The Christmas Oratorio (German: Weihnachts-Oratorium) 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).
Helmuth Rilling is an excellent conductor and interpreter of Bach's sacred music. Recorded from 1969 to 1985, over a longer period of time than most other sets, there is a lot of change throughout the series. Rilling's recordings are more dense and lush than others, and his tempi are often slower than HIP recordings - no "original instruments" for Rilling. But he creates such a detailed sound-world that any fan of these works should want to hear Rilling's versions to compare with others. This said, Rilling often uses a technique that I find a bit disturbing. He'll have one instrument or group of instruments sequestered to one track, and others on the other track, giving a sound similar to that of early Beatles' stereo mixes, where vocals were on one track and instruments on the other. This is something you never hear in live performance; while one instrument may be on one side, you still hear it on the other side. This tends to make some of the movements sound as though there's no blend among the singers and musicians.(Kirk McElhearn)
… Born in 1933 in Stuttgart, Germany, Helmuth Rilling is an active conductor, pedagogue and ambassador for the music of Bach worldwide. From 1970 to 1984, Mr. Rilling was the first musician to record all of Bach's Cantatas, and was the guiding hand behind the Internationale Bachakademie's critically-acclaimed project to record the complete works of Bach (172 CDs), which was released in 2000 to coincide with the 250th Anniversary of Bach's death. Since 1970, he has been the Artistic Director of the Oregon Bach Festival. In 2003 he became an Honorary Member of the American Academy of the Arts and Sciences. He won a Grammy® Award in 2000 for his recording of Krzystof Penderecki's “Credo” and was again nominated in 2001 for his recording of Wolfgang Rihm's "Deus Passus." In 2008, he was honored with the Sanford Award by the Yale School of Music at Yale University…
No composer looms over modern jazz quite like Johann Sebastian Bach, whose harmonic rigour seems to have provided the basis for bebop and all that followed. Listen to the endlessly mutating semiquavers tumbling from Charlie Parker’s saxophone and it could be the top line of a Bach fantasia; the jolting cycle of chords in John Coltrane’s Giant Steps could come straight from a Bach fugue and Bach’s contrapuntal techniques crop up in countless jazz pianists, from Bill Evans to Nina Simone. Bach certainly casts a long shadow over US pianist Brad Mehldau: even when he’s gently mutilating pieces by Radiohead, Nick Drake or the Beatles, he sounds like Glenn Gould ripping into the Goldberg Variations. Which is why it comes as no surprise to see Mehldau recording an entire album inspired by Bach. However, this is not a jazz album. Instead of riffing on Bach themes, as the likes of Jacques Loussier or the Modern Jazz Quartet have done in the past, After Bach sees Mehldau using Bach’s methodology. Mehldau plays five of Bach’s canonic 48 Preludes and Fugues, each followed by his own modern 21st-century response.
Warner Classics presents Best of Bach, a spirited selection of works by Bach, both choral and instrumental, performed by some of Warner Classics's most highly acclaimed artists…amazon.co.uk
This reissue offers music lovers a golden opportunity to hear one of the truly great sets of Brandenburg Concertos. Listeners familiar with the fast, super-bright sound of certain famous British and German authentic instrument groups such as The English Concert or Musica Antiqua Kцln, will find much to savor in these warmly dark-toned versions. Gamba player turned conductor Jordi Savall treats each work with positively epicurean relish.