bach christmas oratorio translation

19). Eilt, ach eilet, eilt das holde Kind zu sehn! Recommended Citation: Rathey, Markus. Bach's "Christmas Oratorio" is nowadays more likely to be heard and appreciated on record than in live performances. 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. Facebook Twitter. 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. For an English translation and remarks on the theological and musicological context of this view of music see Rathey, Bach’s Christmas Oratorio, 191. 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. 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. The text for the oratorio features the familiar Christmas narrative from Lk. 2, as well as free poetry and hymns. SKU: 30809. The liturgy in his Leipzig churches did not provide a place to perform a piece of more than two hours in length. [5] Symbolically speaking, the angels serve as a model for the music of the shepherds. The angel then urges the shepherds to go to the manger and to see “the miracle” that has taken place. Already the opening movement of the oratorio begins with the praise of God through music: “Shout, exult, arise, praise the days [of Christmas]. 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. 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. Bach: Christmas Oratorio WEIHNACHTS-ORATORIUM, BWV 248. Part I: The First Day of Christmas. Its first cantata, Jauchzet, frohlocket! Bach: Christmas Oratorio, BWV 248 / Part Five - For The 1st Sunday In The New Year - No. Bach was then Thomaskantor, responsible for church music at four churches in Leipzig, a position he had assumed in 1723. 1). The angels play an elegantly flowing siciliano motive, while the shepherds interject with a simpler, more rustic theme. 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. J.S. . contributions 16:06, 27 September 2007 (UTC) Interest of the translation: The German article is much more detailed than the English one. 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. . Bach. Earthly music was a reflection of heavenly music; the voices of the human choir emulated the angelic voices. However, the opening sinfonia is more than just a musical genre painting, it describes an encounter. CHRISTMAS ORATORIO Weihnachts-Oratorium, BWV 248 The goal was a sonic and spiritual harmony between heaven and earth. 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. 3: No. [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. 5); Martin Luther (Mvts. 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. that you, O long-desired guest, have now presented yourself” (no. Und es waren Hirten in derselben Gegend, BWV 248. It is the call to all mankind to join the choir of angels: “Quite right, you angels: shout and sing. . . However, for Bach and his anonymous librettist there is no question but that the encounter would have a musical component. 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. 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. Christmas and music seem to belong together. If the angels are singing, the shepherds have to be imagined as following their example by singing, as well. Bach uses the string instruments of the orchestra (here doubled by the flutes) to depict the arrival of the angels. It consists of six cantatas that between them tell the story of the Nativity, and the events of the following week or so. . 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). 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. He also translated nine of Bach's cantatas, with the same publisher. 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. Music—here the songs and psalms sung in the honor of God—serves as a celebration of the birth of Jesus. Music as a theme features prominently in the second part of the oratorio, performed on December 26, 1734 in the St. Thomas Church. 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. 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]. 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. The shepherds encounter the message of Jesus’s birth in music and their first response is music. . For much of his life, Bach was in charge of music at St. Thomas Lutheran Church in Leipzig, Germany. They are now our best friends. 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. Do not forget Bach (1685-1750) created his Christmas Oratorio during 1734 for performance in church over the ensuing Christmas period. It was a means of encounter with God. This material is licensed under a Creative Commons Attribution 4.0  License. Harmony between God and man is represented by musical harmony. [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. 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 - Christmas Oratorio The Netherlands Bach Society Bach. 7, 9) Chorale Text: 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. Bach essentially follows the same pattern he had already used in the opening sinfonia, now applied to a setting of the central biblical text. < Markus Rathey is Professor of Music History at the Yale Institute of Sacred Music and the Yale School of Music. 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. In the last two measures, the strings even drop out and the oboes of the shepherds play the angelic motive all by themselves. 