What a thrill to hear those punchy, syncopated brass lines accompanying some really polished and vibrant singing. Called an “oratorio,” this is, like the Christmas Oratorio , really a cantata-style piece (the Christmas Oratorio is actually a series of six cantatas). Crespo) - German Brass. The two men are represented by tenor and bass in a duet. The text mixes biblical and poetic material, though the exact librettist is unknown. Stream ad-free or purchase CD's and MP3s now on Amazon.com. Actually, everyone – all instruments and voices – are back for a triumphant, joyous ending. [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]. 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. Bach. Johann Sebastian Bach wrote particularly representative new works for the feast days of the Church year 1734/35. [7] It is sung by the Evangelista (Evangelist), which Bach assigns to the tenor singing secco recitative. 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 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. The sortable listing is taken from the selection provided by Aryeh Oron on the Bach Cantatas Website. 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. It would be easy to ignore any discussion of it, except that the tune is familiar. ", "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. [3], A reflecting recitative for alto, "Ach ja! The Luke citation (extending to verse 35) is the Gospel reading for Easter Monday. Jesu, deine Gnadenblicke By Johann Sebastian Bach Retrospect Ensemble , Matthew Halls 21 the cantatas BWV 6, 12, 31, 182, 11 (Ascension Oratorio), 147 and the Easter Oratorio (249). 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. [12] Ensembles with period instruments in historically informed performance and choirs of one voice per part (OVPP) is marked by green background. Dir aufzuwarten kommen. [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. "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. Expansive chorale movements using the complete orchestra frame the work. 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. 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. One of three oratorios by Bach, the Ascension Oratorio was first performed on Ascension Day in 1735 (May 19) in Leipzig. 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. Komm, stelle dich doch ein! 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. 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). Du Tag, wenn wirst du sein, 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. 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. 6) provides a link to numerous other works by Bach. 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. nach dem ersten Chor" (Recitative after the first chorus). Bach composed it in Leipzig and first performed it on 1 April 1725. Bach’s Ascension Oratorio in Corcoran, May 6. This movement is a minuet, a courtly dance. Siciliano (arr. 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. 11: X. (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 … [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. English Translation in Interlinear Format. daß wir den Heiland küssen? Splendid musicianship, rousing choruses, and the sublime voices of the soloists turned grief into joy and sorrow into triumph. 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. 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. [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. [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. 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. 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. 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. 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. The piece is strongly rooted in a minor, again reflecting the disciples sorrow at Christ’s departure. 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. [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. Dir Fürsten stehn auch auf der Bahn 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 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, a work in six parts to be performed on six occasions during Christmas tide. [6] The work is festively scored, exactly like the Christmas Oratorio.[2]. [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. [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. 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. Maybe this is “in-his-dreams” Bach.”, “…a performance that confirmed my belief that this is one of the finest large amateur choruses in the United States.”. The text for the Ascension Oratorio, … Cantata BWV 11 - Praise God in his kingdoms [Ascension Oratorio] Event: Ascension Day. Time: 7:00 pm. This is a powerful recitative, even if it is only eleven measures in length. BIS: BISSACD1561. 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"). Share Tweet Email. Movement 6 is a simple chorale setting in SATB voicing, with the instruments (except trumpets and timpani) doubling the choral parts. 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. [2], Bach marks the first recitative of bible narration "Recit. 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. (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 soprano sings the cantus firmus in long notes,[10] on the melody of "Von Gott will ich nicht lassen". 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. [2], Bach used the model for the alto aria also for the Agnus Dei of his Mass in B minor. It went beyond mere intelligent programming and committed performance, enriched by a deep sense of the mutual nourishment of music and faith. Yukari Nonshita (soprano), Patrick van Goethem (counter-tenor), Jan Kobow (tenor), Chiyuki Urano (bass) Bach Collegium Japan, Masaaki Suzuki (Biblical passages come from Luke 24:50-2; Acts 1:9-12; and Mark 16:19). 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. After its first ever international performance, the Bach Society returns home for the completion of the Oratorio cycle! Called an “oratorio,” this is, like the Christmas Oratorio, really a cantata-style piece (the Christmas Oratorio is actually a series of six cantatas). ), Wq 240. wenn kömmt die liebe Zeit, 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. 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. daß ich ihn werde sehn It takes about half an hour to perform. This recording will not disappoint.”, “…intoxicating but precise choral sound that reminds you why choruses grew this large in the first place. The first chorale, closing part 1, is the fourth stanza of "Du Lebensfürst, Herr Jesu Christ", written in 1641 by Johann Rist. Listen to J.S. Bach’s magnificent oratorios … Chor: "Lobet Gott in seinen Reichen" - 00:00 6. 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. The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). Marked "Rec: col accomp." 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. 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. 18. Because of the scope of this work, below are some informative points about this work, rather than extended prose. 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. : 14-20 the mutual nourishment of music and faith, with two melody parts ( unison violins and Pennsylvania! 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