(I worked with the DVD.) Oratorio in the dramatic Handelian vein also encourages us to view this work on its own terms. His performances often sit betwixt and between prevailing approaches without an especially definable artistic presence. It's all here. His view is principally one of theatrical observation through imaginative calibrations of texture between voices and instruments, of which the poised New London Consort are masters in earlier repertoire. „…maradj mindig mellettem! Because Christmas means summertime in the Southern Hemisphere, some families like to go on holiday to find a place in the sun or go to their summer bach (holiday house) in New Zealand. Judging by the autograph score, he was working fast. Even so, Schreier’s Bach comes from within (and this is where he is more a Richter than a Rilling) and his understanding regularly makes disarming sense of the music. There are three complete DVDs of Bach’s Christmas Oratorio. 5. Und es waren Hirten in derselben Gegend, BWV 248. He borrowed the music for the opening chorus from another cantata, but forgot and copied the old words into the score, which he then had to cross out. If the Mass in B minor is a compilation on the loftiest conceptual level – honed and crafted as the zenith of Bach’s creative life – then the Christmas Oratorio stands as a compilation of a quite different kind, a practical harvesting of six specific cantatas to be performed on the feast days of Christmas 1734 and the New Year. This 1963 performance is aesthetically more in the Lehmann than Richter mould with its vocal intimacy (especially from the tender Evangelist Helmut Krebs) and open-hearted obbligato playing allowing the more pastoral qualities of the score to blossom. CC. In the second, Peter Dijkstra oversees an organised but jerkily propelled 2010 live performance with the Bavarian Radio Choir and Akademie für Alte Musik Berlin in the resonant Herkulessaal in Munich. Werner Güra warms into the role of Evangelist but it is the poetic ambition of Christine Schäfer (‘Flösst, mein heiland’ magically projects the unpredictability of the outdoors) and her co-soloists that reinforces the inspiration which breezes over this penetrating and original encounter with the Oratorio. One such example is the great cradle aria, ‘Schlafe, mein Liebster’, where composer and librettist (probably Bach’s prime collaborator, Picander) produce an affectionate and telling makeover sourced from an older secular cantata (BWV213) – the tempting wiles of the allegorical ‘Pleasure’ luring Hercules towards a rather different concept of sleep, here becoming a vision of haloed slumber fit for the kingly child. Bach composed the six-part “Christmas Oratorio” (“Weihnachts Oratorium”) in 1734 for two Leipzig churches, St. Thomas and St. Nicholas, for which he served as music director. This is the version for all-round delight and unexpected wonder. Christmas Carol Songbook His ‘Ich will nur’ in Part 4 is exceptional. dearest Jesus holy child" (Ach mein herzliebes Jesulein!) Bach’s Christmas Oratorio has been treated very well on disc. Ralf Otto enjoys a ringing and alert Evangelist in Christoph Prégardien and a refined Concerto Köln but his account falls short on energy and personality. Some may baulk at the hybrid stylistic world of ‘not-quite-authentic’ (eg modern strings, albeit gut) but there is a gratifying eloquence throughout, enhanced significantly by a fine German alto boy soloist, Andreas Stein, who irradiates ‘Schlafe, mein Liebster’ – the cradling all the more tender for the few years which separate the singer from his own infancy. Ten years on, Richter is the ultimate purposeful and charismatic director with his seasoned Munich forces and stunning soloists: Gundula Janowitz, Christa Ludwig and Fritz Wunderlich (who had given us a hint of his delectable Evangelist in Parts 1‑3 for August Langenbeck). The same cannot be said for the less technically impressive but profoundly affectionate account from Fritz Werner. Theil * #457257 - 148.15 MB, 99 pp. The series features three renowned cantatas, Wachet auf, ruft uns die Stimme, BWV 140, Aus der Tiefen rufe ich, Herr, zu dir, BWV 131, and Nun komm der Heiden Heiland, BWV 61, followed by all six parts of Bach’s beloved Christmas Oratorio, BWV 248. Richter presents a corporate muscularity juxtaposed with solo vocal warmth, especially from the luminous Janowitz and Wunderlich. As a backpacker in New Zealand, everywhere is your “bach”, so you have that covered. The 1984 account of the Oratorio is hardly revelatory but it is a sprightly, texturally bright and tidy reading. Münchinger is never less than dependable. Vulgar velvet packaging jars with the tasteful and unobtrusive reading from Jos van Veldhoven and the Netherlands Bach Society. Other than Rilling, Michel Corboz is probably the next most prolific ‘recorder’ of Bach’s major choral works (there are four B minor Masses). The “Kyrie” and “Gloria” of the Mass in B Minor, written in 1733, were also dedicated to the elector, but the rest of the Mass was not put together until Bach’s last years. Gramophone is part of No such stylistic scruples seem to affect Schreier’s first trumpet, Ludwig Güttler, though his flamboyant tendencies dissolve under his own baton to such an extent that the routine prevails. Johann Sebastian BACH (1685-1750) Christmas Oratorio, BWV 248 [141:57] Mary Bevan & Joanne Lunn (sop) Clare Wilkinson & Ciara Hendrick (mezzo) Nicholas Mulroy & Thomas Hobbs (tenor) Matthew Brook & Konstantin Wolff (bass) Dunedin Consort/John Butt rec. Only the women soloists fail consistently to reach the level, and the framing choruses of Parts 1 and 6 are technically uneven. Christmas Oratorio Past Performances Part III Part IV Part V Part VI. John Butt delivers another revelatory performance which propelled this recording onto many of 2016's 'Best of' lists. And that leaves John Eliot Gardiner and his English Baroque Soloists in the last few days of the 20th century in the Herderkirche in Weimar: an intimate space with gripping ensembles (especially fine instrumental obbligati) and, mostly, excellent solo singing. From Bach’s Christmas Oratorio Jauchzet, frohlocket! While only intermittently fulfilling, for many of the fixtures hard-wired into Rilling, this is still distinguished on many levels and never less than exciting. Jonathan Freeman-Attwood Wednesday, December 10, 2014 Jonathan Freeman-Attwood listens to 65 years’ worth of recordings - 0.0/10 2 4 6 8 10 (-) - V / V / V - 276×⇩ - BachFan. On his visits to Dresden, Bach had won the regard… The solo singing is seamlessly distinguished, from Anne Sofie von Otter’s bloom-filled and pliably decorated ‘Bereite dich’ to the recitative quartet at the end. Gramophone is brought to you by Mark Allen Group Bach: Christmas Oratorio BWV 248, part 1/2 Ich möchte YouTube-Inhalte aktivieren und stimme zu, dass Daten von YouTube geladen werden. An unwieldy Radio Choir skating over detail, in too resonant an acoustic, disqualifies this reading in the same way as that by Enoch zu Guttenberg appears to have been painted by numbers in a story of a thousand mannerisms. The sensational trumpet-playing of Maurice André aside (the last chorus the finest on disc), Richter yields irregularly to the emotional possibilities. PDF scanned by Bach Digital BachFan (2017/1/28) ⇒ 5 more: 2. 99 to rent. | Far more telling are the thrills and spills of Diego Fasolis with his Lugano-based forces and imported soloists. Johann Sebastian Bach (1685–1750) Herrscher des Himmels, erhöre das Lallen, BWV 248/III If Fasolis temporarily held sway in my affections, Harnoncourt’s later version is my top choice: an account elevating these six great tableaux to a level where Bach, at his most mature and luminous, irresistibly conveys the wonders of Christmas. It’s a generously conceived and well-directed but rather low-key reading. Bach, Christmas Oratorio, BWV 248-V, at the Sunday after New Year – Herod and the Magi. Receive a weekly collection of news, features and reviews, Jonathan Freeman-Attwood Discrete but deft organ continuo-playing and lovingly crafted chorales – such as ‘Wir singen’ between Parts 2 and 3 – contribute to Koopman’s intensely focused and atmospheric vision across the piece. As Harnoncourt represented the advent of historical Oratorio recordings in 1972, so he seeks a kind of epiphany in his large-scale, spacious and glamorous interpretation from the Musikverein at Christmas in 2006. Despite a few glitches, each cantata represents a clarion of warmth, freedom and optimism, beckoning the listener to experience the work in a single breath. In our own archives we list several first-rate choices, including sets from Harmonia Mundi (Jacobs), … The orchestral playing is supremely polished, assured and with