Christmas Oratorio WASHINGTON BACH CONSORT - Dana Marsh, Artistic Director
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WASHINGTON BACH CONSORT Dana Marsh, Artistic Director Christmas Oratorio Weihnachts-Oratorium, BWV 248 Johann Sebastian Bach (1685–1750)
Nine virtual programs offer some of the finest
works in the cantata and oratorio repertory. You’ll CHRISTMAS ORATORIO
enjoy the Washington Bach Consort as you’ve never Weihnachts-Oratorium, BWV 248
heard them before, but you’ll also gain revelations Johann Sebastian Bach (1685–1750)
and insights into the music itself coming from our Dana Marsh, Artistic Director
two resident Bach scholars, Michael Marissen and
Daniel R. Melamed. Supported in part by grants Part I
from the National Endowment for the Humanities Jauchzet, frohlocket, auf, preiset die Tage, BWV 248I
and the J. Reilly Lewis Legacy Fund, Bach Friday, 12.25.20 at 8 p.m. YouTube & Facebook
Interactions is a new digital concert experience
offering the expressive heights of Bach’s musical NEW YOUTUBE & FACEBOOK DATES ↓
language as well as the story behind its creation.
The series features three renowned cantatas, Part II
Wachet auf, ruft uns die Stimme, BWV 140, Aus der Und es waren Hirten in derselben Gegend, BWV 248II
Tiefen rufe ich, Herr, zu dir, BWV 131, and Nun komm, Thursday, 1.7.21 at 8 p.m. on YouTube & Facebook
der Heiden Heiland, BWV 61, followed by all six parts
of Bach’s beloved Christmas Oratorio, BWV 248. Part III
Each part will be presented on its intended day Herrscher des Himmels, erhöre das Lallen, BWV 248III
of liturgical observance, over the twelve days of Thursday, 1.14.21 at 8 p.m. on YouTube & Facebook
Christmas to the Feast of the Epiphany (January 6).
Bach Interactions is supported by gifts from the
Part IV
Fallt mit Danken, fallt mit Loben, BWV 248IV
J. Reilly Lewis Legacy Fund and the National
Thursday, 1.21.21 at 8 p.m. on YouTube & Facebook
Endowment for the Humanities.
Part V
OUR MISSION Ehre sei dir, Gott, gesungen, BWV 248V
Thursday, 1.28.21 at 8 p.m on YouTube & Facebook
Founded in 1977 by the late Dr. J. Reilly Lewis, the
Washington Bach Consort is a professional choral Part VI
and orchestral ensemble based in Washington, Herr, wenn die stolzen Feinde schnauben, BWV 248VI
DC that is committed to ensuring that current and Thursday, 2.4.21 at 8 p.m. on YouTube & Facebook
future audiences experience the music of Johann
Sebastian Bach and his contemporaries, by:
1. performing the music of Bach and his
contemporaries to the highest artistic CLICK HERE
standards, To Donate Online Now
2. sharing the joy of Bach’s music by broadening
audiences in the nation’s capital,
3. nurturing the appreciation of Bach’s music
through education and community outreach
activities, and
4. interpreting the music of Bach for audiences
of today, thereby ensuring his legacy. 2
PART IV
PRESENTER
Daniel R. Melamed
CHORUS
SOPRANO ALTO TENOR BASS
Amy Nicole Broadbent Reginald Mobley Patrick Kilbride, Jason Widney, soloist
Elijah McCormack, soloist Kristen Dubenion-Smith, soloist (Evangelist) Jonathan Woody
soloist Matthew Loyal Smith
ORCHESTRA
VIOLIN VIOLONCELLO OBOE HARPSICHORD
Andrew Fouts, John Moran Geoffrey Burgess Leon Schelhase
concertmaster Margaret Owens
Tatiana Chulochnikova, VIOLONE ORGAN
soloist Jessica Powell Eig HORN Adam Pearl
Brad Tatum
VIOLA Paul Hopkins
Risa Browder
TEXT & TRANSLATION
Aufs Fest der Beschneidung Christi. Frühe zu St. On the feast of the circumcision of Christ. Early
Thomæ; Nachmittage zu St. Nicolai. at St. Thomas; in the afternoon at St. Nicholas.
Tutti All
Fallt mit Danken, fallt mit Loben Bow with thanksgiving, bow with lauding
Vor des Höchsten Gnadenthron! Before the Most High’s Throne of Grace!
Gottes Sohn God’s Son
Will der Erden Is willing to become the earth’s
Heiland und Erlöser werden, Savior and redeemer;
Gottes Sohn God’s Son
Dämpft der Feinde Wut und Toben. Dampens the enemies’ fury and rage.
Normal = free poetry Italics = scriptural text Bold = chorale text
3
TEXT & TRANSLATION (cont’d.)
Evangelist Evangelist
Und da acht Tage um waren, daß das Kind beschnitten And as eight days were up, when the child would be
würde, da ward sein Name genennet Jesus, welcher circumcised, his name was called Jesus, [the name he]
genennet war von dem Engel, ehe denn er im was called by the angel, before he was conceived in the
Mutterleibe empfangen ward. womb.
Recitativ und Choral Recitative and chorale
Immanuel, o süßes Wort! “Emmanuel,” o sweet word!
Mein Jesus heißt mein Hort, My Jesus is called “my refuge,”
Mein Jesus heißt mein Leben. My Jesus is called “my life.”
Mein Jesus hat sich mir ergeben; My Jesus has submitted himself to me;
Mein Jesus soll mir immerfort My Jesus shall evermore, to me,
Vor meinen Augen schweben. Hover before my eyes.
Mein Jesus heißet meine Lust, My Jesus is called “my delight,”
Mein Jesus labet Herz und Brust. My Jesus refreshes heart and breast.
Komm! Ich will dich mit Lust umfassen, Mein Come! With delight I will embrace you,
Herze soll dich nimmer lassen. My heart shall never leave you.
Ach, so nimm mich zu dir! Oh, so take me to you!
Jesu, du mein liebstes Leben, Jesus, you, my most beloved life,
Meiner Seelen Bräutigam, My soul’s bridegroom,
Der du dich vor mich gegeben You who has given himself for me
An des bittern Kreuzes Stamm! On the beam of the bitter cross!
Auch in dem Sterben sollst du mir Even in dying shall you be to me
Das Allerliebste sein; The most beloved of all;
In Not, Gefahr und Ungemach In need, danger, and affliction
Seh ich dir sehnlichst nach. I gaze after you most ardently.
Was jagte mir zuletzt der Tod für Grauen How in the end might death [be able to] scare
ein? Mein Jesus! Wenn ich sterbe, Me with fright? My Jesus! When I die,
So weiß ich, daß ich nicht verderbe. I know that then I will not be ruined.
Dein Name steht in mir geschrieben, Your name, inscribed within me,
Der hat des Todes Furcht vertrieben. Has driven out the fear of death.
ARIA ARIA
Flößt, mein Heiland, flößt dein Namen Auch Is it, my Savior, is it [true] that your name instills
den allerkleinsten Samen Even the very tiniest seed
Jenes strengen Schreckens ein? of that stark horror [of the Day of Judgment]?
Nein, du sagst ja selber nein; No, yes you yourself say, “no”;
Sollt ich nun das Sterben scheuen? Now shall I shy away from having to die?
Nein, dein süßes Wort ist da! No, your sweet word is there!
Oder sollt ich mich erfreuen? Or shall I rejoice?
Ja, du Heiland sprichst selbst ja. Yes, you yourself, Savior, declare, “yes.”
Normal = free poetry Italics = scriptural text Bold = chorale text
4
TEXT & TRANSLATION (cont’d.)
