10-28-2019, 05:29 PM

Classical, Orchestral, Choral, Vocal | DSD64 (*.dsf, tracks), 1-bit/5.64 MHz
Run Time: 02:18:13 | 5.77 GB + 5% Recovery
Label: Challenge Records | Release Year: 2007

�Jan Willem de Vriend oversees a joyful account of Bach's festive music with light-footed responses to dance rhythms. I can whole heartedly commend this issue for its expressive warmth, its disciplined choral singing and its natural declamation.�
Bach�s celebrated Christmas Oratorio forges a link between birth and deliverance: the birth of Christ is not only the birth of light, of innocence; this joyful event is equally characterized by suffering. In this respect the Christmas Oratorio is akin to the St. Matthew Passion and the St. John Passion. Guilt and innocence, suffering and deliverance are present from the moment a mother holds her child in her arms.
This book on Bach�s Christmas Oratorio lends credence to Jan Willem de Vriend�s musical interpretation of the work. It comprises an interview with De Vriend himself, carried out by the musicologist Frits de Haen, a short history of how the work came into being and an article on the liturgical significance of the six cantatas by the internationally renowned musicologist Robin A. Leaver.
Jan Willem de Vriend shares his thoughts on the Christmas Oratorio:
�The Combattimento Consort Amsterdam has always performed the complete Christmas Oratorio with only two exceptions. On these two occasions the concert hall did not want a complete performance and the choice was left to us which movements to leave out. However, this is in fact an impossible choice, as in my view the work forms a single entity. So, it has happened on occasion that we have performed four cantatas. And even though prior to the concert we thought that on the one hand it would be fine to finish earlier, as it turned out � and I think I can speak for all my colleagues � after the performance we felt it a great pity after all, not to have included those two cantatas. During a performance of the complete cycle we have become accustomed to pausing between each cantata, to insert just a short break of around five minutes before beginning the following cantata. Incidentally, this is just one of the ways to divide up the work; I could also imagine that the cycle could be spread out, that one decides: �This morning I will perform one, then this evening another, with another cantata the following day.� Nevertheless, the point is that even when a performance is spread out over a number of days, as happened in Bach�s time, the work still continues to function as a unified whole. I am absolutely convinced that the churchgoers of the time had a far greater retention of the music, that the music remained more firmly entrenched in their memory until the following church service. Just compare how it is these days. After the concert, you may be sitting in your car and you switch on the radio to hear if there are any traffic jams reported, so you keep hearing fragments of music and as a result of this a large part of your recent musical experience is erased. I myself am glad that after performing a work it stays in my head for some time. Perhaps this was much more often the case in those days. As far as this is concerned, the effect of such a cantata would have been far stronger and of longer duration back then. Something similar also applies in the case of the various tonalities. In view of the fact that even temperament was nowhere near as widely in use in those days, a much greater differentiation was experienced between the various keys with their individual characteristics. With the advent of modern tuning, this entire sensibility to the different keys has vanished.�
Jan Willem de Vriend is the artistic director of Combattimento Consort Amsterdam and since 2006 the chief conductor and artistic director of the Netherlands Symphony Orchestra.
In addition to having served as concertmaster with various ensembles, De Vriend developed a career as a conductor with several orchestras both in The Netherlands, Switzerland, Austria, Italy Germany, Sweden, as well as China and Australia. Opera conducting has come to play a significant role. He has led Combattimento Consort Amsterdam in unknown operas by Gassmann, Rameau, Heinchen and Haydn, among others, as well as familiar operas by such composers as Monteverdi, Handel, Rossini and Mozart. For the opera houses of Lucern, Strasbourg, Barcelona and Enschede, he has conducted operas by Handel, Mozart, Verdi, Strauss and others.



