Saint-Saëns’s ten-movement piece is shorter and more compact than Bach’s, though is lushly orchestrated for soloists, chorus, strings, harp and, of course, organ – at the time, the composer held the post of organist at La Madeleine in Paris and was a renowned player. When the 25-year-old Camille Saint-Saënswrote his Christmas Oratorio in December 1858, he clearly had one eye on Bach’s notable predecessor, as there are little stylistic nods to the great man throughout the piece.
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What’s more, the work’s first performance in 1742 took place not in chilly December, but on 13 April in Dublin. Only Part I of this mighty three-part oratorio deals with the Christmas story – by the time we get to Part II, we’re already onto Christ’s crucifixion and resurrection.
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In a way, including Handel’s Messiah in a list of the greatest festive works feels a bit of a cheat. There are highlights aplenty, but few match the opening ‘Jauchzet, frohlocket’ chorus for instilling the festive feel-good factor. Unlike Handel’s Messiah (below), the Christmas Oratorio confines itself strictly to the Christmas narrative, beginning with the birth of Jesus and ending with the adoration of the Magi.