Digital Concert Program: Bach’s Christmas Oratorio

Concert Program

Bach’s Christmas Oratorio

Saturday 7 December 2024 7:30pm
Federation Concert Hall, Nipaluna / Hobart

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Conducted by Stephen Layton,

featuring the TSO Chorus,

soprano Amy Moore, mezzo-

soprano Hannah Fraser, tenor

Louis Hurley and bass

Christopher Richardson.

The Tasmanian Symphony Orchestra acknowledges the traditional owners and continuing custodians of Lutruwita / Tasmania. We pay respect to the Aboriginal community today, and to its Elders past and present. We recognise a history of truth, which acknowledges the impacts of colonisation upon Aboriginal and Torres Strait Islander people and stand for a future that profoundly respects their stories, culture, language and history.

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About the concert

Work

JS Bach Christmas Oratorio BWV248 (120 mins)

selections

Cantata 1
Cantata 2

20 minute interval

Cantata 3
Cantata 6

💡 FIRST-TIMER TIP: What’s an oratorio?

An oratorio is a large-scale musical composition for orchestra, choir, and soloists, usually centered around a story, often with religious themes. Unlike an opera, which involves costumes, sets, and acting, an oratorio is usually performed in a concert setting, without the theatrical elements. The focus is on the music and the text.
Oratorios have key vocal components that make up its structure. We’ll refer to these throughout this program.

Choruses: Large sections for choir that are often dramatic and are central to the story
Arias: Solo songs by our guest vocalists that express emotion and reflect on the narrative
Recitatives: Speech-like singing that’s used to advance the story

Johann Sebastian Bach.

Concert 101: Learn about the works being performed

For the enjoyment of all in the concert hall, please only watch Concert 101 before or after the performance.

Uncover the stories behind the work.

Brilliant, festive, joyous

Christmas Oratorio

Cantata 1
Cantata 2
Cantata 3
Cantata 6

Composed by Johann Sebastian Bach (1685 - 1750)

120 minutes

Johann Sebastian Bach’s Christmas Oratorio, composed in 1734 for choir, solo singers and choir, is a musical celebration of the biblical Christmas story. Tracing the birth of Christ, the adoration of the shepherds and the visitation of the Wise Men, Bach draws upon the full resources of orchestra, chorus and vocal soloists to bring poignancy and humanity to the age-old nativity story.

The full oratorio consists of six cantatas (kind of mini-concerts). Each part was meant to be performed on a different day during the Christmas season. This evening you’ll hear four parts; one, two, three and six.

Blicke mir nicht in die Lieder!

Blicke mir nicht in die Lieder!
Meine Augen schlag’ ich nieder,
Wie ertappt auf böser Tat.
Selber darf ich nicht getrauen,
Ihrem Wachsen zuzuschauen.
Deine Neugier ist Verrat!

Bienen, wenn sie Zellen bauen,
Lassen auch nicht zu sich schauen,
Schauen selbst auch nicht zu.
Wenn die reichen Honigwaben
Sie zu Tag gefördert haben,
Dann vor allen nasche du!

Do not look into my songs!

Do not look into my songs!
I lower my gaze,
As if caught in the act.
I dare not even trust myself
To watch them growing.
Your curiosity is treason.

Bees, when they build cells,
Let no one watch either,
And do not even watch themselves.
When the rich honeycombs
Have been brought to daylight,
You shall be the first to taste!

Part one is a thrilling start to the Christmas Oratorio. Focusing on the announcement of Jesus’ birth, it’s jubilant, energetic and conjures a sense of wonder. Blazing trumpets and pounding timpani immediately set a regal tone in music fit for a king, highlighting the importance of Jesus’ birth. The chorus brings a sense of uncontainable joy with its cascading lines and bursts of energy.

The narrative begins with the Evangelist’s recitative (performed by tenor Louis Hurley), recounting the decree from Caesar Augustus that led Mary and Joseph to Bethlehem. We move into a serene and contemplative mood with the chorale and aria; the latter urging spiritual preparation for Christ’s arrival. Listen out for the emotion in the Aria performance (Hannah Fraser) and the oboe in this section.

The first cantata captures the essence of Christmas—the awe, joy, and personal reflection—making it a stunning introduction.

