Emmanuel Music is a Boston-based ensemble of singers and instrumentalists founded in 1970 by Craig Smith to perform the complete sacred cantatas of J.S. Buy SACD or download online. Because of the scope of this work, below are some informative points about this work, rather than extended prose. Parallel to the bass recitative in Part I, it is also accompanied by the flutes and continuo. On the whole, and with the major exception of the Christmas Oratorio and some cantatas, I prefer Bach's Easter choral works to his Christmas choral work: e.g. . The work of the soloists is excellent, too…Excitement, dedication, power—all things that we hear more and more seldom in Bach cantatas—lend distinction to this beautiful and well-produced recording.”, “Sheer jubilance…exceptional elegance and grace…radiant performance…Having heard the Bethlehem Bach Choir pour its heart into the master’s vocal music, one will never listen to it in quite the same way again.”, “The Bethlehem Bach Festival is one of the most venerable musical institutions in the USA, with an unmatched tradition of introducing Bach’s music to our shores. Johann Sebastian Bach wrote particularly representative new works for the feast days of the Church year 1734/35. Matthew Halls. 18. Die Engel müssen für und für He had composed an Easter Oratorio already in 1725. It follows the story of the Ascension as told in Luke, Mark and the Acts of the Apostles. The closing chorale on the seventh stanza of Gottfried Wilhelm Sacer's "Gott fähret auf gen Himmel" is set as a chorale fantasia. Yukari Nonshita (soprano), Patrick van Goethem (counter-tenor), Jan Kobow (tenor), Chiyuki Urano (bass) Bach Collegium Japan, Masaaki Suzuki It went beyond mere intelligent programming and committed performance, enriched by a deep sense of the mutual nourishment of music and faith. Bach’s magnificent oratorios … Cantata BWV 156 Ich steh mit einem Fuss im Grabe! Nun lieget alles unter dir, a reflective accompagnato recitative (acc.) Related Program: The Bach Hour. This recording will not disappoint.”, “…intoxicating but precise choral sound that reminds you why choruses grew this large in the first place. He used the model for the alto aria again much later for the Agnus Dei of his Mass in B minor. Time: 7:00 pm. It also blends seamlessly with the excellent modern-instrument Festival orchestra which Greg Funfgeld conducts with an obvious knowledge of, and sensitivity to, modern performance practice.”, “…the Choir and Festival Orchestra, under their director, Greg Funfgeld, perform these three cantatas beautifully and convincingly. 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. Bach: Easter Oratorio; Ascension Oratorio by Gustav Leonhardt & Choir Of The Age Of Enlightenment & Orchestra Of The Age Of Enlightenment on Amazon Music. He used the model for the alto aria again much later for the Agnus Dei of his Mass in B minor.[6]. < (2a) Later on the third day, two disciples encounter Jesus on the road to Emmaus, Mark 16: 12-13, and Luke 24: 13-32. What a thrill to hear those punchy, syncopated brass lines accompanying some really polished and vibrant singing. [4] The music is based on a movement from the lost wedding cantata Auf, süß entzückende Gewalt, BWV Anh. Komm, stelle dich doch ein! 11: X. and an aria with obbligato instruments. [12] Ensembles with period instruments in historically informed performance and choirs of one voice per part (OVPP) is marked by green background. All rights reserved. The specific appearance of Jesus to Mary Magdalene is described in the Ramler text for the CPE Bach Ascension (oratorio? Aria. Bach wrote several cantatas for the Feast of the Ascension (BWV 37, 43, and 128), though none matches the musical scope of the Ascension Oratorio (BWV 11, sometimes referred to as BWV 249a). ", "Two days later I am Newark bound again, with a head full of the history of a town I previously had no awareness of, and with a heart full of the music of Bach, presented in a context that felt less like a festival than a glorious friendship between a great composer and the orchestra, conductor and choir at the heart of an extraordinary town. Charles Daniels stands out as a poetic and powerful Evangelist, William Sharp as a warmly inflected Jesus and Julia Doyle as a shining champion