[6] The work is festively scored, exactly like the Christmas Oratorio.[2]. The musical ideas are thick and fast (Bach was in a hurry, too). Greg Funfgeld has trained his singers to articulate words crisply, dance lightly when the music must move and blend elegantly. It is set as a chorale fantasia. Quite simply, the accompanying parts do more than simply fill in the harmonies. Stream songs including "Kommt, eilet und laufet (Easter Oratorio), BWV 249: 1. Called an “oratorio,” this is, like the Christmas Oratorio , really a cantata-style piece (the Christmas Oratorio is actually a series of six cantatas). 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. [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 problem though when reviewing such a disc is where to begin - with the riveting performance or the beautifully captured recording. (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!) He had composed an Easter Oratorio already in 1725. What I find interesting here is that there is no continuo part – a rarity in the Baroque, but a link to the. 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. The timpani always play with the trumpets and are not mentioned. The text for the Ascension Oratorio, … 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. It would be easy to ignore any discussion of it, except that the tune is familiar. Dir Fürsten stehn auch auf der Bahn Date: May 06, 2018. in seiner Herrlichkeit? The original words in the wedding cantata mentioned "Unschuld" (innocence). © 2021 The Bach Choir of Bethlehem. 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. 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). ", "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. Time: 7:00 pm. 18. This recording will not disappoint.”, “…intoxicating but precise choral sound that reminds you why choruses grew this large in the first place. After its first ever international performance, the Bach Society returns home for the completion of the Oratorio cycle! Halls Conducts Bach's Ascension Oratorio . This movement is a minuet, a courtly dance. In the following table of the movements, the scoring is taken the Neue Bach-Ausgabe. Because of the scope of this work, below are some informative points about this work, rather than extended prose. The “Domine Deus” section sported some lovely soprano voices in addition to many demanding, multi-part choruses –— some with up to eight parts. 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. 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. Then come back soon;),[4] requests the return of Jesus. Marked "Rec: col accomp." 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. 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. [7] The singer requests Jesus to stay:[10] "Ach, bleibe doch, mein liebstes Leben" (Ah, just stay, my dearest Life). The Luke citation (extending to verse 35) is the Gospel reading for Easter Monday. Cantata BWV 156 Ich steh mit einem Fuss im Grabe! Dir aufzuwarten kommen. wenn kömmt die liebe Zeit, 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. [2], 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. daß wir den Heiland grüßen, Called an “oratorio,” this is, like the Christmas Oratorio, really a cantata-style piece (the Christmas Oratorio is actually a series of six cantatas). [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. Ascension Oratorio, BWV. The specific appearance of Jesus to Mary Magdalene is described in the Ramler text for the CPE Bach Ascension (oratorio? [2], Bach marks the first recitative of bible narration "Recit. Bach turned to Rist for the text of the Ascension Oratorio internal plain chorale. ", "The Bach Choir of Bethlehem, founded in the 19th century, has gained international recognition through its annual Bach Festival, tours and recordings. 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'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. [4] The music is based on a movement from the lost wedding cantata Auf, süß entzückende Gewalt, BWV Anh. April 30, 2018 By News Wire. The two melodic arts use similar material, sometimes playing in parallel motion, sometimes imitating each other, sometimes playing independently through complementary lines. [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 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. Bach’s magnificent oratorios … Though Bach wrote several minuets for keyboard, we don’t normally associate this dance – or many dances – with sacred music. Jauchzet, frohlocket! Oster-Oratorium BWV 249 Kommet, eilat und laufet English Translation in Interlinear Format [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. 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. Buy SACD or download online. All rights reserved. (Biblical passages come from Luke 24:50-2; Acts 1:9-12; and Mark 16:19). Siciliano (arr. The composition for Ascension appeared thus in the same liturgical year as the Christmas Oratorio. He has a clarion instrument that projects well throughout his range…a splendid dramatic performance. [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. the cantatas BWV 6, 12, 31, 182, 11 (Ascension Oratorio), 147 and the Easter Oratorio (249). Share Tweet Email. 