Ich atmet’ einen linden Duft

Ich atmet’ einen linden Duft!
Im Zimmer stand
Ein Zweig der Linde,
Ein Angebinde
Von lieber Hand.
Wie lieblich war der Lindenduft!
Wie lieblich ist der Lindenduft!
Das Lindenreis
Brachst du gelinde;
Ich atme leis
Im Duft der Linde
Der Liebe linden Duft.

I breathed a gentle fragrance

I breathed a gentle fragrance!
In the room stood,
A spray of lime,
A gift
From a dear hand.
How lovely the fragrance of lime was!
How lovely the fragrance of lime is!
The spray of lime
Was gently plucked by you;
Softly I breathe
In the fragrance of lime,
The gentle fragrance of love.

This second part focuses on the story of the shepherds in the fields who receive the angelic announcement of Christ's birth, as told in the Gospel of Luke. Compared to the grandeur of the first cantata, this part is more subdued and intimate. It begins with the serene Sinfonia, also known as the Pastoral Symphony, an instrumental movement in 12/8 time that evokes the calm and simplicity of the shepherds' rural setting. The lilting rhythms and gentle orchestration of strings, flutes, and oboes create an atmosphere of peaceful anticipation.

The Evangelist (tenor) narrates the story in recitatives, starting with the shepherds watching over their flocks. The first chorale, "Brich an, o schönes Morgenlicht", captures the shepherds' wonder and joy in a radiant, hymn-like melody. A bass recitative then introduces the angel’s message, with the comforting words “Fear not!” before the tender aria; a lullaby for the baby Jesus.

Throughout this cantata, listen for how the instruments sometimes "answer" or complement the singers.

Um Mitternacht

Um Mitternacht
Hab’ ich gewacht
Und aufgeblickt zum Himmel;
Kein Stern vom Sterngewimmel
Hat mir gelacht
Um Mitternacht.

Um Mitternacht
Hab’ ich gedacht
Hinaus in dunkle Schranken.
Es hat kein Lichtgedanken
Mir Trost gebracht
Um Mitternacht.

Um Mitternacht
Nahm ich in acht
Die Schläge meines Herzens;
Ein einz’ger Puls des Schmerzes
War angefacht
Um Mitternacht.

Um Mitternacht
Kämpft’ ich die Schlacht,
O Menschheit, deiner Leiden;
Nicht konnt’ ich sie entscheiden
Mit meiner Macht
Um Mitternacht.

Um Mitternacht
Hab’ ich die Macht
In deine Hand gegeben!
Herr! über Tod und Leben
Du hältst die Wacht
Um Mitternacht!

At midnight

At midnight
I kept watch
And looked up to heaven;
Not a star in the galaxy
Smiled on me
At midnight.

At midnight
My thoughts went out
To the dark reaches of space;
No shining thought
Brought me comfort
At midnight.

At midnight
I paid heed
To the beating of my heart;
A single pulse of pain
Was set alight
At midnight.

At midnight
I fought the battle,
O Mankind, of your afflictions;
I could not gain victory
By my own strength
At midnight.

At midnight
I gave my strength
Into Thy hands!
Lord over life and death,
Thou keepest watch
At midnight.

The story moves into the journey of the shepherds to see the newborn Christ. It’s joyful and majestic, highlighting the contrast between Christ’s divine kingship and his humble entrance into the world. The opening chorus sounds vibrant and the text acknowledges human inadequacy in expressing divine glory, reflected in the “stammering” or “murmur” (lallen) mentioned in the text.

The Evangelist (tenor) continues narrating the shepherds’ story, describing their journey to Bethlehem to see the Christ child. Then our bass, Christopher Richardson, delivers a powerful recitative, urging the angels to rejoice and sing, before a noble sounding aria.

Listen out for the string section; the violins, violas, and cellos provide the underlying harmonic foundation and rhythmic drive.

Liebst du um Schönheit

Liebst du um Schönheit,
O nicht mich liebe!
Liebe die Sonne,
Sie trägt ein goldnes Haar.
Liebst du um Jugend,
O nicht mich liebe!
Liebe den Frühling,
Der jung ist jedes Jahr.
Liebst du um Schätze,
O nicht mich liebe!
Liebe die Meerfrau,
Sie hat viel Perlen klar.
Liebst du um Liebe,
O ja, mich liebe!
Liebe mich immer,
Dich lieb’ ich immerdar.