pinpoint nuancing. In our own archives we list several first-rate choices, including sets from Harmonia Mundi (Jacobs), Hänssler (Rilling), and Channel Classics (Veldhoven). Greyfriars Kirk, Edinburgh, 7-12 September 2015 LINN CKD499 [75:16 + 66:41] John Butt’s Bach and Handel recordings with the … The author of the text is unknown, although a likely collaborator was Christian Friedrich Henrici (Picander). The soprano Sibylla Rubens makes an operatic ‘scena’ out of the tempestuous recitative and fervent aria ‘Nur ein Wink’ in Part 6. Theil • 5. JOHANN SEBASTIAN BACH (1685-1750)\r\r\"Weihnachtsoratorium\" Cantata No. The Angeles Chorale performs "Ah! The major subject of the cantata is the journey of the Magi, and its initiation of its influence upon Herod. Bach’s Christmas Oratorio has been treated very well on disc. 1 (Am ersten Weihanchtsfeiertage) BWV246 for choir, soloists, 2 trumpets, timpani, 2 transverse flutes, 2 oboes, 2 oboe d'amore, strings, and basso continuo \r\rNo 1. Listen to Bach: Christmas Oratorio, BWV 248 - Part 2: Weihnachtstag: Choral, Bach: Christmas Oratorio, BWV 248 - Part 3: Weihnachtstag: Choral and more from Bach Christmas Oratorio. This playlist is of the original German Version of the Weihnachts Oratorium. Brahms - Requiem: Durufle - Requiem . But if you are looking to get sizzled on a holiday within your working holiday, see our Harry Christophers and The Sixteen present a more conventional interpretative landscape. The chorales are vintage Monteverdi Choir, though the choruses are not as embracing or electric as one feels they could have been. Johann Sebastian Bach put together his Christmas Oratorio, BWV 248, sometime in the fall of 1734 for the coming Christmas season. Thursday, January 14, 2021 at 8 p.m. on Facebook and YouTube Christmas Oratorio Part III. The chorales squeeze the last pips and the adagissimo in the Part 2 Sinfonia says too much about the artist and not enough about Bach. 30 Christmas Carols. There are two major commercial accounts of the Oratorio with homegrown Stuttgart forces and two others from Poland and Hungary (which are not under consideration). Bach composed the six-part “Christmas Oratorio” (“Weihnachts Oratorium”) in 1734 for two Leipzig churches, St. Thomas and St. Nicholas, for which he served as music director. That’s the reason Karl Richter’s (second) recording remains my emotional reference to this day. This interpretation sounds strangely more like a ‘period piece’ than several earlier versions. Starring: Philippe Herreweghe , Collegium Vocale Gent , et al. Erősíts meg engem, hogy …felemelkedjem! How best can the performer pace the narrative of the complete Oratorio in a story which lacks the urgency and action propelled by protagonists – the likes of Jesus, Peter, Pilate and the crowd in the Passions – while retaining the discrete contemplative world of each of the six ‘tableaux’ or cantatas? That is just one means to seek original coloration in the score, fervently explored with exquisite, if not always flawless, instrumental mosaics and radiant singing. Or $0.00 with a Prime membership. If selected recordings of the St Matthew Passion from this period are more durable for their insightful dramatic and poetic judgement, fewer revelations can be found in post-war Oratorios. Following the huge success of 2015's Magnificat & Christmas Cantata, Dunedin Consort releases its eagerly awaited follow up, Bach's Christmas Oratorio. The singing of Arleen Auger and Evangelist Peter Schreier is especially polished – as is the orchestra and chorus – yet the pre-ordained placement of each phrase makes for wearing listening. About Mark Allen Group The Sinfonia to Part 2 is as touching an evocation of abiding shepherds as you’ll find. The Christmas Oratorio (German: Weihnachts-Oratorium), BWV 248, is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season.It was written for the Christmas season of 1734 and incorporates music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a largely lost church cantata, BWV 248a. Experience Part I of Bach's "Christmas Oratorio" thrillingly delivered by the Consort musicians and soloists for FREE on Christmas Day. International licensing, If you are a library, university or other organisation that would be interested in an institutional subscription to. The poetic sensibility and vocal allure of Anthony Rolfe Johnson is as memorable here as