Listen to J.S. ", "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. 6) provides a link to numerous other works by Bach. Muß dir zu Dienste werden. Die Engel müssen für und für What a thrill to hear those punchy, syncopated brass lines accompanying some really polished and vibrant singing. The “Domine Deus” section sported some lovely soprano voices in addition to many demanding, multi-part choruses –— some with up to eight parts. 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. 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. It is set as a chorale fantasia. He had composed an Easter Oratorio already in 1725. (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 two melodic arts use similar material, sometimes playing in parallel motion, sometimes imitating each other, sometimes playing independently through complementary lines. Bach’s magnificent oratorios … Bach turned to Rist for the text of the Ascension Oratorio internal plain chorale. [10], The Evangelist continues the narration with the Ascension: "Und ward aufgehoben zusehends" (And He was apparently lifted up).[4][10]. [6] Jones thinks that the setting without an earthly continuo represents the Gnadenblicke (glances of Grace) of the text.[2]. [3], Deeper reflection is expressed in an aria, marked "Aria Violini unisoni e Alto" (Aria Violins in unison and Alto). 18. Dich selbst nur ausgenommen; 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. Eric Richmond. 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. [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. Crespo) - German Brass. 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 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. April 30, 2018 By News Wire. Halls Conducts Bach's Ascension Oratorio . It would be easy to ignore any discussion of it, except that the tune is familiar. 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. Share Tweet Email. The structure shows symmetry around the central chorale. 11: X. Buy SACD or download online. 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. 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. The musical ideas are thick and fast (Bach was in a hurry, too). [7] It is sung by the Evangelista (Evangelist), which Bach assigns to the tenor singing secco recitative. 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. 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). Du Tag, wenn wirst du sein, On the program: Brandenburg Concerto No. Wenn soll es doch geschehen, Both parts contain besides the bible narration (rec.) [6] The work is festively scored, exactly like the Christmas Oratorio.[2]. This field is for validation purposes and should be left unchanged. Oster-Oratorium BWV 249 Kommet, eilat und laufet English Translation in Interlinear Format Bach: Easter Oratorio; Ascension Oratorio by Gustav Leonhardt, Choir of the Age of Enlightenment & Orchestra of the Age of Enlightenment on Apple Music. [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. . Part II reflects the reaction of the disciples. [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]. the cantatas BWV 6, 12, 31, 182, 11 (Ascension Oratorio), 147 and the Easter Oratorio (249). [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. There was a miraculous blend of tone and balance throughout. [3], A reflecting recitative for alto, "Ach ja! Simply fill out the form and you’ll get regular updates about The Bach Choir of Bethlehem delivered straight to your inbox! Bach’s Ascension Oratorio in Corcoran, May 6. Marked "Rec: col accomp." One of three oratorios by Bach, the Ascension Oratorio was first performed on Ascension Day in 1735 (May 19) in Leipzig. This is a powerful recitative, even if it is only eleven measures in length. 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. Chor: "Lobet Gott in seinen Reichen" - 00:00 6. The Choir is supported in part by the National Endowment for the Arts and the Pennsylvania Council on the Arts. 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. 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. Date: May 06, 2018. The biblical words are narrated by the tenor as the Evangelist. Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734. The Bach Hour. BIS: BISSACD1561. ), Wq 240. Because of the scope of this work, below are some informative points about this work, rather than extended prose. [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. 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. 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. in seiner Herrlichkeit? The first chorale, closing part 1, is the fourth stanza of "Du Lebensfürst, Herr Jesu Christ", written in 1641 by Johann Rist. In the following table of the movements, the scoring is taken the Neue Bach-Ausgabe. 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. J.S. 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. Yukari Nonshita (soprano), Patrick van Goethem (counter-tenor), Jan Kobow (tenor), Chiyuki Urano (bass) Bach Collegium Japan, Masaaki Suzuki 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 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 musicologist Julian Mincham interprets the mode of the tune as "the human state of waiting and hoping", while the concerto represents the fulfillment. The text expresses longing for the day of being united with Jesus in Heaven. Bach. Und sind dir willig untertan; The closing chorale on the seventh stanza of Gottfried Wilhelm Sacer's "Gott fähret auf gen Himmel" is set as a chorale fantasia. 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. Siciliano (arr. 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. [12] Ensembles with period instruments in historically informed performance and choirs of one voice per part (OVPP) is marked by green background. ", "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. 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. 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. Ascension Oratorio, BWV. 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