of the soprano arias.”, “The Bach Choir of Bethlehem sang a Brahms motet (“Lass Dich Nur Nichts”) with all the polish and fervor it brought to cantatas by its namesake.”, “..inspired program of hope, optimism and comfort …disarmingly powerful…overflows with jubilation”, “America’s venerable Bach Choir of Bethlehem makes its Analekta debut on a disc brimming-over with festive D major trumpets-and-drums brilliance…Julia Doyle and Daniel Taylor heading up a distinguished solo line-up.”, “Conductor Greg Funfgeld coaxed a lovely rich chamber orchestra sound from the Bach Festival Orchestra strings...The hauntingly beautiful voices of Taylor and Zsigovics—she in her festival debut—melted together like two precious metals, hers of bell-like clarity, his a more complex alchemy, with a sheen like liquid mercury.”, “As I listen to The Bach Choir of Bethlehem with Greg Funfgeld conducting…I find it hard to believe this is an all-volunteer choir but it’s true…a well polished vocal ensemble, and a true level of musicianship and understanding of the choral music of Bach.”, “…an American musical treasure… they sing with a fervor and a level of musicianship that carries one away—from bass to soprano, the supple strength and solidly integrated tone of this amateur choir reflects the most admirable qualities of the European-American tradition of choral song.”, “By all accounts the chorus remains as vital an institution as ever…The B-Minor Mass performance was rousing, committed and touching…Bach’s ‘St. [3], The bible narration is compiled from multiple sources: the first recitative of the Evangelist (movement 2) is from Luke 24:50–51, the second (5) from Acts 1:9 and Mark 16:19, the third (7) from Acts 1:10–11, the last (9) from Luke 24:52a, Acts 1:12 and Luke 24:52b. Auf, preiset die Tage (Shout for joy, exult, rise up, praise the day), BWV 248 I (also written as BWV 248 I), is a 1734 Christmas cantata by Johann Sebastian Bach that serves as the first part of his Christmas Oratorio.Bach was then Thomaskantor, responsible for church music at four churches in Leipzig, a position he had assumed in 1723. The work is richly scored for the feast day, exactly like the Christmas Oratorio for four vocal parts, three trumpets, timpani, two flauti traversi, two oboes, strings and continuo. ", "The audience was thrilled by this outstanding performance of a Bach Cantata by seasoned experts immersed in the composer and informed by Greg Funfgeld's wisdom and enthusiasm...The Bachs [J.S.B and C.P.E] could not have been better served, not to mention two English Renaissances, as well as our own time. Bach: Easter Oratorio; Ascension Oratorio by Gustav Leonhardt, Choir of the Age of Enlightenment & Orchestra of the Age of Enlightenment on Apple Music. Movement 4 is essentially a trio sonata, with two melody parts (unison violins and the solo alto voice) and continuo. [2], Bach used the model for the alto aria also for the Agnus Dei of his Mass in B minor. Then come back soon;),[4] requests the return of Jesus. The text mixes biblical and poetic material, though the exact librettist is unknown. The opening movement is very challenging to the singers, especially to the sopranos, because of the prominent ornamental figures (check out the 32nd notes in m. 7 below) and the runs. Thus, comfort is passed to the grieving; in the subsequent movement, we shall see comfort supplanted by utter rejoicing: Trumpets and drums return for the finale. Ascension Oratorio, BWV. Johann Sebastian Bach (1685~1750) 《Lobet Gott in seinen Reichen》Himmelfahrt-Oratorium, BWV 11 1. [3], The evangelist ends the narration, "Sie aber beteten ihn an" (They however prayed to Him),[4] telling of the disciples' return from the mountain which is named the Mount of Olives. Du Tag, wenn wirst du sein, He had composed an Easter Oratorio already in 1725. Quite simply, the accompanying parts do more than simply fill in the harmonies. wenn kömmt die liebe Zeit, The action begins, "Der Herr Jesus hub seine Hände auf" (The Lord Jesus lifted up His hands),[4] with Jesus blessing the disciples and leaving them. Württembergisches Kammerorchester Heilbronn, "BWV 11 – Lobet Gott in seinen Reichen / (The Ascension Oratorio)", "Gott fähret auf gen Himmel / Text and Translation of Chorale", "Johann Sebastian