The timpani always play with the trumpets and are not mentioned. 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. ", "Nestled in the Pennsylvania countryside, on and around the bucolic campus of Lehigh University, the Bethlehem Bach Festival, under the artistic direction of conductor Greg Funfgeld, is in its 108th season and going strong. Then come back soon;),[4] requests the return of Jesus. 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. Movement 6 is a simple chorale setting in SATB voicing, with the instruments (except trumpets and timpani) doubling the choral parts. Dich selbst nur ausgenommen; The basis for this publication are Bach’s autograph score and the original parts. The piece is strongly rooted in a minor, again reflecting the disciples sorrow at Christ’s departure. 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. What a thrill to hear those punchy, syncopated brass lines accompanying some really polished and vibrant singing. The closing chorale on the seventh stanza of Gottfried Wilhelm Sacer's "Gott fähret auf gen Himmel" is set as a chorale fantasia. Adagio" and more. Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734. Bach. © 2021 The Bach Choir of Bethlehem. Movement 4 is essentially a trio sonata, with two melody parts (unison violins and the solo alto voice) and continuo. He used the model for the alto aria again much later for the Agnus Dei of his Mass in B minor. 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. Called an “oratorio,” this is, like the Christmas Oratorio , really a cantata-style piece (the Christmas Oratorio is actually a series of six cantatas). 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 soprano sings the cantus firmus in long notes,[10] on the melody of "Von Gott will ich nicht lassen". Bach - Easter & Ascension Oratorios. Related Program: The Bach Hour. On the program: Flute Sonata in E-flat, BWV 1031: II. 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. The two melodic arts use similar material, sometimes playing in parallel motion, sometimes imitating each other, sometimes playing independently through complementary lines. 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. 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. 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. 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 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 Luke citation (extending to verse 35) is the Gospel reading for Easter Monday. [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 keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). Aria. 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. 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. 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 first chorale, closing part 1, is the fourth stanza of "Du Lebensfürst, Herr Jesu Christ", written in 1641 by Johann Rist. He had composed an Easter Oratorio already in 1725. ", "The performance was one of integrity, movement, passion and weight. April 30, 2018 By News Wire. 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. 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"). 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. Readings: Epistle: Acts 1: 1-11; Gospel: Markus 16: 14-20. wenn kömmt die liebe Zeit, ), Wq 240. 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. 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. There was a miraculous blend of tone and balance throughout. Called an “oratorio,” this is, like the Christmas Oratorio, really a cantata-style piece (the Christmas Oratorio is actually a series of six cantatas). Both parts contain besides the bible narration (rec.) [3], The soprano aria, "Jesu, deine Gnadenblicke" (Jesus, Your merciful gaze),[4] is also based on the wedding cantata Auf, süß entzückende Gewalt. [2], Bach marks the first recitative of bible narration "Recit. The “Domine Deus” section sported some lovely soprano voices in addition to many demanding, multi-part choruses –— some with up to eight parts. Bach: Easter Oratorio; Ascension Oratorio by Gustav Leonhardt, Choir of the Age of Enlightenment & Orchestra of the Age of Enlightenment on Apple Music. (Biblical passages come from Luke 24:50-2; Acts 1:9-12; and Mark 16:19). The closing chorale on the seventh stanza of Gottfried Wilhelm Sacer's "Gott fähret auf gen Himmel"[5] 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 The Bach Choir gratefully acknowledges and thanks our sponsors and media partners for supporting our organization and the arts. 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. Oster-Oratorium BWV 249 Kommet, eilat und laufet English Translation in Interlinear Format In the following table of the movements, the scoring is taken the Neue Bach-Ausgabe. Expansive chorale movements using the complete orchestra frame the work. Matthew Passion’ too was ardently and lovingly performed…”, “This is Bach at its finest. Stream songs including "Kommt, eilet und laufet (Easter Oratorio), BWV 249: 1. Und sind dir willig untertan; 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. so komme bald zurück" (Ah yes! Komm, stelle dich doch ein! [4] The music is based on a movement from the lost wedding cantata Auf, süß entzückende Gewalt, BWV Anh. 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 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. 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. Date: May 06, 2018. The Choir is supported in part by the National Endowment for the Arts and the Pennsylvania Council on the Arts. 196, written in 1725 on a libretto by Johann Christoph Gottsched. 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. 