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Guest performance
Philharmonie Berlin, Main Auditorium (Berlin)
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In 1734, Bach compiled six cantatas, some based on existing compositions, for the Christmas season, creating the Christmas Oratorio, performed in Leipzig's main churches. This overshadowed his other Christmas cantatas, like the chorale cantata from 1724. Bach reused the latter cantata, reminiscent of the Christmas Oratorio's Part 4 in its instrumentation, into the 1740s. His 1724 Sanctus (later in the Mass in B minor) and the chorale cantata "Liebster Immanuel" also belong to his second Leipzig cantata year. "Liebster Immanuel," intended for Epiphany like Part VI of the Christmas Oratorio, premiered on January 6, 1725. Unlike the latter's imposing brass, it features flutes and oboe d'amore, lending an ethereal intimacy.
In 1734, Bach compiled six cantatas, some based on existing compositions, for the Christmas season, creating the Christmas Oratorio, performed in Leipzig's main churches. This overshadowed his other Christmas cantatas, like the chorale cantata from 1724. Bach reused the latter cantata, reminiscent of the Christmas Oratorio's Part 4 in its instrumentation, into the 1740s. His 1724 Sanctus (later in the Mass in B minor) and the chorale cantata "Liebster Immanuel" also belong to his second Leipzig cantata year. "Liebster Immanuel," intended for Epiphany like Part VI of the Christmas Oratorio, premiered on January 6, 1725. Unlike the latter's imposing brass, it features flutes and oboe d'amore, lending an ethereal intimacy.
In 1734, Bach compiled six cantatas, some based on existing compositions, for the Christmas season, creating the Christmas Oratorio, performed in Leipzig's main churches. This overshadowed his other Christmas cantatas. After its premiere 300 years ago, Bach continued to perform a related cantata, reminiscent of Part 4 of the Christmas Oratorio. His 1724 Sanctus, later integrated into the Mass in B minor, and the chorale cantata "Liebster Immanuel," intended for Epiphany, also belong to his second Leipzig cantata year.
What would the Advent season be without Johann Sebastian Bach's music, especially the Weihnachts-Oratorium (Christmas Oratorio) that all the musicians in Germany simply call ‘WO’? The Konzerthausorchester Berlin, the traditional boys' choir of the Leipzig Thomaner - founded in 1212 and thus one of the oldest choirs of all - and renowned soloists fill the Great Hall with the familiar sounds and festive atmosphere.
What would the Advent season be without Johann Sebastian Bach's music, especially the Weihnachts-Oratorium (Christmas Oratorio) that all the musicians in Germany simply call ‘WO’? The Konzerthausorchester Berlin, the traditional boys' choir of the Leipzig Thomaner - founded in 1212 and thus one of the oldest choirs of all - and renowned soloists fill the Great Hall with the familiar sounds and festive atmosphere.
What would the Advent season be without Johann Sebastian Bach's music, especially the Weihnachts-Oratorium (Christmas Oratorio) that all the musicians in Germany simply call ‘WO’? The Konzerthausorchester Berlin, the traditional boys' choir of the Leipzig Thomaner - founded in 1212 and thus one of the oldest choirs of all - and renowned soloists fill the Great Hall with the familiar sounds and festive atmosphere.
Giuseppe Verdi praised Charles Villiers Stanford's Requiem as a "masterpiece." Unlike Verdi's theatrical Requiem or Berlioz’s extravagant mass, Stanford's is classically balanced, beautiful, and elegant. It masterfully blends British choral tradition with symphonic orchestral style. His opera composing experience adds dramatic flair. Composed for painter Frederic Leighton, the Requiem's rich sound echoes the painter’s use of color nuances.
George Frideric Handel, a true European, a superstar of the Baroque era, composed music in abundance – including the »Messiah« with the world-famous »Hallelujah«. At the Laeiszhalle, the Carl-Philipp-Emanuel-Bach-Choir Hamburg, together with the Dresdner Kapellsolisten and renowned soloists, will perform it as a prelude to the new season – as a sing along!
Robert Schumann’s only oratorio is based on an oriental legend: the Peri, a fallen angelic being, seeks the way back to heavenly paradise. Only those who bring »heaven’s favourite gift« will open the door to heaven. The Peri travels around the world searching until she finally finds the right gift and »Eden’s gate« opens for her again. Robert Schumann learnt about the story of the fallen angel from the Irish poet Thomas Moore, who put this »oriental romance« into verse. It inspired him to write one of his most beautiful and important works, a »new genre for the concert hall, an oratorio, but not for the prayer hall – but for cheerful people«.
The concert will be broadcast live on rbbKultur.Due to construction work, access to the Konzerthaus is currently restricted. Please note the following information: