The feasts of Easter and Ascension are significant events in the Christian calendar, celebrating the day when Jesus rose from the dead and the day that he entered heaven.  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. All rights reserved. The title in Latin translates to "Oratorio for the feast of the Ascension of Christ", and the scoring in a mixture of French and Italian names the parts and instruments as four vocal parts, three trumpets (Tr), timpani, two flauti traversi (Ft), two oboes (Ob), two violins (Vn), viola (Va) and basso continuo (Bc) by Bach. Die Engel müssen für und für Though Bach wrote several minuets for keyboard, we don’t normally associate this dance – or many dances – with sacred music.  The singer requests Jesus to stay: "Ach, bleibe doch, mein liebstes Leben" (Ah, just stay, my dearest Life). J.S. Share Tweet Email. 18. daß wir den Heiland küssen? The oratorio is structured in eleven movements in two parts, taking about half an hour to perform. 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. 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. Greg Funfgeld has trained his singers to articulate words crisply, dance lightly when the music must move and blend elegantly. The Bach Hour. In the following table of the movements, the scoring is taken the Neue Bach-Ausgabe. 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. 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 evangelist begins Part II, "Und da sie ihm nachsahen" (And as they watched), telling of two men in white gowns addressing the disciples. ", "The Bach Choir of Bethlehem, founded in the 19th century, has gained international recognition through its annual Bach Festival, tours and recordings. Quite simply, the accompanying parts do more than simply fill in the harmonies. Dir Fürsten stehn auch auf der Bahn Translation of J.S. Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734. Besides traditional hymns of Martin Luther, Bach in the Christmas Oratorio set the texts of Paul Gerhardt five times, as well as Johann Rist twice. Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734. ", "The performance was one of integrity, movement, passion and weight. There was a miraculous blend of tone and balance throughout.  The voices are soprano, alto, tenor and bass, forming a four-part choir (SATB). The closing chorale on the seventh stanza of Gottfried Wilhelm Sacer's "Gott fähret auf gen Himmel" is set as a chorale fantasia. 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. 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. , 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. This recording will not disappoint.”, “…intoxicating but precise choral sound that reminds you why choruses grew this large in the first place. Bach - Easter & Ascension Oratorios. Chor: "Lobet Gott in seinen Reichen" - 00:00 6. The timpani always play with the trumpets and are not mentioned. The action begins, "Der Herr Jesus hub seine Hände auf" (The Lord Jesus lifted up His hands), with Jesus blessing the disciples and leaving them. This is a powerful recitative, even if it is only eleven measures in length. He used the model for the alto aria again much later for the Agnus Dei of his Mass in B minor.. Expansive chorale movements using the complete orchestra frame the work. Set in the first person, it expresses the desire of the speaker for the "liebe Zeit" (dear time) when he sees the Saviour in his glory. In his third recitative two men are quoted, for this quotation tenor and bass both sing in an Arioso. 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. He used the model for the alto aria again much later for the Agnus Dei of his Mass in B minor. The Choir is supported in part by the National Endowment for the Arts and the Pennsylvania Council on the Arts. 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"). 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. On the program: Flute Sonata in E-flat, BWV 1031: II. Matthew Passion’ too was ardently and lovingly performed…”, “This is Bach at its finest. The Ascension Oratorio “Lobet Gott in seinen Reichen” (BWV11) is a heart-warming, uplifting work.  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. The musicologist Julian Mincham interprets the mode of the tune as "the human state of waiting and hoping", while the concerto represents the fulfillment. Jesu, deine Gnadenblicke By Johann Sebastian Bach Retrospect Ensemble , Matthew Halls 21 The two melodic arts use similar material, sometimes playing in parallel motion, sometimes imitating each other, sometimes playing independently through complementary lines. The closing chorale, "Wenn soll es doch geschehen" (When shall it happen"), is the seventh stanza of "Gott fähret auf gen Himmel", written in 1697 by Gottfried Wilhelm Sacer. While the music for the narration and the first chorale were new compositions in 1735, Bach based the framing choral movements and the two arias on earlier compositions. The sweet sound of the flutes, the strong bass voice, chromatic writing in all parts, dissonant intervals, minor tonality all contribute to the compelling effect. , 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. This movement is a minuet, a courtly dance. The sortable listing is taken from the selection provided by Aryeh Oron on the Bach Cantatas Website. 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. Parallel to the bass recitative in Part I, it is also accompanied by the flutes and continuo. It is set as a chorale fantasia. 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 is a lengthy chorale fantasy, in which (as per usual) the sopranos sing the chorale tune in long notes while the other voices and instruments fill in the harmonies and activate the texture. Stream songs including "Kommt, eilet und laufet (Easter Oratorio), BWV 249: 1. Bach composed it in Leipzig and first performed it on 1 April 1725. What a thrill to hear those punchy, syncopated brass lines accompanying some really polished and vibrant singing. (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 …  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".. 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. 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. (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!) 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). , Bach used the model for the alto aria also for the Agnus Dei of his Mass in B minor. Then come back soon;), requests the return of Jesus. , A reflecting recitative for bass, "Ach, Jesu, ist dein Abschied" (Ah, Jesus, is Your departure), shows the situation of the disciples afraid that Jesus will leave them soon. The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). 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. Sinfonia", "Kommt, eilet und laufet (Easter Oratorio), BWV 249: 1a. What I find interesting here is that there is no continuo part – a rarity in the Baroque, but a link to the. Luft, Wasser, Feuer, Erden Matthew Halls. Komm, stelle dich doch ein! Cantata BWV 11 - Praise God in his kingdoms [Ascension Oratorio] Event: Ascension Day. The two men are represented by tenor and bass in a duet. 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.