If you love for beauty

If you love for beauty,
O love not me!
Love the sun,
She has golden hair.
If you love for youth,
O love not me!
Love the spring
Which is young each year.
If you love for riches,
O love not me!
Love the mermaid
Who has many shining pearls.
If you love for love,
Ah yes, love me!
Love me always,
I shall love you ever more.

The grand and triumphant finale of the Oratorio! This cantata shifts focus from the shepherds to the broader implications of Christ’s birth. It emphasises Christ’s role as the triumphant saviour, overcoming adversity through faith and bringing peace and redemption to humanity.

The choir and orchestra work together to create a sense of victory with vigorous rhythms and bold trumpet fanfares. Tension and drama in the story is conveyed by a bold aria and recitatives.

A highlight of this cantata is a duet aria between our alto and tenor, "Now you are well avenged". It celebrates the ultimate victory over sin and death, framing Christ’s birth as the fulfillment of divine justice.

Listen out for the closing chorus, featuring a triumphant repetition of the earlier duet, this time with the power of the full choir and orchestra.

Playing the unplayable

Violin Concerto in D, Op 35

Allegro moderato
Canzonetta: Andante
Finale: Allegro vivacissimo

Composed by Pyotr Ilyich Tchaikovsky (1840 – 1893)

33 minutes

💡 FIRST-TIMER TIP

The names of movements in symphonies often follow traditional conventions that give insight into the character, tempo, and sometimes the form of each section.

These terms not only instruct performers on the tempo and mood of each movement but also guide listeners through the emotional and narrative arc of the symphony. For example, ‘Allegro’ refers to tempo and ‘molto’ translates to very, so: very fast!

Fast finger work, balancing precision with expressiveness and physical endurance...just some of the reasons why Tchaikovsky’s Violin Concerto is a famous challenge for violin soloists. The concerto is so incredibly taxing the violinist who was supposed to give the world premiere backed out claiming that it was impossible. German violinist Clara-Jumi Kang joins the TSO to take it on.

One of the most celebrated works in the violin repertoire, the concerto is admired for its fiery virtuosity and emotional richness. Composed in 1878 during a turbulent period in Tchaikovsky’s life (makes sense perhaps?), the concerto reflects his ability to channel personal struggles into powerful music. First reviews of the piece had critics calling it “long and pretentious” and even “music that stinks to the ear.” but over time, its expressive power and technical brilliance have elevated it to a revered status.

The first movement welcomes us in with a lively orchestral introduction, leading to the entrance of the solo violin, which introduces a warm, flowing main theme. Our violinist Clara-Jumi is required to jump right in; there are thrilling climaxes and dazzling, intricate passages.

We slow things down in the second movement with the Canzonetta, or “little song” in Italian. This part is deeply moving, as though the violin is sharing an intimate, heartfelt secret with the listener. It’s a moment of calm in the concerto, a chance to sit with the music and reflect.

Finally, the third movement bursts forth with energy and excitement. The music becomes lively and playful, with inspiration from Russian folk music, as though the violin can’t help but leap and spin with joy. This movement presents formidable technical challenges, as it requires the violinist to maintain both speed and articulation. It’s a thrilling finale - don’t be surprised if you end up on the edge of your seat, swept up in Tchaikovsky's passion and creativity.

Pathos & exhilaration

Symphony No 7 in D minor

Allegro maestoso
Poco adagio
Scherzo: Vivace - Poco meno mosso
Finale: Allegro

Composed by Antonín Dvořák (1841-1904)

35 minutes

Dvořák’s Symphony No 7 is unique because it blends his national pride and love of Czech folk music with a more universal, serious symphonic style. It’s as if he’s speaking both as a Czech patriot and as a composer with a message for the world. Dvořák wrote this symphony during a time when he was becoming well-known beyond his native Bohemia (now part of the Czech Republic). He felt a strong sense of responsibility to represent his country and its culture on the world stage, but he was also grappling with personal struggles and the difficult political situation in his homeland. Dvořák’s work reflects those challenges, combining feelings of hope, struggle, and resilience. The symphony is admired for its emotional depth, and while it doesn’t have the bright, catchy tunes of some of his famous other works, it will draw you in with its sincerity and power.

