The Christmas Oratorio BWV 248, is an oratorio by
Johann Sebastian Bach intended for performance in
church during the Christmas season. It was written for
the Christmas season of 1734 incorporating music from
earlier compositions, including three secular cantatas
written during 1733 and 1734 and a now lost church
cantata, BWV 248a. The date is confirmed in Bach's
autograph manuscript. The next performance was not
until 17 December 1857 by the Sing-Akademie zu Berlin
under Eduard Grell. The Chris...(+)
The Christmas Oratorio BWV 248, is an oratorio by
Johann Sebastian Bach intended for performance in
church during the Christmas season. It was written for
the Christmas season of 1734 incorporating music from
earlier compositions, including three secular cantatas
written during 1733 and 1734 and a now lost church
cantata, BWV 248a. The date is confirmed in Bach's
autograph manuscript. The next performance was not
until 17 December 1857 by the Sing-Akademie zu Berlin
under Eduard Grell. The Christmas Oratorio is a
particularly sophisticated example of parody music. The
author of the text is unknown, although a likely
collaborator was Christian Friedrich Henrici
(Picander).
It was conceived as a set of six cantatas. Unlike the
Passion settings and the oratorios of Bach's exact
contemporary Handel, the six parts of his Christmas
Oratorio were performed on separate days. Bach wrote
the six cantatas to celebrate the whole period of the
Christmas festivities of 1734-35, starting with Part I
on Christmas Day, and ending with Part VI on Epiphany
(January 6th). The performances were divided between
his two churches: Parts I, II, IV and VI were given at
the Thomaskirche, and Parts III and V at the
Nicolaikirche.
Bach wrote the Christmas Oratorio over a short period.
Unusually for him, but perhaps by necessity, he
recycled music from earlier compositions. At least
eleven sections have been identified as coming from
three earlier secular cantatas, with Bach working with
his frequent collaborator Picander to alter the texts
for their new use. It is thought that several more
sections may be based on lost sacred works, including
the documented but now lost St Mark Passion. Bach also
composed new music for much of the piece, including all
of the recitatives and chorales.
This is my arrangement of the Bass Aria 'Erleucht auch
meine finstre Sinnen' ('Illumine my dark thoughts as
well') and is arranged here for Oboe, French Horn &
Cello.
PARTITION