Muß dir zu Dienste werden. The sortable listing is taken from the selection provided by Aryeh Oron on the Bach Cantatas Website. The text mixes biblical and poetic material, though the exact librettist is unknown. Siciliano (arr. The “Domine Deus” section sported some lovely soprano voices in addition to many demanding, multi-part choruses –— some with up to eight parts. The Ascension Oratorio “Lobet Gott in seinen Reichen” (BWV11) is a heart-warming, uplifting work. On the program: Brandenburg Concerto No. and an aria with obbligato instruments. The oratorio spans eleven movements in two parts to be performed before and after the sermon, 1–6 before the sermon and 7–11 after the sermon. The parallel thirds movement in the flutes is quite poignant, perhaps reflecting the tears of sorrow Jesus’ disciples felt as he departed from them in the Ascension. ", "The performance was one of integrity, movement, passion and weight. All rights reserved. (Biblical passages come from Luke 24:50-2; Acts 1:9-12; and Mark 16:19). Movement 4 is essentially a trio sonata, with two melody parts (unison violins and the solo alto voice) and continuo. Because of the scope of this work, below are some informative points about this work, rather than extended prose. 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. [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 biblical words are narrated by the tenor as the Evangelist. Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734. He had composed an Easter Oratorio already in 1725. 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. (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 … The closing chorale on the seventh stanza of Gottfried Wilhelm Sacer's "Gott fähret auf gen Himmel"[5] is set as a chorale fantasia. Cantata BWV 11 - Praise God in his kingdoms [Ascension Oratorio] Event: Ascension Day. The closing chorale on the seventh stanza of Gottfried Wilhelm Sacer's "Gott fähret auf gen Himmel" is set as a chorale fantasia. It takes about half an hour to perform. so komme bald zurück" (Ah yes! [3], Deeper reflection is expressed in an aria, marked "Aria Violini unisoni e Alto" (Aria Violins in unison and Alto). 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. 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. © 2021 The Bach Choir of Bethlehem. 18. J.S. 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! Bach turned to Rist for the text of the Ascension Oratorio internal plain chorale. Share Tweet Email. He had composed an Easter Oratorio already in 1725. daß wir den Heiland grüßen, The original words in the wedding cantata mentioned "Unschuld" (innocence). 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. Stream songs including "Kommt, eilet und laufet (Easter Oratorio), BWV 249: 1. 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"). 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. 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. It follows the story of the Ascension as told in Luke, Mark and the Acts of the Apostles. 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. It is framed by extended choral movements, Part I is concluded by the fourth stanza of Johann Rist's hymn "Du Lebensfürst, Herr Jesu Christ" in a four-part setting. [8] The voices are soprano, alto, tenor and bass, forming a four-part choir (SATB). the cantatas BWV 6, 12, 31, 182, 11 (Ascension Oratorio), 147 and the Easter Oratorio (249). Du Tag, wenn wirst du sein, 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. Matthew Halls. 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. Time: 7:00 pm. The Luke citation (extending to verse 35) is the Gospel reading for Easter Monday. 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 use of a chorale (“Nun lieget alles unter dir,” Movt. in seiner Herrlichkeit? 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. daß ich ihn werde sehn ", "The oft-quoted phrase 'a drumroll, please' aptly applies to the opening of Rutter’s exultant Gloria, which provided a dramatic finale to the program. . It follows the story of the Ascension as told in Luke, Mark and the Acts of the Apostles. 6) provides a link to numerous other works by Bach. In the following table of the movements, the scoring is taken the Neue Bach-Ausgabe. Bach. On the program: Flute Sonata in E-flat, BWV 1031: II. wenn kömmt die liebe Zeit, Sinfonia", "Kommt, eilet und laufet (Easter Oratorio), BWV 249: 1a. He has a clarion instrument that projects well throughout his range…a splendid dramatic performance. [4] The music is based on a movement from the lost wedding cantata Auf, süß entzückende Gewalt, BWV Anh. Adagio" and more. [12] Ensembles with period instruments in historically informed performance and choirs of one voice per part (OVPP) is marked by green background. The musical ideas are thick and fast (Bach was in a hurry, too). It went beyond mere intelligent programming and committed performance, enriched by a deep sense of the mutual nourishment of music and faith. 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. 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. Die Engel müssen für und für The Bach Choir of Bethlehem gives him all he could have wanted. It's hard to decide when all factors conspire together to elevate Bach's Easter and Ascension Oratorios to the same level of recognition of their more famous cousin, the Christmas Oratorio. [2], Bach used the model for the alto aria also for the Agnus Dei of his Mass in B minor. Bach composed it in Leipzig and first performed it on 1 April 1725. A veritable tour de force to close … [2], Bach marks the first recitative of bible narration "Recit. Eric Richmond. Ascension Oratorio, BWV. With the edition of the Christmas Oratorio within the framework of the Stuttgart Bach Editions, Carus presents a scholarly edition for practical performance. ", "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. BIS: BISSACD1561. Wenn soll es doch geschehen, Oster-Oratorium BWV 249 Kommet, eilat und laufet English Translation in Interlinear Format One of three oratorios by Bach, the Ascension Oratorio was first performed on Ascension Day in 1735 (May 19) in Leipzig. [7] It is sung by the Evangelista (Evangelist), which Bach assigns to the tenor singing secco recitative. (Recitative: with accomp[animent]),[7] it is accompanied by the flutes and continuo as a recitativo accompagnato. (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!) The Bach Hour. ", "The Bach Choir of Bethlehem, founded in the 19th century, has gained international recognition through its annual Bach Festival, tours and recordings. 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. [3], A reflecting recitative for bass, "Ach, Jesu, ist dein Abschied" (Ah, Jesus, is Your departure),[4] shows the situation of the disciples afraid that Jesus will leave them soon. < (2a) Later on the third day, two disciples encounter Jesus on the road to Emmaus, Mark 16: 12-13, and Luke 24: 13-32. 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. April 30, 2018 By News Wire. nach dem ersten Chor" (Recitative after the first chorus). 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. Called an “oratorio,” this is, like the Christmas Oratorio , really a cantata-style piece (the Christmas Oratorio is actually a series of six cantatas). 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. 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. This is a powerful recitative, even if it is only eleven measures in length. [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. 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