The first movement opens with an ominous theme in D minor, immediately establishing a tense, brooding atmosphere. This movement exemplifies Dvořák’s mastery of thematic development, as he works and reworks the primary theme, allowing it to transform and intensify. Listen out for the clarinet in the opening, with it’s mournful resonance.

The second movement provides a lyrical, almost hymn-like respite from the intensity of the first. Dvořák’s orchestration here is particularly subtle, using the winds and strings to create layers of color and texture. There are some key moments for solo violin, adding a folk-like sound.

Folk elements are back in the third movement. The scherzo injects energy and rhythm, showcasing Dvořák’s love for Czech folk dances, particularly the furiant with its characteristic cross-rhythms. While lively, the scherzo is not without its shadows, carrying a subtle undercurrent of tension that ties it to the symphony’s darker themes.The timpani provides a grounded, rhythmic energy throughout.

Our finale is here! The symphony comes full circle, full of momentum, with strong, bold themes that feel almost heroic (looking at you trumpets). While the ending is intense and triumphant, it also feels a bit unresolved, leaving the listener with a lingering sense of mystery.

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Musicians

Stephen Layton MBE

Conductor

Supported by Anonymous

Awarded with an MBE for services to classical music in October 2020, Stephen Layton is one of the most sought-after conductors of his generation. Often described as the finest exponent of choral music in the world today, his ground-breaking approach has had a profound influence on choral music over the last 30 years. Having taken up the post of Principal Conductor of the Slovenian Philharmonic Choir from the start of the 2024/25 season, Layton is also Founder and Director of Polyphony, and Director of Holst Singers. Layton recently stepped down as Fellow and Director of Music at Trinity College Cambridge - a post he held for 17 years. His other former posts include Chief Conductor of Netherlands Chamber Choir, Chief Guest Conductor of Danish National Vocal Ensemble, Artistic Director and Principal Conductor of City of London Sinfonia, and Director of Music at the Temple Church, London.

Layton is regularly invited to work with the world’s leading choirs, orchestras and composers, and his recordings have won or been nominated for every major international recording award. With Britten Sinfonia, his eight highly acclaimed recordings include Handel’s Messiah (“Best Messiah recording” – BBC Music Magazine); and with Orchestra of the Age of Enlightenment, whom he collaborates widely, he has recorded Bach’s Christmas Oratorio, B Minor Mass and St John Passion.

Layton’s interpretations of Bach and Handel have been heard across the globe with orchestras ranging from Academy of Ancient Music to the London Philharmonic and Philadelphia orchestras. Performances include Messiah in Sydney Opera House, the first staged St John Passion with English National Opera, and regular BBC broadcasts of his annual performances of Messiah and St John Passion with Polyphony at St John’s Smith Square, London.

Clara-Jumi Kang

Violinist

Supported by Anonymous

Violinist Clara-Jumi Kang is celebrated worldwide for her exceptional musicality and technical mastery. She has earned numerous prestigious awards, including first prizes at the Indianapolis International Violin Competition (2010), the Sendai Violin Competition, and the Seoul Violin Competition. Her 2021 Beethoven Violin Sonatas album with pianist Sunwook Kim received widespread acclaim.

Kang's upcoming highlights feature a return to the BBC Proms to perform Mozart’s Sinfonia Concertante with Timothy Ridout, an appearance with the Los Angeles Philharmonic at the Hollywood Bowl, and her debut at the Salzburg Festival under Andrew Manze. She will also return to the Israel Philharmonic and the Seoul Philharmonic, perform debut concerts with orchestras such as the Atlanta Symphony, the Shanghai Symphony, and the Netherlands Philharmonic, and embark on recital tours across Korea, Berlin, and Hong Kong.

Recent seasons have seen her collaborate with leading orchestras including the New York Philharmonic, Munich Philharmonic, and the Budapest Festival Orchestra, and with renowned conductors such as Paavo Järvi and Lahav Shani. Her accolades include being named one of Korea’s 100 Most Promising People by Dong-A Times and receiving the Daewon Music Award in 2012.

