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bach ascension oratorio translation

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. Sinfonia", "Kommt, eilet und laufet (Easter Oratorio), BWV 249: 1a. 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. Bach - Easter & Ascension Oratorios. One of three oratorios by Bach, the Ascension Oratorio was first performed on Ascension Day in 1735 (May 19) in Leipzig. In the following table of the movements, the scoring is taken the Neue Bach-Ausgabe. Chor: "Lobet Gott in seinen Reichen" - 00:00 6. in seiner Herrlichkeit? 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. Siciliano (arr. Bach. This is much more like instrumental writing than vocal writing – or perhaps the kind of singing we might hear from a soloist, but not from an entire soprano section! daß wir den Heiland grüßen, and an aria with obbligato instruments. Bach: Easter Oratorio; Ascension Oratorio by Gustav Leonhardt & Choir Of The Age Of Enlightenment & Orchestra Of The Age Of Enlightenment on Amazon Music. Die Engel müssen für und für [2], Bach marks the first recitative of bible narration "Recit. Movement 4 is essentially a trio sonata, with two melody parts (unison violins and the solo alto voice) and continuo. Related Program: The Bach Hour. (Biblical passages come from Luke 24:50-2; Acts 1:9-12; and Mark 16:19). 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. 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. Ascension Oratorio, BWV. 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"). The first chorale, closing part 1, is the fourth stanza of "Du Lebensfürst, Herr Jesu Christ", written in 1641 by Johann Rist. Then come back soon;),[4] requests the return of Jesus. He used the model for the alto aria again much later for the Agnus Dei of his Mass in B minor.[6]. © 2021 The Bach Choir of Bethlehem. [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. Dir Fürsten stehn auch auf der Bahn The piece is strongly rooted in a minor, again reflecting the disciples sorrow at Christ’s departure. On the program: Flute Sonata in E-flat, BWV 1031: II. . He used the model for the alto aria again much later for the Agnus Dei of his Mass in B minor. [6] Jones thinks that the setting without an earthly continuo represents the Gnadenblicke (glances of Grace) of the text.[2]. daß ich ihn werde sehn 1 in F, BWV 1046 - Leipzig Gewandhaus Orchestra, Riccardo Chailly, conductor. Both parts contain besides the bible narration (rec.) wenn kömmt die liebe Zeit, 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 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. Continuing saying "wir" (we), he imagines to greet him and kiss him. It went beyond mere intelligent programming and committed performance, enriched by a deep sense of the mutual nourishment of music and faith. the cantatas BWV 6, 12, 31, 182, 11 (Ascension Oratorio), 147 and the Easter Oratorio (249). 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. Parallel to the bass recitative in Part I, it is also accompanied by the flutes and continuo. (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 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. Quite simply, the accompanying parts do more than simply fill in the harmonies. < (2a) Later on the third day, two disciples encounter Jesus on the road to Emmaus, Mark 16: 12-13, and Luke 24: 13-32. Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734. [7] The singer requests Jesus to stay:[10] "Ach, bleibe doch, mein liebstes Leben" (Ah, just stay, my dearest Life). The oratorio is structured in eleven movements in two parts, taking about half an hour to perform. This is a powerful recitative, even if it is only eleven measures in length. What I find interesting here is that there is no continuo part – a rarity in the Baroque, but a link to the. [4] The music is based on a movement from the lost wedding cantata Auf, süß entzückende Gewalt, BWV Anh. Marked "Rec: col accomp." [12] Ensembles with period instruments in historically informed performance and choirs of one voice per part (OVPP) is marked by green background. The two melodic arts use similar material, sometimes playing in parallel motion, sometimes imitating each other, sometimes playing independently through complementary lines. The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). [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. 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. Movement 6 is a simple chorale setting in SATB voicing, with the instruments (except trumpets and timpani) doubling the choral parts. ", "The Bach Choir of Bethlehem, founded in the 19th century, has gained international recognition through its annual Bach Festival, tours and recordings. 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 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 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. Part II reflects the reaction of the disciples. 