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J.S. Bach: Weihnachtsoratorium BWV 248 Doppel-CD


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Produktinformation


Disk: 1
1. Chor: Jauchzet, Grohlocket, Auf, Preiset Die Tage (1. Teil)
2. Rezitativ: Es Begab Sich Aber Zu Der Zeit
3. Rezitativ: Nun Wird Mein Liebster Bräutigam
4. Arie: Bereite Dich, Zion, Mit Zärtlichen Trieben
5. Choral: Wie Soll Ich Dich Empfangen
6. Rezitativ: Und Sie Gebar Ihren Ersten Sohn
7. Choral Und Rezitativ: Er Ist Auf Erden Kommen Arm - Wer Will Die Liebe Recht Erhöhn
8. Arie: Großer Herr, O Starker König
9. Choral: Ach Mein Herzliebes Jesulein
10. Sinfonia (2. Teil)
Alle 36 Titel anzeigen.
Disk: 2
1. Chor: Fallt Mit Danken, Fallt Mit Loben (4. Teil)
2. Rezitativ: Und Da Acht Tage Um Waren
3. Rezitativ Und Arioso: Immanuel, O Süßes Wort! - Jesu, Du Mein Liebstes Leben
4. Arie: Flößt, Mein Heiland, Flößt Dein Namen
5. Rezitativ Und Choral: Wohlan, Dein Name Soll Allein - Jesu, Meine Freud Und Wonne
6. Arie: Ich Will Nur Dir Zu Ehren Leben
7. Choral: Jesus Richte Mein Beginnen
8. Chor: Ehre Sei Dir, Gott, Gesungen (5. Teil)
9. Rezitativ: Da Jesus Geboren War Zu Bethlehem
10. Chor Und Rezitativ: Wo Ist Der Neugeborene König Der Juden?
Alle 29 Titel anzeigen.

Produktbeschreibungen

Kurzbeschreibung

Weihnachtsklassiker <br_><br_> Stephen Layton und die vereinten Kräfte des Trinity College Choir Cambridge, des Orchestra of the Age of Enlightenment und eine beeindruckende Reihe an Solisten präsentieren auf HYPERION eine herausragende Aufführung von Bachs Weihnachtsoratorium. Das Werk gehört längst zu Weihnachten wie Christbäume oder Weihnachtsplätzchen und beschwört wunderbar die pastorale Atmosphäre der weihnachtlichen Evangelientexte herauf. James Gilchrist ist zurzeit einer der am meisten bewunderten Evangelientenöre; seine klare und flexible Stimme und seine große Musikalität bringen das Geschehen eindrucksvoll zur Geltung.

Rezension

The 38 mixed voices of Trinity College Choir,…very well trained, especially in matters of firm text enunciation --Gramophone, Nov'13

Three weeks from now, on Sunday December 22, Stephen Layton will conduct what has become one of the signal concerts in the seasonal calendar at St John's, Smith Square in London a performance of Bach's Christmas Oratorio. This two-CD set, featuring the same choir, orchestra and (with one exception) soloists, was recorded in the chapel of Trinity College, Cambridge, in January this year, within the season of Epiphany and only weeks after the St John's performance for Christmas 2012. The fact that the music seems to course through the very veins of the singers and players, not to mention Layton himself, is one of the qualities that make this Christmas Oratorio such a telling, affecting and inspiring experience, judiciously balancing jubilation, devotion and contemplation. The six cantatas that constitute the oratorio, while originally intended for performance on different days of the Christmas and Epiphany season, form an organic entity, emphasised by the celebratory nature of the opening chorus, Jauchzet, frohlocket , of the first cantata and the closing chorale, Nun seid ihr wohl gerochen , of the sixth. In between, Layton has supreme command of the contrasts between moments of reflection and the narrative thread, sustained here by the fluency and immediacy of James Gilchrist's delivery as the Evangelist. The Trinity College Choir surmounts the challenges of articulation and expressive variety with finely honed character, rich in consonantal colour. The OAE adds its own warmth and period piquancy to the spectrum, and the first-rate soloists are seamlessly woven in, Iestyn Davies giving a tender account of one of the oratorio s famous numbers, Schlafe mein Liebster , from the second cantata. All in all, this performance blends freshness of interpretation with maturity of insight. ***** --Telegraph, 28/11/13

Crisp Choral singing and exquisite accompaniment, this is decidedly welcome addition to anyone's stocking. Performance **** Recording **** --BBC Music Magazine, Christmas 2013

