Johann Sebastian Bach - Christmas Oratorio (1964) Vinyl LP • Christmas, Cantata

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Condition Details:

3-LP Box Set. Four-page liner notes included. Vinyl plays with occasional light-crackles (play-graded). Cover has moderate-scuffing (front/back/inside); discoloration with darker discoloration spots on front/inside; a few creases on back. Inner-sleeves are poly-lined paper; a few discoloration spots. Spine shows wear; hinge intact. Box itself has flattened - the edges and corners are there but do not support a box; right side edge is partially ripped. Black labels with silver print. (Not a cut-out.)

Tracks:

1. Part I: (First Cantata) Christmas Day (Parts 1-9)
2. Part II: (Second Cantata) Second Day Of The Festival (Parts 10-23)
3. Part III: (Third Cantata) Third Day Of The Festival (Parts 24-35)
4. Part IV: (Fourth Cantata) Feat Of The Circumcision (Parts 36-42))
5. Part V: (Fifth Cantata) Feast Of The New Year (Parts 43-53)
6. Part VI: (Sixth Cantata) Feast Of The Epiphany (Parts 54-64)

About The Record:

Christmas Oratorio, by Johann Sebastian Bach, is a majestic six-part sacred work composed in 1734, consisting of six cantatas that narrate the Christmas story from the birth of Jesus through the adoration of the Magi, originally performed over the feast days from Christmas to Epiphany in Leipzig churches. This 1964 release features a complete stereo recording conducted by Fritz Werner with the Pforzheim Chamber Orchestra, the Heinrich Schütz Choir of Heilbronn, and outstanding soloists including Agnes Giebel (soprano), Claudia Hellmann (alto), Helmut Krebs (tenor), and Berry Mac Daniel (bass), highlighted by the brilliant trumpet playing of Maurice André in prominent sections. The oratorio stands out for its masterful use of parody technique, repurposing earlier secular cantata music into sacred contexts, and its joyful blend of grand choruses, intimate arias, recitatives by the Evangelist, and familiar Lutheran chorales that evoke deep devotion and celebration. Fan-favorites and historically beloved movements include the exuberant opening chorus Jauchzet, frohlocket (Rejoice, exult) in Part I, the pastoral Sinfonia that begins the work with its evocative shepherd-like instrumentation, and uplifting arias and choruses like those in Part IV and the triumphant final sections of Part VI, often praised for their emotional inspiration and festive brilliance. This particular rendition captures the work's unique dramatic and contemplative qualities in a mid-20th-century style that remains cherished for its expressive warmth and orchestral clarity.