CLASSICAL CHRISTMAS
While Johann Sebastian Bach did not wholly succumb to the craze that seized many of his peers, dance à la française found its way into a handful of significant works, among them the Fifth Cello Suite, BWV 1011, as well as four orchestral suites, BWV 1066 – 1069.( Bach did compose a series of so-called“ French Suites” for keyboard, but that moniker did not come from the composer himself, nor does it accurately describe their decidedly Italian character.) Of the orchestral suites, No. 4 in D Major, BWV 1069, is the only to have gained a Yuletide association when Bach repurposed the opening movement for his 1725 Christmas cantata, Unser Mund sei voll Lachens, BWV 110.
With its characteristic dotted rhythms( short-long, short-long) and stately bearing, the Ouverture immediate establishes a French feel. Two lively Bourées follow, one in D major and the other B minor, both heavily spotlighting winds and brass. The Gavotte— whose origins lie in folk dance— is moderately paced with poise and grace. Two stylish triple-meter Minuets follow, the second taken up by only strings. The concluding movement’ s title,
“ Réjouissance,” does not refer to any established dance form, but rather points up the finale’ s joyous mood.
Instrumentation: Three oboes, bassoon, three trumpets, timpani, harpsichord, and strings.
George Frideric Handel
Born February 23, 1685, in Halle, Germany Died April 14, 1759 in London, England
SELECTIONS FROM MESSIAH, HWV 56 [ 1741 ]
In 1712, George Frideric Handel arrived in London, where, for the next three decades, the Prussian composer would stake his reputation on composing Italian operas for British audiences. By 1740, he would be one of the most decorated men in England, celebrated by king and country alike, although his detractors increasingly called him old fashioned. Such an accusation was not without basis in light of the waning popularity of Italian opera. However, Handel was well accustomed to the notoriously fickle tastes of London audiences and turned instead towards a new form of music drama through which he could channel his mastery in combining orchestra, chorus, and vocal soloists: the oratorio. Of these, Messiah represents his most cherished.
Handel composed Messiah in only 24 days, between August 22 and September 14, 1741. The text, drawn from biblical sources, was compiled by friend and patron Charles Jennens, a devout Anglican.( Jennens actually accosted Handel for rushing the project, but such expeditiousness was consistent with the composer’ s operatic works, and thus Handel rightly dismissed the accusation.) Messiah was premiered in Dublin on April 13, 1742, and London the following year. Public response was initially lukewarm, but demand increased after only a decade or so, and the work has been performed more or less continuously since.
Handel casts Messiah in three acts. Act I depicts Christ’ s nativity( Christmas). Act II tells of his passion, crucifixion, and resurrection( Easter), as well as God’ s eventual victory over those who deny the Gospels. Act III( not excerpted in this evening’ s program) depicts the final Day of Judgment. As such, Handel’ s music spans an enormous emotional gamut. Most salient, however, are the feelings of joy and exaltation offered by this music, among them serene hopefulness in“ Comfort ye, my people,” tender adoration in“ Behold the Lamb of God,” and the ebullience of the“ Hallelujah” anthem with its resplendent choral fugue. Little wonder that, over the course of nearly three centuries, this music has become synonymous with a season centered around gratitude and good cheer.
Instrumentation: Two oboes, bassoon, two trumpets, timpani, harpsichord, portative organ, strings, and chorus, in addition to solo soprano and tenor.
JACOB JAHIEL is a PhD student in Historical Musicology at the University of Pennsylvania. He is co-editor of a forthcoming historical collection of music criticism,“ Defending the Music: Michael Steinberg at the Boston Globe, 1964 – 1976”( Oxford University Press, 2026).
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