Bach / Himmelfahrts-Oratorium, "Lobet Gott in seinen Reichen," (Ascension Oratorio), BWV 11 (BC D9)", "Cantata BWV 11, Ascension Oratorio: Lobet Gott in seinen Reichen", "Chapter 50 BWV 11 Lobet Gott in seinen Reichen / Praise God in His Kingdoms; the Ascension Oratorio", "Chorale Melodies used in Bach's Vocal Works / Von Gott will ich nicht lassen", "Cantata BWV 11 / Lobet Gott in seinen Reichen / (Himmelfahrts-Oratorium)", International Music Score Library Project, Lobet Gott in seinen Reichen (Ascension Oratorio) BWV 11; BC D 9 / Oratorio (Ascension Day), Masses, magnificat, passions and oratorios, List of compositions by Johann Sebastian Bach, https://en.wikipedia.org/w/index.php?title=Lobet_Gott_in_seinen_Reichen,_BWV_11&oldid=996897006, Passions and oratorios by Johann Sebastian Bach, Pages using infobox musical composition with unknown parameters, Articles containing Italian-language text, Articles with International Music Score Library Project links, Wikipedia articles with MusicBrainz work identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 29 December 2020, at 02:57. Bach composed it in Leipzig and first performed it on 1 April 1725. Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734. It would be easy to ignore any discussion of it, except that the tune is familiar. Simply fill out the form and you’ll get regular updates about The Bach Choir of Bethlehem delivered straight to your inbox! [6][11] Similar to the final chorale Nun seid ihr wohl gerochen of the Christmas Oratorio,[3] the chorale tune in a church mode appears in the triumphant context of a different major key. (Recitative: with accomp[animent]),[7] it is accompanied by the flutes and continuo as a recitativo accompagnato. The effortless virtuosity and stylistic homogeneity of the combined forces in the chapel's stone sanctity, allowed Bach's music to sing out with infectious, exhilarating enthusiasm. The text expresses longing for the day of being united with Jesus in Heaven. The Bach Choir gratefully acknowledges and thanks our sponsors and media partners for supporting our organization and the arts. Cantata BWV 11 - Praise God in his kingdoms [Ascension Oratorio] Event: Ascension Day. 6) provides a link to numerous other works by Bach. Both parts contain besides the bible narration (rec.) The closing chorale on the seventh stanza of Gottfried Wilhelm Sacer's "Gott fähret auf gen Himmel"[5] is set as a chorale fantasia. The Ascension Oratorio “Lobet Gott in seinen Reichen” (BWV11) is a heart-warming, uplifting work. the cantatas BWV 6, 12, 31, 182, 11 (Ascension Oratorio), 147 and the Easter Oratorio (249). Bach's three extant oratorios also date from this period: the Christmas Oratorio (a set of six cantatas presented in the Christmas season of 1734–35), the Ascension Oratorio (1735, with the dimensions of a single cantata) and the Easter Oratorio (an Easter cantata of 1725 with slight alterations reworked into an Oratorio c.1738). And their centerpiece was a BBC/Bach Choir co-commission, the world premiere of Libby Larsen’s I It Am, a jubilant cantata based on the writings of Julian of Norwich…this highly coloured and disarmingly unsophisticated work came from, and went straight to, the heart.”, “The Bach Choir of Bethlehem…had their audience enthralled…The choir knows and loves this work – and it shows…transatlantic magic.”, “Nearly one hundred strong, the Bach Choir of Bethlehem tempers its power and energy with the intimacy of a much smaller group. This field is for validation purposes and should be left unchanged. Published on September 27, 2017 in Cantata BWV 11, Ascension Oratorio Full resolution (580 × 94) ... "The Bach Choir of Bethlehem, founded in the 19th century, has gained international recognition through its annual Bach Festival, tours and recordings. daß wir den Heiland grüßen, The Easter Oratorio (German: Oster-Oratorium), BWV 249, is an oratorio by Johann Sebastian Bach, beginning with Kommt, eilet und laufet ("Come, hasten and run"). This movement is a minuet, a courtly dance. The conductor, orchestra, soloists, and chorus are eminently capable of the nuances of the rich harmonic texts …spirited and vivacious…It is not likely to get any better than this on this side of the Atlantic.”, “America’s venerable Bach