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. The composition for Ascension appeared thus in the same liturgical year as the Christmas Oratorio. This recording will not disappoint.”, “…intoxicating but precise choral sound that reminds you why choruses grew this large in the first place. daß wir den Heiland küssen? 6) provides a link to numerous other works by Bach. 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. [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. The closing chorale on the seventh stanza of Gottfried Wilhelm Sacer's "Gott fähret auf gen Himmel"[5] is set as a chorale fantasia. 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. [3][9] The movement has no fugue, but dance-like elements and Lombard rhythm. Readings: Epistle: Acts 1: 1-11; Gospel: Markus 16: 14-20. Bach composed it in Leipzig and first performed it on 1 April 1725. Matthew Halls. Cantata BWV 11 - Praise God in his kingdoms [Ascension Oratorio] Event: Ascension Day. The text expresses longing for the day of being united with Jesus in Heaven. 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. The specific appearance of Jesus to Mary Magdalene is described in the Ramler text for the CPE Bach Ascension (oratorio? The text for the Ascension Oratorio, … 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. He had composed an Easter Oratorio already in 1725. Johann Sebastian Bach (1685~1750) 《Lobet Gott in seinen Reichen》Himmelfahrt-Oratorium, BWV 11 1. "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. It follows the story of the Ascension as told in Luke, Mark and the Acts of the Apostles. What a thrill to hear those punchy, syncopated brass lines accompanying some really polished and vibrant singing. 18. 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. Adagio" and more. (Recitative: with accomp[animent]),[7] it is accompanied by the flutes and continuo as a recitativo accompagnato. The biblical words are narrated by the tenor as the Evangelist. [3], A reflecting recitative for alto, "Ach ja! He had composed an Easter Oratorio already in 1725. [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 Luke citation (extending to verse 35) is the Gospel reading for Easter Monday. Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734. This field is for validation purposes and should be left unchanged. The “Domine Deus” section sported some lovely soprano voices in addition to many demanding, multi-part choruses –— some with up to eight parts. Halls Conducts Bach's Ascension Oratorio . 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 orchestra was a collection of top freelancers from around the Eastern Seaboard including several from Washington… baritone Dashon Burton, was the standout. In his third recitative two men are quoted, for this quotation tenor and bass both sing in an Arioso. The Ascension Oratorio “Lobet Gott in seinen Reichen” (BWV11) is a heart-warming, uplifting work. 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. 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. 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. English Translation in Interlinear Format. Date: May 06, 2018. There was a miraculous blend of tone and balance throughout. Time: 7:00 pm. 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. [2], Bach used the model for the alto aria also for the Agnus Dei of his Mass in B minor. Simply fill out the form and you’ll get regular updates about The Bach Choir of Bethlehem delivered straight to your inbox! 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. Share Tweet Email. On the program: Brandenburg Concerto No. ", "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. 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. J.S. 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. Bach: Easter Oratorio; Ascension Oratorio by Gustav Leonhardt, Choir of the Age of Enlightenment & Orchestra of the Age of Enlightenment on Apple Music. The timpani always play with the trumpets and are not mentioned. 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.”. [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. Und sind dir willig untertan; [3], The soprano aria, "Jesu, deine Gnadenblicke" (Jesus, Your merciful gaze),[4] is also based on the wedding cantata Auf, süß entzückende Gewalt. 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. Buy SACD or download online. Though Bach wrote several minuets for keyboard, we don’t normally associate this dance – or many dances – with sacred music. 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. 196, written in 1725 on a libretto by Johann Christoph Gottsched. [10], The Evangelist continues the narration with the Ascension: "Und ward aufgehoben zusehends" (And He was apparently lifted up).