Weihnachts - Oratorium

In the organizer's words:

THE THREE HUNDRED YEAR CANTATA CALENDAR
The cantata "Unser Mund sei voll Lachens" was performed for the first time on December 25, 1725. It is part of Bach's third Leipzig cantata cycle, which is more colorful in style and design than the preceding choral cantata cycle. Between 1728 and 1750, Bach returned to the cantata for Christmas Day several times and adapted it to the respective circumstances. The former Leipzig law student, Darmstadt town clerk and court poet Georg Christian Lehms compiled the libretto from biblical words, reflective aria texts and chorale verses. The infectiously joyful opening message immediately spreads to the sounds and listeners with the entry of the choir.

THAT WOULD HAVE BEEN A LAUGH
To frame the opening chorus, Bach drew on the gravitational part of his orchestral overture BWV 1069. Two transverse flutes infuse the tenor's first aria with soulful
when the miracle of the Incarnation is sung. In the second aria, the laments of the alto and oboe d'amore intertwine, while the third unites the soprano and tenor in the basso continuo
praise of the angels "Glory to God in the highest". This duet was probably familiar to the Leipzigers as an interlude to the Magnificat. The proud counterpart of the bass in the
the solo trumpet in the last aria. A simple chorale verse seals the end of the half-hour cantata, which is not inferior to the Christmas Oratorio, which was first performed 10 years later, neither in terms of musical splendor
in musical splendor and varied vocal and instrumental writing, nor in the subtle illumination of the text. Once again, one can only marvel at the great miracle of Bach's music and - through it - at the greatest miracle of all: the birth of Christ.