Recitativ und Choral Recitative and chorale
Wohlan, dein Name soll allein Well then, your name alone shall
In meinem Herzen sein! Be in my heart!
So will ich dich entzücket nennen, These are what I, in a trance, will call you,
Wenn Brust und Herz zu dir vor Liebe brennen. When [my] breast and heart burn with love for you.
Doch, Liebster, sage mir: But tell me, Most Beloved:
Wie rühm ich dich, wie dank ich dir? How may I glorify you, how may I thank you?
Jesu, meine Freud und Wonne, Jesus, my joy and gladness,
Meine Hoffnung, Schatz und Teil, My hope, treasure, and portion,
Mein Erlösung, Schmuck und Heil, My redemption, adornment, and salvation,
Hirt und König, Licht und Sonne, Shepherd and king, light and sun,—
Ach! wie soll ich würdiglich, Oh!—how shall I worthily
Mein Herr Jesu, preisen dich? Praise you, my lord Jesus?
ARIA ARIA
Ich will nur dir zu Ehren leben, For honor I will live only to you;
Mein Heiland, gib mir Kraft und Mut, My Savior, give me power and courage,
Daß es mein Herz recht eifrig tut! That my heart will do it right zealously!
Stärke mich, Strengthen me
Deine Gnade würdiglich To exalt your grace worthily
Und mit Danken zu erheben! And with thanksgiving!
Choral Chorale
Jesus richte mein Beginnen, May Jesus direct my embarking;
Jesus bleibe stets bei mir, May Jesus remain with me ever;
Jesus zäume mir die Sinnen, May Jesus bridle my inclinations;
Jesus sei nur mein Begier, May Jesus only be my desire;
Jesus sei mir in Gedanken, May Jesus be in the plans I devise;
Jesu, lasse mich nicht wanken! Jesus, let me not waver!
(transl. Daniel R. Melamed and Michael Marissen)
5
PART V
PRESENTER
Michael Marissen
CHORUS
SOPRANO ALTO TENOR BASS
Amy Nicole Broadbent, Sarah Davis Issaelkhoury Patrick Kilbride Steven Combs, soloist
soloist Kristen Dubenion-Smith, Gregório Taniguchi, Jonathan Woody
Laura Choi Stuart soloist soloist (Evangelist)
ORCHESTRA
VIOLIN VIOLA VIOLONE HARPSICHORD
Andrew Fouts, Risa Browder Jessica Powell Eig Leon Schelhase
soloist, concertmaster
Tatiana Chulochnikova VIOLONCELLO OBOE D’AMORE ORGAN
John Moran Margaret Owens Adam Pearl
Geoffrey Burgess
TEXT & TRANSLATION
Am Sonntage nach dem Neuen Jahr. In der On the Sunday after New Year’s. At St. Nicholas
Kirche zu St. Nicolai. Church.
Tutti All
Ehre sei dir, Gott, gesungen, May honor, God, be sung to you,
Dir sei Lob und Dank bereit’. May laud and thanks be extended to you.
Dich erhebet alle Welt, All the world exalts you,
Weil dir unser Wohl gefällt, Because our well-being pleases you,
Weil anheut Because today
Unser aller Wunsch gelungen, The wish of all of us has come true,
Weil uns dein Segen so herrlich erfreut. Because your blessing gladdens us so splendidly.
Evangelist Evangelist
Da Jesus geboren war zu Bethlehem im jüdischen When Jesus was born at Bethlehem in the Jewish region at
Lande zur Zeit des Königes Herodis, siehe, da kamen the time of King Herod, look: there came the wisemen of
die Weisen vom Morgenlande gen Jerusalem und the Orient to Jerusalem, saying:
sprachen: Chorus
Chorus Where is the newborn King of the Jews?
Wo ist der neugeborne König der Jüden?
Recitativ Recitative
Sucht ihn in meiner Brust, Seek him in my breast;
Hier wohnt er, mir und ihm zur Lust! Here he dwells, to my and his delight!
Normal = free poetry Italics = scriptural text Bold = chorale text
6
TEXT & TRANSLATION (cont’d.)
Chorus Chorus
Wir haben seinen Stern gesehen im Morgenlande und We have seen his star in the Orient and have come to
sind kommen, ihn anzubeten. worship him.
Recitativ Recitative
Wohl euch, die ihr dies Licht gesehen, Well for you, you who have seen this light;
Es ist zu eurem Heil geschehen! It has taken place for your salvation!
Mein Heiland, du, du bist das Licht, You, my Savior, you are the light
Das auch den Heiden scheinen sollen, That shall shine also to the gentiles, and they
Und sie, sie kennen dich noch nicht, [These gentiles, the wisemen], they do not know you
Als sie dich schon verehren wollen. Yet, [even now] as they already want to revere you.
Wie hell, wie klar muß nicht dein Schein, How bright, how clear must not your luminosity be,
Geliebter Jesu, sein! Beloved Jesus!
Choral Chorale
Dein Glanz all Finsternis verzehrt, Your luster consumes all darkness,
Die trübe Nacht in Licht verkehrt. Turns the murky night into light.
Leit uns auf deinen Wegen, Lead us along your pathways,
Daß dein Gesicht That we may see your face
Und herrlichs Licht And glorious light
Wir ewig schauen mögen! Eternally!
ARIA ARIA
Erleucht auch meine finstre Sinnen, Light up, too, my dark inclinations,
Erleuchte mein Herze Light up my heart
Durch der Strahlen klaren Schein! With the clear luminosity of your streams of light!
Dein Wort soll mir die hellste Kerze Your word shall be the brightest candle to me
In allen meinen Werken sein; In all my works;
Dies lässet die Seele nichts Böses beginnen. This will let the soul embark on nothing evil.
Evangelist Evangelist
Da das der König Herodes hörte, erschrak er und mit When Herod the King heard that, he was alarmed, and with
ihm das ganze Jerusalem. him all of Jerusalem.
Recitativ Recitative
Warum wollt ihr erschrecken? Why would you all want to be alarmed?
Kann meines Jesu Gegenwart Can the presence of my Jesus
euch solche Furcht erwecken? Arouse such fear in you?
O! solltet ihr euch nicht O! Shouldn’t you
Vielmehr darüber freuen, Rather be glad about that,
Weil er dadurch verspricht, Because he promises through it
Der Menschen Wohlfahrt zu verneuen. To renew the welfare of humankind.
Evangelist Evangelist
Und ließ versammlen alle Hohepriester und And [Herod] had all the chief priests and scripture experts
Schriftgelehrten unter dem Volk und erforschete von among the people gather, and inquired of them, where
ihnen, wo Christus sollte geboren werden. Und sie [the] Christ was expected to be born. And they told him: “at
sagten ihm: Zu Bethlehem im jüdischen Lande; denn Bethlehem in the Jewish region; for so it stands written by
also stehet geschrieben durch den Propheten: Und the prophet, ‘And you Bethlehem in the Jewish region are
du Bethlehem im jüdischen Lande bist mitnichten die by no means the smallest among the princes of Judah; for
kleinest unter den Fürsten Juda; denn aus dir soll mir out of you shall come to me the leader who would be a ruler
kommen der Herzog, der über mein Volk Israel ein over my people Israel.’”!
Herr sei.
7
TEXT & TRANSLATION (cont’d.)
ARIA ARIA
Ach, wenn wird die Zeit erscheinen? Oh, when will the time appear?
Ach, wenn kömmt der Trost Oh, when shall the consolation of
der Seinen? His own [saved people] come?
Schweigt, er ist schon würklich hier! Silence!—he really is already here!
Jesu, ach so komm zu mir! Jesus, oh then come to me!