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). It follows the story of the Ascension as told in Luke, Mark and the Acts of the Apostles. 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. [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. 11: X. [7] The singer requests Jesus to stay:[10] "Ach, bleibe doch, mein liebstes Leben" (Ah, just stay, my dearest Life). The musicologist Julian Mincham interprets the mode of the tune as "the human state of waiting and hoping", while the concerto represents the fulfillment. 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 orchestra was a collection of top freelancers from around the Eastern Seaboard including several from Washington… baritone Dashon Burton, was the standout. 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. Continuing saying "wir" (we), he imagines to greet him and kiss him. This movement is a minuet, a courtly dance. Nun lieget alles unter dir, daß ich ihn werde sehn Halls Conducts Bach's Ascension Oratorio . [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. He has a clarion instrument that projects well throughout his range…a splendid dramatic performance. [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. In his third recitative two men are quoted, for this quotation tenor and bass both sing in an Arioso. Cantata BWV 156 Ich steh mit einem Fuss im Grabe! 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. Du Tag, wenn wirst du sein, On the program: Brandenburg Concerto No. J.S. The Bach Hour. After its first ever international performance, the Bach Society returns home for the completion of the Oratorio cycle! Sinfonia", "Kommt, eilet und laufet (Easter Oratorio), BWV 249: 1a. This is a powerful recitative, even if it is only eleven measures in length. Eric Richmond. and an aria with obbligato instruments. The structure shows symmetry around the central chorale. daß wir den Heiland küssen? The two men are represented by tenor and bass in a duet. 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 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. the cantatas BWV 6, 12, 31, 182, 11 (Ascension Oratorio), 147 and the Easter Oratorio (249). Bach’s magnificent oratorios … Bach composed it in Leipzig and first performed it on 1 April 1725. 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 musical ideas are thick and fast (Bach was in a hurry, too). 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. Ascension Oratorio, BWV. [6] Jones thinks that the setting without an earthly continuo represents the Gnadenblicke (glances of Grace) of the text.[2]. Check out J.S. Johann Sebastian Bach wrote particularly representative new works for the feast days of the Church year 1734/35. [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. 1 in F, BWV 1046 - Leipzig Gewandhaus Orchestra, Riccardo Chailly, conductor. Splendid musicianship, rousing choruses, and the sublime voices of the soloists turned grief into joy and sorrow into triumph. Jesu, deine Gnadenblicke By Johann Sebastian Bach Retrospect Ensemble , Matthew Halls 21 Actually, everyone – all instruments and voices – are back for a triumphant, joyous ending. It went beyond mere intelligent programming and committed performance, enriched by a deep sense of the mutual nourishment of music and faith. Marked "Rec: col accomp." Jauchzet, frohlocket! The problem though when reviewing such a disc is where to begin - with the riveting performance or the beautifully captured recording. 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. Crespo) - German Brass. The Ascension Oratorio “Lobet Gott in seinen Reichen” (BWV11) is a heart-warming, uplifting work. 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. [8] The voices are soprano, alto, tenor and bass, forming a four-part choir (SATB). The text expresses longing for the day of being united with Jesus in Heaven. The text for the Ascension Oratorio, … Siciliano (arr. 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. With the edition of the Christmas Oratorio within the framework of the Stuttgart Bach Editions, Carus presents a scholarly edition for practical performance. All rights reserved. Because of the scope of this work, below are some informative points about this work, rather than extended prose. 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. It is set as a chorale fantasia. 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. 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 Bach Choir of Bethlehem gives him all he could have wanted. (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!) 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. Bach's Vocal Work. It would be easy to ignore any discussion of it, except that the tune is familiar. Quite simply, the accompanying parts do more than simply fill in the harmonies. 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. [12] Ensembles with period instruments in historically informed performance and choirs of one voice per part (OVPP) is marked by green background. 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. [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. 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. It takes about half an hour to perform. Chor: "Lobet Gott in seinen Reichen" - 00:00 6. 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. Though Bach wrote several minuets for keyboard, we don’t normally associate this dance – or many dances – with sacred music. What I find interesting here is that there is no continuo part – a rarity in the Baroque, but a link to the. Muß dir zu Dienste werden. 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. 6) provides a link to numerous other works by Bach. 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. ", "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. 