Part I
1. Einleitung “Rorate cœli” (Isaiah 45:8) segueing into
2. Pastorale und Verkündigung des Engels “Angelus Domini” (Luke 2: 10–14)
3. Stabat mater speciosa (Hymne)
4. Hirtengesang an der Krippe
5. Die heiligen drei Könige (Marsch) “Et ecce stella” (Matthew 2: 9)
Liszt wrote Christus as a set of musical tableaux depicting scenes in the life of Jesus. It is not a typical oratorio of the 18th- or 19th century; it has no plot; no real characters; and two standalone orchestral pieces, able to be played independently from the work as a whole.
The piece begins with the first part of the life of Jesus: prophecy, birth, visitation of the shepherds and adoration on the Magi. The first large portion of the piece, Weihnachts Oratorium (or Christmas Oratorio) consists of five movements.
The “Einleitung” (Introduction) opens with a tone poem evoking pastoral scenes with motives based upon Latin chants. This movement segues into the ”Pastorale und Verkündigung des Engels” (Announcement of the Angels), which uses a different chant as the basis of the writing. A solo soprano begins the movement, followed by women's semi-choruses—all intended to mimic angelic voices. Eventually the tenor soloist enters and a duet ensues, all leading to a tender and quiet ending.
The piece begins with the first part of the life of Jesus: prophecy, birth, visitation of the shepherds and adoration on the Magi. The first large portion of the piece, Weihnachts Oratorium (or Christmas Oratorio) consists of five movements.
The “Einleitung” (Introduction) opens with a tone poem evoking pastoral scenes with motives based upon Latin chants. This movement segues into the ”Pastorale und Verkündigung des Engels” (Announcement of the Angels), which uses a different chant as the basis of the writing. A solo soprano begins the movement, followed by women's semi-choruses—all intended to mimic angelic voices. Eventually the tenor soloist enters and a duet ensues, all leading to a tender and quiet ending.
The third movement, “Stabat mater speciosa,” (The beautiful mother stood) is a lengthy setting of the Latin hymn praising the Virgin Mary on the birth of Jesus. It is accompanied only by the harmonium and is primarily homophonic.
Movement four, “Hirtengesang an der Krippe” (Shepherd's song at the manger), is for orchestra only and is a portrait of of country folk worshipping the infant Jesus, filled with the sounds of flutes and pipes one would expect to hear in the hills around Bethlehem.
Movement five, “Die heiligen drei Könige’ (The three holy kings) is the other movement for orchestra alone; indeed, it was often played in concert as a standalone piece, and was transcribed for band several times. It opens with the dotted rhythms of walking camels, builds up to a climax where the theme of adoration enters. Liszt masterfully crafts a juxtaposition of the two main themes, while transforming the adoration theme into a grand conclusion.
Movement four, “Hirtengesang an der Krippe” (Shepherd's song at the manger), is for orchestra only and is a portrait of of country folk worshipping the infant Jesus, filled with the sounds of flutes and pipes one would expect to hear in the hills around Bethlehem.
Movement five, “Die heiligen drei Könige’ (The three holy kings) is the other movement for orchestra alone; indeed, it was often played in concert as a standalone piece, and was transcribed for band several times. It opens with the dotted rhythms of walking camels, builds up to a climax where the theme of adoration enters. Liszt masterfully crafts a juxtaposition of the two main themes, while transforming the adoration theme into a grand conclusion.