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. ", "The Bach Choir of Bethlehem, founded in the 19th century, has gained international recognition through its annual Bach Festival, tours and recordings. Du Tag, wenn wirst du sein, The musicologist Julian Mincham interprets the mode of the tune as "the human state of waiting and hoping", while the concerto represents the fulfillment. daß wir den Heiland grüßen, 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. [10], The Evangelist continues the narration with the Ascension: "Und ward aufgehoben zusehends" (And He was apparently lifted up).[4][10]. Translation of J.S. Bach’s Ascension Oratorio in Corcoran, May 6. Die Engel müssen für und für Komm, stelle dich doch ein! Und sind dir willig untertan; The timpani always play with the trumpets and are not mentioned. Chor: "Lobet Gott in seinen Reichen" - 00:00 6. ", "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. Called an “oratorio,” this is, like the Christmas Oratorio , really a cantata-style piece (the Christmas Oratorio is actually a series of six cantatas). It is set as a chorale fantasia. Bach. [2], Bach used the model for the alto aria also for the Agnus Dei of his Mass in B minor. 1 in F, BWV 1046 - Leipzig Gewandhaus Orchestra, Riccardo Chailly, conductor. Wenn soll es doch geschehen, Dich selbst nur ausgenommen; The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). Expansive chorale movements using the complete orchestra frame the work. [7] The singer requests Jesus to stay:[10] "Ach, bleibe doch, mein liebstes Leben" (Ah, just stay, my dearest Life). 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. Cantata BWV 11 - Praise God in his kingdoms [Ascension Oratorio] Event: Ascension Day. With the edition of the Christmas Oratorio within the framework of the Stuttgart Bach Editions, Carus presents a scholarly edition for practical performance. He had composed an Easter Oratorio already in 1725. 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. 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. . This field is for validation purposes and should be left unchanged. [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. BIS: BISSACD1561. Ascension Oratorio, BWV. This recording will not disappoint.”, “…intoxicating but precise choral sound that reminds you why choruses grew this large in the first place. < (2a) Later on the third day, two disciples encounter Jesus on the road to Emmaus, Mark 16: 12-13, and Luke 24: 13-32. English Translation in Interlinear Format. 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. In his third recitative two men are quoted, for this quotation tenor and bass both sing in an Arioso. On the program: Flute Sonata in E-flat, BWV 1031: II. 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. Movement 4 is essentially a trio sonata, with two melody parts (unison violins and the solo alto voice) and continuo. It went beyond mere intelligent programming and committed performance, enriched by a deep sense of the mutual nourishment of music and faith. The composition for Ascension appeared thus in the same liturgical year as the Christmas Oratorio. The Choir is supported in part by the National Endowment for the Arts and the Pennsylvania Council on the Arts. [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. 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. 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. (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 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. The text mixes biblical and poetic material, though the exact librettist is unknown. Marked "Rec: col accomp." 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. 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. and an aria with obbligato instruments. Then come back soon;),[4] requests the return of Jesus. 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. 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. ", "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. Actually, everyone – all instruments and voices – are back for a triumphant, joyous ending. The closing chorale, "Wenn soll es doch geschehen" (When shall it happen"),[4] is the seventh stanza of "Gott fähret auf gen Himmel", written in 1697 by Gottfried Wilhelm Sacer. [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. © 2021 The Bach Choir of Bethlehem. daß ich ihn werde sehn It’s almost the same as the chorale (also in 3/4) from Cantata 43, After three recitatives in a row, we reach Movement 10, an aria. It would be easy to ignore any discussion of it, except that the tune is familiar. Dir Fürsten stehn auch auf der Bahn The Bach Hour. 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). April 30, 2018 By News Wire. J.S. 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. [7] It is sung by the Evangelista (Evangelist), which Bach assigns to the tenor singing secco recitative. 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. There was a miraculous blend of tone and balance throughout. Stream songs including "Kommt, eilet und laufet (Easter Oratorio), BWV 249: 1. [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. He used the model for the alto aria again much later for the Agnus Dei of his Mass in B minor.[6]. in seiner Herrlichkeit? 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[7] 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. so komme bald zurück" (Ah yes! Greg Funfgeld has trained his singers to articulate words crisply, dance lightly when the music must move and blend elegantly. (Recitative: with accomp[animent]),[7] it is accompanied by the flutes and continuo as a recitativo accompagnato. Matthew Halls. 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. Buy SACD or download online. Luft, Wasser, Feuer, Erden The biblical words are narrated by the tenor as the Evangelist. [4] The music is based on a movement from the lost wedding cantata Auf, süß entzückende Gewalt, BWV Anh. 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. the cantatas BWV 6, 12, 31, 182, 11 (Ascension Oratorio), 147 and the Easter Oratorio (249). [8] The voices are soprano, alto, tenor and bass, forming a four-part choir (SATB). [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. 196, written in 1725 on a libretto by Johann Christoph Gottsched. On the program: Brandenburg Concerto No. [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. Listen to J.S. 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). a reflective accompagnato recitative (acc.) Related Program: The Bach Hour. ", "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. Crespo) - German Brass. 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. 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. Date: May 06, 2018. 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 two men are represented by tenor and bass in a duet. The text for the Ascension Oratorio, … [12] Ensembles with period instruments in historically informed performance and choirs of one voice per part (OVPP) is marked by green background. Dir aufzuwarten kommen. Bach turned to Rist for the text of the Ascension Oratorio internal plain chorale. 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. Quite simply, the accompanying parts do more than simply fill in the harmonies. It follows the story of the Ascension as told in Luke, Mark and the Acts of the Apostles. Both parts contain besides the bible narration (rec.) Readings: Epistle: Acts 1: 1-11; Gospel: Markus 16: 14-20. A veritable tour de force to close … 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. 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. 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 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. With two melody parts ( unison violins and the Acts of the Church year 1734/35 are taken Alfred... Movement 4 is essentially a trio Sonata, with two melody parts ( unison violins the. 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