Recitativ Recitative
Mein Liebster herrschet schon. My Most Beloved already rules.
Ein Herz, das seine Herrschaft liebet A heart that loves his Lordship,
Und sich ihm ganz zu eigen gibet, And gives itself to him completely for his own,
Ist meines Jesu Thron. Is [to be] my Jesus’ throne.
Choral Chorale
Zwar ist solche Herzensstube True, such a heart-cellar [for Jesus to dwell in] is
Wohl kein schöner Fürstensaal, Certainly no choice hall of princes,
Sondern eine finstre Grube; But rather a dark pit;
Doch, sobald dein Gnadenstrahl Yet, as soon as your grace-filled stream of light
In derselben nur wird blinken, Flashes in this same [pit],
Wird es voller Sonnen dünken. It will seem full of sunlight.
8
PART VI
PRESENTERS
Michael Marissen
Daniel R. Melamed
CHORUS
SOPRANO ALTO TENOR BASS
Katelyn Aungst Roger O. Isaacs, soloist Matthew Hill, David Rugger, soloist
Margot Rood, soloist Sarah Davis Issaelkhoury soloist (Evangelist) Jason Widney
Patrick Kilbride
ORCHESTRA
VIOLIN VIOLONCELLO TRUMPET HARPSICHORD
Andrew Fouts, John Moran Josh Cohen Leon Schelhase
concertmaster Joelle Monroe Dennis
Tatiana Chulochnikova VIOLONE Anthony Ferry ORGAN
Jessica Powell Eig Adam Pearl
VIOLA TIMPANI
Risa Browder OBOE, OBOE D’AMORE Michelle Humphreys
Geoffrey Burgess
Margaret Owens
TEXT & TRANSLATION
Am Feste der Offenbarung Christi. Frühe zu On Epiphany. Early at St. Thomas. In the afternoon
St. Thomæ. Nachmittag zu St. Nicolai. at St. Nicholas.
Tutti All
Herr, wenn die stolzen Feinde schnauben, Lord, when our insolent enemies snort,
So gib, daß wir im festen Glauben Then grant that we in steadfast faith
Nach deiner Macht und Hülfe sehn! Will look to your strength and salvation!
Wir wollen dir allein vertrauen, We want to put our trust in you alone,
So können wir den scharfen Klauen So that we can escape
Des Feindes unversehrt entgehn. The enemy’s sharp claws unharmed.
Evangelist Evangelist
Da berief Herodes die Weisen heimlich und erlernet Then Herod convened the wisemen secretly and sought
mit Fleiß von ihnen, wenn der Stern erschienen wäre. with diligence to learn from them when the star might have
Und weiset sie gen Bethlehem und sprach: appeared. And [he] directed them to Bethlehem, saying:
Herodes Herod
Ziehet hin und forschet fleißig nach dem Kindlein, Set out and search diligently for the little child, and when
und wenn ihr’s findet, sagt mir’s wieder, daß ich auch you find it, report this to me, so that I, too, may come and
komme und es anbete. worship it.
Normal = free poetry Italics = scriptural text Bold = chorale text
9
TEXT & TRANSLATION (cont’d.)
Recitativ Recitative
Du Falscher, suche nur den Herrn zu fällen, You deceitful one, just try to bring down the Lord;
Nimm alle falsche List, Use all your deceitful cunning
Dem Heiland nachzustellen; To have it in for the Savior;
Der, dessen Kraft kein Mensch ermißt, He, whose power no human comprehends,
Bleibt doch in sichrer Hand. Remains nonetheless in safe hands.
Dein Herz, dein falsches Herz ist schon, Your heart, your deceitful heart,
Nebst aller seiner List, des Höchsten Sohn, With all its cunning, is already very well known
Den du zu stürzen suchst, sehr wohl bekannt. To the Son of the Most High, whom you seek to
overthrow.
ARIA ARIA
Nur ein Wink von seinen Händen Just one signal from his hands
Stürzt ohnmächtger Menschen Macht. Overthrows the feeble strength of humankind.
Hier wird alle Kraft verlacht! Here all power is mocked!
Spricht der Höchste nur ein Wort, The Most High has to utter just one word
Seiner Feinde Stolz zu enden, To put a stop to the insolence of his enemies.
O, so müssen sich sofort O, then the plans of mortals
Sterblicher Gedanken wenden. Will have to be immediately cut short.
Evangelist Evangelist
Als sie nun den König gehöret hatten, zogen sie Having heard the king, then, they set out. And look: the star
hin. Und siehe, der Stern, den sie im Morgenlande that they had seen in the Orient went forth before them,
gesehen hatten, ging für ihnen hin, bis daß er kam until, having come [to Bethlehem], it settled over [the
und stund oben über, da das Kindlein war. Da sie den place] where the little child was. When they saw the star,
Stern sahen, wurden sie hoch erfreuet und gingen they became exceedingly glad and went into the house and
in das Haus und funden das Kindlein mit Maria, found the little child with Mary its mother, and bowed down
seiner Mutter, und fielen nieder und beteten es an and worshiped it, and opened their treasures, giving it gold,
und täten ihre Schätze auf und schenkten ihm Gold, frankincense, and myrrh.
Weihrauch und Myrrhen.
Choral Chorale
Ich steh an deiner Krippen hier, Here I stand at your manger,
O Jesulein, mein Leben; O little Jesus, my Life;
Ich komme, bring und schenke dir, I come to bring and give to you
Was du mir hast gegeben. What you have granted me.
Nimm hin, es ist mein Geist und Sinn, Take this, it is my spirit and inclination,
Herz, Seel und Mut, nimm alles hin, Heart, soul and courage; take this all,
Und laß dir’s wohlgefallen! And let it please you greatly!
Evangelist Evangelist
Und Gott befahl ihnen im Traum, daß sie sich nicht And God commanded them in a dream that they should
sollten wieder zu Herodes lenken, und zogen durch not direct themselves back to Herod, and [they] set off by
einen andern Weg wieder in ihr Land. another way back to their country.
Normal = free poetry Italics = scriptural text Bold = chorale text
10TEXT & TRANSLATION (cont’d.)
Recitativ Recitative
So geht! Genug, mein Schatz geht nicht von hier, So go! [It is] enough that my Treasure will not go
Er bleibet da bei mir; From here; he stays with me;
Ich will ihn auch nicht von mir lassen. I will also not let him [free] from me.
Sein Arm wird mich aus Lieb His arm will embrace me out of love
Mit sanftmutsvollem Trieb With gentle desire
Und größter Zärtlichkeit umfassen; And greatest tenderness;
Er soll mein Bräutigam verbleiben, He shall remain my bridegroom;
Ich will ihm Brust und Herz verschreiben. I will entrust breast and heart to him.
Ich weiß gewiß, er liebet mich, I know for certain that he loves me;
Mein Herz liebt ihn auch inniglich My heart also loves him deeply
Und wird ihn ewig ehren. And will honor him eternally.
Was könnte mich nun für ein Feind Now, at such good fortune, how could any enemy
Bei solchem Glück versehren! Harm me!
Du, Jesu, bist und bleibst mein Freund; You, Jesus, are and remain my friend;
Und werd ich ängstlich zu dir flehn: And if I anxiously beseech you:
Herr, hilf!, so laß mich Hülfe sehn! “Lord, save [me]!,” then let me see salvation!
ARIA ARIA
Nun mögt ihr stolzen Feinde schrecken; Now you insolent enemies might horrify;
Was könnt ihr mir für Furcht erwecken? [Yet] how could you arouse any fear in me?
Mein Schatz, mein Hort ist hier bei mir! My Treasure, my Refuge is here with me!
