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Bach: Christmas Oratorio | 
| Creators: Johann Sebastian Bach, Sir John Eliot Gardiner, Monteverdi Choir, English Baroque Soloists, Nancy Argenta, Anne Sofie Von Otter, Anthony Rolfe Johnson, Hans-peter Blochwitz
Label: Archiv Produktion
Category: Music
List Price: £22.99
Buy New: £19.99
You Save: £3.00 (13%)
New (25) Used (14) Collectible (1) from £10.50
Rating:  3 reviews
Sales Rank: 7251
Format: Box Set
Media: Audio CD
Running Time: 139
Discs: 2
Shipping Weight (lbs): 0.5
Dimensions (in): 5.6 x 4.9 x 0.9
MPN: 423232
UPC: 028942323223
EAN: 0028942323223
ASIN: B0000057D5
Release Date: November 4, 1987
Shipping: Eligible for Super Saver Shipping
Availability: Usually dispatched within 24 hours
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| Tracks:
Disc 1
| • | No.1 Chorus: "Jauchzet, frohlocket" - English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | | • | No.2 Evangelist: "Es begab sich aber zu der Zeit" - Anthony Rolfe Johnson, English Baroque Soloists, John Eliot Gardiner | | • | No.3 Rezitativ (Alt): "Nun wird mein liebster Bräutigam" - Anne Sofie von Otter, English Baroque Soloists, John Eliot Gardiner | | • | No.4 Aria (Alto): " Bereite dich, Zion" - Anne Sofie von Otter, English Baroque Soloists, John Eliot Gardiner, Anthony Robson | | • | No.5 Choral: "Wie soll ich dich empfangen" - English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | | • | No.6 Evangelist: "Und sie gebar ihren ersten Sohn" - Anthony Rolfe Johnson, English Baroque Soloists, John Eliot Gardiner | | • | No.7 Chorale: "Er ist auf Erden kommen arm", Recitativ (Bass): Wer will die Liebe recht erhöhn" - Olaf Bär, English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | | • | No.8 Aria (Baß): "Großer Herr, o starker König" - Olaf Bär, English Baroque Soloists, John Eliot Gardiner, Crispian Steele-Perkins | | • | No.9 Choral: "Ach mein herzliebes Jesulein" - English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | | • | No.10 Sinfonia - English Baroque Soloists, John Eliot Gardiner | | • | No.11 Evangelist: "Und es waren Hirten in derselben Gegend" - Anthony Rolfe Johnson, English Baroque Soloists, John Eliot Gardiner | | • | No.12 Chorale: "Brich an, o schönes Morgenlicht" - English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | | • | No.13 Evangelist, Engel: "Und der Engel sprach zu Ihnen" - Anthony Rolfe Johnson, Ruth Holton, English Baroque Soloists, John Eliot Gardiner | | • | No.14 Rezitativ (Baß): "Was Gott dem Abraham Verheißen" - Olaf Bär, English Baroque Soloists, John Eliot Gardiner | | • | No.15 Aria (Tenor): "Frohe Hirten, eilt, ach eilet" - Hans Peter Blochwitz, English Baroque Soloists, John Eliot Gardiner, Lisa Beznosiuk | | • | No.16 Evangelist: "Und das habt zum Zeichen" - Anthony Rolfe Johnson, English Baroque Soloists, John Eliot Gardiner | | • | No.17 Chorale: "Schaut hin, dort liegt im finstern Stall" - English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | | • | No.18 Rezitativ (Baß): "So geht denn hin, ihr Hirten, geht" - Olaf Bär, English Baroque Soloists, John Eliot Gardiner | | • | No.19 Aria (Alto): "Schlafe, mein Liebster, geniesse der Ruh" - Anne Sofie von Otter, English Baroque Soloists, John Eliot Gardiner | | • | No.20 Evangelist: "Und alsbald war da bei dem Engel" - Anthony Rolfe Johnson, English Baroque Soloists, John Eliot Gardiner | | • | No.21 Chor: "Ehre sei Gott in der Höhe" - English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | | • | No.22 Rezitativ (Baß): "So recht, ihr Engel, jauchzt und singet" - Olaf Bär, English Baroque Soloists, John Eliot Gardiner | | • | No.23 Chorale: "Wir singen dir in deinem Heer" - English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | | • | No.24 Chor: "Herrscher des Himmels, erhöre das Lallen" - English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | | • | No.25 Evangelist: "Und da die Engel von ihnen gen Himmel fuhren" - Anthony Rolfe Johnson, English Baroque Soloists, John Eliot Gardiner | | • | No.26 Chor: "Lasset uns nun gehen gen Bethlehem" - English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | | • | No.27 