it was in Gardiner’s St John Passion. Other readings which miss the top table include a generically turned 1993 concert performance from Eric Ericson and his eponymous choir with a ropy Drottningholm Baroque Ensemble, and a more recent reading from Hermann Max where over-accentuation and instrumental bulging expose the worst of ‘period’ ticks alongside some approximate intonation. Other articles where Christmas Oratorio is discussed: Johann Sebastian Bach: Instrumental works: …words and reused in the Christmas Oratorio. Suzuki’s unwaveringly felicitous choices are noticeably evident as we approach the close of the cantata project, 15 years after this beautifully judged reading. Beethoven - 9th Symphony: Berlioz - Requiem . Despite the mollifying quality of Charles Daniels’s deeply satisfying and mature Evangelist, Fasolis takes brilliant expressive risks, if occasionally a touch close to the edge. Sunday, December 13th, 2020, 4pm, on the Bach Choir’s YouTube Channel; also to be aired on WFMZ-TV Channel 69 twice during the month of December: at 7pm on Saturday, December 19 and again on Christmas Eve at 10pm Arias from J. S. Bach’s Christmas Oratorio, traditional carols, readings from sacred and secular texts With John Eliot Gardiner’s uniquely open-shouldered and virtuoso Bach performances, the new ‘period’ generation was transformed in a trice from the mid-1980s. Rilling increasingly took a pragmatic view towards traditional practice, paying only ‘lip service’ to period performance, which resulted in pangs of conscience with respect to tempi, ornament, balance and articulation. James Taylor is a compelling Evangelist as advocate, commentator and, generally, all-embracing dramatis persona. Sunday, December 13th, 2020, 4pm, on the Bach Choir’s YouTube Channel; also to be aired on WFMZ-TV Channel 69 twice during the month of December: at 7pm on Saturday, December 19 and again on Christmas Eve at 10pm. “Triumph, rejoice!” – Bach’s oratrio of hope and renewal. Weihnachts-Oratorium, BWV 248 Johann Sebastian Bach (1685–1750) Dana Marsh, Artistic Director. The next performance was not until 17 December 1857 by the Sing-Akademie zu Berlin under Eduard Grell. Bach Interactions: A Dynamic Performance & Learning Experience About the Series. I. Lauridson - Lux Aeterna: Mozart - Requiem . If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. Opening Up Our Hearts: Music and Inspiration of Christmas. Seeking vocal homogeneity which infected the instrumental cadre down to mildly dabbed timpani, Herreweghe skips through with a decorous attention to detail though little rhetorical presence. It was never intended for performance in one sitting. The 64th movement and final chorus of the Oratorio only, in full score. TDK DVD-BACHHO [198 … Falling somewhere between the ruminative landscape of Richter (at his best) and Rilling’s sleek, homogeneous ensemble, Schreier is generally more stylistically inquisitive than both and musically his reading is more eventful than all of Rilling’s. Bach - B Minor Mass . Purchase: Javascript is required for this feature. I have listened to Bach’s Christmas Oratorio from childhood on. Meine Datenschutz-Einstellungen CHRISTMAS ORATORIO. Bernarda Fink has her head buried in her copy but the Evangelist, Christoph Genz, sings without any music and tells the story without flinching. Album: J.S. The Dresden Kammerchor and vocal soloists fulfil Chailly’s ambition for unremitting leanness and breathtaking mobility, and yet my heart tends to sink under gymnastic survey and über-elegance. I. Friday, 12.25.20 at 8 p.m. YouTube & Facebook. He took the majority of the choruses and arias from earlier secular works and gave them new words. Harnoncourt’s considered identity with each ‘event’ in the narrative places the work outside anything remotely pragmatic or generic. It was written for the Christmas season of 1734 incorporating music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a now lost church cantata, BWV 248a. Lasset das Zagen, verbannet die Klage, Stimmet voll Jauchzen und Fröhlichkeit an! One of Bachs reasons for these performances was his search for a more permanent home for the music of three large-scale occasional works. JOHANN SEBASTIAN BACH (1685-1750)"Weihnachtsoratorium" Cantata No. Jonathan Freeman-Attwood Wednesday, December 10, 2014 Jonathan Freeman-Attwood listens to 65 years’ worth of recordings