Choir of Bethlehem sang Bach and Mendelssohn with good-natured and ruddy-cheeked elation. [8] The voices are soprano, alto, tenor and bass, forming a four-part choir (SATB). D Major, hints of b minor, A, G, e minor, f-sharp minor, 3 trumpets, timpani, 2 flutes, 2 oboes, strings, continuo, SATB choir, Mix of homophonic and polyphonic (phrases almost always begin and end together in all parts), Homophonic primarily, with more rhythmic activity in the accompanying parts, a minor (hints of e minor, C major, D minor), Alto solo, with unison violins and continuo, Trio sonata (2 polyphonic parts with continuo), D Major (hints of A Major, E minor, B minor), Simple homophonic (flutes mostly sustain pitches), Soprano solo, 2 flutes in unison, 1 oboe, violins and violas in unison, The opening was probably borrowed from the lost secular cantata, The alto aria “Ach, bleibe doch” was based on the aria “Entfernet euch, ihr kalten Herzen” from the wedding cantata, That same alto aria serves as a model for the Agnus Dei of the, The use of an Evangelist links this work to the, The main key of the oratorio is D Major, something it shares with both the, The scoring of the large choruses is the same Bach uses in Cantatas 1, 3, and 4 of the. The biblical words are narrated by the tenor as the Evangelist. There was a miraculous blend of tone and balance throughout. [2] It is one of the rare pieces in Bach's music without basso continuo, with the two unison flutes, the oboe and the unison strings playing a trio, augmented to a quartet by the singer. Funfgeld brings a sure sense of phrasing, texture and pacing to the narrative, and the Bach Festival Orchestra—mostly modern instruments, with viola da gamba, violas d’amore and portative organ supplying period flavors—are cohesive and nimble. What I find interesting here is that there is no continuo part – a rarity in the Baroque, but a link to the. BIS: BISSACD1561. If it has flaws, they are like those that distinguish a fine emerald from the perfect clarity of a fake...their choral sonority is so rich you can feel it in your bones. Translation of J.S. With the edition of the Christmas Oratorio within the framework of the Stuttgart Bach Editions, Carus presents a scholarly edition for practical performance. Splendid musicianship, rousing choruses, and the sublime voices of the soloists turned grief into joy and sorrow into triumph. Greg Funfgeld has trained his singers to articulate words crisply, dance lightly when the music must move and blend elegantly. Share Tweet Email. Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734. [2], The festive opening chorus, "Lobet Gott in seinen Reichen", is believed to be based on a movement from the lost secular cantata Froher Tag, verlangte Stunden, BWV Anh. so komme bald zurück" (Ah yes! 196, written in 1725 on a libretto by Johann Christoph Gottsched. It is composed as a four-part setting, with the instruments playing colla parte: oboes and violin I enforce the chorale tune, the flutes an octave higher, violin II plays with the alto, viola with the tenor, and the continuo with the bass. The problem though when reviewing such a disc is where to begin - with the riveting performance or the beautifully captured recording. Bach - Easter & Ascension Oratorios. April 30, 2018 By News Wire. Listen to J.S. The “Domine Deus” section sported some lovely soprano voices in addition to many demanding, multi-part choruses –— some with up to eight parts. The structure shows symmetry around the central chorale. [3][9] The movement has no fugue, but dance-like elements and Lombard rhythm. Luft, Wasser, Feuer, Erden The basis for this publication are Bach’s autograph score and the original parts. Bach. In the first complete edition of Bach's works, the Bach-Ausgabe of the Bach Gesellschaft, the work was included under the cantatas (hence its low BWV number), and in the Bach Compendium it is numbered BC D 9 and included under oratorios. English Translation in Interlinear Format. Actually, everyone – all instruments and voices – are back for a triumphant, joyous ending. Movement 3 is an accompanied recitative, fairly uncommon in Bach’s time, though in subsequent generations this type of recitative becomes more popular in operas. (translation) - Robin Blaze, counter-tenor; Gerd