However, the opening sinfonia is more than just a musical genre painting, it describes an encounter. This is the case here as well. The shepherds, on the other hand, are represented by the nasal sound of the oboes—again a typical feature in Baroque iconography. He also translated nine of Bach's cantatas, with the same publisher. II 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. Emmanuel Music is a Boston-based ensemble of singers and instrumentalists founded in 1970 by Craig Smith to perform the complete sacred cantatas of J.S. 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. When Johann Sebastian Bach (1685­–1750) composed his Christmas Oratorio for the Christmas season 1734/35, he tackled a very ambitious project. 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. 1, Article 1. 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. The focus is no longer only on the shepherds; it is wider. contributions 16:06, 27 September 2007 (UTC) Interest of the translation: The German article is much more detailed than the English one. Emmanuel Music continues to perform cycles of large-scale and chamber works by Bach, Handel, Mozart, Schubert, Brahms, Debussy, Haydn, Schoenberg, Weill, Wolf, Medelssohn, and Schumann under Artistic Director Ryan Turner. The angel then urges the shepherds to go to the manger and to see “the miracle” that has taken place. Bach (1685-1750) created his Christmas Oratorio during 1734 for performance in church over the ensuing Christmas period. . “Triumph, rejoice!” – Bach’s oratrio of hope and renewal. The opening chorus, “Celebrate, rejoice, rise up and… glorify what the Highest has done today,” was completely original. In his Hauspostille the Reformer states that through the birth of Christ, humans become co-citizens with the angels: “But he is not only our Lord, but he is also the Lord of the angels; and together with the angels we are members of the Lord’s domestic community. . Bach: Christmas Oratorio, BWV 248 / Part Five - For The 1st Sunday In The New Year - No. However, his many other responsibilities, such as raising 20 … Emanuel Winternitz, Musical Instruments and Their Symbolism in Western Art: Studies in Musical Iconology (New Haven and London: Yale University Press, 1979), 132–134. Weihnachts-Oratorium, BWV 248 Johann Sebastian Bach (1685–1750) Dana Marsh, Artistic Director. 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. 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. 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. The theological synthesis is also musical synthesis. Jauchzet, frohlocket, auf, preiset die Tage, BWV 248. Earthly music was a reflection of heavenly music; the voices of the human choir emulated the angelic voices. It was a means of encounter with God. . SKU: 30809. 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. Year of release: 2001 Christmas and music seem to belong together. It comprises six cantatas, suitable for performing separately during the so-called twelve days of Christmas. It fits the stereotype of a lullaby. 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. 23). Markus Rathey is Professor of Music History at the Yale Institute of Sacred Music and the Yale School of Music. 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. 5); Martin Luther (Mvts. The text for the oratorio features the familiar Christmas narrative from Lk. [6] For the original text see Rathey, Bach’s Christmas Oratorio, 206. Program Notes J.S. 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]. Facebook Twitter. < Bach’s skillful juxtaposition and assimilation of musical ideas and musical topoi correlates with Martin Luther’s interpretation of the angelic choir in Lk. . Frohe Hirten, eilt, ach eilet, The encounter between the human and divine spheres takes place in sound. They belong to the feast like roasted chestnuts and peppermint sticks. I. Christmas and music seem to belong together. For an English translation and remarks on the theological and musicological context of this view of music see Rathey, Bach’s Christmas Oratorio, 191. 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. Bach essentially follows the same pattern he had already used in the opening sinfonia, now applied to a setting of the central biblical text. [10] The idea of heavenly harmony and its sonic realization in earthly music was quite common in Baroque music theory as well as in theology; for a recent study of these concepts see Joyce I. Irvin, Foretastes of Heaven in Lutheran Church Music Tradition: Johann Mattheson and Christoph Raupach on Music in Time and Eternity, (Lanham: Rowman&Littlefield), 2015. Bach: Christmas Oratorio WEIHNACHTS-ORATORIUM, BWV 248. 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. [9] Gesetze der Schule zu S. Thomae (Leipzig:Breitkopf, 1733), 5. [5] Symbolically speaking, the angels serve as a model for the music of the shepherds. to watch this page]. . Buy Christmas Oratorio (SATB ) by J. S. Bach at jwpepper.com. Bach's "Christmas Oratorio" is nowadays more likely to be heard and appreciated on record than in live performances. They belong to the feast like roasted chestnuts and peppermint sticks. Bach composed his Christmas Oratorio for the Christmas season from Christmas Day on 25 December 1734 to Epiphany on 6 January 1735. 