Ihr mögt euch noch so grimmig stellen, You do still so like to feign being fierce;
Droht nur, mich ganz und gar zu fällen, Just [go ahead and] threaten to bring me down
Doch seht! mein Heiland wohnet hier. Completely; but look! My Savior dwells here.
Recitativ Recitative
Was will der Höllen Schrecken nun, What will the horrors of hell intend now,
Was will uns Welt und Sünde tun, What will World and Sin intend to do to us,
Da wir in Jesu Händen ruhn! Since we rest in Jesus’ hands!
Choral Chorale
Nun seid ihr wohl gerochen Now you all are well avenged
An eurer Feinde Schar, Of your band of enemies,
Denn Christus hat zerbrochen, For Christ has broken apart
Was euch zuwider war. What was against you.
Tod, Teufel, Sünd und Hölle Death, devil, sin, and hell
Sind ganz und gar geschwächt; Are completely diminished;
Bei Gott hat seine Stelle The human family
Das menschliche Geschlecht. Has its place by God.
11DANA MARSH, ARTISTIC DIRECTOR Bach Studies (co-author Daniel R. Melamed; Oxford,
1998), Bach’s Oratorios (Oxford, 2008), Tainted Glory
Dana Marsh began his musical
in Handel’s Messiah (Yale, 2014), Bach & God (Oxford,
training as a boy chorister at St.
2016), and essays in Harvard Theological Review, The
Thomas Church Choir School
Huffington Post, Lutheran Quarterly, and The New York
in New York and at Salisbury
Times.
Cathedral in England. He earned
his undergraduate degree in organ Daniel R. Melamed is professor at
performance at the Eastman School the Indiana University Jacobs School
of Music and received masters and doctoral degrees of Music, and serves as president
in historical musicology from the University of Oxford. of the American Bach Society and
Praised by The Los Angeles Times as an “energetic and director of the Bloomington Bach
persuasive conductor,” and by The Washington Post as Cantata Project. His books Hearing
“a superb choral conductor, energetic and precise,” Bach’s Passions and Listening to Bach:
Marsh has entered into fruitful collaborations with the Mass in B Minor and Christmas Oratorio, for general
the London Mozart Players, Studio de musique readers, are available from Oxford University Press.
ancienne de Montréal, the Choir of St. Thomas Church
Fifth Avenue, the Portland Baroque Orchestra, and
the Musica Angelica Baroque Orchestra, among
MEET THE ARTISTS
others. As an acclaimed countertenor soloist and With a voice that “shimmers” (DC
consort singer (1992-2008), he performed with the Metro Theater Arts), Washington,
American Bach Soloists, Concert Royal of New York, DC-based soprano Amy Nicole
New York Collegium, Seattle Baroque Orchestra, Broadbent has garnered
and the Academy of Ancient Music. As a singer/ recognition as a versatile and
soloist with the Choir of New College Oxford while dynamic performer. An advocate
undertaking his D.Phil. research, he toured frequently for new music, in 2016 Broadbent
with the Academy of Ancient Music, Orchestra of was selected by composer Robert Kyr as a soloist for
the Age of Enlightenment, and the European Union the world premiere of his cantata Song of the Beloved.
Baroque Orchestra, recording 15 discs with New Professional achievements include winning first-
College Choir, one of which won the Gramophone place in the 2015 National Society of Arts and Letters’
award in early music in 2008. Marsh was Assistant Winston Voice Competition, first place at local and
Director of Music and Director of Chapel Music at regional levels of NATS competitions, and prizewinner
Girton College Cambridge, and he currently serves as for the New York Oratorio Society Competition at
Director of the Historical Performance Institute at the Carnegie Hall, the Annapolis Opera Competition,
Indiana University Jacobs School of Music. the Bethlehem Bach Competition, and the Franco-
American Grand Concours Vocal Competition. As an
ensemble musician, Amy has performed with many of
MEET THE PRESENTERS
the nation’s top professional choirs. She is currently a
Michael Marissen is Daniel vocalist in the United States Navy Band Sea Chanters
Underhill Professor Emeritus of Chorus, with the rank of Musician First Class. Amy
Music at Swarthmore College, holds degrees from the University of Maryland,
where he taught from 1989 to College Park.
2014. He has also been a visiting
Geoffrey Burgess has played a
professor on the graduate faculties
key role in the early music revival
at Princeton University and
on three continents. Australian
the University of Pennsylvania. His publications
by birth, he played Baroque
include The Social and Religious Designs of J. S. Bach’s
oboe around the globe, and is
Brandenburg Concertos (Princeton, 1995), Creative
known equally as a scholar of
Responses to Bach from Mozart to Hindemith (editor;
early music. He was a member of
Nebraska, 1998), Lutheranism, anti-Judaism, and Bach’s
Les Arts Florissants in Paris for twenty years, and
St. John Passion (Oxford, 1998), An Introduction to
since relocating to the U.S. in the 90s, has appeared
12regularly as soloist, orchestral and chamber musician An award-winning violinist, Tatiana recorded
with the Washington Bach Consort, Philadelphia her debut solo album in 2016—a world premiere
Bach Collegium, Concert Royal (New York), Mercury recording of violin works by the late 19th century
(Houston), the Boston Early Music Festival Ensemble, composer Theodore Akimenko. The CD was released
Publick Musick (Rochester), Pegasus Early Music, and worldwide in July 2016 on the British recording label
is a member of the virtuoso chamber ensemble Kleine Toccata Classics and earned several very enthusiastic
Kammermusik. reviews, including from Fanfare Magazine (US) which
called it “a fascinating release” and Classica Magazine
In addition to numerous recordings of orchestral and (France) which described the interpretation as a “total
operatic repertoire, Geoffrey’s solo recordings include commitment and a free lyricism that goes straight to
music of the Bach Family, newly commissioned works the heart.”
for Baroque oboe and harpsichord, and Classical
chamber music with the Cambini Winds. Dr Burgess For details, please visit Tatiana’s website at tatiana.
has taught at Stony Brook, Duke, and Columbia com
Universities, and on the faculties of Oberlin, Longy
and Amherst summer schools. He is currently Praised for her “plush” mezzo-
Baroque Oboe Instructor at the Eastman School of soprano voice (The Baltimore
Music, and is sought after as a master teacher, giving Sun) and voice of “sweet clarity”
workshops and guest lectures at venues such as (Pittsburgh Post-Gazette), Kristen
the Utrecht Early Music Festival, the conservatories Dubenion-Smith enjoys an active
in Amsterdam, The Hague, and Paris, and the performing career in opera, oratorio
Mozarteum in Salzburg. As well as author of the and sacred vocal chamber music,
standard work on the oboe in the English language specializing in music of the medieval, renaissance and
(The Oboe, Yale UP, 2004), his writings include Well- baroque eras.
Tempered Woodwinds: Friedrich von Huene and the In 2010, Ms. Dubenion-Smith co-founded the award
Making of Early Music in a New World (Indiana UP, 2015), winning, Washington, DC-based medieval ensemble,
and a critical edition of Bruce Haynes’s Nachlass, The Eya. Highlights of their 2019-2020 season include
Pathetick Musician: Moving an Audience in the Age of concerts on the Academy of Early Music Series (Ann
Eloquence (Oxford UP, 2016). He is currently writing Arbor, MI) and hosting an Irish Festival at Georgetown
a historical novel based on the life of Bach’s oboist University with the Irish Embassy.
Caspar Gleditsch with the provisional title The Thorn of
the Honey Locust. 2019-2020 soloist engagements include performances
with the Bach in Baltimore Concert Series, The City
Praised for her “fine performances” Choir of Washington, the Washington National
(The Washington Post), “dark plush Cathedral Baroque Orchestra, Cathedra Consort, the
romantic violin sound” (New York Dryden Ensemble, The Reston Chorale, Handel Choir
Concert Review) and “thrilling of Baltimore, the Arts Chorale of Winchester, the
technique and bravura style” Cathedral Choral Society and the Washington Bach
(San Francisco Classical Voice), Consort.