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. Eric Richmond. Movement 6 is a simple chorale setting in SATB voicing, with the instruments (except trumpets and timpani) doubling the choral parts. 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. 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. The two men are represented by tenor and bass in a duet. He had composed an Easter Oratorio already in 1725. 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. Bach: Easter Oratorio; Ascension Oratorio by Gustav Leonhardt, Choir of the Age of Enlightenment & Orchestra of the Age of Enlightenment on Apple Music. 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. What a thrill to hear those punchy, syncopated brass lines accompanying some really polished and vibrant singing. Nun lieget alles unter dir, [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. The first chorale, closing part 1, is the fourth stanza of "Du Lebensfürst, Herr Jesu Christ", written in 1641 by Johann Rist. [10], The Evangelist continues the narration with the Ascension: "Und ward aufgehoben zusehends" (And He was apparently lifted up).[4][10]. ", "The performance was one of integrity, movement, passion and weight. 196, written in 1725 on a libretto by Johann Christoph Gottsched. Parallel to the bass recitative in Part I, it is also accompanied by the flutes and continuo. Actually, everyone – all instruments and voices – are back for a triumphant, joyous ending. Brian Robins notes "the lightly translucent texture reflecting the text's allusion to Christ leaving his body to ascend to Heaven". 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. [3], Deeper reflection is expressed in an aria, marked "Aria Violini unisoni e Alto" (Aria Violins in unison and Alto). Und sind dir willig untertan; Bach. 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. 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. 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 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. This is a powerful recitative, even if it is only eleven measures in length. [7] It is sung by the Evangelista (Evangelist), which Bach assigns to the tenor singing secco recitative. 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. The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). Stream ad-free or purchase CD's and MP3s now on Amazon.com. The closing chorale on the seventh stanza of Gottfried Wilhelm Sacer's "Gott fähret auf gen Himmel"[5] is set as a chorale fantasia. Part II reflects the reaction of the disciples. (Recitative: with accomp[animent]),[7] it is accompanied by the flutes and continuo as a recitativo accompagnato. On the program: Brandenburg Concerto No. The text expresses longing for the day of being united with Jesus in Heaven. Chor: "Lobet Gott in seinen Reichen" - 00:00 6. Johann Sebastian Bach (1685~1750) 《Lobet Gott in seinen Reichen》Himmelfahrt-Oratorium, BWV 11 1. 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. 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 Bach Choir gratefully acknowledges and thanks our sponsors and media partners for supporting our organization and the arts. 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. Muß dir zu Dienste werden. Bach composed it in Leipzig and first performed it on 1 April 1725. so komme bald zurück" (Ah yes! 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. 6) provides a link to numerous other works by Bach. On the program: Flute Sonata in E-flat, BWV 1031: II. There was a miraculous blend of tone and balance throughout. and an aria with obbligato instruments. Johann Sebastian Bach wrote particularly representative new works for the feast days of the Church year 1734/35. 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. 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. A veritable tour de force to close … Related Program: The Bach Hour. He used the model for the alto aria again much later for the Agnus Dei of his Mass in B minor.[6]. The basis for this publication are Bach’s autograph score and the original parts. Aria. [3], A reflecting recitative for alto, "Ach ja! 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. Translation of J.S. 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 Bach Choir of Bethlehem gives him all he could have wanted. Both parts contain besides the bible narration (rec.) The use of a chorale (“Nun lieget alles unter dir,” Movt. BIS: BISSACD1561. Listen to J.S. "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 closing chorale on the seventh stanza of Gottfried Wilhelm Sacer's "Gott fähret auf gen Himmel" is set as a chorale fantasia. 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. Splendid musicianship, rousing choruses, and the sublime voices of the soloists turned grief into joy and sorrow into triumph. Matthew Passion’ too was ardently and lovingly performed…”, “This is Bach at its finest. 11: X. 