La Petite Bande | Sigiswald Kuijken
La Petite Bande | Sigiswald Kuijken
Johann Sebastian Bach – Weihnachtsoratorium
La Petite Bande / Sigiswald Kuijken
Challenge Classics / HQ|NORTHSTAR
Catalogue CC72394
(Low Resolution excerpts)
The Christmas Oratorio is a series of 6 separate cantatas, collectively relating the story from Christmas through to Twelfth Night. Bach wrote the work in Leipzig in 1734 and 1735 for Christmas Day (I), Boxing day (II), the third day of Christmas (III), New Year (IV), the Sunday after New Year (V) and Twelfth Night (VI). As with the Passions, the texts here are drawn from three sources: (1) the evangelical texts (primarily Luke and Matthew) intoned by the Evangelist (tenor) as recitatives, (2) chorales from the Lutheran tradition and (3) free texts for arias and some choral passages, written by the poet Picander.
This performance is perhaps as close as presently possible to what we imagine Bach might have had in mind as he composed the work in Leipzig. First of all, we have the ‘one to a part’ aspect: historical research among the various sources clearly shows that Bach did not ask for a choir to perform his cantatas, but simply a vocal quartet. This ‘single line singing’ certainly adds to the individual expression of the text and the music’s transparency. Bach’s religious music always uses the text as its starting point and a great deal of attention is therefore paid to correct enunciation. The vocal principle of ‘one to a part’ also has a major influence on the instrumental forces.
Bach employed a small-scale string ensemble (two first violins, two second violins, one viola, one or two bass violins for the bass line and sometimes a violoncello da spalla, or shoulder cello, see below), as well as single wind instruments where appropriate, all supported by an organ, which formed the continuo in conjunction with the bass violin. And since the instrumental music is also completely permeated by the rhetoric that stems from the text, the transparency of this small ensemble intertwines itself seamlessly with the vocal lines, giving a refined polyphony that reached its zenith in Bach’s music.
Continuing to focus attention on the ‘historical truth’ of performance (in other words trying to get as close as possible to the circumstances in which the work was originally conceived and performed) is not a museum activity. Rather it is an ongoing process of questioning music in performance, erasing later habits and traditions that have survived, so that the music can once again dazzle us with its freshness and directness.
I. Chor: Jauchzet, Frohlocket! Auf, Preiset Die Tage Jauchzet, Frohlocket!
I. Secco-Rezitativ (Evangelist, Tenor): Es Begab Sich Aber Zu Der Zeit
I. Accompagnato-Rezitativ (Alt): Nun Wird Mein Liebster Bräutigam
I. Arie (Alt): Bereite Dich, Zion, Mit Zärtlichen Trieben
I. Choral: Wie Soll Ich Dich Empfangen
I. Choral (Sopran) Accompagnato-Rezitativ (Bass): Er Ist Auf Erden Kommen Arm Wer Will Die Liebe Recht Erhöhn
I. Arie (Bass): Großer Herr, O Starker König
I. Choral: Ach Mein Herzliebes Jesulein!
II. Sinfonia
II. Secco-Rezitativ (Evangelist, Tenor): Und Es Waren Hirten In Derselben Gegend
II. Choral: Brich An, O Schönes Morgenlicht
II. Accompagnato-Rezitativ (Evangelist, Tenor; Engel, Sopran): Und Der Engel Sprach Zu Ihnen Fürchtet Euch Nicht
II. Accompagnato-Rezitativ (Bass): Was Gott Dem Abraham Verheißen
II. Arie (Tenor): Frohe Hirten, Eilt, Ach Eilet
Choral: Schaut Hin, Dort Liegt Im Finstern Stall
II. Accompagnato-Rezitativ (Bass): So Geht Denn Hin, Ihr Hirten, Geht
II. Arie (Alt): Schlafe, Mein Liebster, Genieße Der Ruh'
II. Chor: Ehre Sei Gott In Der Höhe
II. Choral: Wir Singen Dir In Deinem Heer
III. Chor: Herrscher Des Himmels, Erhöre Das Lallen
III. Chor: Lasset Uns Nun Gehen Gen Bethlehem
III. Accompagnato-Rezitativ (Bass): Er Hat Sein Volk Getröst'
III. Choral: Dies Hat Er Alles Uns Getan
III. Duett (Sopran, Bass): Herr, Dein Mitleid, Dein Erbarmen
III. Secco-Rezitativ (Evangelist, Tenor): Und Sie Kamen Eilend
III. Arie (Alt): Schließe, Mein Herze, Dies Selige Wunder
III. Choral: Ich Will Dich Mit Fleiß Bewahren
III. Choral: Seid Froh Dieweil - (Da Capo) Chor: Herrscher Des Himmels, Erhöre Das Lallen
IV. Chor: Fallt Mit Danken, Fallt Mit Loben
IV. Accompagnato-Rezitativ (Bass) Arioso-Choral (Sopran): Immanuel, O Süßes Wort Jesu, Du Mein Liebstes Leben
IV. Arie (Sopran & Echo-Sopran): Flößt, Mein Heiland, Flößt Dein Namen
IV. Accompagnato-Rezitativ (Bass) Arioso-Choral (Sopran): Wohlan, Dein Name Soll Allein Jesu, Meine Freud' Und Wonne
IV. Arie (Tenor): Ich Will Nur Dir Zu Ehren Leben
IV. Choral: Jesus Richte Mein Beginnen
V. Chor: Ehre Sei Dir, Gott, Gesungen
V. Chor Accompagnato-Rezitativ (Alt) Chor: Wo Ist Der Neugeborne König Der Juden Sucht Ihn In Meiner Brust Wir Haben Seinen Stern Gesehen
V. Choral: Dein Glanz All Finsternis Verzehrt
V. Arie (Bass): Erleucht Auch Meine Finstre Sinnen
V. Accompagnato-Rezitativ (Alt): Warum Wollt Ihr Erschrecken
V. Secco-Rezitativ (Evangelist, Tenor): Und Ließ Versammlen Alle Hohepriester
V. Terzett (Sopran, Alt, Tenor): Ach, Wenn Wird Die Zeit Erscheinen?
V. Choral: Zwar Ist Solche Herzensstube
VI. Chor: Herr, Wenn Die Stolzen Feinde Schnauben
VI. Secco-Rezitativ (Evangelist, Tenor; Herodes, Bass): Da Berief Herodes Die Weisen Heimlich Ziehet Hin Und Forschet Fleißig
VI. Accompagnato-Rezitativ (Sopran): Du Falscher, Suche Nur Den Herrn Zu Fällen
VI. Arie (Sopran): Nur Ein Wink Von Seinen Händen
VI. Accompagnato-Rezitativ (Evangelist, Tenor): Als Sie Nun Den König Gehöret Hatten
VI. Choral: Ich Steh An Deiner Krippen Hier
VI. Accompagnato-Rezitativ (Tenor): So Geht! Genug, Mein Schatz Geht Nicht Von Hier
VI. Arie (Tenor): Nun Mögt Ihr Stolzen Feinde Schrecken
VI. Secco-Rezitativ (Sopran, Alt, Tenor, Bass): Was Will Der Höllen Schrecken Nun
VI. Choral: Nun Seid Ihr Wohl Gerochen
Additional photos: Brendon Heinst
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