Nativity of Jesus in later culture

The birth of Jesus has been depicted since early Christianity, and continues to be interpreted in modern artistic forms. Some of the artforms that have described His Nativity include drama (including television and films) and music (including opera).

Literature

Drama

Opera and musicals

  • Rutland Boughton, English composer and founder of the original Glastonbury Festival, wrote a very popular Nativity opera in 1915 called Bethlehem. In 1926, in sympathy with the General Strike and the miners' lockout, he restaged it in London, in modern dress, with Jesus born in a miner's cottage and Herod as the top-hatted capitalist, flanked by soldiers and police.[3]
  • Two From Galilee - A musical of Mary and Joseph leading up to the birth of Jesus Christ
  • Amahl and the Night Visitors by Gian Carlo Monetti

Film

Television

Classical music

See also Category:Christmas music

  • Eustache Du Caurroy, 5 variations on "Une jeune fillette" (1610), first Christmas known for instruments.
  • Heinrich Schütz, Weihnachts-Historie (Christmas oratorio), 1664 (SWV 435)
  • Nicolas Gigault, 17 Noëls variés (1682).
  • Marc-Antoine Charpentier, 9 vocal settings and 2 instrumental settings :
    • Messe de Minuit H 9 pour solistes, choeur, flûtes, cordes et basse continue (1690)
    • In nativitatem Domini canticum H 314 pour 4 voix, 2 flûtes, 2 violons et basse continue (1670)
    • Canticum in nativitatem Domini H 393 pour 3 voix, 2 dessus instrumentaux et basse continue (1675)
    • Pastorale de Noël H 414 pour solistes, choeur, 2 dessus instrumentaux et basse continue (1683-85)
    • Oratorio de Noël H 416 pour solistes, choeur, flûtes, cordes et basse continue (1690)
    • Dialogus inter angelos et pastores Judae in nativitatem Domini H 420 pour solistes, choeur, flûtes, cordes et basse continue (1695?)
    • In nativitatem Domini Nostri Jesu Christi canticum H 421 pour 3 voix et basse continue (1698-99)
    • Pastorale de Noël H 482 pour solistes, choeur, 2 dessus de violes et basse continue (1683-85)
    • Pastorale de Noël H 483 H 483 a H 483 b pour solistes, choeur, 2 flûtes, 2 dessus de violes et basse continue (1683-85)
    • Noël pour les instruments H 531 pour flûtes, cordes et basse continue (1688?)
    • Noël sur les instruments H 534 pour flûtes, cordes et basse continue (1698)
  • Sébastien de Brossard Messe de Noël SdB.5 (1700)
  • Nicola Porpora, Oratorio de Noël, Il Verbo in Carne
  • Alessandro Scarlatti, Oratorio de Noël (1705)
  • Michel-Richard de Lalande, Symphonies de Noël S 130 (1727-36 et 1736-45)
  • Louis Grénon, Messe en Noëls en si bémol majeur
  • Carl Heinrich Graun, Oratorium in Festum Nativitatis Christi
  • Johann Sebastian Bach, Oratorio de Noël BWV 248-I à 248-VI (1734)
  • André Campra, Oratorio de Noël, Nativitas Domini Jesu Christi (1710)
  • Giuseppe Valentini, Sinfonia per Santissimo Natales
  • Pierre Dandrieu publishes in 1714, un Livre de 42 Noëls for organ (mainly) and harpsichord.
  • Michel Corette, about Christmas :
    • Concerto Spirituel, 1731.
    • Pastorale, 1732.
    • III Concerto de Noëls, 1735.
    • Noëls Suisses, 1737.
    • Noël Allemand "Lobt Gott, ihr Christen, alle gleich", 1741.
    • Concerto de noëls, 1754, lost.
  • François-Joseph Gossec, La Nativité, Oratorio (1774)
  • Jean-François Lesueur, Messe oratorio de Noël (1786)
  • Camille Saint-Saëns, Oratorio de Noël op. 12 for 5 soloists, chorus, organ, harp and strings (1858)
  • Hector Berlioz, la trilogie sacrée L'Enfance du Christ op. 25 (1854)
  • Alexandre Guilmant, Noëls Opus 60
  • Gabriel Pierné, Les Enfants à Bethlehem, Mystère en deux parties for soloists, children chorus and Orchestra (1907)
  • Arthur Honneger, Une Cantate de Noël
  • Jean-Michel Cayre, Oratorio de Noël (1982)
  • Witold Lutosławski, Les Chants de Noël polonais (1946).

Notes

  1. Hunt, J. (March 1975). "Moorat". The Musical Times. 116 (1585): 228. doi:10.2307/959098.
  2. Quinn, Bernard J. (Spring 1972). "The Politics of Despair versus the Politics of Hope: A Look at Bariona, Sartre's First pièce engagée". The French Review (Special Issue, No. 4, Studies on the French Theater): 95–105.
  3. Liner notes to Hyperion Records, Russell Boughton, The Immortal Hours


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