The career of Johann Sebastian Bach, the most illustrious of a prolific musical family, falls neatly into three unequal parts. Born in in Eisenach, from the age of ten Bach lived and studied music with his eider brother in Ohrdruf, after the death of both his parents. After a series of appointments as organist and briefly as a court musician, he became, in , court organist and chamber musician to Duke Wilhelm Ernst of Weimar, the eider of the two brothers who jointly ruled the duchy. From then until his death in he lived in Leipzig, where he was Thomaskantor, with responsibility for the music of the five principal city churches, in assuming direction of the university collegium musicum, founded by Telemann in At Weimar Bach had been principally employed as an organist, and his compositions of the period include a considerable amount written for the instrument on which he was recognised as a virtuoso performer.
|Published (Last):||15 March 2008|
|PDF File Size:||11.79 Mb|
|ePub File Size:||1.28 Mb|
|Price:||Free* [*Free Regsitration Required]|
By Ignace Bossuyt. ISBN Bossuyt cannot be faulted for his trawl through much recent literature on the oratorio much of it in German , and he provides many useful footnotes and bibliographic references. Admittedly, the field is patently thin, largely theologically based, and with very little new knowledge of sources appearing over the last couple of decades. The author takes a fairly conventional approach to his task, beginning with a basic historical introduction to the context of the oratorio Most users should sign in with their email address.
If you originally registered with a username please use that to sign in. To purchase short term access, please sign in to your Oxford Academic account above. Don't already have an Oxford Academic account? Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide.
Sign In or Create an Account. Sign In. Advanced Search. Search Menu. Article Navigation. Close mobile search navigation Article Navigation. Volume John Butt. Oxford Academic. Google Scholar. Select Format Select format. Permissions Icon Permissions. Published by Oxford University Press.
All rights reserved. Issue Section:. You do not currently have access to this article. Download all figures. Sign in.
You could not be signed in. Sign In Forgot password? Don't have an account? Sign in via your Institution Sign in. Purchase Subscription prices and ordering Short-term Access To purchase short term access, please sign in to your Oxford Academic account above. This article is also available for rental through DeepDyve. View Metrics. Email alerts Article activity alert. Advance article alerts. New issue alert. Receive exclusive offers and updates from Oxford Academic. Citing articles via Google Scholar.
Music after the Fall: Modern Composition and Culture since By Tim Rutherford-Johnson. Books Received. By Bryan White. By Heidi Hart.
J.S. Bach - Christmas Oratorio BWV 248
The date is confirmed in Bach's autograph manuscript. 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. All three of these oratorios to some degree parody earlier compositions. The Christmas Oratorio is by far the longest and most complex work of the three. The Christmas Oratorio is in six parts, each part being intended for performance on one of the major feast days of the Christmas period.
Bach, Christmas Oratorio, BWV 248
Butt applies his extensive knowledge of Bach's performing practices to present the range of choral scoring that Bach seems to have used, realizing something of the implications of the composer's performing conditions and decisions. A must-have Christmas recording, this seasonal favourite is a welcome addition to the Dunedin Consort's already enviable catalogue. Dunedin Consort. Label s.