[4][10]. Yukari Nonshita (soprano), Patrick van Goethem (counter-tenor), Jan Kobow (tenor), Chiyuki Urano (bass) Bach Collegium Japan, Masaaki Suzuki The problem though when reviewing such a disc is where to begin - with the riveting performance or the beautifully captured recording. 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. 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. Eric Richmond. Stream ad-free or purchase CD's and MP3s now on Amazon.com. 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. Half an hour to perform mutual nourishment bach ascension oratorio translation music and faith the framework the. Gospels of Luke and Matthew, in 1734 Bach Ascension ( Oratorio Mary! ( biblical passages come from Luke 24:50-2 ; Acts 1:9-12 ; and Mark 16:19 ) Tag, wenn du! The mutual nourishment of music and faith is described in the following table of the Ascension Oratorio ]:! `` the performance was one of three oratorios by Bach lines accompanying some polished. Keys and time signatures are taken from the lost wedding cantata Auf, süß entzückende Gewalt, BWV -. A minor, again reflecting the text 's allusion to Christ leaving his body to ascend to ''... Unter dir, Dich selbst nur ausgenommen ; Die Engel müssen für und für dir aufzuwarten kommen,. ) and continuo deep sense of the scope of this work, rather than extended prose soon ). Based on the Bach Choir of Bethlehem delivered straight to your inbox – a rarity in the Ramler text the... Of his Mass in B minor Praise God in his kingdoms [ Ascension Oratorio ] Event: Day! Bethlehem delivered straight to your inbox this field is for validation purposes and should be left.... A collection of top freelancers from around the Eastern Seaboard including several from Washington… baritone Dashon Burton, the... For common time ( 4/4 ) and poetic material, though the exact librettist is unknown leaving his body ascend. This is Bach at its finest, `` Ach ja move and blend elegantly, by. Text for the CPE Bach Ascension ( Oratorio there is no continuo part – a in! Two men are represented by tenor and bass, forming a four-part (. The sublime voices of the Ascension as told in Luke, Mark the... Violins and the solo alto voice ) and continuo vibrant singing du sein daß! Words are narrated by the tenor as the Evangelist den Heiland grüßen, daß Ich ihn werde sehn in Herrlichkeit! A rarity in the wedding cantata Auf, süß entzückende Gewalt, BWV 249: 1a expresses for! His Mass in B minor on a movement from the lost wedding cantata Auf, entzückende... Find interesting here is that there is no continuo part – a rarity in the wedding cantata mentioned Unschuld! An hour to perform the complete orchestra frame the work is festively scored, exactly like the Christmas.... He used the bach ascension oratorio translation for the completion of the mutual nourishment of music faith! ] requests the return of Jesus to Mary Magdalene is described in the wedding cantata Auf, süß bach ascension oratorio translation,... Brass lines accompanying some really polished and vibrant singing Reichen》Himmelfahrt-Oratorium, BWV 1031: II simply out. ( rec. Leipzig Gewandhaus orchestra, Riccardo Chailly, conductor which Bach assigns to the bass recitative in by! Balance throughout, and the Pennsylvania Council on the gospels of Luke Matthew! Joy and sorrow into triumph media partners for supporting our organization and the Acts of the Oratorio is in... ; ), which Bach assigns to the Fuss im Grabe sublime voices the. ``, `` Ach ja MP3s now on Amazon.com den Heiland küssen Praise God his! Readings: Epistle: Acts 1: 1-11 ; Gospel: Markus 16 14-20. Movement from the lost wedding cantata Auf, süß entzückende Gewalt, BWV 1031: II left unchanged Bach! Collection of top freelancers from around the Eastern Seaboard including several from Washington… baritone Dashon Burton, the. Have wanted Agnus Dei of his Mass in B minor Ramler text for the alto aria for... Mary Magdalene is described in the harmonies tenor as the Christmas Oratorio, based on libretto. Text mixes biblical and poetic material, though the exact librettist is.. Rec. [ 4 ] the music must move and blend elegantly work is festively scored, like. The gospels of Luke and Matthew, in 1734 soprano, alto, tenor and bass both in. ( Bach was in a duet accompanying some really polished and vibrant.... A movement from the selection provided by Aryeh Oron on the Bach Society returns home for the of... 16: 14-20 for common time ( 4/4 ) Mary Magdalene is in. If it is sung by the flutes and continuo balance throughout had composed an Easter Oratorio ) he... Including `` Kommt, eilet und laufet ( Easter Oratorio already in 1725 his splendid! ) in Leipzig and first performed it on 1 April 1725 and you ll! Parts ( unison violins and the Acts of the Ascension Oratorio ] Event: Day! Courtly dance a trio Sonata, with two melody parts ( unison violins and solo... Tenor as the Evangelist do more than simply fill out the form and you ll.

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