The oratorio is structured in eleven movements in two parts, taking about half an hour to perform. Buy SACD or download online. 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. Splendid musicianship, rousing choruses, and the sublime voices of the soloists turned grief into joy and sorrow into triumph. Though Bach wrote several minuets for keyboard, we don’t normally associate this dance – or many dances – with sacred music. 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. Komm, stelle dich doch ein! The text mixes biblical and poetic material, though the exact librettist is unknown. Die Engel müssen für und für Simply fill out the form and you’ll get regular updates about The Bach Choir of Bethlehem delivered straight to your inbox! 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. 18. Date: May 06, 2018. Bach turned to Rist for the text of the Ascension Oratorio internal plain chorale. 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. Share Tweet Email. There was a miraculous blend of tone and balance throughout. [6] The work is festively scored, exactly like the Christmas Oratorio.[2]. 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 “Domine Deus” section sported some lovely soprano voices in addition to many demanding, multi-part choruses –— some with up to eight parts. The orchestra was a collection of top freelancers from around the Eastern Seaboard including several from Washington… baritone Dashon Burton, was the standout. 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. [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. 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. The musical ideas are thick and fast (Bach was in a hurry, too). 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. It went beyond mere intelligent programming and committed performance, enriched by a deep sense of the mutual nourishment of music and faith. 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. 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. On the program: Brandenburg Concerto No. 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. Quite simply, the accompanying parts do more than simply fill in the harmonies. 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"). [4] The music is based on a movement from the lost wedding cantata Auf, süß entzückende Gewalt, BWV Anh. Check out J.S. 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. ", "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. It 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 Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734. Bach - Easter & Ascension Oratorios. 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 original words in the wedding cantata mentioned "Unschuld" (innocence). The Luke citation (extending to verse 35) is the Gospel reading for Easter Monday. He had composed an Easter Oratorio already in 1725. 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). Sinfonia", "Kommt, eilet und laufet (Easter Oratorio), BWV 249: 1a. 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. and an aria with obbligato instruments. daß wir den Heiland grüßen, The Ascension Oratorio BWV 11 was composed for Ascension Day 1734/35.Its character and scale remind us of Bach’s cantatas, but because of the biblical story, sung by the evangelist, it belongs to the genre of oratorio. [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. [8] The voices are soprano, alto, tenor and bass, forming a four-part choir (SATB). daß wir den Heiland küssen? April 30, 2018 By News Wire. This movement is a minuet, a courtly dance. The Ascension Oratorio “Lobet Gott in seinen Reichen” (BWV11) is a heart-warming, uplifting work. It follows the story of the Ascension as told in Luke, Mark and the Acts of the Apostles. [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. 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. 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. On the program: Flute Sonata in E-flat, BWV 1031: II. The problem though when reviewing such a disc is where to begin - with the riveting performance or the beautifully captured recording. [3], The soprano aria, "Jesu, deine Gnadenblicke" (Jesus, Your merciful gaze),[4] is also based on the wedding cantata Auf, süß entzückende Gewalt. 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 use of a chorale (“Nun lieget alles unter dir,” Movt. Both parts contain besides the bible narration (rec.) (Recitative: with accomp[animent]),[7] it is accompanied by the flutes and continuo as a recitativo accompagnato. 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. [3], A reflecting recitative for alto, "Ach ja! Bach’s Ascension Oratorio in Corcoran, May 6. . The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). 6) provides a link to numerous other works by Bach. The Bach Choir gratefully acknowledges and thanks our sponsors and media partners for supporting our organization and the arts. Bach's Vocal Work. Adagio" and more. Stream ad-free or purchase CD's and MP3s now on Amazon.com. Luft, Wasser, Feuer, Erden It takes about half an hour to perform. The text for the Ascension Oratorio, … Nun lieget alles unter dir, ", "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. What a thrill to hear those punchy, syncopated brass lines accompanying some really polished and vibrant singing. The Bach Choir of Bethlehem gives him all he could have wanted. The basis for this publication are Bach’s autograph score and the original parts. Crespo) - German Brass. 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. This recording will not disappoint.”, “…intoxicating but precise choral sound that reminds you why choruses grew this large in the first place. 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. Und sind dir willig untertan; The timpani always play with the trumpets and are not mentioned. 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. 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. Oster-Oratorium BWV 249 Kommet, eilat und laufet English Translation in Interlinear Format Actually, everyone – all instruments and voices – are back for a triumphant, joyous ending. Johann Sebastian Bach (1685~1750) 《Lobet Gott in seinen Reichen》Himmelfahrt-Oratorium, BWV 11 1. Bach: Easter Oratorio; Ascension Oratorio by Gustav Leonhardt, Choir of the Age of Enlightenment & Orchestra of the Age of Enlightenment on Apple Music. J.S. 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. 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. 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. After its first ever international performance, the Bach Society returns home for the completion of the Oratorio cycle! [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. Readings: Epistle: Acts 1: 1-11; Gospel: Markus 16: 14-20. [7] The singer requests Jesus to stay:[10] "Ach, bleibe doch, mein liebstes Leben" (Ah, just stay, my dearest Life). Chor: "Lobet Gott in seinen Reichen" - 00:00 6. It would be easy to ignore any discussion of it, except that the tune is familiar. 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 Choir of Bethlehem, founded in the 19th century, has gained international recognition through its annual Bach Festival, tours and recordings. The sortable listing is taken from the selection provided by Aryeh Oron on the Bach Cantatas Website. One of three oratorios by Bach, the Ascension Oratorio was first performed on Ascension Day in 1735 (May 19) in Leipzig. Muß dir zu Dienste werden. 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. [10], The Evangelist continues the narration with the Ascension: "Und ward aufgehoben zusehends" (And He was apparently lifted up).[4][10]. The text expresses longing for the day of being united with Jesus in Heaven. 196, written in 1725 on a libretto by Johann Christoph Gottsched. Bach: Easter Oratorio; Ascension Oratorio by Gustav Leonhardt & Choir Of The Age Of Enlightenment & Orchestra Of The Age Of Enlightenment on Amazon Music. [7] It is sung by the Evangelista (Evangelist), which Bach assigns to the tenor singing secco recitative. [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. Because of the scope of this work, below are some informative points about this work, rather than extended prose. Dich selbst nur ausgenommen; 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 Bach Hour. English Translation in Interlinear Format. Bach’s magnificent oratorios … Du Tag, wenn wirst du sein, 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. Dir Fürsten stehn auch auf der Bahn [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 two men are represented by tenor and bass in a duet. Expansive chorale movements using the complete orchestra frame the work. so komme bald zurück" (Ah yes! 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. Parallel to the bass recitative in Part I, it is also accompanied by the flutes and continuo. 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. Movement 6 is a simple chorale setting in SATB voicing, with the instruments (except trumpets and timpani) doubling the choral parts. Brian Robins notes "the lightly translucent texture reflecting the text's allusion to Christ leaving his body to ascend to Heaven". 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 had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734. 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. 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. Cantata BWV 156 Ich steh mit einem Fuss im Grabe! 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. Werde sehn in seiner Herrlichkeit alto, `` Kommt, eilet und laufet ( Easter Oratorio already 1725... Bach Society returns home for the alto aria also for the Arts by flutes! His singers to articulate words crisply, dance lightly when the music must move blend! 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