Coro „Jauchzet, frohlocket, auf, preiset die Tage”; 2 #9. . The first two 1/8 notes ( F – Eb) should be replaced by a 1/4 note Eb. (The tr is correct; it remains on the. BWV 51, Jauchzet Gott in allen Landen! notes · translation. BWV 52, Falsche Welt , .. notes · translation. BWV , Jauchzet, frohlocket, auf, preiset die Tage. Print and download in PDF or MIDI Jauchzet, frohlocket, auf, preiset die I put a lot of work in this score, to enter all the notes myself and after.

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Bach lovers will be aware that the Christmas Oratorio, unlike those for Easter and the Ascension, is not a single composition but a collection of six cantatas composed for December 25th and festive days thereafter.

Because of this, it is difficult to judge the extent to which Bach viewed the work as an entity. By the time he came to put the oratorio together he had already amassed cantatas for each of these six days, typically three but, in some cases, as many as four or five.

If he saw the oratorio simply as a convenient way of classifying a half a dozen cantatas to be performed as a set over this period, why did he not make it up from works already composed for those days? Why go to the trouble of selecting and paraphrasing a number of secular movements and composing the additional ones he required in order to make up the sixty-four movements of the oratorio as it eventually took shape?

Might it have simply have been an ambition to produce music of a superior quality to that which he frohlockt already provided for these days? His decision may indicate that he viewed the work as a coherent whole, not just the sum of its individual parts.

Much has been made of the unifying aspect of the same chorale used in the first and last cantatas but an equally compelling piece of internal evidence comes from the fact that five of the opening choruses are in three-time, an accepted frlhlocket of the Holy Trinity. It does appear that in the mid to late s Bach was putting together a number of major compositions which included the three oratorios and the four short masses.

Grouped with the already composed Magnificat and Passionsthis forms a substantial body of religious music capable of servicing significant events of the Lutheran church year.

Having said that, there is no one consistent structural pattern jauchze these cantatas. Five of them begin with a rousing major-key chorus, and one with a sinfonia. The number of movements varies from seven to fourteen, with only vrohlocket last two works more equally balanced with eleven. And in any case it was notby its very nature, intended to be heard at the one sitting or even within a single week.

Nevertheless, the number of movements paraphrased from earlier works places the oratorio in a different position from the majority of the cantatas following the first Leipzig cycle.

This examination of the oratorio will take much the same form of those of the rest of the cantata canon but perhaps in slightly less detail because it is already so well known.

Furthermore, the frohoocket bulk notdn much of the recitative text makes it impractical to paraphrase it fully. NB Many of the movements of the oratorio are paraphrased from Cs and Essays on these secular cantatas may be found in vol 1, chapters 94 and All of them begin with massive choruses of praise to God or Jesus, all are in major keys; in fact all but one in D frphlocket.

This accounts for the unique beginning, timpani, woodwind, trumpets and strings announcing themselves in turn before the beginning of the ritornello theme proper bar 9. Much has been written in speculation as to why Bach did not seek similar mention of these instruments in the paraphrased version of rejoicing and worshipping the Lord. The answer is, probably, that moten he compiled the oratorio two decades previously, he would almost certainly have done so. An overview of the cantata frohlokcet clearly demonstrates that as he matured as a composer Bach became less interested in painting specific musical images at the expense of the overall picture.

As frohlockett fully experienced composer he saw no reason to labour the fact that various specific instruments were brought together in the service of homage to the Lord. But what an exhilarating movement it is, with sweeping wind and string scale passages notdn above an often pugnaciously obstinate continuo frohhlocket. The internal divisions of the two outer sections are aurally extremely clear and do not need to be described in detail. The feeling one is left with, however, is the sheer breathless excitement of music which heralds the most significant event of the Christian calendar.


We can view this chorus as an introduction both to this first cantata and to the work as a whole. The remaining eight movements divide neatly into two groups of four describing the period of Frohlocet and thence the Christmas event itself.

The tenor is the traditional voice of the narrator or in this case an Evangelista device Bach declined in the Easter Oratorio. His sets the well known biblical scene of Joseph and Mary in a secco recitative which is direct and engaging but uncolourful. The matter-of-fact provision of information is jauchzer by a more personal musing in the alto arioso. Apart from the suggestion of weeping which we are advised to abandon Bach paints no specific pictures; it is enough to create the atmosphere of restrained expectation.

The first aria is for alto, another paraphrase but this time taken from Ca cantata originally composed for the House of Saxony. The original text, frohlicket denunciation of lust and the serpents of sin, now becomes a call to action—-prepare yourself Zion, to behold the fairest—-your cheeks must be radiant as with burning love you rush to greet your bridegroom.

The metaphor of the wedding couple is a constantly recurring one jzuchzet the religious tracts of the time and needs no explanation. Two points, however, are of particular interest. Firstly, one should note the energy of the original stanza, the casting away of lustful influence, which Bach set to music of some vigour. When he came to assemble the oratorio he must have viewed the call to Zion to awake and prepare as similarly potent. Secondly, note the interaction of the vocal and obbligato lines.

Although not conceived with the religious text in mind, their perfect entwined union makes a strong metaphorical point about the alliance of Christ and Soul. It was used on several occasions in the cantata cycles, most notably as the basis of the fantasia for C vol 2, chapter 5. The tenor returns to provide us with an admirable summary of frholocket Christmas story—-Mary has a Son whom she wrapped in swaddling clothes and laid in a manger.

An unexpected minor chord on Krippen—-the manger—-signifies its lowliness bar 4. Otherwise, this recitative is even more succinct than before, a half a dozen chords and a noteen which takes us, without break, into the chorale duet.

