Johann Sebastian Bach’s Christmas Oratorio (1734)

The Christmas Oratorio (Weihnachtsoratorium) was one of three oratorios written by Johann Sebastian Bach in 1734 and 1735 for major feasts, the other two being the Ascension Oratorio and the Easter Oratorio. The Christmas Oratorio is by far the longest: in full, it is nearly three hours long but it is made up of six parts, each cantata being intended for performance on one of the major feast days of the Christmas period.

The first cantata would be played on Christmas Day, and describes the Birth of Jesus; the second, for 26th December, describing the annunciation to the shepherds; the third (27th December), the adoration of the shepherds; the fourth (New Year’s Day), the circumcision and naming of Jesus; the fifth (the first Sunday after New Year), the journey of the Magi; and the final one (Epiphany, on 6th January), the adoration of the Magi.

Bach wrote his pieces in his role as musical director for the city of Leipzig, where he was responsible for church music for the four churches there, and head of the internationally known boys’ choir, the “Thomanerchor”. The oratorio was incorporated into the services of the two main churches, Thomaskirche and Nikolaikirche, during the Christmas season of 1734. That would have been some Christmas service to behold!

The part I’m highlighting here is the first aria from Part I, featuring oboes d’amore, violins and an alto voice, and known by its opening line, Bereite dich, Zion, mit zärtlichen Trieben (“Make yourself ready, Zion, with tender desires”). It is here performed exquisitely by this choirboy and soloists from Munich’s Tölzer Knabenchor, and conducted by Nikolaus Harnoncourt. A more haunting piece of music fit for this season would be hard to find. Grab a mince pie and listen to this. Merry Christmas!

Bereite dich, Zion, mit zärtlichen Trieben,
Den Schönsten, den Liebsten bald bei dir zu sehn!
Deine Wangen
Müssen heut viel schöner prangen,
Eile, den Bräutigam sehnlichst zu lieben!

The “Clinton Baptiste” Scene From Peter Kay’s Phoenix Nights (2001)

Observational comedy takes for its source the minutiae of everyday life that people recognise without necessarily having consciously acknowledged or discussed out loud. Essentially, it begins with “Have you ever noticed…?” and follows up with some amusing observation that hopefully strikes a chord with the audience. A large part of stand-up comedy is based on this premise, of course. When you bring in some well-observed characters, themselves honed from years of observation of various archetypes, and put them into a well-devised situation comedy, you can add a whole new level of humour; Peter Kay is a past master at this.

It’s his observations of life growing up in Bolton that informs Peter Kay’s comedy. In Phoenix Nights, we see his comedy oeuvre at its finest, having filled it with idiosyncratic but true-to-life characters and scenarios gleaned from his experiences of northern working men’s clubs (for fairness, it should be mentioned that it wasn’t solely Kay’s baby: Dave Spikey and Neil Fitzmaurice were co-creators and writers). The Phoenix Club is a fictional working men’s club, home to the usual variety of club themes: cabaret entertainment, bingo nights, karaoke, raffles, fundraisers, and themed nights, with a stage bedecked with a tinselly back-drop and – all mod cons! – a smoke machine.

The scene I’m highlighting is the one starring “psychic medium”, Clinton Baptiste, and it strikes, I think, a seam of comedy gold. Replete with the motifs of the end-of-the-pier entertainer – the campness, the mullet, the flamboyant suit, the local accent at odds with the assumed gravitas of a true mystic – actor Alex Rowe’s character is a gift, and he portrays it brilliantly. The conceit is that Baptiste is a rubbish medium, with no redeeming qualities, and none of the empathy that you would expect from a truly spiritual person.

Not only is he clumsily obvious with his cold-reading techniques (“is there a John in the audience?”), but he also manages to cause offence and upset by delivering the bluntest of messages from “beyond the grave”. To one lady: “You’ve not been well have you? And it is terminal, isn’t it…?” (which is evidently news to her!). And to a man sitting with his wife: “Is there something you wanted to tell her? Get off your chest maybe?”. “What is it?”, we hear the wife demanding, as Clinton walks away.

Incidentally, Alex Rowe has gone on to develop the Clinton Baptiste character, outside of the Phoenix Nights episode – check out the hilarious Clinton Baptiste’s Paranormal Podcast. But for now, let’s watch his original scene, and enjoy Clinton “getting a word”…