Rezitativ (Baß): "Er hat sein Volk getröst" - Olaf Bär, English Baroque Soloists, John Eliot Gardiner | | • | No.28 Choral: "Dies hat er alles uns getan" - English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | | • | No.29 Duett (Sopran, Baß): "Herr, dein Mitleid, dein Erbarmen" - Nancy Argenta, Olaf Bär, English Baroque Soloists, John Eliot Gardiner, Anthony Robson, Valerie Darke | | • | No.30 Evangelist: "Und sie kamen eilend" - Anthony Rolfe Johnson, English Baroque Soloists, John Eliot Gardiner | | • | No.31 Aria (Alt): "Schließe, mein Herze, dies selige Wunder" - Anne Sofie von Otter, English Baroque Soloists, John Eliot Gardiner | | • | No.32 Recitativ (Alt): "Ja, ja, mein Herz soll es bewahren" - Anne Sofie von Otter, English Baroque Soloists, John Eliot Gardiner | | • | No.33 Choral: "Ich will dich mit Fleiß bewahren" - English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | | • | No.34 Evangelist: "Und die Hirten kehrten wieder um" - Anthony Rolfe Johnson, English Baroque Soloists, John Eliot Gardiner | | • | No.35 Choral: "Seid froh dieweil" - English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | | • | No.24 Chor: "Herrscher des Himmels, erhöre das Lallen" - English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir |
Disc 2
| • | No.36 Chor: "Fallt mit Danken, fallt mit Loben" - English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | | • | No.37 Evangelist: "Und da acht Tage um waren" - Anthony Rolfe Johnson, English Baroque Soloists, John Eliot Gardiner | | • | No.38 Rezitativ (Baß): "Immanuel, o süßes Wort" Arioso (Chor-Sopran, Baß): "Jesu, du mein liebstes Leben"-"Komm ich will dich mit Lust umfassen" - Olaf Bär, Nancy Argenta, English Baroque Soloists, John Eliot Gardiner | | • | No.39 Aria (Soprano, Echo-soprano): "Flösst, mein Heiland, flösst dein Namen" - Nancy Argenta, Katie Pringle, English Baroque Soloists, John Eliot Gardiner, Anthony Robson | | • | No.40 Rezitativ (Baß): "Wohlan, dein Name soll allein" Arioso (Chor-Sopran): "Jesu mein Freud und Wonne" - Olaf Bär, Nancy Argenta, English Baroque Soloists, John Eliot Gardiner | | • | No.41 Aria (Tenor): "Ich will nur dir zu Ehren leben" - Hans Peter Blochwitz, English Baroque Soloists, John Eliot Gardiner, Alison Bury, Maya Homburger | | • | No.42 Choral: "Jesus richte mein Beginnen" - English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | | • | No.43 Chor: "Ehre sei dir, Gott, gesungen" - English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | | • | No.44 Evangelist: "Da Jesu geboren war zu Bethlehem" - Anthony Rolfe Johnson, English Baroque Soloists, John Eliot Gardiner | | • | No.45 Chor: "Wo ist der neugeborne König der Juden?" - Rezitativ (Alt): "Sucht ihn in meiner Brust" - Anne Sofie von Otter, English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | | • | No.46 Choral: "Dein Glanz all Finsternis verzehrt" - English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | | • | No.47 Aria (Bass): "Erleucht auch meine finstre Sinnen" - Olaf Bär, English Baroque Soloists, John Eliot Gardiner, Anthony Robson | | • | No.48 Evangelist: "Da das der König Herodes hörte" - Anthony Rolfe Johnson, English Baroque Soloists, John Eliot Gardiner | | • | No.49 Rezitativ (Alt): "Warum wollt ihr erschrecken?" - Anne Sofie von Otter, English Baroque Soloists, John Eliot Gardiner | | • | No.50 Evangelist: "Und ließ versammeln alle Hohepriester" - Anthony Rolfe Johnson, English Baroque Soloists, John Eliot Gardiner | | • | No.51 Terzetto (Soprano, Alto, Tenor): "Ach, wann wird die Zeit erscheinen?" - Nancy Argenta, Anne Sofie von Otter, Hans Peter Blochwitz, English Baroque Soloists, John Eliot Gardiner | | • | No.52 Rezitativ (Alt): "Mein Liebster herrschet schon" - Anne Sofie von Otter, English Baroque Soloists, John Eliot Gardiner | | • | No.53 Choral: "Zwar ist solche Herzensstube" - English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | | • | No.54 Chor: "Herr, wenn die Stolzen Feinde schnauben" - English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | | • | No.55 Evangelist: "Da berief Herodes die Weisen heimlich" - Herodes: "Ziehet hin und forrschet fleißig" - Anthony Rolfe Johnson, Olaf Bär, English Baroque Soloists, John Eliot Gardiner | | • | No.56 Rezitativ (Sopran): "Du Falscher, suche nur den Herrn zu fällen" - Nancy Argenta, English Baroque Soloists, John Eliot Gardiner | | • | No.57 Aria (Sopran): "Nur ein Wink von seinen Händen" - Nancy Argenta, English Baroque Soloists, John Eliot Gardiner | | • | No.58 Evangelist: "Als sie nun den König gehöret hatten" - Anthony Rolfe Johnson, English Baroque Soloists, John Eliot Gardiner | | • | No.59 Chorale: "Ich steh an deiner Krippen hier" - English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir | | • | No.60 Evangelist: "Und Gott befahl ihnen im Traum" - Anthony Rolfe Johnson, English Baroque Soloists, John Eliot Gardiner | | • | No.61 Rezitativ (Tenor): "So geht! Genug, mein Schatz geht nicht von hier" - Hans Peter Blochwitz, English Baroque Soloists, John Eliot Gardiner | | • | No.62 Aria (Tenor): "Nun mögt ihr stolzen Feinde schrecken" - Hans Peter Blochwitz, English Baroque Soloists, John Eliot Gardiner, Anthony Robson, Valerie Darke | | • | No.63 Rezitativ (Sopran, Alt, Tenor, Baß): "Was will der Hölle Schrecken nun?" - Nancy Argenta, Anne Sofie von Otter, Hans Peter Blochwitz, Olaf Bär, English Baroque Soloists, John Eliot Gardiner | | • | No.64 Choral: "Nun seid ihr wohl gerochen" - English Baroque Soloists, John Eliot Gardiner, The Monteverdi Choir |
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| Customer Reviews:
JOHN ELIOT'S CHRISTMAS FAVES December 5, 2007
5 out of 5 found this review helpful
This disc is a bit of an oddity. I can give it a perfectly sincere recommendation, but I think I had better explain myself carefully, and explain exactly what I am recommending.
The spirit of the selection is much what you would expect in a disc entitled `Christmas Treats from JSB' or `Immortal Melodies from The Christmas Oratorio' or something of that sort. Bach's Christmas Oratorio is not an oratorio in the Handelian sense. In the 1730's Bach faithfully turned out a cantata for each Sunday and major feast, but in one particular year he elected to reprocess some of his older music, most of it secular originally, and string the numbers together for the entire festive season under the overall title of `Christmas Oratorio'. Borrowing, adaptation and recomposition of earlier music, sometimes one's own sometimes someone else's, was a standard practice at the time. Nobody saw anything wrong with it, and to this day neither do I. Neither Bach nor Handel can exactly be taxed with lack of original output in astonishing quantities, and it is not as if the recycling of the material was not quite a major task in its own right. The Christmas Oratorio is commonly viewed as a lesser work than the B minor Mass or the St Matthew Passion, and while I probably go along with that view to a certain extent, I don't do so for the reasons I usually see argued. The secular origin of the music is neither here nor there in my opinion - all Bach's music is explicitly written for the greater glory of God. Also, when I see this work compared to its disadvantage with the B minor Mass on grounds of recycling, I have to recall that the B minor Mass itself is made up of recycled material practically from start to finish.
To anyone who does not know the Christmas Oratorio and who may have been put off by any of this foolishness, my own advice is simply to ignore the whole fuss. What you will find in it is a set of Bach cantatas produced to the same astounding standard of inspiration, consistency and workmanship that you will find in any of the others. What makes this disc a one-off is first that everyone has taken advantage of the single series-title to pretend that the Christmas Oratorio is a single work like Messiah or the St Matthew Passion and extract a selection of goodies from it to make a single disc's-worth, leaving out the more workaday and `business' elements, notably recitatives. The engaging oddity to go along with this demotic proceeding is that the style is uncompromisingly severe, almost as if we were dealing with Bach's motets.