2, the story of the Three Wise Men from Mt. [7] Christoph Starke, Synopsis Bibliothecae Exegeticae in Novum Testamentum: Kurzgefaster Auszug Der gründlichsten und nutzbarsten Auslegungen über alle Bücher Neues Testaments, vol. 1, Article 1. [4] At the beginning of his sinfonia, Bach juxtaposes these two sonic groups: the strings begin, then they are interrupted by the oboes, then the strings take the lead again, and so forth. 2. I. Friday, 12.25.20 at 8 p.m. YouTube & Facebook. 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. CHRISTMAS ORATORIO. [4] Cf. The opening chorus, “Celebrate, rejoice, rise up and… glorify what the Highest has done today,” was completely original. .”[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). 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 . 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 . 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. 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. Frohe Hirten, eilt, ach eilet, [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. From the booklet of the Christmas Oratorio CD. Arise then! }} or {{Doubt | original sentence | Part II: The Second Day of Christmas. 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. Jauchzet, frohlocket, auf, preiset die Tage, BWV 248. II 7, 9) Chorale Text: to watch this page]. [6] For the original text see Rathey, Bach’s Christmas Oratorio, 206. Bach’s sinfonia enacts this synthesis musically by leading the two musical choirs, which are distinct in motive and color, to a sonic synthesis. 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 While we had been servants of the devil before, now the Child has honored us by elevating us to the citizenry of the angels. Weihnachts-Oratorium, BWV 248 Johann Sebastian Bach (1685–1750) Dana Marsh, Artistic Director. . [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. The second part of the oratorio (like the other parts as well), ends with a setting of a common congregational hymn. 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. . Break forth into song, full of shouting and rejoicing” (no. Join this translation   ————   Update this information (instructions). In particular, you can use {{Doubt | original sentence His major study of Bach’s Christmas Oratorio was published by Oxford University Press in 2016. 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. 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. I, Biel: Heilmann, 1746, col. 1039. 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. [9] Gesetze der Schule zu S. Thomae (Leipzig:Breitkopf, 1733), 5. 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. 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. 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. The opening chorus, “Celebrate, rejoice, rise up and… glorify what the Highest has done today,” was completely original. Add to cart. Although Troutbeck’s translation tried to … Each group also has its unique musical ideas. Christmas Oratorio III 1 (24). Anselm Hartinger, translation by Alice Noger-Gradon. Year of release: 2001 24). . He is a leading Bach scholar and currently president of the American Bach Society. 3: 4-7 / Acts 6: 8-15 & 7: 55-60; Gospel: Matthew 23: 35-39 / Luke 2: 15-20 Bach plays with a common stereotype of shepherds’ music, the pastorale: lilting motives in triple meter over a simple, often static, bass. [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. The encounter between the human and divine spheres takes place in sound. (2016) “Music and Divine Encounter in Bach’s Christmas Oratorio,” The Yale ISM Review: Vol. 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. 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. Feel the delight.”. 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. 18).[8]. Download booklet. 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. They belong to the feast like roasted chestnuts and peppermint sticks. They belong to the feast like roasted chestnuts and peppermint sticks. This phenomenon is due in part to cultural conventions; but throughout history, Christmas has also inspired musical imagination more than any other Christian feast. Bach composed his Christmas Oratorio for the Christmas season from Christmas Day on 25 December 1734 to Epiphany on 6 January 1735. It comprises six cantatas, suitable for performing separately during the so-called twelve days of Christmas. It fits the stereotype of a lullaby. 23). The shepherds, on the other hand, are represented by the nasal sound of the oboes—again a typical feature in Baroque iconography. 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. For the historical instructions see Template:Translation/Instructions, Either the page is no longer relevant or consensus on its purpose has become unclear. J.S. It was never intended for performance in one sitting. 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. 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. The focus is no longer only on the shepherds; it is wider. An instrumental sinfonia depicts the bucolic scene in the fields close to Bethlehem. The theological synthesis is also musical synthesis. 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. 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. Buy Christmas Oratorio (SATB ) by J. S. Bach at jwpepper.com. Emanuel Winternitz, Musical Instruments and Their Symbolism in Western Art: Studies in Musical Iconology (New Haven and London: Yale University Press, 1979), 132–134. . 2:8–14), culminating in the angelic song “Ehre sei Gott in der Höhe” (May honor be to God on high). Singable English translation of Bachs Christmas Oratorio. 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