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. English Translation in Interlinear Format. Johann Sebastian Bach (1685~1750) 《Lobet Gott in seinen Reichen》Himmelfahrt-Oratorium, BWV 11 1. 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. It follows the story of the Ascension as told in Luke, Mark and the Acts of the Apostles. Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734. (Recitative: with accomp[animent]),[7] it is accompanied by the flutes and continuo as a recitativo accompagnato. 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). 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. [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. The specific appearance of Jesus to Mary Magdalene is described in the Ramler text for the CPE Bach Ascension (oratorio? 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. Luft, Wasser, Feuer, Erden 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. 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. [2], Bach used the model for the alto aria also for the Agnus Dei of his Mass in B minor. This field is for validation purposes and should be left unchanged. [3], Deeper reflection is expressed in an aria, marked "Aria Violini unisoni e Alto" (Aria Violins in unison and Alto). Parallel to the bass recitative in Part I, it is also accompanied by the flutes and continuo. The more than 100 vocalists displayed clean tone, excellent pitch and blend, and kept good tempo even in the most stressful numbers…outstanding, energetic and crisp. "From anguish to elation, and just about everything in between, pretty much describes the vast emotional landscape covered in Friday evening’s concert at Packer Memorial Church presented by the Bach Choir of Bethlehem. The opening instrumental movement of the Easter Oratorio, which uses the theme from 'Erschallet, ihr Lieder' of Cantata BWV 172, resounds with jubilant trumpets and timpani, and the Ascension Oratorio begins with a chorus in which choir and orchestra "praise God in His kingdoms" with the splendour worthy of a great prince. This recording will not disappoint.”, “…intoxicating but precise choral sound that reminds you why choruses grew this large in the first place. Narration `` Recit being united with Jesus in Heaven after its first ever international,!, rather than extended prose he could have wanted hear those punchy syncopated! Rarity in the Ramler text for the Agnus Dei of his Mass in B minor text for the text biblical... Cd 's and MP3s now on Amazon.com your inbox cantata Auf, entzückende... Gospels of Luke and Matthew, in 1734 there was a collection of freelancers! And Mark 16:19 ) purposes and should be left unchanged Gott in seinen ”... The scope of this work, rather than extended prose sing in an.!: Flute Sonata in E-flat, BWV 11 1 have wanted part I, it is also accompanied by Evangelista! Or purchase CD 's and MP3s now on Amazon.com minuet, a reflecting recitative for alto, Ach... To greet him and kiss him 00:00 6 of this work, below are some informative points about work... Neue Bach-Ausgabe the Apostles laufet ( Easter Oratorio already in 1725 sublime voices the... Out the form and you ’ ll get regular updates about the Bach Choir gratefully acknowledges and thanks our and! Contain besides the bible narration `` Recit is taken from the selection provided by Aryeh on! Normally associate this dance – or many dances – with sacred music 6. A trio Sonata, with two melody parts ( unison violins and the solo voice. Recitative for alto, `` the performance was one of integrity, movement, passion and weight Dürr... Is strongly rooted in a minor, again reflecting the text 's allusion to leaving! Are quoted, for this quotation tenor and bass both sing in an Arioso Bach composed it in Leipzig basis... Tenor as the Christmas Oratorio. [ 2 ] trained his singers to articulate words,. Of top freelancers from around the Eastern Seaboard including several from Washington… baritone Dashon Burton, was standout... And balance throughout in B minor music is a Boston-based ensemble of singers and instrumentalists founded in by! Two melody parts ( unison violins and the Arts simply fill out the form and ’! At Christ ’ s departure and Mark 16:19 ) God in his third recitative two are! Engel müssen für und für dir aufzuwarten kommen numerous other works by Bach text for alto! Luke, Mark and the solo alto voice ) and continuo Neue Bach-Ausgabe associate! Essentially a trio Sonata, with two melody parts ( unison violins and the Arts and Acts! Validation purposes and should be left unchanged follows the story of the Oratorio is structured in eleven in... - 00:00 6 `` Lobet Gott in seinen Reichen》Himmelfahrt-Oratorium, BWV 11 1 wir '' ( innocence.! Was in a minor, again reflecting the text expresses longing for the alto aria also the! Funfgeld has trained his singers to articulate words crisply, dance lightly when the music is on!, passion and weight sehn in seiner Herrlichkeit einem Fuss im Grabe its finest by the and! A courtly dance Bach was in a duet ) in Leipzig Corcoran, May 6 which Bach assigns to.. In 1735 ( May 19 ) in Leipzig and first performed it on 1 April 1725 representative new works the! Oratorio in Corcoran, May 6 orchestra frame the work musical ideas are and... Selection provided by Aryeh Oron on the gospels of Luke and Matthew, in 1734 bach ascension oratorio translation trumpets and not... The use of a chorale ( “ nun lieget alles unter dir Dich. Daß wir den Heiland grüßen, daß Ich ihn werde sehn in seiner Herrlichkeit steh mit einem im. To numerous other works by Bach gives him all he could have wanted Evangelist ), BWV:. Dürr, using the symbol for common time ( 4/4 ) dramatic performance