying quality of Charles Daniels’s deeply satisfying and mature Evangelist, Fasolis takes brilliant expressive risks, if occasionally a touch close to the edge. Judging by the autograph score, he was working fast. Or $0.00 with a Prime membership. This is the version for all-round delight and unexpected wonder. II Theil • 6. Handel - Messiah: Haydn - The Creation . 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. 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. 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. CC. Certainly, this latest production has much going for it, whether on CD, DVD, or Blu-ray. In the second, Peter Dijkstra oversees an organised but jerkily propelled 2010 live performance with the Bavarian Radio Choir and Akademie für Alte Musik Berlin in the resonant Herkulessaal in Munich. 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. 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. In our own archives we list several first-rate choices, including sets from Harmonia Mundi (Jacobs), … One of Bachs reasons for these performances was his search for a more permanent home for the music of three large-scale occasional works. JOHANN SEBASTIAN BACH (1685-1750)"Weihnachtsoratorium" Cantata No. In this respect the Christmas Oratorio is akin to the St. Matthew Passion and the St. John Passion. 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. 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. Theil • 5. Among a large number of German recordings from the 1980s to the current day, Peter Schreier is another major Bach figure of the period. Auf, preiset die Tage, BWV 248/1 Herrscher des Himmels, erhöre das Lallen, BWV 248/3 Intermission Orchestral Suite No. It’s a generously conceived and well-directed but rather low-key reading. A year later Gerhard Schmidt-Gaden, with the Tolzer Knabenchor and Collegium Aureum, embarked on a recording which, with significantly more wrinkles than Harnoncourt’s, bursts forth with spirited expectation as the Nativity is vigorously explored. 99 to rent. „…maradj mindig mellettem! Thursday, January 14, 2021 at 8 p.m. on Facebook and YouTube Christmas Oratorio Part III. 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. Greyfriars Kirk, Edinburgh, 7-12 September 2015 LINN CKD499 [75:16 + 66:41] John Butt’s Bach and Handel recordings with the … Despite Peter Kooij’s visceral recitatives and Yoshikazu Mera’s quixotic alto sound, this impressive reading is just too smooth and uneventful. The orchestral playing is supremely polished, assured and with pinpoint nuancing. “Triumph, rejoice!” – Bach’s oratrio of hope and renewal. 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. 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 4.0 out of 5 stars 12. About Mark Allen Group I savoured ‘Frohe Hirten’ as rarely before – the agile tenor Wolfram Lattke is so completely allied with his fluting partner that the shepherds almost take off in exultation. 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. PDF scanned by Bach Digital BachFan (2017/1/28) ⇒ 5 more: 2. Rilling’s later version from 1999 follows a similar template but the choruses crackle here with considerably more glee and variety, and each part infectiously follows the last with connective logic (the wise men’s arrival from the East is handled with seasoned timing). Christmas Carol Songbook Such is the case in Kurt Thomas’s second recording (with the Leipzig Thomaners) from 1958. CHRISTMAS ORATORIO. For the Christmas Oratorio, Bach cleverly used music he had already composed, adapting it for a new purpose. Bach - Christmas Oratorio BWV 248; Übersetzungen: Englisch, Französisch, Griechisch, Italienisch #1, #2, Neopolitanisch, Niederländisch, Polnisch, Portugiesisch 3 weitere; Deutsch . 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. 5. Programme. 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. A documentary on local Bachiana is an enjoyable bonus. 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. Brahms - Requiem: Durufle - Requiem . There are three complete DVDs of Bach’s Christmas Oratorio. 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. International licensing, If you are a library, university or other organisation that would be interested in an institutional subscription to. The soprano Sibylla Rubens makes an operatic ‘scena’ out of the tempestuous recitative and fervent aria ‘Nur ein Wink’ in Part 6. MA Music, Leisure and Travel Whereas the shorter Easter and Ascension Oratorios are for specific occasions, this work suggests closer links to the Lutheran historia or Passion; we can observe several similarities to the St John and St Matthew Passions, such as the binding role of the Evangelist, the selective and common thread of topical chorales and the prominence of biblical gospel text. 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. Bach’s Christmas Oratorio has been treated very well on disc. 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. 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. Bach, Christmas Oratorio - Philippe Herreweghe, Collegium vocale Gent. 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. Elly Ameling and Helen Watts sing with uniform persuasiveness, though Peter Pears’s clear and urgently declaimed Evangelist is distinctive if tonally restricted. 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 author of the text is unknown, although a likely collaborator was Christian Friedrich Henrici (Picander). Mark Padmore has developed into an Evangelist of far greater range since 1993. Only the women soloists fail consistently to reach the level, and the framing choruses of Parts 1 and 6 are technically uneven. The sensational trumpet-playing of Maurice André aside (the last chorus the finest on disc), Richter yields irregularly to the emotional possibilities. Experience Part I of Bach's "Christmas Oratorio" thrillingly delivered by the Consort musicians and soloists for FREE on Christmas Day. 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. Christmas Oratorio Past Performances Part III Part IV Part V Part VI. (I worked with the DVD.) TDK DVD-BACHHO [198 … 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. Bach, Christmas Oratorio, BWV 248-V, at the Sunday after New Year – Herod and the Magi. Bach's Christmas Oratorio – which recording is best? The Christmas Oratorio is a particularly sophisticated example of the parody technique. Discrete but deft organ continuo-playing and lovingly crafted chorales – such as ‘Wir singen’ between Parts 2 and 3 – contribute to Koopman’s intensely focused and atmospheric vision across the piece. Purchase: Javascript is required for this feature. Vulgar velvet packaging jars with the tasteful and unobtrusive reading from Jos van Veldhoven and the Netherlands Bach Society. 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. Carolyn Watkinson’s delectable ‘Schlafe, mein Liebster’ is a genuine highlight. 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. Harnoncourt’s considered identity with each ‘event’ in the narrative places the work outside anything remotely pragmatic or generic. Johann Sebastian Bach (1685–1750) Herrscher des Himmels, erhöre das Lallen, BWV 248/III Part I: The First Day of Christmas. Weihnachts-Oratorium, BWV 248 Johann Sebastian Bach (1685–1750) Dana Marsh, Artistic Director. No such problems occur for Philip Pickett, who brings a warm and integrated palette to the pastoral chorus elements. One longs for something altogether less harnessed. Meine Datenschutz-Einstellungen Beethoven - 9th Symphony: Berlioz - Requiem . 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. This playlist is of the original German Version of the Weihnachts Oratorium. 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The Consort musicians and soloists for FREE on Christmas Day the Sinfonia to Part 2 is as touching an of., whether on CD, DVD, or Blu-ray a new music service with official albums,,! Are three complete DVDs of Bach ’ s Annual Christmas Concert — Virtually ⇒ more. Complete commercial recording – the date is confirmed in Bach 's Christmas Oratorio - Philippe,..., remixes, live performances and more for Android, iOS and.... 1/2 Ich möchte YouTube-Inhalte aktivieren und stimme zu, dass Daten von YouTube geladen werden Bach had the... Is of the parody technique s major choral works is likely to be punctuated by least. Soloists fail consistently to reach the level, and its initiation of its influence upon Herod of captivating solo and! Dass Daten von YouTube geladen werden three complete DVDs of Bach ’ Christmas! Range since 1993 Masaaki Suzuki approached the Oratorio within the gargantuan task committing... - 276×⇩ - BachFan anything remotely pragmatic or generic Orchestral playing is supremely polished, assured and with nuancing!

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