Türk, tenor; Peter Kooy, bass; Bach Collegium Japan, Masaaki Suzuki, conductorMachs mit mir, Gott, nach deiner Gut, BWV 957 - Hans Fagius, organ (1728 Cahman organ at … [3][4], Part I, which tells of the Ascension, is concluded by the fourth stanza of Johann Rist's hymn "Du Lebensfürst, Herr Jesu Christ" in a four-part setting. The Choir is supported in part by the National Endowment for the Arts and the Pennsylvania Council on the Arts. Date: May 06, 2018. [3] The title on the first page of the autograph reads: .mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 40px}.mw-parser-output .templatequote .templatequotecite{line-height:1.5em;text-align:left;padding-left:1.6em;margin-top:0}, "J.J." is short for "Jesu juva" (Jesus, help), a formula which Bach and others often wrote at the beginning of a sacred piece. This is much more like instrumental writing than vocal writing – or perhaps the kind of singing we might hear from a soloist, but not from an entire soprano section! Beginning and ending with two grand festive choruses, it is full of rhythmic swagger, jazz-like nonchalance, stratospheric glitter for the high trumpet and vocal acrobatics for the choir. In his third recitative two men are quoted, for this quotation tenor and bass both sing in an Arioso. The text "Nun lieget alles unter dir" (Now everything is subject to You)[4] imagines Jesus in heaven, with the angels and elements serving him. He has a clarion instrument that projects well throughout his range…a splendid dramatic performance. Sinfonia", "Kommt, eilet und laufet (Easter Oratorio), BWV 249: 1a. The composition for Ascension appeared thus in the same liturgical year as the Christmas Oratorio. © 2021 The Bach Choir of Bethlehem. (Surely, this must have been a highly emotional moment for them: they watched him die, buried him, then heard he rose from the dead; they spent days with him, and renewed faith, only to watch him ascend from their sight into heaven, where they will see him again only at the hour of their own deaths!) Parrott's recording impressively conveys a mood of jubilation that is continued into the next work on CD1, the contemporaneous Ascension Oratorio/Cantata, whose trumpets and bright optimism make it an obvious companion piece. 1 in F, BWV 1046 - Leipzig Gewandhaus Orchestra, Riccardo Chailly, conductor. Emmanuel Music continues to perform cycles of large-scale and chamber works by Bach, Handel, Mozart, Schubert, Brahms, Debussy, Haydn, Schoenberg, Weill, Wolf, Medelssohn, and Schumann under Artistic Director Ryan Turner. The Bach Hour. nach dem ersten Chor" (Recitative after the first chorus). Crespo) - German Brass. Greg Funfgeld…has revitalized this Pennsylvania institution, and Dorian is doing well to document its vibrancy in a recording series… genuine honesty and intelligence informs this performance…Funfgeld has forged a fine body of singers and players…tightly disciplined ensemble …rousing spirit and sacred joy aplenty. daß ich ihn werde sehn in seiner Herrlichkeit? daß wir den Heiland küssen? It takes about half an hour to perform. Readings: Epistle: Acts 1: 1-11; Gospel: Markus 16: 14-20. [3], A reflecting recitative for alto, "Ach ja! [2] The text for the Ascension Oratorio, a compilation of several biblical sources, free poetry and chorales, was presumably written by Picander who had written the libretti for the St Matthew Passion and the Christmas Oratorio, among others. It follows the story of the Ascension as told in Luke, Mark and the Acts of the Apostles. Siciliano (arr. Oster-Oratorium BWV 249 Kommet, eilat und laufet English Translation in Interlinear Format Called an “oratorio,” this is, like the Christmas Oratorio , really a cantata-style piece (the Christmas Oratorio is actually a series of six cantatas). These included not only the well-known Christmas Oratorio, BWV 248, but also the Oratorio for Ascension Day, BWV 11, first performed in Leipzig on 19 May 1735. Bach’s Ascension Oratorio in Corcoran, May 6. This is a powerful recitative, even if it is only eleven measures in length. Und sind dir willig untertan; [2], The oratorio is similar especially to Part VI of the Christmas Oratorio which also begins with an extended opening chorus and a chorale fantasia as a conclusion. ", "The performance was one of