BWV 248 - Christmas Oratorio - Part 4 of 6 (Scrolling)
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- čas přidán 10. 09. 2024
- Performer & Album Info - 22:38
1. Coro: Fallt mit Danken, fallt mit Loben - 0:49
2. Recitative (Evangelist, Tenor): Und da acht Tage um waren - 6:22
3. Recitative (bass): Immanuel, o süßes Wort - 6:54
4. Arioso (soprano / bass): Jesu, du mein liebstes Leben - 7:38
5. Aria (soprano & 'Echo' soprano): Flößt, mein Heiland, flößt dein Namen - 9:11
6. Recitative (bass): Wohlan! dein Name soll allein - 14:51
7. Arioso (soprano): Jesu, meine Freud' und Wonne - 14:58
8. Aria (tenor): Ich will nur dir zu Ehren leben - 16:13
9. Chorale: Jesus richte mein Beginnen - 20:35
This part of the oratorio is not often performed, but it has some wonderful musical effects and fugal structures. Most sincere thanks again, M. gerubach.
Mari Christian You are welcome Mari. Those echos in the soprano aria must have been quite a treat for the audience of Leipzig and that Tenor Aria might as well have been the 3rd movement of a concerto! Part 5 on the way Mari.
+gerubach The first, fifth and eighth movements are the transposed versions of the first, fifth and seventh movements of cantata BWV 213 (Hercules at the Crossroads / Laßt uns sorgen, Laßt uns wachen). BWV 213 is one my favorite cantatas, hence this part of the Christmas Oratorio is my fave too since it contains most of it. :D
Mari Christian
The tenor aria "ich will nur dir ..." is astonishingly complex and beautiful fugal masterpiece.
Thanks for all your work on the Christmas Oratorio. It's not something I've yet heard - and I'm so glad I have done.
Felix Train You are welcome Felix. I too had not payed much attention to the Recitative/Ariosos in this 4th part of the Christmas Oratorio but my heart did a backflip during the sub-titling portion of the animation. I was overwhelmed with the usage of chords in the strings with the topic of admiration and death! Especially that with that held out diminished chord at 8:37 after the question "How, at the last, should death frighten me?" is asked. Gardiner's choice to wait for the "My Jesus" kept me on my seat's edge. What conducting! What composing!!
What a gorgeous part of the Oratorio! I for one can't seem to grasp how incredible Bach's fugal structures are here. I always tear up when I hear great things like that, especially with some interesting chords. Thanks for all your hard work, Gerubach, it is greatly appreciated :)
Ahhhh! The little echo thing is the neatest thing ever. Very unlike Bach, which of course means just like him! Always against the norm and lightyears ahead of his time. Almost reminds me of Bernstein's Candide!
It would be interesting to have all 6 parts of this Oratorio scroll w/ the Barenreiter Verlag 5014-90 Piano Reduction Score as it's more compact & easier to read
Happy New Year Mr.Gerubach!
gerubach In the Soprano Ariosos the 1'st Violin plays in unison w/ the Soprano.
Great work once again, gerubach. Thanks again for all the hard work you put into these videos! On a side note, I found it strange that this recording of Part 4 uses a harpsichord in the continuo group as opposed to an organ, which is unusual for church music from this period.
***** You are welcome. (my disclaimer first: I am not a Bach expert or hold no degree in musicology what so ever):
In the 90's, I would drive to Tower Records in Buena Park, Lakewood's Warehouse and Hollywood's Classical Annex to purchase 1 CD a week of a 45 volume set of complete cantatas that Teldec once held a monopoly on. (I went as far as breaking piggybanks to fund a weekly pilgrimage!). Then these CD's with faces of people on them starting popping up next to those brown CD's with the golden "Das Kantantenwerk" and I knew that I might be in trouble with my collection. And yes... Harnoncourt's strictness to following Bach's performance conditions took a backseat to Gardiner's more "ear-pleasing" bending of the rules. Using female vocalists and adding a crisp cembalo to the organ continuo are two that come to mind. I think Bach never intended to cause fights among his admires but his absence of details (like tempos and instrumentation) have all of us pledging allegiance to one director, ensemble or even a record company. I must admit that the harpsichord sounds very nice with the organ but was it what Bach did in Leipzig? There are documents from the city records of April 3rd, 1724 that Bach needed some harpsichords repaired before the performance of the St. John passion but he had already performed several cantatas prior to that. So, did Bach only use harpsichords for major events? Or did his patience run out with the city council? One can only speculate.
Makes sense. My question was comes from the fact that the Cantata collection I own (Brilliant Classics version), uses an organ for the continuo not only for the cantatas themselves, but the Passions and Oratorios as well. Thanks for the in-depth reply.
like the idea. tip for the future maybe: sometimes is confusing to not see the clefs (and key signature).
Please Do BWV 558
Nicholas, BWV 558 was composed by J. L. Krebs.