Let us now go to Bethlehem – Instrumental music for the Christmas season
Performers: Collegium tubicense, Ulm / Woodwind ensemble and chamber orchestra of Army Music Corps 10, Ulm / Karl-Heinz Schulz and Matthias Hanisch, violin / Willi Emmrich and Harald Recktenwald, oboe / Conductor: Simon Dach

THE ANNUNCIATION
Theme and Variations ‘La Folia’
Arcangelo Corelli / Max Reger

And Our Lady 1'14''
Arrangement of a song by Bertold Hummel

Come, Saviour of the whole world
Canonical song arrangement by Johann Schelle

THE VISITATION OF THE BLESSED VIRGIN MARY

Mary walked through a forest of thorns 0'41"
Arrangement by Bertold Hummel

Mary walks over the mountains
Motet by Johann Eccard

A Ship Is Coming, Laden
Arrangements by Ernst Pepping, Karl Heinz Weber and Max Reger

IN BETHLEHEM

Who’s knocking? 0'37"
Song arrangement by Bertold Hummel

Open wide the door
Arrangements of songs by Fr. Hänßler, Karl Norbert Schmid and Max Reger

Symphonie de Noël
Michel-Richard de Lalande

THE BIRTH OF CHRIST

The Saviour is born 1'17''
Arrangement by Bertold Hummel

Pastorale
from the Christmas Concerto by Francesco Manfredini

As I keep watch over my sheep
Arranged by Otmar Faulstich

Pifa
from the oratorio *The Messiah* by George Frideric Handel

An angel came, pure and bright
Arrangements by Michael Praetorius, Johann Crüger, Georg Forster and Johann Sebastian Bach

THE ADORATION OF THE SHEPHERDS

Come, O Shepherds 0'49"
Arrangement by Bertold Hummel

Shepherds’ Music (Jumping Dance)
Bernhard Krol

Christmas Pastoral
Gaetano Maria Schiassi

Joseph, dear Joseph of mine 0'40"
Arrangement by Bertold Hummel

I stand here by your manger
Johann Sebastian Bach

ANGEL CONCERTO

Prelude
based on ‘Es ist ein Ros entsprungen’ by Bernhard Krol

Pastorale
from the Christmas Symphony by Giuseppe Valentini

THE WISE MEN FROM THE EAST

A Child is Born in Bethlehem
Vocal settings by Michael Praetorius, Bartholomäus Gesius and Melchior Vulpius

The Adoration of the Magi 0'35"
Bertold Hummel

Concerto in E minor
Georg Philipp Telemann

Praise God, O Christians
Arranged by Josef Stein Song cycle by Leonhart Schröter

Recording: ?

Sonata ‘La Folia’ (Variations on a theme by Farinelli) by Arcangelo Corelli (1653–1713), Op. 5 No. 12 (composed in 1700) for solo violin and orchestra, in an arrangement by Max Reger (1873–1916). We are familiar with depictions of the various ‘stations’ of the Christmas story from many examples in art history. Sacred folk songs, the vast body of choral music and the ‘Christmas concertos’ in instrumental music on this theme have also drawn inspiration from them.

“And our dear Lady had a dream: how a tree had grown beneath her heart, Kyrieleison. And our dear Lady bore a little child; of this we will now sing and be merry!” (Miniature based on the sacred folk song for woodwinds, strings and percussion by Bertold Hummel. *1925). The oldest Advent hymn in our Western tradition – with text dating from the 4th century and melody from the 12th – is the “Veni redemptor gentium”. “Come, Saviour of the whole world; Son of the Virgin, make yourself known. Let all living creatures marvel at this: thus God will become man.” (Canonical choral arrangement for six instruments by Johann Schelle, 1648–1701).

In legend and the tradition of hymns, many generations have depicted and embellished the events surrounding the mystery of God’s Incarnation: “Mary walked through a cathedral forest — Kyrieleison! — which had borne no leaves for seven years. Jesus and Mary. There the roses bore thorns — Kyrieleison! — as the little Child was carried through the forest. Jesus and Mary.” (Miniature by Bertold Hummel)

“Over the mountains Mary goes to her cousin Elizabeth. She feels an urge in her breast; she must proclaim the word of the Spirit; she greets the Mother of the Lord with trust, and Mary sang joyfully and loudly: My soul magnifies the Lord, my spirit rejoices in God; he is my Saviour and my God. He will always be merciful!” (5-part motet by Johann Eccard, 1553–1611) Poetry, too, takes up the theme. Many verses of these hymns are not only fine poetry, but at the same time a deeply devout proclamation and interpretation of the Christmas event: “A ship is coming, laden to its very brim, carrying God’s Son full of grace, the Father’s eternal Word. The anchor is cast on earth; there the ship lies at anchor. The Word is to become flesh for us; the Son is sent to us. Born in a stable in Bethlehem, a little child gives himself up for us: He must be praised!” (Lyrics by Ernst Pepping, *1901, Karl Heinz Weber, *1927, and Max Reger, 1873–1916) Many Christian customs are also associated with the preparations for Christmas, for example the ‘women’s questions’ or the search for shelter, which is linked to the following Tyrolean folk song: ‘Who’s knocking? – “Oh, two very poor people!”’ - “What do you want, then?” – “Oh, give us shelter tonight! Oh, for God’s sake, we beg you, do open your huts to us!” - Oh no, no, no! - “We want to be grateful!” - It cannot be! - Oh, do let us in!” - No, it simply cannot be. Go away now, you shall not come in!” (Miniature by Bertold Hummel)

As a sign of pious devotion (“godliness”), people decorate their houses with fir branches and open their doors to the King: “Lift up the door, throw open the gate, for the Lord of Glory is coming... . Lift up the door, open wide the gate, prepare your hearts as a temple. Place the twigs of piety with devotion, joy and gladness; thus the King will come to you too, bringing salvation and life at the same time. Praise be to my God, full of counsel, full of deeds, full of grace.” (Lyrics by Fr. Hänßler, Karl Norbert Schmid, *1926, and Max Reger, 1873–1916)

“Simphonies de noels” by Michel-Richard de Lalande, 1657–1726, for woodwinds, strings and basso continuo. Some of these Christmas pieces were performed in the royal court chapel of Louis XIV at Versailles during the period between the end of Matins and midnight, when Mass began.