There nten tried out every conceivable combination of recitative, arioso, ritornello and chorale, initially as a means of setting long slabs of text but latterly discovering new and exciting vehicles of artistic expression.

In this case he gives the soprano four chorale phrases, each in a different key A, E and D minors and G major. Each is preceded and followed by the instrumental ritornello which frames frkhlocket entire movement.

It is not necessary to paraphrase the text as it can be followed perfectly well from any translation. Suffice it to note that, in accordance with the practice Bach had established in the second cycle, the chorale lines are clear annunciations of fact, dogma or principle: The penultimate aria is a powerful paean to Christ—-how little You respect earthly grandeur that, though You preserved the whole world You must now sleep in a lowly manger.

There is a beautiful irony in that the original jauchzeet of this aria was a song of homage to the Queen, a glorious crowned lady who presumably represented all that seems rejected in the paraphrased version!

Many might find that the powerful musical declamation of the original version went far beyond the vanities of a provincial noblewoman and that this commanding trumpet-driven aria is more appropriate in the extolling of divine virtue.

It certainly is an arresting piece despite its predictable formal da capo structure. The trumpet fanfare theme is constantly uplifted by syncopated string figures and rolling semi-quaver counter-subject lines on the first violins and flute.

On hearing the oratorio without knowing anything of its history, most listeners would surely be happy to assume that the command and froohlocket of the trumpet was originally conceived as an expression of the potency of the Saviour. Is it disappointing to discover that this was not the case?

Chapter 48 Bwv 248

In point of fact it is an irrelevance. Bach may, from their very inception, have kept movements such as this in mind for better things. Niten any case, we know from the few of his surviving letters that any approach to royalty was expected to be couched in jaucyzet most inflated of terms. The cantata ends with another chorale enlivened by short brass interludes, particularly appropriate after such a rousing aria.

The text is personal—-Ah dear Jesus, make a clean soft bed within my heart so that I shall always remember You. The hymn tune is plainly harmonised in the manner that ends many a conventional cantata but the trumpets and drums punctuate each cadence with a figure based on repeated notes reminiscent of the noteen theme of the opening chorus. Christ may, at this time, appear weak and lowly; but we know his divine nature and ultimate potential to be immensely powerful.


This is surely the message Bach wished to convey to the parishioners on that Christmas Day of This is the only one of the six jauchset not to begin with a celebratory chorus but with a sinfonia. The other cantatas for this day are Cs 40, and The bass aria is one of the most compelling and aggressive musical pictures ever painted of the crushing of the serpent.

Talk:Weinachts Oratorium (Christmas Oratorio), BWV 248 (Johann Sebastian Bach)

C 57 is the least lively of the three, beginning with a bass aria about resisting temptation. It includes no choruses apart from the concluding chorale. It is an exceptionally expansive movement likely to last six or seven minutes in performance. It is also, despite some of the archaic instrumentation, extremely lush, sometimes almost evoking a late romantic, Brahmsian richness.

The numerous suspensions produce an effect of sadness and weeping. The structure, however, looks forward to the foremost principle of the later eighteenth century, that of sonata form moving, as it does, to the dominant and thence to related keys before reprising the original material.

It is an unsophisticated melody of regular two-bar phrases which Bach harmonises sturdily as a robust response to the naturally tremulous shepherds. Two short recitatives act as a bridge to the first aria of the cantata, the first accompanied by strings and the second by the oboe choir.

The bass is backed by emphasising woodwind chords. He brings a reminder of the ancient frohocket which was originally made to a shepherd and has which now come to pass in being revealed to the gathered shepherds.

For the oratorio Bach recasts it for tenor and flute. He retains the essential structure of the movement but makes several minor alterations amongst which are the addition of ornaments to the flute part and the enriching of the tenor line prior to the return of the ritornello theme bar A number of brief moments of imitation betray the original scenario see, for example, the imitations in barsbut Bach was probably more interested in the sweeping scale passages in the latter half of the aria as depictions of jauuchzet spiritual refreshment of mind and soul.

The short tenor recitative that follows merely points the shepherds towards the Baby in the manger. The chorale, iauchzet in a major mode, paints a darkish ftohlocket of the Child in the gloomy stable where oxen once fed. Before this, the bass has an accompanied recitative in which he further exhorts the shepherds to witness the miracle of the Son of God and to sing to Him in His cradle.

File:Bach Weihnachtsoratorium 1 – Jauchzet, – ChoralWiki

Initially the oboe choir simply punctuates the vocal line but as the enjoiner to sing is voiced, it strokes the melody with repeated notes above a series of flowing arpeggios in the continuo line. The resultant sound is less that of the airy nursery and more of a darker place with slightly ominous overtones. It will typically last for nearly ten minutes in performance, approximately a third of the frohlocmet of the complete work.

This music does not need to be analysed in detail; even the most cursory of listeners must surely attune to it. This recitative is essentially gestural, pointing us towards the multitude of angels who provide the jauchzer chorus of the cantata, a familiar refrain of eulogy—-glory to God in the highest—-peace on earth—-good will towards men. This is nogen most substantial movement considering that it neither opens nor closes a cantata. Two things about it immediately strike the ear; and, if you follow a score, the eye.

Firstly there is no instrumental introduction, coda nor are there any episodes. Secondly, all sections of the choir and orchestra continue together without rest from the first to the last bars. Instrumental contrast is effected through a combination of on and off-beat wind and string chords from the beginningsustained notes oboes from bar 25 and a three-note quaver figure first introduced by strings and flutes also, from bar From the evidence of this movement there is no doubt of the force and potency of the angel choir.

It may seem ironic that it has considerably more energy than that of the concluding chorus of combined shepherds and angels! The final recitative sets the bass in the role of the voice of Man—-as the angels sing so well, we shall join with you.