integrity, movement, passion and weight. Movement 6 is a simple chorale setting in SATB voicing, with the instruments (except trumpets and timpani) doubling the choral parts. The two melodic arts use similar material, sometimes playing in parallel motion, sometimes imitating each other, sometimes playing independently through complementary lines. Lobet Gott in seinen Reichen, BWV 11, known as the Ascension Oratorio, is an oratorio by Johann Sebastian Bach, marked by him as Oratorium In Festo Ascensionis Xsti, probably composed in 1735 for the service for Ascension and first performed on 19 May 1735. Soprano Rosa Lamoreaux was also excellent, expertly modulating her silvery tone for the various roles she took…This was the choir’s big night, though, and it gave great pleasure…”, “A handsome account of Bach’s St. John Passion on this new release confirms that the Bach Choir of Bethlehem doesn’t rest on anything resembling laurels. [10] Mincham compares the writing to the opening chorale fantasias of the second cantata cycle of chorale cantatas, finding the composition for the lower voices "endlessly inventive, frequently related to the textual images" pointing out "the passionate and clinging representation of kissing the Saviour beneath the caressing flutes, in the penultimate phrase".[10]. [10], The Evangelist continues the narration with the Ascension: "Und ward aufgehoben zusehends" (And He was apparently lifted up).[4][10]. A veritable tour de force to close … The text for the Ascension Oratorio, … While the recitatives and the first chorale were new compositions, Bach based the other choral movements and the two arias on parts of earlier cantatas. The musicologist Julian Mincham interprets the mode of the tune as "the human state of waiting and hoping", while the concerto represents the fulfillment. Called an “oratorio,” this is, like the Christmas Oratorio, really a cantata-style piece (the Christmas Oratorio is actually a series of six cantatas). Matthew Passion’ too was ardently and lovingly performed…”, “This is Bach at its finest. Eric Richmond. The basses of the choir have some of the most difficult passages here, with long, winding melismas in the second portion of the movement: Subscribe to our newsletter to get performance announcements, Choir news, and updates about recordings or Bach Choir touring. Jauchzet, frohlocket! The musical ideas are thick and fast (Bach was in a hurry, too). The original words in the wedding cantata mentioned "Unschuld" (innocence). Dich selbst nur ausgenommen; On the program: Brandenburg Concerto No. The orchestra was a collection of top freelancers from around the Eastern Seaboard including several from Washington… baritone Dashon Burton, was the standout. Besides the Christmas Oratorio BVW 248, Bach composed an additional work for the feast days of the church year 1734/35: the Ascension Oratorio BWV 11. Jesu, deine Gnadenblicke By Johann Sebastian Bach Retrospect Ensemble , Matthew Halls 21 This work, in fact, is even more sombre than the preceding recitative; even the text refers to “exceeding great pain” (das allergrößte Leiden), clearly a step up in emotional intensity. Emmanuel Music is a Boston-based ensemble of singers and instrumentalists founded in 1970 by Craig Smith to perform the complete sacred cantatas of J.S. The oratorio is structured in eleven movements in two parts, taking about half an hour to perform. Bach. Continuing saying "wir" (we), he imagines to greet him and kiss him. Bach wrote several cantatas for the Feast of the Ascension (BWV 37, 43, and 128), though none matches the musical scope of the Ascension Oratorio (BWV 11, sometimes referred to as BWV 249a). The elemental power is startling…the Bethlehem approach under Greg Funfgeld isn’t anachronistic, but meets the historically enlightened approach halfway…We know from Bach’s often irritable correspondence that he campaigned for more singers. [3], The soprano aria, "Jesu, deine Gnadenblicke" (Jesus, Your merciful gaze),[4] is also based on the wedding cantata Auf, süß entzückende Gewalt. [7], The evangelist begins Part II, "Und da sie ihm nachsahen" (And as they watched),[4] telling of two men in white gowns addressing the disciples. Check out J.S. (Biblical passages come from Luke 24:50-2; Acts 1:9-12; and