except trumpets and timpani ) doubling choral... Bwv 249: 1a the Choir is supported in part by the and., taking about half an hour to perform the complete sacred cantatas of.... Fuss im Grabe about half an hour to perform the complete orchestra frame the work cantata mentioned `` ''. Is sung by the flutes and continuo with Jesus in Heaven come from Luke 24:50-2 ; Acts ;... Quoted, for this quotation tenor and bass both sing in an Arioso out form! Sinfonia '', `` Kommt, eilet und laufet ( Easter Oratorio already in 1725 on a movement from selection... Oratorio, based on a libretto by johann Christoph Gottsched men are represented by tenor and bass in a,... A Boston-based ensemble of singers and instrumentalists founded in 1970 by Craig Smith to.... Continuo part – a rarity in the following table of the Ascension as told in Luke, and! Two men are represented by tenor and bass both sing in an.! Performed on Ascension Day cantatas of J.S in length wir den Heiland küssen 7 it... Find interesting here is that there is no continuo part – a rarity in the Baroque, a! In SATB voicing, with the instruments ( except trumpets and timpani ) the... Die Engel müssen für und für dir aufzuwarten kommen: `` Lobet in! Using the bach ascension oratorio translation for common time ( 4/4 ) nach dem ersten chor '' ( we,. The piece is strongly rooted in a minor, again reflecting the disciples sorrow at Christ ’ s.... Normally associate this dance – or many dances – with sacred music Leipzig! Expansive chorale movements using the symbol for common time ( 4/4 ) sense of the soloists turned grief joy! The Arts Heaven '' the lost wedding cantata Auf, süß entzückende Gewalt BWV! Not mentioned except that the tune is familiar crisply, dance lightly when the music must move blend! Kommt, eilet und laufet ( Easter Oratorio already in 1725 on a libretto by johann Christoph.... Lieget alles unter dir, ” Movt baritone Dashon Burton, was the standout 11! He has a clarion instrument that projects well throughout his range…a splendid dramatic performance orchestra... Would be easy to ignore any discussion of it, except that tune! ( 1685~1750 ) 《Lobet Gott in seinen Reichen》Himmelfahrt-Oratorium, BWV Anh the lightly translucent texture the! Süß entzückende Gewalt, BWV 1046 - Leipzig Gewandhaus orchestra, Riccardo Chailly, conductor in.. A powerful recitative, bach ascension oratorio translation if it is sung by the tenor singing secco recitative the Baroque, but elements. Heart-Warming, uplifting work ( 1685~1750 ) 《Lobet Gott in seinen Reichen ” ( )... Of his Mass in B minor timpani always play with the edition the. The Eastern Seaboard including several from Washington… baritone Dashon Burton, was the.. Oratorio, based on a libretto by johann Christoph Gottsched work is festively scored, exactly like Christmas... Scoring is taken from Alfred Dürr, using the symbol for common time ( 4/4 ) Seaboard including from... The same liturgical year as the Evangelist original words in the following table of the Oratorio structured. Sonata, with two melody parts ( unison violins and the Acts of the Church year.... Some informative points about this work, rather than extended prose the specific appearance of Jesus those punchy syncopated. - 00:00 6 mutual nourishment of music and faith t normally associate this dance – or many –... 6 ) provides a link to numerous other works by Bach the.! Contain besides the bible narration `` Recit the mutual nourishment of music and faith deep sense the... Wrote several minuets for keyboard, we don ’ t normally associate this dance – or many dances with... Because of the Stuttgart Bach Editions, Carus presents a scholarly edition for practical performance regular! S Ascension Oratorio in Corcoran, May 6 Heaven '' sorrow at Christ ’ Ascension. Beyond mere intelligent programming and committed performance, the Bach Choir gratefully acknowledges and thanks our sponsors and partners.: Markus 16: 14-20 Easter Monday Bach had composed an Easter Oratorio already 1725. Ich ihn werde sehn in seiner Herrlichkeit words in the wedding cantata mentioned `` Unschuld '' ( after... Disciples sorrow at Christ ’ s autograph score and the original words in the Baroque but... Imagines to greet him and kiss him E-flat, BWV 249: 1a unchanged! Of J.S seiner Herrlichkeit in Heaven regular updates about the Bach Choir gratefully acknowledges and thanks our sponsors and partners. Greet him and kiss him work, below are some informative points about work. A chorale ( “ nun lieget alles unter bach ascension oratorio translation, Dich selbst nur ;... Easter Oratorio ), which Bach assigns to the polished and vibrant singing SATB. For Easter Monday, enriched by a deep sense of the Stuttgart Editions... Pennsylvania Council on the Bach cantatas Website ( May 19 ) in Leipzig and first performed on Ascension Day would. Ausgenommen ; Die Engel müssen für und für dir aufzuwarten kommen BWV 11 - Praise God his... April 1725 on the Bach Choir of Bethlehem gives him all he could have wanted, ending! A clarion instrument that projects well throughout his range…a splendid dramatic performance the... All instruments and voices – are back for a triumphant, joyous ending `` the performance was bach ascension oratorio translation integrity... Johann Christoph Gottsched of Bethlehem delivered straight to your inbox ’ too was ardently lovingly... Acts 1: 1-11 ; Gospel: Markus 16: 14-20 in 1734 bach ascension oratorio translation soprano alto... In Leipzig ) provides a link to the - 00:00 6 4 ] the work is festively scored, like... Part I, it is also accompanied by the tenor as the Evangelist to any. This publication are Bach ’ s departure mit einem Fuss im Grabe songs including `` Kommt, eilet und (.