Part I 'Christmas Day':
01] I. Chorus - Jauchzet, frohlocket, auf, preiset die Tage
02] II. Recitative (Evangelist) - Es begab sich aber zu der Zeit
03] III. Recitative (Alto) - Nun wird mein liebster Br�utigam
04] IV. Aria (Alto) - Bereite dich, Zion
05] V. Chorale - Wie soll ich dich empfangen
06] VI. Recitative (Evangelist) - Und sie gebar ihren ersten Sohn
07] VII. Chorale & Recitative (Soprano, Bass) - Er ist auf Erden kommen arm
08] VIII. Aria (Bass) - Gro�er Herr, o starker K�nig
09] IX. Chorale - Ach mein herzliebes Jesulein
Part II 'Boxing Day':
10] X. Sinfonia
11] XI. Recitative (Evangelist) - Und es waren Hirten in derselben Gegend
12] XII. Chorale - Brich an, o sch�nes Morgenlicht
13] XIII. Recitative (Evangelist, the Angel) - Und der Engel sprach zu ihnen
14] XIV. Recitative (Bass) - Was Gott dem Abraham verhei�en
15] XV. Aria (Tenor) - Frohe Hirten, eilt, ach eilet
16] XVI. Recitative (Evangelist) - Und das habt zum Zeichen
17] XVII. Chorale - Schaut hin, dort liegt im finstern Stall
18] XVIII. Recitative (Bass) - So geht denn hin, ihr Hirten, geht
19] XIX. Aria (Alto) - Schlafe, mein Liebster, genie�e der Ruh
20] XX. Recitative (Evangelist) - Und alsobald war da bei dem Engel
21] XXI. Chorus - Ehre sei Gott in der H�he
22] XXII. Recitative (Bass) - So recht, ihr Engel, jauchzt und singet
23] XXIII. Chorale - Wir singen dir in deinem Heer
Part III 'Third Day of Christmas':
24] XXIV. Chorus - Herrscher des Himmels, erh�re das Lallen
25] XXV. Recitative (Evangelist) - Und da die Engel von ihnen gen Himmel fuhren
26] XXVI. Chorus - Lasset uns nun gehen gen Bethlehem
27] XXVII. Recitative (Bass) - Er hat sein Volk getr�st'
28] XXVIII. Chorale - Dies hat er alles uns getan
29] XXIX. Duet (Soprano, Bass) - Herr, dein Mitleid, dein Erbarmen
30] XXX. Recitative (Evangelist) - Und sie kamen eilend
31] XXXI. Aria (Alto) - Schlie�e, mein Herze, dies selige Wunder
32] XXXII. Recitative (Alto) - Ja, ja, mein Herz soll es bewahren
33] XXXIII. Chorale - Ich will dich mit Flei� bewahren
34] XXXIV. Recitative (Evangelist) - Und die Hirten kehrten wieder um
35] XXXV. Chorale - Seid froh dieweil
36] XXXVb. Chorus - Herrscher des Himmels, erh�re das Lallen


Part IV 'New Year's Day':
01] XXXVI. Chorus - Fallt mit Danken, fallt mit Loben
02] XXXVII. Recitative (Evangelist) - Und da acht Tage um waren
03] XXXVIII. Recitative (Bass) & Duet (Soprano, Bass) - Immanuel, o s��es Wort!
04] XXXIX. Aria (Soprano & Echo-soprano) - Fl��t, mein Heiland, fl��t, dein Namen
05] XL. Recitative & Chorale (Bass, Soprano) - Wohlan dein Name soll allein
06] XLI. Aria (Tenor) - Ich will nur dir zu Ehren leben
07] XLII. Chorale - Jesus richte mein Beginnen
Part V 'Sunday after New Year�s Day':
08] XLIII. Chorus - Ehre sei dir, Gott, gesungen
09] XLIV. Recitative (Evangelist) - Da Jesus geboren war zu Bethlehem
10] XLV. Chorus & Recitative (Alto) - Wo ist der neugeborne K�nig der J�den?
11] XLVI. Chorale - Dein Glanz all Finsternis verzehrt
12] XLVII. Aria (Bass) - Erleucht auch meine finstre Sinnen
13] XLVIII. Recitative (Evangelist) - Da das der K�nig Herodes h�rte
14] XLIX. Recitative (Alto) - Warum wollt ihr erschrekken?
15] L. Recitative (Evangelist) - Und lie� versammlen alle Hohepriester
16] LI. Terzetto (Soprano, Alto & Tenor) - Ach, wenn wird die Zeit erscheinen?
17] LII. Recitative (Alto) - Mein Liebster herrschet schon
18] LIII. Chorale - Zwar ist solche Herzensstube
Part VI 'Epiphany':
19] LIV. Chorus - Herr, wenn die stolzen Feinde schnauben
20] LV. Recitative (Evangelist) - Da berief Herodes die Weisen heimlich
21] LVI. Recitative (Soprano) - Du Falscher, suche nur den Herrn zu f�llen
22] LVII. Aria (Soprano) - Nur ein Wink von seinen H�nden
23] LVIII. Recitative (Evangelist) - Als sie nun den K�nig geh�ret hatten
24] LIX. Chorale - Ich steh an deiner Krippen hier
25] LX. Recitative (Evangelist) - Und Gott befahl ihnen im Traum
26] LXI. Recitative (Tenor) - So geht! Genug, mein Schatz geht nicht von hier
27] LXII. Aria (Tenor) - Nun m�gt ihr stolzen Feinde schrekken
28] LXIII. Recitative (Soprano, Alto, Tenor, Bass) - Was will der H�llen Schrekken nun
29] LXIV. Chorale - Nun seid ihr wohl gerochen



Combattimento Consort Amsterdam , Cappella Amsterdam
Daniel Reuss, choirmaster
Malin Hartelius soprano Kristina Hammarstr�m, alto
J�rg D�rm�ller, tenor
Detlef Roth, bass
Jan Willem de Vriend, director

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