Ukrainian- American violinist
Tatiana Chulochnikova maintains an active career as Violinist Andrew Fouts is honored
a soloist, orchestra leader and chamber musician with to have served as a concertmaster
performances spanning the United States. with the Washington Bach Consort
since 2010. The Washington Post
Born in Kharkiv, Ukraine, Tatiana began playing violin has praised his performances with
at the age of seven and made her professional debut the Consort as being “exemplary on
at 14 playing Bruch’s violin concerto with the Kharkiv the highest part, playing with clean
Philharmonic. Tatiana received her professional intonation and radiant tone.” Other mentions by the
training at the Tchaikovsky College of Music and Post have praised his “deeply expressive solos” and
Tchaikovsky Conservatory in Moscow. She also holds “mellifluous sound and sensitive style.”
degrees from Oberlin Conservatory and the Juilliard
School. Hailing from Northern California, Andrew resides in
13Pittsburgh and is a member of the city’s acclaimed New York Competition, 2nd place in Vocal Arts DC Art
early music ensemble, Chatham Baroque. The Song Competition, and 3rd place at the Metropolitan
ensemble maintains a robust concert season, Opera National Council Middle Atlantic Regional
averaging 80 performances a year, comprising its Competition. Matthew received both his Master and
Concert Series, Peanut Butter & Jam Sessions for Bachelor of Music degrees from the University of
kids, work in early childhood centers of the Pittsburgh Maryland.
Public Schools, touring across North and South
America, and collaborations with other Pittsburgh Patrick Kilbride received degrees
arts organizations including the Pittsburgh Opera, from Northwestern University,
Pittsburgh Festival Opera, Pittsburgh Camerata, University of Maryland Opera
Quantum Theatre, Carnegie Mellon, and the Studio, and fellowships from the
Pittsburgh Symphony Orchestra. Aspen Opera Theater Center and
Tanglewood Music Festival. He
The 17/18 Season includes appearances with Apollo’s made his U.S. debut in Monteverdi’s
Fire, the Four Nations Ensemble, and in recital with Il Ritorno d’Ulisse in patria with the Boston Early Music
Seattle harpsichordist Byron Schenkman. Festival. Winning the 24th International Concours
de Chant in Clermont-Ferrand, France, he made his
In 2008 Andrew won first prize at the American Bach European debut in a French national tour of Handel’s
Soloists’ International Baroque Violin Competition. Acis and Galatea in 2015-2016. He has sung roles with
He has taught at the Madison Early Music Festival and Festival Aix-en-Provence, the Britten-Pears Aldeburgh
the Oficina de Música de Curitiba, Brazil, and can be Festival, Opera Lafayette and Heartbeat Opera,
heard on recordings with Chatham Baroque, American debuting at the Opéra royal de Versailles, Théâtre
Bach Soloists, Philharmonia Baroque, Apollo’s Fire, Gérard Philippe, Paris, Grand Théâtre Luxembourg,
Musik Ekklesia, and Alarm Will Sound. His principal Snape Maltings Concert Hall, the Kennedy Center,
teachers were Charles Castleman at the Eastman and the Brooklyn Academy of Music. Upcoming
School of Music, and Stanley Ritchie at Indiana performances include a new production of John
University Jacobs School of Music. Blow’s Venus and Adonis with Opera Lafayette,
Matthew Hill, tenor, from Laurel, appearances with the Washington Bach Consort,
Maryland, enjoys a varied career Cathedral Choral Society, and his debut at the Teatro
as a soloist and ensemble singer, Nacional de São Carlos, Lisbon, Portugal.
based in Washington, DC. Past solo www.PatrickKilbride.com
concert work includes Handel’s Elijah McCormack, male soprano,
Israel in Egypt and Messiah, Mozart’s completed his Master’s degree
Requiem, Rachmaninoff’s All-Night in voice at Indiana University’s
Vigil, Bach’s Mass in B Minor, and the Evangelist in Historical Performance Institute
Bach’s St. Matthew and St. John Passions. He also in May 2019, where he studied
performs regularly with the American Bach Soloists, with Steven Rickards. He recently
Washington Bach Consort, and Washington National appeared as the soprano soloist in
Cathedral Choirs. As a choral musician, Matthew the Dallas Bach Society’s St. John Passion, garnering
sings weekly at Christ Church Georgetown and is a critical praise for his “powerful” delivery and
member of the United States Air Force Band Singing “expressive sophistication” (Dallas Morning News). Last
Sergeants. Recent opera credits include his debut Summer, at the American Bach Soloists Academy,
with Washington National Opera as Older brother he performed works by Handel, Buxtehude, Lotti,
in Dead Man Walking, Patre in Gounod’s Sapho with and Bach, most notably the role of Erato in Handel’s
Washington Concert Opera, Parpignol in La Bohème Terpsicore. He was also featured as a young artist at
with Wolf Trap Opera, Tamino in Die Zauberflöte and the Boston Early Music Festival, where he sang works
Don Ottavio in Don Giovanni with the Maryland Opera by Agostino Steffani.
Studio, and Damon in Acis and Galatea with New
Dominion Chorale. Matthew has won 2nd place in the In his two years at Indiana University, he sang roles
National Society of Arts and Letters Dorothy Lincoln- in Giulio Cesare (Tolomeo) and Hansel and Gretel
Smith Competition, won the Choralis Young Artist (Dewman), and also appeared as a soprano soloist in
Competition, 4th place in the Oratorio Society of the Historical Performance Institute’s performance of
14Bach’s St. John Passion directed by John Butt. Outside Baroque oboe by Randall Cook (Basel, 2014), after
of the Jacobs School, he has sung roles in Handel’s Jonathan Bradbury (London, early 18th century);
Alcina (Oberto), Cavalli’s Didone (Amore), Le Nozze di baroque oboe d’amore by Bernard Schermer (Basel,
Figaro (Cherubino) and The Turn of the Screw (Miles). 1998), after J.H. Eichentopf (Leipzig, early 18th
He completed his Bachelor’s degree at Skidmore century); oboe da caccia by Sand Dalton (Lopez Island,
College in 2016, where he studied with Sylvia Stoner- WA, 2000), after Eichentopf.
Hawkins and made his role debut as Arsamenes in
Handel’s Serse. Margot Rood, hailed for her
“colorful and vital” singing by
Particularly noted for his The Washington Post, performs a
“crystalline diction and pure, evenly wide range of repertoire, and is in
produced tone” (Miami Herald), demand as a soloist with conductors
countertenor Reginald Mobley is including Harry Christophers, Scott
highly sought after for Baroque, Metcalfe, Patrick Dupré Quigley,
Classical and modern repertoire. Stephen Stubbs, Franz Welser-Möst, and Beth Willer.
Recent highlights include an Recognized particularly for her commitment to early
extensive tour of sixteen concerts around Europe music, Margot is a former Lorraine Hunt Lieberson
singing Bach’s Matthäus-Passion with the Monteverdi Fellow at Emmanuel Music, where she is often
Choir and English Baroque Soloists led by Sir John featured on Emmanuel’s nationally-known Bach
Eliot Gardiner; an ensemble to which he returned cantata series. She is frequently booked for Bach
for a further European tour, where international performances with the likes of Edinburgh’s Dunedin
reviews commented on his “purity of timbre” and Consort, South Florida’s Enlightenment Festival,
“homogeneity of tone.” He also performed concerts Handel + Haydn Society, Philharmonia Baroque
of Händel’s Messiah with the Royal Scottish National Orchestra, and the Washington Bach Consort.