Appreciating the Evangelist’s kaleidoscopic role allows Bach’s extraordinarily coherent treatment of chorus, recitative and aria, arioso and chorale to be further illuminated. The music involved was … The soloists are all outstanding, thoughtful and often radiant. One might long for perspicacious readings from the 1950s and 1960s by the likes of Hans Grischkat, Karl Ristenpart, Ferdinand Grossmann, Fritz Lehmann, Kurt Thomas and Karl Richter – some of which are available – but few constitute much more than a repository of exceptional individual movements. Theil • 3. One longs for something altogether less harnessed. Bach's Christmas Oratorio – which recording is best? The most successful interpreters are those who identify how Bach links each cantata or ‘scene’ through the Evangelist’s quietly influential role: often he is quite directorial – exercising not merely reportage but guiding us personally through the events of Christ’s birth to the Epiphany. Jauchzet, frohlocket, auf, preiset die Tage, BWV 248. Such is the case in Kurt Thomas’s second recording (with the Leipzig Thomaners) from 1958. Theil • 4. The Bach Choir of Bethlehem’s Annual Christmas Concert — Virtually. When reviewing it in 1999, I considered Greg Fungfeld’s recording of the Bach Choir from Pennsylvania to be rather in the same vein, but on reacquaintance found agreeable swathes (especially in Parts 4 and 5) of an old American mainstream ‘house style’ which, with some better soloists, might have attracted more plaudits. Experience Part I of Bach's "Christmas Oratorio" thrillingly delivered by the Consort musicians and soloists for FREE on Christmas Day. I savoured ‘Frohe Hirten’ as rarely before – the agile tenor Wolfram Lattke is so completely allied with his fluting partner that the shepherds almost take off in exultation. For the Christmas Oratorio, Bach cleverly used music he had already composed, adapting it for a new purpose. Theil 2. JOHANN SEBASTIAN BACH: KARÁCSONYI ORATÓRIUM - NEGYEDIK KANTÁTA Babits - 1917-ben írott versének - gondolatait, kérését visszhangozza a negyedik kantáta tenor áriája és zárókorálja is: „…adj nékem erőt és bátorságot, hogy a szívem buzgó legyen! In the first, Harnoncourt directs his Concentus Musicus Wien in a highly staged, decidedly dated (1981) and surprisingly doctrinal reading from the Waldhausen Church. Here, Pickett seems less attracted to long-term rhetorical investment than capturing the essence of the moment – such as the solicitous arioso duet ‘Jesu, du mein liebstes Leben’: Catherine Bott and Michael George, beautifully accompanied, provide an unforgettable vignette. Coro: \"Jauchzet, frohlocket!\"\r\rPerformed by Concentus Musicus Wien \u0026 the Arnold Schoenberg Chor\rFeaturing Christine Schafer, soprano\rBernarda Fink, alto\rWerner Gura, tenor\rGerald Finley, bass\rChristian Gerthaher, bass\rDirected by Nicholas Harnoncourt\r\r*Recorded in 2007\r\r**The Christmas Oratorio (German: Weihnachtsoratorium) BWV 248, is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season. Find similar music that you'll enjoy, only at Last.fm. Ameling features in both Eugen Jochum’s and Philip Ledger’s recordings from the 1970s, the latter with the Choir of King’s College, Cambridge, uncomfortably sharp and forced. Christmas: Oratorio, Forerunners, Cantata 142, Rathey Book Review Following the early German baroque tradition of Michael Praetorius and Heinrich Schütz, Bach’s predecessors as Cantor at the Thomas School and Church in Leipzig helped lay the groundwork for Bach’s Christmas Oratorio, BWV 248, in its content and form. ‘Herr, dein Mitleid’, with Lynn Dawson and Klaus Mertens, is played out like a love duet and yet it fits a canvas of sprung vitality which, mostly, renders the rough edges undistracting. Rilling’s later version from 1999 follows a similar template but the choruses crackle here with considerably more glee and variety, and each part infectiously follows the last with connective logic (the wise men’s arrival from the East is handled with seasoned timing). Bach's Christmas Oratorio – which recording is best? Johann Sebastian Bach (1685–1750) Und es waren Hirten in derselben Gegend, BWV 248/II The Christmas Oratorio is a particularly sophisticated example of the parody technique. mezzo - Gerhild Romberger violin solo - Mariana Todorova OCRTVE - dir, Carlos Kalmar 2014 Bach’s celebrated Christmas Oratorio forges