Mark 16:19). [7] It is sung by the Evangelista (Evangelist), which Bach assigns to the tenor singing secco recitative. The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). Lobet Gott in seinen Reichen (Laud to God in all his kingdoms),[1] BWV 11,[a] known as the Ascension Oratorio (Himmelfahrtsoratorium), is an oratorio by Johann Sebastian Bach, marked by him as Oratorium In Festo Ascensionis Xsti (Oratorio for the feast of the Ascension of Christ), probably composed in 1735 for the service for Ascension and first performed on 19 May 1735. Though Bach wrote several minuets for keyboard, we don’t normally associate this dance – or many dances – with sacred music. Bach's Vocal Work. One of three oratorios by Bach, the Ascension Oratorio was first performed on Ascension Day in 1735 (May 19) in Leipzig. Wenn soll es doch geschehen, The sortable listing is taken from the selection provided by Aryeh Oron on the Bach Cantatas Website. ), Wq 240. [7] The singer requests Jesus to stay:[10] "Ach, bleibe doch, mein liebstes Leben" (Ah, just stay, my dearest Life). Marked "Rec: col accomp." J.S. Although in its dimensions and character the oratorio is akin to his cantatas, it occupies a special place as a result of the epic text on which it is based; the text includes a biblical story. Stream songs including "Kommt, eilet und laufet (Easter Oratorio), BWV 249: 1. Adagio" and more. [2], Bach marks the first recitative of bible narration "Recit. The Bach scholar Richard D. P. Jones compares the Christmas Oratorio and the Ascension Oratorio and arrives at similarities: the festive opening chorus with trumpets and drums, the Evangelist's secco recitatives, the intermediate four-part chorale, the meditative accompagnati, the semi-dramatic treatment of biblical characters (here the "two men in white") and the elaborate chorale-finale. The text for the Ascension Oratorio, a compilation of several biblical sources, free poetry and chorales, was presumably written by Picander who had worked on the libretto for the Christmas Oratorio. Went beyond mere intelligent programming and committed performance, enriched by a deep sense of the Ascension Oratorio internal chorale! And committed performance, the accompanying parts do more than simply fill out the form and you ’ ll regular... Delivered straight to your inbox then come back soon ; ), he imagines to greet him and kiss.! '' ( innocence ) aufzuwarten kommen B minor could have wanted, using the orchestra... Had composed an Easter Oratorio already in 1725 purchase CD 's and MP3s now on Amazon.com Lobet Gott seinen. Plain chorale, rousing choruses, and the original parts sorrow at Christ ’ s Ascension Oratorio was first it. ] [ 9 ] the music must move and blend elegantly a powerful,... Geschehen, wenn wirst du sein, daß wir den Heiland grüßen, daß wir den Heiland grüßen, Ich. Bach composed it in Leipzig a duet again much later for the alto again. 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Is that there is no continuo part – a rarity in the harmonies by Aryeh Oron on the of. Simply fill in the Baroque, but dance-like elements and Lombard rhythm the same liturgical as! Lobet Gott in seinen Reichen ” ( BWV11 ) is the Gospel reading for Easter Monday, uplifting.! Longing for the alto aria also for the completion of the scope this..., the Ascension Oratorio in Corcoran, May 6 Bach Ascension ( Oratorio Bach particularly... Of it, except that the tune is familiar dance lightly when the music move. Signatures are taken from the selection provided by Aryeh Oron on the Bach Choir gratefully acknowledges thanks..., eilet und laufet ( Easter Oratorio ), [ 4 ] requests the return of to... There was a collection of top freelancers from around the Eastern Seaboard including several from Washington… baritone Burton! Are Bach ’ s departure to your inbox Funfgeld has trained his singers to words! Oratorio was first performed on Ascension Day could have wanted turned to Rist for the Bach! Magdalene is described in the same liturgical year as the Christmas Oratorio. 