Orchestra, Purcell’s King Arthur with the Academy Handel’s Messiah is a signature piece, which she
of Ancient Music in London, and Mozart’s Requiem has performed with Toronto’s Tafelmusik Baroque
with Orkiestra Historyczna in Poland. Further Orchestra, TENET Vocal Artists, Seraphic Fire, Bach
highlights include tours of Germany with Freiburg Collegium San Diego, Rhode Island Philharmonic, and
Barockorchester, and Balthasar-Neumann Choir und New Jersey Symphony. Other appearances include
Ensemble, performing at prestigious venues across Charlotte Symphony Orchestra and annual concerts
Germany, the Netherlands, and Belgium. as well as tours and recordings with acclaimed
In demand as a performer on renaissance ensemble Blue Heron.
historical oboes, Meg Owens Margot is a recent recipient of the St. Botolph Club
appears regularly with many Foundation’s Emerging Artist Award for her work in
of North America’s baroque new music. She made her Carnegie Hall debut in the
orchestras, including American Bach world premiere of Shawn Jaeger’s Letters Made with
Soloists, Ars Lyrica, Folger Consort, Gold. Recent and upcoming solo appearances also
National Cathedral Baroque include the Cleveland Orchestra (Stravinsky Threni),
Orchestra, Opera Lafayette, Tafelmusik, Tempesta Boston Symphony (Benjamin Dream of the Song), New
di Mare, and Washington Bach Consort. Recent World Symphony (Reich The Desert Music), and A Far
concerts include solo appearances with REBEL, Four Cry (Golijov Three Songs).
Nations, Sebastian Chamber Players, and Berkshire
Bach Society. Hailing from eastern North Carolina, Notable recording releases include Blue Heron’s
Ms. Owens earned degrees in oboe performance at Ockeghem Songs, Vol. 1, La Renommée in Lalande’s
the University of North Carolina at Greensboro, the Les Fontaines de Versailles and La Paix in Charpentier’s
Manhattan School of Music, and the City University Les Arts Florissants with Boston Early Music Festival
of New York. Ms. Owens teaches historical oboes at (CPO), and the role of Emily Webb on Monadnock
Indiana University, modern oboe at George Mason Music’s recording of Ned Rorem’s Our Town (New
University, and directs Mason’s baroque chamber World Records). She has recorded repertoire from
orchestra. the medieval to the 21st-century on the Coro, Albany
Records, Blue Heron, BMOP Sound, Toccata Classics,
15and Sono Luminus labels. Her solo recording with pioneers of the early music movement as well as the
composer Heather Gilligan, Living in Light, is now next generation, including Paul Elliott, Scott Allen
available. She can also be heard on Blue Heron’s Jarrett, Jeffrey Thomas, and John Butt. As one of the
Music from the Peterhouse Partbooks Vol. 5, which nation’s finest choral artists, he has appeared with
won the Gramophone Award for Early Music in 2018. Santa Fe Desert Chorale, Clarion Vocal Ensemble,
Seraphic Fire, Cantus, Washington Bach Consort,
Baritone David Rugger enjoys a Oregon Bach Festival, and Staunton Music Festival.
blossoming career in oratorio, early
music, and ensemble singing. David Gregório is passionate about being an active part of
received his PhD in musicology the community of artists, supporting composers in
from Indiana University, where he recording new works as a studio singer and in faith
also studied voice and was active communities as a choral scholar. He also serves as a
in the Historical Performance language coach, especially in his native Portuguese.
Institute. Recent performances include appearances
with the St. Louis Bach Society, Bach Akademie Bass-baritone Jonathan Woody is
Charlotte, Conspirare, Mountainside Baroque, Dayton a sought-after performer of early
Bach Society, Vocal Arts Ensemble (Cincinnati), and and new music in New York and
Seraphic Fire. In his scholarship, David explores the across North America. He has been
relationship between vocal sound, the body, and featured with historically-informed
identity in the long twentieth century, especially in orchestras such as Apollo’s Fire,
England and America. He has given papers at the Boston Early Music Festival,
national meetings of the American Musicological Tafelmusik Baroque Orchestra, Bach Collegium San
Society, the North American British Music Studies Diego, Portland Baroque Orchestra and New York
Association, and the Midwest Victorian Studies Baroque Incorporated, earning praise as “charismatic,”
Association. David is writing a book about singing “riveting,” and “wonderfully dramatic.” Jonathan is
Bach’s vocal music from non-specialists. He currently also committed to ensemble singing at the highest
teaches at the University of Indianapolis and Butler level and has performed with the Choir of Trinity Wall
University. More information can be found at Street, TENET, the Clarion Music Society and New
davidrugger.com. York Polyphony, among others. An avid performer of
new music, Jonathan has premiered works including
Gregório Taniguchi crafts Ellen Reid’s p r i s m (2019 Pulitzer Prize winner), Ted
compelling performances that move Hearne’s The Source, Missy Mazzoli’s Breaking the
audiences. His dedication to rhetoric Waves (NYC premiere), and Du Yun’s Angel’s Bone
in music draws listeners to hear (2017 Pulitzer Prize winner). He has appeared with
historical works as a dynamic and Staunton Music Festival, Aldeburgh Festival, Portland
living part of our musical culture, Bach Festival, Carmel Bach Festival, Oregon Bach
illuminating classics for a modern Festival, Opera Lafayette, Gotham Chamber Opera,
audience. Contemporary vocal music and new works and Beth Morrison Projects. Jonathan has recorded
by emerging composers likewise come alive through with the Choir of Trinity Wall Street (Musica Omnia),
his communicative artistry. Boston Early Music Festival (RadioBremen), and New
York Polyphony (BIS Records). Jonathan’s musical
Gregório has empowered narratives with an intuitive pursuits extend beyond his voice and he has been
sense for storytelling as the Evangelist in Bach’s commissioned as a composer for groups including
St. John Passion and Christmas Oratorio, Æneas in Lorelei Ensemble, the Handel + Haydn Society, and
Cavalli’s La Didone, Miles Zegner in Missy Mazzoli’s the Uncommon Music Festival. Currently based in
Proving Up, and Septimius in Handel’s Theodora. He Brooklyn, NY, Jonathan holds degrees from McGill
has toured Ecuador with the emerging ensemble University and the University of Maryland, College
Las Aves and presented historically-informed 17th- Park, and is represented by Miguel Rodriguez of
century Italian and Spanish sacred repertoire in the Athlone Artists.
cathedrals of Quito during Holy Week. He advocates www.athloneartists.com/artists/jonathan-woody/
for the intimate connections created by chamber
music and regularly presents recitals of classic and
contemporary art song. He has worked closely with 16CHRISTMAS ORATORIO
Part I
Jauchzet, frohlocket, auf, preiset die Tage, BWV 248I
Friday, 12.25.20 at 8 p.m. YouTube & Facebook
NEW YOUTUBE & FACEBOOK DATES ↓
Part II
Und es waren Hirten in derselben Gegend, BWV 248II
Thursday, 1.7.21 at 8 p.m. on YouTube & Facebook
Part III
Herrscher des Himmels, erhöre das Lallen, BWV 248III
Thursday, 1.14.21 at 8 p.m. on YouTube & Facebook
Part IV
Fallt mit Danken, fallt mit Loben, BWV 248IV
Thursday, 1.21.21 at 8 p.m. on YouTube & Facebook
Part V
Ehre sei dir, Gott, gesungen, BWV 248V
Thursday, 1.28.21 at 8 p.m on YouTube & Facebook
Part VI
Herr, wenn die stolzen Feinde schnauben, BWV 248VI
Thursday, 2.4.21 at 8 p.m. on YouTube & Facebook
6ABOUT THE MUSIC:
HOW SHALL I RECEIVE passions and with the style they expected from
their composer. The oratorio, in contrast to the
YOU? passions, was sunny and smiling, simple, and
galant—even to the point of suggesting of doubt
Modern interest in J. S. Bach as a composer of about Bach’s authorship. (Carl Philipp Emanuel
church music owes a great deal to one celebrated Bach was suggested as a possible compiler, for
moment: the Berlin performance of a version of example.) Its lighter style, aligning better with
his St. Matthew Passion in 1829 under the musical secular music, was a source of puzzlement.