A dedicated chamber musician, Kang frequently performs at major festivals alongside artists like Janine Jansen and Gidon Kremer. Born in Germany to a musical family, she studied with esteemed teachers, including Dorothy Delay at Juilliard. Currently, she performs on the 1702 "Thunis" Stradivarius, generously loaned by KIA.

Orchestra List

Stephen Layton Conductor

Amy Moore soprano

Hannah Fraser mezzo-soprano

Louis Hurley tenor

Christopher Richardson bass

Tasmanian Symphony Orchestra

TSO Chorus

Violin

Emma McGrath Concertmaster

Ji Won Kim Associate Concertmaster

Lucy Carrig-Jones Principal Second

Jennifer Owen Principal First

Miranda Carson

Tobias Chisnall

Michael Johnston

Elinor Lea

Susanna Low

Christopher Nicholas

Hayato Simpson

💡 FIRST-TIMER TIP

Did you know our Concertmaster plays a violin hand-crafted by one of the finest and most important luthiers (a string-instrument maker) of the nineteenth century, Jean-Baptiste Vuillaume (1798–1875).

He crafted 3000+ instruments in his time and we’re very proud to have a violin made in 1845 on loan from two of our generous Tasmanian patrons.

Viola

Caleb Wright Principal

Douglas Coghill

Cello

Jonathan Békés Principal

Nicholas McManus

Double Bass

Stuart Thomson Principal

Flute

Lily Bryant Guest Principal

Maria Hincapie Duque

Oboe

Sarah Young Guest Principal

Dinah Woods Principal Cor Anglais

Dafydd Camp

Alexandra King

Clarinet

Andrew Seymour Principal

Eloise Fisher Principal Bass Clarinet

Bassoon

Tahnee van Herk Principal

Horn

Claudia Leggett Guest Principal First

Julian Leslie Guest Principal Third

Jules Evans

Aaron Molnar

Trumpet

Fletcher Cox Principal

Mark Bain

Darcy O'Malley

Trombone

David Robins Principal

Jackson Bankovic

Bass Trombone

Michael Szabo Guest Principal

Tuba

Rachel Kelly Principal

Timpani

Matthew Goddard Principal

Percussion

Gary Wain Principal

Harp

Meriel Owens Guest Principal

Piano/Celeste

Michael Power Guest Principal

Organ

Nathan Cox Guest Principal

Chorus List

Warren Trevelyan-Jones Chorus Master

Karen Smithies Repetiteur

Soprano

Christine Boyce

Emma Bunzli

Christine Coombe

Felicity Gifford

Yuliana Hammond

Kasia Kozlowska

Bernadette Large

Loretta Lohberger

Sophia Mitchell

Schuya Murray

Shaunagh O’Neill

Joy Tattam

Lesley Wickham

Alto

Claire Blichfeldt

Sally Brown

Carmelita Coen

Beth Coombe

Elizabeth Eden

Ann Godber

Sue Harradence

Caroline Miller

Sally Mollison

Rosemary Rayfuse

Louise Rigozzi

Georgie Stilwell

Meg Tait

Gill von Bertouch

Beth Warren

Tenor

Helen Chick

Phillip Clutterbuck

Michael Kregor

Bill MacDonald

Tony Marshall

Simon Milton

Dianne O’Toole

David Pitt

James Powell-Davie

Alexander Rodrigues

Peter Tattam

Bass

Geoffrey Attwater

John Ballard

Tim Begbie

Peter Cretan

Jack Delaney

Greg Foot

Sam Hindell

Reg Marron

Michael Muldoon

David Ovens

Tony Parker

Grant Taylor

*Correct at time of publishing

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Coming up

Karen Gomyo

Sparks will fly, featuring Karen Gomyo.

Delius The Walk to the Paradise Garden
Dvořák Violin Concerto in A minor, Op 53
Robert Schumann Symphony No 1 in B-flat, Op 38, ‘Spring’

Coming up

Federation Concert Hall 12

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See what concerts are happening in Federation Concert Hall in 2025.

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