Bach's Christmas Oratorio started life as a set of related cantatas, conceived for performance on the six church feasts between Christmas Day and Epiphany. The composer recycled several earlier works - secular pieces for the Elector of Saxony and his family among them - to create a compelling mix of choral numbers, recitatives and arias which collectively tell the Nativity story and meditate on its profound mystery. Stephen Layton follows the lead set by Bach and his anonymous librettist in shaping a dramatic vision of the complete work, inviting listeners to enter a world of heightened spirituality and compassionate contemplation. If that sounds daunting, like a hard church pew on a frosty winter morning, you ll be gently transported there by this interpretation's tender beauty. Conductor Layton and his excellent colleagues flourish in the lyrical warmth of Bach's music. Listen, for example, to this passage from the echo aria, Flößt mein Heiland, flößt dein Namen , exquisitely delivered by Katherine Watson and Trinity College chorister Rachel Ambrose Evans. This recording suggests that we've reached a new age of Bach performance. Broad tempos and spiritual reflection, once anathema to early music hardliners, make a welcome return. Stephen Layton uses words and their emphasis rather than breakneck speeds to project dramatic points and underline the diverse emotional states of Bach's music. While my mind's ear favours a brassy, breezy conclusion to the work's first part, Layton's persuasive reading of Ach mein herzliebes Jesulein emerges naturally from the text's peaceful prayer to the infant Jesus: Listen also to the orchestral introduction to the chorus Herr, wenn die stolzen Feinde schnauben for the many subtle details revealed by its unhurried delivery. A chorus of more mature voices (Layton's Polyphony leaps to mind) would bring more heft to Bach's contrapuntal writing. But Trinity College Choir plays to its many strengths, vocal agility and deep knowledge of the music vital among them. Sample Layton's young choristers at their considerable best in Ehre sei dir, Gott, gesungen . In many respects, this Christmas Oratorio is Cambridge-made; it's certainly rooted in connections forged there by Stephen Layton over the past quarter century. While German listeners might prefer an authentic cast of native speakers, Bach's mother tongue is served here by admirably clear diction and expressive fervour. James Gilchrist, a sage Evangelist, conveys faith in the Christmas story with equally genuine vocal authority, while Matthew Brook brings almighty dignity to his bass solos. Here's Gilchrist on storming form, pressing shepherds to make haste with joy to Bethlehem. If anything Iestyn Davies trumps his standout contribution to Layton's recent St John Passion recording with singing of the rarest emotional honesty. His warmth of tone is favoured by the acoustics of Trinity Chapel and the Orchestra of the Age of Enlightenment's richness of sound. Davies, partnered by Margaret Faultless' s eloquent violin, strikes a delicate balance between head and heart in 'Schließe, mein Herze', among the Christmas Oratorio s finest numbers. The countertenor touches the divine, meanwhile, in Schlafe, mein Liebster, raising an already exceptional album to Desert Island Disc status. ***** --Sinfini Music, 13/12/13

A flurry of timpani and a pair of trilling flutes kick things off nicely. The OAE's oboes and trumpets are also in fine form, but what really makes this Bach recording a joy is the weight and richness of the choral sound. So many period performances have just one or two voices per part, so hearing close to 40 singers chirping away is an unexpected treat. Choruses and chorales alike proceed with plenty of bounce, and Layton never lets the narrative grind to a halt. On top of which, Stephen Layton's soloists are superb particularly bass Matthew Brook. His Grosser Herr includes a splendid natural trumpet solo from David Blackadder, the final high note beautifully sustained. Countertenor Iestyn Davies is equally good, along with soprano Katherine Watson. Flöst, mein Heiland in the fourth part is wondrous, the tiny echoes sweetly sung by Rachel Ambrose Evans. And tenor James Gilchrist's mellifluous Evangelist is one of the warmest, most direct you'll find on disc. Those in search of an authentically Bachian experience will diligently listen to this set in chunks, each section on the appropriate day. But you'll probably want to consume the whole thing in one sitting, and repeat the experience when you're in need of a spot of uplift. Sample the tiny solo quartet which appears just before the work's end, and marvel at the affirmative final chorale, captured in a resonant Trinity College Chapel acoustic. Most importantly, listening to this is a supremely enjoyable experience, a spiritually potent antidote to all that's schlocky and naff at this time of year. --ArtsDesk, Dec'13

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