The first and final chorales of the oratorio are a setting of the Passion chorale, which we usually associate with Lent. Evangelista, An Angel Soprano: There's an infectious swagger to the music generated by trumpets and the bass voice. Wo gehest du hin BWV
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Towards the end of J. Suzuki BWV - K.
Es ist ein trotzig bacg verzagt Ding BWV The bass, backed by emphasizing woodwind chords, brings a reminder of the ancient promise. Koopman is even faster than Gardiner, but I hardly noticed it, and his chorus sings beautifully. The wind and brass are very important to Part 1, and Gardiner is excellent here. It's quite similar to the famous chorale earlier in Part 1 except for one big difference.
The timings of the version are different, but the spirit and chtistmas of the interpretations are very similar.
And I'm eating crow because I didn't think there was any chance that Schlick would do anything but bring Herreweghe down. Nancy Argenta and Barbara Schlick just don't have the chops to sound realistic in their role. A wonderful and grand setting of Vom Himmel hoch, da komm ich herwith trumpets and drums punctuating each ooratorio, ends the cantata. The most significant theme of the text is one of quenching the rage and fury of the enemy.
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. Oratprio 3 begins with a rousing and highly celebratory Coro. Chgistmas other two versions also do not stand up well to Gardiner. Herreweghe's interpretation tends to drag a little, and Michael Chance has no weight at all.
So far, not one of them has excelled in any of the music. Despite being conceived in six parts, the composer clearly envisaged the work to be heard as one united whole.
But I noticed that the very oratoriio reverence of his conception did veer from the themes of the text. Gott, man lobet dich in der Stille. Same music as the aria 'Treues Echo dieser Orten' No.
Weihnachtsoratorium, BWV 248 (Bach, Johann Sebastian)
The soprano part needs a strong and expressive voice - this is a power role for the singer. The music expresses the "light" and "illumination" of the human spirit. Arranger August Reinhard Jacobs clocks in at 5 minutes, Koopman at 6 minutes, and Gardiner and Herreweghe at the mid-point.
Next comes a recitative for Evangelist, a chorale, and a recitative for bass, each less than one minute in duration.
Koopman is fine, and I preferred the von Magnus lighter voice to von Otter. Chorale sopranos Recitative bass.
Its unity is apparent within the music itself, through Bach's use of key signatures. IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country.
Bach - Christmas Oratorio - Classic FM
I see no text related reason for this decision, and Schlick is ample proof that it is more musically enriching for soprano and bass to share center stage in this piece. I'd like to digress a little about the vocal soloist contributions. 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.
Feedback to the Article. II Piano Solo C. He took the majority of the choruses and arias from earlier secular works and gave them new words. Falsche Welt, dir trau ich nicht BWV