a link between birth and deliverance: the birth of Christ is not only the birth of light, of innocence; this joyful event is equally characterized by suffering. On his visits to Dresden, Bach had won the regard… The Christmas Oratorio is in six parts, each of them being intended for performance on one of the major feast days of the Christmas period. Some may miss the cut and thrust of a Gardiner or the cultivated solo contributions in recordings by Corboz or Chailly but a meticulous attention to detail, superlative balance and speeds which allow the music to proceed with dignity in the gradual, contemplative unfolding of events are second nature to Suzuki. Part II: The Second Day of Christmas. René Jacobs’s idea of the work could not be more radically different: brazen, grand choruses, purposeful, operatic-style recitatives (with endlessly distracting strumming) and biting arias which, in their strutting gait, extrovert articulation and tonal opulence border on the vain – from Andreas Scholl’s busy ‘Bereite’ to a frenetic terzetto in Part 5. The 1984 reading coincided neatly with the conclusion of his complete cantata series. Thirty-plus years on and there’s a relaxed, almost southern-European feel alongside Harnoncourt’s recognition that with ‘powerful mental pictures’ (rather than intense action), the ‘galanterie’ of late Bach is especially fitting for the subject. ‘Herr, dein Mitleid’, the duet for soprano and bass, is the pick of the set pieces. Posted on January 4, 2021 January 4, 2021 by Hendrik Slegtenhorst. If there is a drawback, it’s the shortage of captivating solo singing and absorbing characterisation. For many it will satisfy beyond measure. Gardiner's Christmas Oratorio: Josh Klasinski wrote (January 17, 2007): This past Christmas and indeed over the entire holiday season reaching up to the present I have had the immense pleasure of becoming intimately acquainted with what is certainly one of Bach's most fully realized and extraordinary works, the Christmas Oratorio. The Christmas Oratorio presents itself as a cycle of similarly structured individual works whose continuity rests on the Christmas narrative according to the Gospels of Luke and Matthew as well as on the recurrence of certain types of settings and the dramaturgy typical of Bach’s cantata oeuvre. Harnoncourt - Bach - Christmas Oratorio BWV 248 ... - YouTube Other articles where Christmas Oratorio is discussed: Johann Sebastian Bach: Instrumental works: …words and reused in the Christmas Oratorio. Less atmospheric – but rather more recognisable in terms of increasing technical surety and the aesthetic of objectivity which flavoured ‘early music’ at the cusp of the 1980s – is Hanns-Martin Schneidt’s reading with the Regensburger Domspatzen (whose director for 30 years was Georg Ratzinger, Pope Benedict XVI’s brother), which espouses safety to such lengths as to render the whole a disappointingly dour essay. Das Weihnachtsoratorium BWV 248 ist ein sechsteiliges Oratorium für Soli (), gemischten Chor und Orchester von Johann Sebastian Bach.Die einzelnen Teile wurden erstmals vom Thomanerchor in Leipzig in den sechs Gottesdiensten zwischen dem ersten Weihnachtsfeiertag 1734 und dem Epiphaniasfest 1735 in der Nikolaikirche und der Thomaskirche aufgeführt. Fasolis always brings a sense of delight, even mischief (the da capo of the opening chorus starts pianissimo!). Soon after Gardiner, Philippe Herreweghe followed in 1989 with a more intimate and soft-edged reading. This is indeed a highly accomplished and consistent reading, one where Bach’s sense of imagery is especially keenly developed. Programme. MA Music, Leisure and Travel If you like trebles in Bach—and specifically in the Christmas Oratorio—why not opt for those that Bach, a few generations back, worked with himself? The most memorable feature is a young Dietrich Fischer-Dieskau on the kind of form which earmarked him for posterity in the famous St Matthew for Richter a few months earlier. Mark Padmore has developed into an Evangelist of far greater range since 1993. No such problems occur for Philip Pickett, who brings a warm and integrated palette to the pastoral chorus elements. His expressive intentions are always likely to be compromised with such mercurial solo singing, though the terzetto ‘Ach wenn wird die Zeit’ is attractive and supple. 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