Nineteen numbers - solos (plus one with an echo-effect), a duet, a sinfonia and choruses both traditional and composed either wholly or over traditional material by Bach - have been selected. The four standard types of vocal soloist have been given work, and it is probably not a coincidence that there is no counter-tenor in a production like this. 20 years ago the `authentic' movement was starting to relax a little, but the instruments used here are uncompromisingly authentic, and so is the penchant for brisk speeds. By now I am so inured with this way of doing things that I adapt to it naturally, but readers of this notice should perhaps take warning from comments by other reviewers who are not so reconciled to the idiom. For me, the quickstep approach (even in 3-time as in the first two numbers) enhances the sublime sense of a march in Bach's wonderful polyphony, but I'm not you. One thing that ought to be a bonus for any listener is the quality of some of the instrumental work at this pace. I looked to see in particular who was the trumpeter - yes, you've guessed: Crispian Steele Perkins of course.
Given the slight sense of facing in two directions, I can report that the quality of the work is exemplary. All the four main vocal soloists distinguish themselves, and it was a particular pleasure to hear Anne Sophie von Otter so early in her career, especially as she is given the loveliest and tenderest number of all, Schlafe, mein Liebster, surely something to win over the doughtiest opponent of this school of interpretation. I shall also highlight the tenor Hans Peter Blochwitz for the ease with which he overcomes the formidable technical demands of his first two arias - the coloratura of his first test in particular is blatantly instrumental in inspiration, in a way that Handel's, however florid and rapid, just never is.
This issue is obviously not part of Gardiner's recent `pilgrimage' series offering all the cantatas. The 1987 recording is not as beautiful as he is given in the recent sets, but it is perfectly adequate. The liner-note gives the texts with translation, and that is all one basically needs, although some comment on the music itself would have been welcome, as not everyone is familiar with its genesis. There is nothing about the singers either, but there is a picture of Gardiner J E P as he looked 20 years ago, if not more. Also looking out at us in the familiar study is the composer himself. How often, I wonder, have I looked uncomprehendingly at that face and tried to infer from it what are specifically the features of a man possessed of an infinite musical talent. I shall never work that one out, but at least he knew not to hide the talent from us and I can be well satisfied with that.
Christmas Oratorio at its very best. December 23, 2004
27 out of 28 found this review helpful
This might very well be the ultimate recording of the Christmas Oratorio. Orchestra, choir, soloists and conductor are all fabolous. Precise, inspired and vibrant. There really aren't any flaws with this one- it goes straight to the heart.
My largest compliment to Bonney, von Otter, Rolfe-Johnson, Crook and Bär, The Monteverdi Choir, English Baroque Soloists and not least Sir John.I will compare this to two other recordings: If you like your baroque music with a little more meat than in period performances, you should go for Richter's recording and enjoy Fritz Wunderlich as the evangelist. Richter has a more powerful, but also a little more cumbersome sound than Gardiner, but if you can't live without a large choir and traditional instruments, Richter is the one to go for. Secondly, I will mention the obvious period performance competitor, namely the one from Harmonia Mundi with Rene Jacobs conducting. While that is also a notable account, it is more "puritan" in the presentation and the artistic impression is more dry and academic than with Gardiner. And Jacobs uses the default Harmonia Mundi alto, counter tenor Andreas Scholl, to sing the part of the Virgin Mary. Although he sounds more like a woman than most counter tenors, there is just something wrong with a man singing "Schlafe, mein Liebste". There is nothing to suggest, that Bach didn't use a female contralto for the Christmas Oratorio, so please stop thinking that it is historically correct to have this part sung by a man... it's just plain "Life of Brian" to have the Holy Mother played by a man in falsetto. Take Anne-Sofie von Otter in this recording to hear what a baroque mezzo should sound like in period performance. Or do like me and get both Richter and Gardiner.
Another brilliant recording from John Eliot Gardiner August 28, 2001
36 out of 39 found this review helpful
The Christmas Oratorio is a bright and brilliant work from the first sound of the timpani and the chorus singing "Christians Be Joyful". Even if you are an atheist, it is hard not to be moved by this thrilling sound. John Eliot Gardiner conducts his Monteverdi Choir and the English Baroque Soloists with customary skill, the soloists are good, the ensemble singing electric and the orchestra great. I've beginning to think it is hard to go wrong when buying anything from this stable....
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