“The Saviour is born! Rejoice , O Christian world! Otherwise we would be lost for all eternity. Rejoice with all your hearts, all you Christians, come here to the little Child in the stable!” (Miniature by Bertold Hummel)
On Christmas Eve, music composed especially for this occasion was played. In a sense, this was a way of joining the shepherds and their music-making at the manger, using so-called ‘pastorals’. The instrumental pieces titled ‘Pastorale’ make use of the lulling 12/8 time signature typical of the folk music of Italian shepherds (hence often referred to as ‘Siciliana’). (“Pastorale per il Santissimo Natale” by Francesco Manfredini, 1680–1748, for string orchestra) Many Christmas carols recount the events at Bethlehem in the shepherds’ own words: “As I watched over my sheep, an angel brought me the message. I am glad, glad, glad, glad! Benedicamus Domino!” (Lyrics by Otmar Faulstich, *1938)

The shepherds’ music, too, has always been a source of inspiration for composers. They often named their works accordingly; for instance, Handel referred to a piece of shepherds’ music in his oratorio *The Messiah* as ‘Pifa’(‘piffaro’ – a shepherd playing the shawm or flute). (‘Pifa’ from the oratorio *The Messiah* by George Frideric Handel, 1685–1759)

The words of the angels and shepherds in the fields of Bethlehem form the starting point for many Christmas ‘narrative songs’: ‘There came an angel, bright and clear, from God down to the field to the flock of shepherds; he was truly joyful at heart and spoke to them cheerfully thus: “From heaven on high, I come; I bring you good news; I bring so much good news that I will sing and tell it all. ‘A little child is born to you today, chosen from a virgin; a little child, so tender and fair, who shall be your joy and delight!’” (Text: Martin Luther. Musical settings by Michael Praetorius, 1571–1621, Johann Crüger, 1598–1663, and Georg Fôrster, 1510–1568. Chorale arrangement by Johann Sebastian Bach, 1685–1750)

Those who sang these Christmas folk songs have always enjoyed identifying with the shepherds; they went with them to the manger to worship and make music. ‘Come, you shepherds, men and women! Come and behold the lovely little Child! Christ the Lord is born today, whom God has chosen as your Saviour. Fear not! ’(Miniature by Bertold Hummel)

This has always been accompanied by the notion that the shepherds also played music to dance to in their joy: shepherds’ music (“Springtanz” for 6 woodwinds from the cantata “In dulci jubilo”, Op. 25, by Bernhard Krol, *1920.“Pastorale per il Santissimo Natale di nostro Sgnr Jesu” by Gaetano Maria Schiassi, 1698–1754.)

The old folk song from the 14th century tells of ‘rocking the baby’: ‘Joseph, dear Joseph of mine, help me rock my little one! God, the Son of the Virgin Mary, will be your reward in the Kingdom of Heaven.’ (Miniature by Bertold Hummel)

“I stand here by your manger, O Jesus, you are my life. I come to bring and offer you what you have given me. Take it; it is my spirit and mind, heart, soul and courage; take it all and be well pleased with it.” (Text: Paul Gerhard. Melody: Johann Sebastian Bach)

But it was not only the shepherds’ music at the manger that people sought to recreate; the concert of the angels, which surely could not have been contained within their heaven, was also a popular notion. Prelude from the cantata Op. 25 ‘In dulci jubilo’ by Bernhard Krol. The lower voice of this composition features the old melody of the hymn ‘Es ist ein Ros entsprungen aus einer Wurzel zart’ (Michael Praetorius). ‘Sinfonia per il Santissimo Natale ’ for strings and basso continuo, Op. 1 No. 12, by Giuseppe Valentini (1681–1746).

The homage paid by the Magi from the East has also captured the imagination of all artists who have engaged with the story of Bethlehem. An adaptation of the hymn “Puer natus in Betlehem” is one of the oldest “Epiphany songs”: “A child is born in Bethlehem; Jerusalem rejoices. Hallelujah! The kings from Sheba came here; gold, frankincense and myrrh they offered. Hallelujah! They went into the house and greeted the Child and His mother. Hallelujah! They fell to their knees and said: ‘God and man are here!’ Hallelujah!” (Sets of songs by Michael Praetorius, 1571–1621, Bartholomaus Gesius, 1562–1613, and Melchior Vuipius, 1570–1615)

The ‘exotic’ character of these Orientals is, of course, also musically appealing. It has found expression in many forms of instrumental music and is often brought into play in this context, as in the ‘Homage of the Orientals’. (Miniature by Bertold Hummel)

Presto movement from the Concerto in E minor for recorder, flute, strings and basso continuo by Georg Philipp Telemann, 1681–1767.

Contemplating the Christmas story – in whatever form it is presented – aims to lead Christians to praise and give thanks for what God intended to do for us humans through this event, which remains effective for all time. “Praise God, all you Christians alike, on His highest throne, who today opens the gates to His heavenly kingdom and grants us His Son. Today He opens the door to the beautiful Paradise once more; the cherub no longer stands guard over it. To God be praise, honour and glory!” (Melody: Josef Stein, * 1910; Text: Leonhart Schröter, 1532–1601)

Simon Dach