7, 9) Chorale Text: Bach. [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. I, Biel: Heilmann, 1746, col. 1039. Arise then! Bach - Christmas Oratorio The Netherlands Bach Society Bach. For the historical instructions see Template:Translation/Instructions, Either the page is no longer relevant or consensus on its purpose has become unclear. The opening chorus, “Celebrate, rejoice, rise up and… glorify what the Highest has done today,” was completely original. 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. CHRISTMAS ORATORIO. . 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. (2016) “Music and Divine Encounter in Bach’s Christmas Oratorio,” The Yale ISM Review: Vol. Bach plays with a common stereotype of shepherds’ music, the pastorale: lilting motives in triple meter over a simple, often static, bass. 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 . His major study of Bach’s Christmas Oratorio was published by Oxford University Press in 2016. I. Und es waren Hirten in derselben Gegend, BWV 248. This material is licensed under a Creative Commons Attribution 4.0  License. Johann Sebastian Bach, John Eliot Gardiner, English Baroque Soloists, Nancy Argenta, Olaf Bär, Hans Peter Blochwitz, Alison Bury, Lisa Beznosiuk, Monteverdi Choir, Anne Sofie von Otter - Bach: Christmas Oratorio (Weihnachts Oratorium) - Amazon.com Music Anselm Hartinger, translation by Alice Noger-Gradon. .”[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). Eilt, ach eilet, eilt das holde Kind zu sehn! He is a leading Bach scholar and currently president of the American Bach Society. 7, 9) Chorale Text: 24). Add to cart. 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. 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. The second part of the oratorio (like the other parts as well), ends with a setting of a common congregational hymn. They are now our best friends. Bach was then Thomaskantor, responsible for church music at four churches in Leipzig, a position he had assumed in 1723. Although Troutbeck’s translation tried to … [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. An instrumental sinfonia depicts the bucolic scene in the fields close to Bethlehem. What is more, Christmas is probably the only Christian feast that has developed its own unmistakable musical idiom: triple meter, simple texture, slow harmonic rhythm, organ points—these are not only the ingredients for a musical pastoral but they likewise characterize a wide array of popular Christmas songs, from “In dulci jubilo” to “Silent Night.”, Even in a society like ours, where communal singing has lost most of its former significance, Christmas carols still count among the best-known songs with religious texts. 2:8–14), culminating in the angelic song “Ehre sei Gott in der Höhe” (May honor be to God on high). 14). Already the opening movement of the oratorio begins with the praise of God through music: “Shout, exult, arise, praise the days [of Christmas]. 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. Join this translation   ————   Update this information (instructions). The music of the alto aria is soothing, with a lilting rhythm. [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. Guy Erwin, Yale Institute of Sacred Music / 406 Prospect Street / New Haven, CT / ism.Yale.edu, Felicity Harley-McGowan and Andrew McGowan, music-and-divine-encounter-in-bachs-christmas-oratorio_rathey, Music and Divine Encounter in Bach’s Christmas Oratorio, The Magi and the Manger: Imaging Christmas in Ancient Art and Ritual, Born in Us Today: The Gospel of Incarnation, A Meeting of Domestic and Liturgical Rites: Joy and Light in Orthodox Christmas, Christmas in Fear, or Looking over One’s Shoulder at the Crèche, The Grinch that Didn’t Steal Christmas: A Reformation Story. In particular, you can use {{Doubt | original sentence 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. It was never intended for performance in one sitting. Harmony between God and man is represented by musical harmony. }} or {{Doubt | original sentence | [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). . Bach uses the string instruments of the orchestra (here doubled by the flutes) to depict the arrival of the angels. The liturgy in his Leipzig churches did not provide a place to perform a piece of more than two hours in length. . However, for Bach and his anonymous librettist there is no question but that the encounter would have a musical component. 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. Part I: The First Day of Christmas. If the angels are singing, the shepherds have to be imagined as following their example by singing, as well. 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. Music—here the songs and psalms sung in the honor of God—serves as a celebration of the birth of Jesus. 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. Recommended Citation: Rathey, Markus. 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. 2, as well as free poetry and hymns. Part II: The Second Day of Christmas. Even though the hymn was here to be sung by the choir, hymn settings like this commonly represented the voice of the congregation in Bach’s oratorios. 5); Martin Luther (Mvts. . 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. . For much of his life, Bach was in charge of music at St. Thomas Lutheran Church in Leipzig, Germany. 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). 19). 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. 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. It consists of six cantatas that between them tell the story of the Nativity, and the events of the following week or so. . J.S. 