Johann Sebastian Bach: Weihnachtsoratorium BWV 248, Parts 1-6

On Saturday, February 1, and on Sunday, February 2, all six parts of Johann Sebastian Bach's Christmas Oratorio will be performed in the Klosterkirche Hornbach and the Dreifaltigkeitskirche Speyer, respectively. The concerts will begin at 4 p.m.

Johann Sebastian Bach's (1685-1750) Christmas Oratorio consists of six festive cantatas. They were composed for each of the three Christmas festival days, New Year, the Sunday after New Year, and Epiphany, and were originally performed in worship services. Bach himself refers to it as an "oratorio" and designs a cyclical connection through the continuous biblical narrative of the Christmas story. Almost all parts originate from secular cantatas and were rewritten by Bach for the Christmas Oratorio, divided into two parts (Cantatas 1 – 3 and Cantatas 4 – 6). Part 1 is defined by the festive trumpet key of D major, which frames the first part in terms of the tonal symbolism of that time.

The second part begins contrastingly in F major and features horn sound in Cantata 4. The cantatas 2 and 5 even completely forgo brass instruments. In addition to the gospel account and the carefully composed chorales, especially the pairs of recitative and aria, composed to freely written, non-biblical texts, contribute significantly to the oratorical character. The accompagnato recitative is particularly important. The variety of arias ranges from grandiose forms to intimate, gently swaying lullabies. Here, the individual, the self, particularly reflects on the events. The dominance of the alto parts also underscores the Protestant view of the Virgin Mary, as the archetypal and symbolic figure of faith and mother of the Church.

Alongside the excellent Dresden Baroque Orchestra, internationally renowned specialists in Baroque singing, including Victoria Wilson (soprano), Julia Böhme (alto), Florian Sievers (tenor), and Sebastian Noack (baritone), have been engaged. The musical direction is under the leadership of state church music director Jochen Steuerwald.

Photo: Klaus Landry

Admission: 15:15

Johann Sebastian Bach: Weihnachtsoratorium BWV 248, Parts 1-6

On Saturday, February 1, and on Sunday, February 2, all six parts of Johann Sebastian Bach's Christmas Oratorio will be performed in the Klosterkirche Hornbach and the Dreifaltigkeitskirche Speyer, respectively. The concerts will begin at 4 p.m.

Johann Sebastian Bach's (1685-1750) Christmas Oratorio consists of six festive cantatas. They were composed for each of the three Christmas festival days, New Year, the Sunday after New Year, and Epiphany, and were originally performed in worship services. Bach himself refers to it as an "oratorio" and designs a cyclical connection through the continuous biblical narrative of the Christmas story. Almost all parts originate from secular cantatas and were rewritten by Bach for the Christmas Oratorio, divided into two parts (Cantatas 1 – 3 and Cantatas 4 – 6). Part 1 is defined by the festive trumpet key of D major, which frames the first part in terms of the tonal symbolism of that time.

The second part begins contrastingly in F major and features horn sound in Cantata 4. The cantatas 2 and 5 even completely forgo brass instruments. In addition to the gospel account and the carefully composed chorales, especially the pairs of recitative and aria, composed to freely written, non-biblical texts, contribute significantly to the oratorical character. The accompagnato recitative is particularly important. The variety of arias ranges from grandiose forms to intimate, gently swaying lullabies. Here, the individual, the self, particularly reflects on the events. The dominance of the alto parts also underscores the Protestant view of the Virgin Mary, as the archetypal and symbolic figure of faith and mother of the Church.

Alongside the excellent Dresden Baroque Orchestra, internationally renowned specialists in Baroque singing, including Victoria Wilson (soprano), Julia Böhme (alto), Florian Sievers (tenor), and Sebastian Noack (baritone), have been engaged. The musical direction is under the leadership of state church music director Jochen Steuerwald.

Photo: Klaus Landry

Admission: 15:15

Carl Friedrich Zelter praised Johann Sebastian Bach's Mass in B minor as „the greatest work of art the world has ever seen“. The manuscript from 1748/49 has been included in the UNESCO Memory of the World Register as a „milestone in the history of music“. The movements Kyrie and Gloria, composed in 1733, were dedicated by Bach to the new Elector of Saxony, Friedrich August II. Bach contrasts the highly demanding and extensive, partly double-choir choral parts with a richly staffed orchestra of strings, oboes, bassoons, flutes, horns, trumpets, and timpani. The music expressively illustrates the spiritual content of the mass text, which unites the two major Christian confessions through its melody, harmony, and instrumentation.

Instrumentation:

Katja Stuber – Soprano
Franz Vitzthum – Countertenor
Andreas Post – Tenor
Marlo Honselmann – Bass-Baritone

Concert choir of the University of Church Music Bayreuth
ArtVokal Chamber Choir Regensburg

Baroque Orchestra La Banda

Conductor: Steven Heelein

Program:

Johann Sebastian Bach (1685-1750)
Mass in B minor (BWV 232)

Entry 6:30 PM
without intermission

Organizer: University of Evangelical Church Music Bayreuth