direction of Felix Mendelssohn. The context
And then they discovered the parody origin of
was a concert, not a liturgy; and the performing
much of the Christmas Oratorio in actual secular
organization was the Berlin Sing-Akademie, a
compositions—that Bach had reused music
bourgeois amateur society that had been founded
composed for other non-liturgical purposes, fitted
in the late eighteenth century to promote the
with new texts. This created multiple problems, if
private study of great music from the past for the
not a crisis. Not only was there the musical style of
artistic and moral edification of its middle-class
the oratorio to deal with, there was also the issue
members. The effect was sensational, beginning the
of originality, closely associated in the nineteenth
restoration of Bach’s large-scale concerted vocal
century with the concept of genius, and the
music to the repertory.
apparent clash of the solemn purpose of Bach’s
To the concert repertory, that is—this music had sacred music with its frivolous secular origins.
become largely unsuited to its original liturgical
The complete edition of Bach’s works begun in
purposes not long after Bach’s death. This was
1850 was forced to confront this in the preface
only partly a matter of the notes; it was the text
to its 1856 publication of the Christmas Oratorio.
that created problems. Tastes in religious poetry
The strategy of the editor, Wilhelm Rust, was to
changed rapidly, making the wild and graphic
emphasize the role of chorales, which were both
imagery of the Passion’s recitatives and arias dated
sacred and original to the composition, and to
and perhaps tasteless. Even the chorales became
declare that the apparent secular origin of the
outdated; the second half of the eighteenth century
music was essentially a red herring. Bach knew all
saw almost every hymn text revised to suit modern,
along, he suggested, that the music he composed
more rationalistic tastes.
for those secular occasions would find use in
By the 1820s, Bach’s passions and other concerted sacred works. Several problems disappeared with
church music was historical, and it is no accident this assertion because the notes became sacred by
that its revival was in concert performances their nature, conceived that way from the start and
connected with cultural edification, with reverence remaining so whether used in a secular work or a
for the past, and with a sense of that past as a sacred one. The originality problem was inherently
foundation of German nationhood. The passions solved, too, because this explanation let Bach off
came to stand alongside the preludes and fugues the hook; if he had been planning to use this music
of the Well-Tempered Clavier and a few organ in a sacred composition all along then there was
works in representing Bach. They were regarded as no lack of imaginative genius anywhere in the
serious and weighty, full of labyrinthine harmonies process.
and contrapuntal complexities, as well as tragic,
For commentators, there remained the
lamenting, dramatic and morally uplifting.
fundamental problem of the Christmas Oratorio’s
Against this background, the Christmas Oratorio apparent lack of seriousness and weight
was the last of Bach’s major vocal-instrumental compared to Bach’s passions, and for this there
works to be rediscovered. As writers on Bach’s was an interpretive solution that dated from
music encountered the Christmas Oratorio they the earliest critical writings on the work dating
found it difficult to square with the music of the from the 1840s. The musical antiquarian Carl von
18Winterfeld argued that Bach’s use of certain chorale
melodies deepened the theological seriousness of
the Christmas Oratorio, in particular by drawing the
work closer to his passion settings.
His principal example is the first chorale in the
work, “Wie soll ich dich empfangen?” The text is a
verse of an Advent hymn that asks of Jesus, “How
shall I receive you?” Bach set this chorale stanza to
a melody that students of his music will certainly
recognize, but the way Winterfeld identified it was
essential. He called the melody “O Haupt voll Blut
und Wunden,” familiar to many today in its English-
language version, “O sacred head now wounded.”
This text is closely associated with the passion story
and indeed is a chorale for Holy Week; it was part of
a series of hymns that each reflected on a different
body part of Jesus.
This was Winterfeld’s opening and he charged
through it, expressing wonder at the sounding
of the notes of a passion chorale in a Christmas
oratorio. He then argued for the close theological
relationship between Christmas and Palm Sunday,
and by extension to the passion story itself. He
suggested that Bach anticipated the passion (and
the Passions) by juxtaposing Christmas hymns
like “Gelobet seist du, Jesu Christ” and “Vom
Hans Rottenhammer (1564-1625), Flower Garland Around a Painting
Himmel hoch, da komm ich her” (both heard in of the Virgin and Child, 1608.
the Christmas Oratorio) with a chorale melody
associated with the crucifixion narrative. and again in popular and critical writings alike. There
This interpretation accomplished several things. is just one problem: In eighteenth-century terms it
For one it made Bach into a deep and serious is almost certainly wrong. It is true that the melody
thinker about the nature of the Christmas story. Bach used for “Wie soll ich dich empfangen?” is today
For another, it tempered the joyous exuberance of known as a passion chorale; in fact it is often called
the Christmas Oratorio with something somber and The Passion Chorale, as if there were only one. But this
presumably more fitting. Most importantly, it tied is a modern designation, and in fact one that almost
the Christmas Oratorio, with its suspect lightness certainly comes from the very centrality of Bach’s
and connections to secular music, firmly to Bach’s St. Matthew Passion in the repertory. In Bach’s time
passions. This was particularly true because the the melody was used for numerous different texts
St. Matthew Passion’s interpolated texts include no for different seasons, and tended to be identified as
fewer than five verses of “O Haupt voll Blut und “Herzlich tut mich verlangen nach einem seel’gen End”
Wunden” and one verse of another hymn that uses (I long in my heart for a blessed end).
the same melody; in many ways this chorale tune The Christmas Oratorio stanza “Wie soll ich dich
stood for that passion setting. And of course the St. empfangen?” is the first of an Advent hymn. It was not
Matthew Passion encapsulated everything that was in the Leipzig hymnal, but there was an option open
valued about Bach. to Bach in setting it to music. Because hymn poetry
This claim persists today—one runs across it again was regular and limited to a relatively small number
19of metrical patterns and stanza lengths, a hymn This tipped the balance in the work towards the
text could be sung to a variety of melodies. And in gospel narrative and to the framing choruses and
fact a 1736 hymnal published in Leipzig in which chorales. It inverts the emphasis of the original, in
Bach had a hand suggests a tune for “Wie soll ich which commentary in the form of poetic movements
dich empfangen”: “Herzlich tut mich verlangen,” the and chorales dominates. And with 200 chorus
melody Bach used in the Christmas Oratorio. But it members and 50 instrumentalists, the Sing-
is worth noting that the tune is not called “O Haupt Akademie’s performance of this version emphasized
voll Blut und Wunden” there, and that the hymnal the powerful presentation of fully scored movements
also suggests the tune for texts variously assigned performed by large forces. The result resembled
to the evening, penitence, communion, Advent, the the cut-down versions of the St. Matthew Passion
passion, divine sovereignty and providence, temporal presented by the organization; those performances
suffering, praise and thanks, death, and the feast of also eliminated most of the work’s arias, and their
the Purification. Each time it is identified not as “O overall effect was dominated by movements like
Haupt voll Blut und Wunden” (the passion text) but the opening chorus and by the gospel narrative. The
as “Herzlich tut mich verlangen,” a meditation on the elimination of so many of the Christmas Oratorio’s
believer’s wish for death and eternal joy. To Leipzig arias helped temper aspects of the work that seemed
listeners, this was not exclusively or even primarily a problematic (poetic texts and settings that called for
passion melody solo vocal virtuosity) and drew the work closer to the
Winterfeld made the same argument about the final form in which the St. Matthew Passion was known.
chorale of part VI of the Christmas Oratorio, which The reception of the Christmas Oratorio has continued
uses the same tune, this time splendidly set with to be influenced by that 1829 performance of
trumpets and drums. The text, “Nun seid ihr wohl the St. Matthew Passion, which set the tone for
gerochen,” is a verse of the Christmas hymn “Ihr the understanding of all of Bach’s sacred music.