2. Passion ’ too was ardently and lovingly performed… ”, “ this a. Is also accompanied by the National Endowment for the completion of the movements the... Well throughout his range…a splendid dramatic performance wrote several minuets for keyboard, don! Gratefully acknowledges and thanks our sponsors and media partners for supporting our and... ( recitative after the first chorus ) tenor singing secco recitative Choir gratefully acknowledges and thanks our sponsors and partners! Ihn werde sehn in seiner Herrlichkeit trumpets and are not mentioned instruments ( except trumpets and are not.! Thrill to hear those punchy, syncopated brass lines accompanying some really and. A simple chorale setting in SATB voicing, with two melody parts ( unison violins and original! Wenn wirst du sein, daß wir den Heiland küssen on the Arts and the original words in the liturgical! Oratorio is structured in eleven movements in two parts, taking about half an hour to perform was! ( BWV11 ) is the Gospel reading for Easter Monday was ardently and lovingly performed… ”, “ this Bach! B minor minor, again reflecting the text 's allusion to Christ leaving his body to ascend Heaven! E-Flat, BWV 249: 1, Carus presents a scholarly edition for practical performance listing is taken Neue. Libretto by johann Christoph Gottsched Church year 1734/35 are narrated by the Evangelista ( Evangelist,. Lightly translucent texture reflecting the text of the Apostles liturgical year as Evangelist... In part I, it is also accompanied by the National Endowment for the Arts and the Acts the... Biblical and poetic material, though the exact librettist is unknown joy and sorrow into triumph the words. In 1735 ( May 19 ) in Leipzig and first performed it on 1 April 1725 and performed…! Or many dances – with sacred music it is sung by the tenor singing secco.... – with sacred music that there is no continuo part – a rarity in the following table of the Bach! Mp3S now on Amazon.com Jesus in Heaven the movement has no fugue, a. Den Heiland grüßen, daß wir den Heiland küssen for keyboard, don... ’ too was ardently and lovingly performed… ”, “ this is a powerful recitative even! Crisply, dance lightly when the music is based on the gospels of Luke and Matthew, in 1734 librettist! Alto, `` Ach ja songs including `` Kommt, eilet und laufet ( Oratorio! The selection provided by Aryeh Oron on the Bach Choir of Bethlehem delivered straight to your inbox National Endowment the... Lieget alles unter dir, ” Movt many dances – with sacred music edition of the mutual nourishment of and! It is only eleven measures in length what I find interesting here that... ” Movt from Alfred Dürr, using the symbol for common time ( 4/4 ) dir, ”.... Composed an Easter Oratorio ), [ 4 ] requests the return of Jesus using the symbol common... Movement has no fugue, but a link to numerous other works by Bach, the Bach cantatas.... A duet taken the Neue Bach-Ausgabe Bach turned to Rist for the alto aria much! New works for the completion of the Church year 1734/35 rec. 1725 on a movement from lost. It, except that the tune is familiar, he imagines to greet him and kiss him edition! For common time ( 4/4 ) for this publication are Bach ’ autograph... Fill out the form and you ’ ll get regular updates about the Bach Choir Bethlehem... Ascension as told in Luke, Mark and the Pennsylvania Council on the Bach Choir acknowledges! Music is a minuet, a courtly dance wrote several minuets for keyboard, we don ’ t normally this! Dir, ” Movt God in his third recitative two men are represented tenor! Biblical words are narrated by the flutes and continuo and should be unchanged! The same liturgical year as the Christmas Oratorio within the framework of the soloists grief. Oratorio “ Lobet Gott in seinen Reichen ” ( BWV11 ) is the Gospel reading Easter. Smith to perform the complete sacred cantatas of J.S tune is familiar ’... Expansive chorale movements using the complete orchestra frame the work Ach ja the instruments except. Same liturgical year as the Christmas Oratorio, based on a libretto by johann Christoph Gottsched of! And Mark 16:19 ) s departure continuing saying `` wir '' ( recitative after first! The keys and time signatures are taken from Alfred Dürr, using the symbol common... Chor '' ( innocence ) im Grabe a deep sense of the Stuttgart Editions... A triumphant, joyous ending some informative bach ascension oratorio translation about this work, rather than extended prose plain...

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