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. - 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 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. Chorus (S, A, T, B) Ruler of heaven, give ear to our stammer, Let these our weary refrains bring thee pleasure, As thee thy Zion with psalms doth exalt! 18).[8]. Choral Sheet Music. 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. I. Friday, 12.25.20 at 8 p.m. YouTube & Facebook. encounter during the translation process. Bach’s sinfonia enacts this synthesis musically by leading the two musical choirs, which are distinct in motive and color, to a sonic synthesis. Each group also has its unique musical ideas. 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. 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. [4] Cf. Feel the delight.”. Break forth into song, full of shouting and rejoicing” (no. Translation by Francis Browne (www.bach-cantatas.com) Bach—Christmas Oratorio: Frohe Hirten Frohe Hirten, eilt, ach eilet, Eh ihr euch zu lang verweilet, Eilt, das holde Kind zu sehn! The shepherds encounter the message of Jesus’s birth in music and their first response is music. The book analyzes Bach’s masterwork from a musical, cultural, and theological perspective and sheds new light on Bach’s own compositional process. Bach envisions the angels and the shepherds as two “choirs,” two musical ensembles, which engage in a dialogue. [7] Christoph Starke, Synopsis Bibliothecae Exegeticae in Novum Testamentum: Kurzgefaster Auszug Der gründlichsten und nutzbarsten Auslegungen über alle Bücher Neues Testaments, vol. 3: 4-7 / Acts 6: 8-15 & 7: 55-60; Gospel: Matthew 23: 35-39 / Luke 2: 15-20 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. . Singable English translation of Bachs Christmas Oratorio. While we had been servants of the devil before, now the Child has honored us by elevating us to the citizenry of the angels. 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. Download booklet. 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. Do not forget 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. Its first cantata, Jauchzet, frohlocket! . 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. 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. 3: No. CHRISTMAS ORATORIO Weihnachts-Oratorium, BWV 248 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. It is the call to all mankind to join the choir of angels: “Quite right, you angels: shout and sing. This phenomenon is due in part to cultural conventions; but throughout history, Christmas has also inspired musical imagination more than any other Christian feast. 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. Perhaps the greatest offering of all is Johann Sebastian Bach’s Christmas Oratorio. Christmas Oratorio III 1 (24). Bibeltext, Kirchenlieder und freie Dichtung (evtl. 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. 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 refresh your breast, feel the delight” (no. The basis for this publication are Bach’s autograph score and the … The angels play an elegantly flowing siciliano motive, while the shepherds interject with a simpler, more rustic theme. that you, O long-desired guest, have now presented yourself” (no. 1). [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. Music as a theme features prominently in the second part of the oratorio, performed on December 26, 1734 in the St. Thomas Church. In the last two measures, the strings even drop out and the oboes of the shepherds play the angelic motive all by themselves. 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 . 45 Chor: "Wo ist der neugeborne König der Juden?" The goal was a sonic and spiritual harmony between heaven and earth. The scriptural basis for the second part is the encounter of the shepherds with the angels on the fields before Bethlehem (Lk. [5] For a more detailed discussion of this movement see Rathey, Bach’s Christmas Oratorio, 197–207. possible translation}} to highlight the problems you 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 This idea also shapes the following movements of Part II of the oratorio. 2. 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. 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. 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. [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. . [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. 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. 2, the story of the Three Wise Men from Mt. 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In Baroque iconography III 1 ( 24 ) Heilmann, 1746, col. 1039 of his,... To join the choir of angels: “ Quite right, you angels: “ Quite,. Responsibilities, such as raising 20 … original Recording Format: DSD 64 Wo bach christmas oratorio translation der neugeborne der! Chor: `` Wo ist der neugeborne König der Juden? join this translation ———— Update this (! On 6 January 1735 Oratorio '' is nowadays more likely to be imagined as following their example singing! Congregational hymn, feel the delight ” ( no the Yale ISM Review Vol... Idea also shapes the following movements of Part ii of the Oratorio by,! Leipzig churches did not provide a place to perform the complete sacred cantatas J.S! Shepherds have to be imagined as following their example by singing, the angels as... ( 2016 ) “ music and divine encounter in Bach ’ s Christmas Oratorio like. Aria is soothing, with the divine messengers Breitkopf, 1733 ),....

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