Christen auserkoren.” Like the first chorale in the The various strategies that appeared to bring
oratorio it was not in the regular Leipzig hymnal, and the Christmas Oratorio closer to Bach’s passions
its melody was probably not well known there. And succeeded in explaining a puzzling work, but they
as with the first chorale, Bach chose a tune that fit established a particular perspective, inviting its
the meter—the same one as he used for “Wie soll ich interpretation in relation to the passions. The
dich empfangen.” Once again we are on shaky ground question posed in the Christmas Oratorio’s first
in claiming that his listeners would have heard a chorale, “How shall I receive you?” is worth asking
reference to the passion. We need to recognize that about the work itself. One answer is that we can
this was an argument with a purpose: drawing the try to listen to it for its own merits; we do not have
Christmas Oratorio closer to the Bach passions with to make Bach’s passion settings our first point of
which it was implicitly and explicitly compared, and engagement with this matchless music.
against which it had a hard time making a case for
itself as a piece worthy of a devout composer. Daniel R. Melamed
The Berlin Sing-Akademie did not perform the
Daniel R. Melamed is professor at the Indiana University Jacobs
Christmas Oratorio until 1857, the work’s first School of Music, and serves as president of the American Bach
complete performance—Bach almost certainly never Society and director of the Bloomington Bach Cantata Project.
performed the whole work himself at one stretch, The material here is adapted from his book for general readers
but rather over the course of six days spanning nearly Listening to Bach: the Mass in B Minor and the Christmas Oratorio
two weeks. This performance was not so complete, published by Oxford University Press.
however. It traversed all six parts of the oratorio but
cut 17 numbers. A few of the eliminated movements Want more?
Click below to purchase Listening to Bach: the Mass in B Minor
were chorale settings (but not the “passion chorale”!) and the Christmas Oratorio by Daniel R. Melamed online.
and one was a passage of gospel narrative, but most
of the cuts were in solo music: eight of the work’s 13 OUP AMAZON
arias and four of its 10 instrumentally accompanied
recitatives.
20The Washington Bach Consort wishes to thank its generous donors:
August 1, 2019–December 8, 2020
The Washington Bach Consort honors the members of the
L. Brent & Norma Bozell Dr.† & Mrs. J. Reilly Lewis Charles Reifel & Janie Kinney Margaret W. Webb
David P. & Margaret Condit Mary Elizabeth Lewis James E. Rich, Jr. Dr. Elizabeth Weisburger†
Shannon & Jim Davis Tamera Luzzatto Cecil “Cy” & Pearl Richardson† Sally Wells
Susan Dillon Dr. Brian R. McNeill & William T. & Sally Semple John C. Wiecking
Marilyn Wong Gleysteen Kathryn McKenzie Margaret Shannon Stephen C. Wright &
Neil Graham Julia O’Brien Bernice & Reynold Stelloh† Thomas Woodruff
Jill E. Kent & Mark E. Michael Ochs Lynn Trundle Colonel Ronald Villafranco†
Solomons Bradley & Martha Olson Pierre & Claire Wagner † In memoriam
Laura E. Phillips† Isabel T. Wallop
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extend the legacy of your interest and values. Contact us to learn more.
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Reverend Elizabeth L. Carl & Joy & Jeff Spragens Dr. Brian R. McNeill & Kathryn McKenzie
Ms. Victoria Hill Catherine Ann Stevens Barbara Meeker
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Tamera Luzzatto* Sally L. Wells* Rosemary Monagan
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Program Artists: $2,500+ Robert & Beatrice Newkirk
National Endowment for the Humanities Capitol Hill Community Foundation Julia O’Brien
The Millstream Fund Martha Harris Bradley J. Olson, K.N.O. & Martha A. Olson*
The Honorable & Mrs. John D. Rockefeller IV Thomas & Erna Kerst Frances H. Pratt
Emmy Lewis Mark & Jean Raabe
Trustees: $15,000+ Alexandra & Thomas MacCracken* Bill & Annette Reilly
Anonymous William B. Munier, MD Donald? & Lydia Rice
Paul M. Angell Family Foundation Lilian M. Penna* Peter D. & Connie Robinson
Shannon & Jim Davis Pierre & Claire Wagner Ingrid Rose
Deutsche Telekom, Inc. Thomas M. Sneeringer
Glen S. & Sakie T. Fukushima Patrons: $1,000+ Ritchie Marsh Fund
National Endowment for the Arts Anonymous (3) Lynn Trundle
Prof. Klaus Nehring & Dr. Yang-Ro Yoon Paul & Chandler Tagliabue Arina van Breda
The Morris and Gwendolyn Cafritz Rotary Club of Washington DC Gretchen Van Pool
Foundation Barbara Bankoff & Robert Crandall Drs. Richard & Elizabeth M. Waugaman
Linda Fienberg & Jeffrey Bauman Herbert & Judith Weintraub
Conductors: $10,000+ Kathleen A. Brion Dr. Elizabeth Weisburger
Margarita (Ari) Brose* C. John & Janet C. Buresh Dorothy B. Wexler
Jill Kent & Mark Solomons Toni Codinas Dr. Margaret Whitehead
Suzanne R. & Robert L. McDowell, Jr. Alan F. Coffey & Janet S. Potts Dr. Katherine Williams
Mary Ann Gardner Kirk Dearden Anita L. Woehler
Hope P. McGowan Susan Dillon* Margot Young*
National Endowment for the Arts Major Joseph J. Francis In honor of John D Van Wagoner
Stephen C. Wright & Thomas Woodruff Mrs. Heike Terrell & Beth A.V. Lewis
Frederick S. Hird
Directors: $5,000+ Theodore Hirt Benefactors: $500+
Admiral & Mrs. Charles Abbot* The Rev. Dr. William B. Caroline Brethauer
Richard & Beth Ayres Roberts & David Hoover* Simmons/ Duffin Charitable Fund
Donald Baker & Nina McLemore Norris & Miriam Keeler In honor of Dr. Dana Marsh
L. Brent & Norma Bozell* Charles Reifel & Janie Kinney Gilbert C. Adams*
C. E. & S. Foundation David A. Klaus Ross & Judy Ain
Dallas Morse Coors Foundation for the In honor of Dana Marsh Michael W. Ambrose
Performing Arts Christopher Koontz Donald Baker & Nina McLemore
Bitsey Folger* Alan Kriegel George Whitley & Candace Ballard
Neil E. Graham* David & Becky Legge David & Nancy Barbour
Michael Horowitz & Devra Marcus* Jan & Elizabeth Vickery Lodal Catherine H. Beauchamp
Barbara Piquet Villafranco Chip & Laurie Lubsen Amy Berger
In memory of Ronald Villafranco Dimick Foundation David Post & Nancy Birdsall
21 *Contributed to the J. Reilly Lewis Legacy Fund
† In memoriamSie können auch lesen