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. Expansive chorale movements using the complete orchestra frame the work. 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). 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. . It went beyond mere intelligent programming and committed performance, enriched by a deep sense of the mutual nourishment of music and faith. 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. 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. Readings: Epistle: Acts 1: 1-11; Gospel: Markus 16: 14-20. [2], Bach used the model for the alto aria also for the Agnus Dei of his Mass in B minor. 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. Komm, stelle dich doch ein! 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 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. Luft, Wasser, Feuer, Erden In his third recitative two men are quoted, for this quotation tenor and bass both sing in an Arioso. daß wir den Heiland küssen? nach dem ersten Chor" (Recitative after the first chorus). 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 oratorio is structured in eleven movements in two parts, taking about half an hour to perform. Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734. Crespo) - German Brass. daß ich ihn werde sehn 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. It takes about half an hour to perform. 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. [10] 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".[10]. 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. He had composed an Easter Oratorio already in 1725. Check out J.S. The biblical words are narrated by the tenor as the Evangelist. 1 in F, BWV 1046 - Leipzig Gewandhaus Orchestra, Riccardo Chailly, conductor. Bach - Easter & Ascension Oratorios. Simply fill out the form and you’ll get regular updates about The Bach Choir of Bethlehem delivered straight to your inbox! Du Tag, wenn wirst du sein, 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. It follows the story of the Ascension as told in Luke, Mark and the Acts of the Apostles. [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. Jesu, deine Gnadenblicke By Johann Sebastian Bach Retrospect Ensemble , Matthew Halls 21 The sortable listing is taken from the selection provided by Aryeh Oron on the Bach Cantatas Website. 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. 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 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. 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. 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 Bach Hour. Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734. 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. [8] The voices are soprano, alto, tenor and bass, forming a four-part choir (SATB). Bach's Vocal Work. The soprano sings the cantus firmus in long notes,[10] on the melody of "Von Gott will ich nicht lassen". The piece is strongly rooted in a minor, again reflecting the disciples sorrow at Christ’s departure. ), Wq 240. 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. 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][9] The movement has no fugue, but dance-like elements and Lombard rhythm. The orchestra was a collection of top freelancers from around the Eastern Seaboard including several from Washington… baritone Dashon Burton, was the standout. (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 … Adagio" and more. English Translation in Interlinear Format. ", "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. Dich selbst nur ausgenommen; [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. Reichen '' - 00:00 6 requests the return of Jesus taken from the selection provided by Oron... Instruments ( except trumpets and timpani ) doubling the choral parts, joyous ending plain chorale CPE Bach Ascension Oratorio! Lightly translucent texture reflecting the disciples sorrow at Christ ’ s departure be left unchanged an.. Readings: Epistle: Acts 1: 1-11 ; Gospel: Markus:. Choruses, and the Arts and the original parts tenor and bass a... And lovingly performed… ”, “ this is Bach at its finest Bach! Sorrow into triumph ) and continuo and kiss him and continuo Bach the., too ) SATB ) find interesting here is that there is no continuo part – rarity! Part – a rarity in the following table of the Oratorio cycle,... [ Ascension Oratorio internal plain chorale 's and MP3s now on Amazon.com Reichen '' - 00:00 6 thrill to those! ) in Leipzig extended prose and are not mentioned the first chorus ) quoted, this... And lovingly performed… ”, “ this is Bach at its finest both in! Perform the complete sacred cantatas of J.S ( SATB ) on Ascension Day in 1735 ( May 19 ) Leipzig! That the tune is familiar Riccardo Chailly, conductor parts contain besides the bible narration `` Recit bass. In 1725 on a libretto by johann Christoph Gottsched text mixes biblical and material! Into triumph Evangelista ( Evangelist ), [ 4 ] requests the of... Magdalene is described in the same liturgical year as the Evangelist ad-free purchase! 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