[3], Deeper reflection is expressed in an aria, marked "Aria Violini unisoni e Alto" (Aria Violins in unison and Alto). 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 oratorio is structured in eleven movements in two parts, taking about half an hour to perform. 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. Sinfonia", "Kommt, eilet und laufet (Easter Oratorio), BWV 249: 1a. Komm, stelle dich doch ein! He has a clarion instrument that projects well throughout his range…a splendid dramatic performance. This field is for validation purposes and should be left unchanged. 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. 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 closing chorale on the seventh stanza of Gottfried Wilhelm Sacer's "Gott fähret auf gen Himmel"[5] is set as a chorale fantasia. nach dem ersten Chor" (Recitative after the first chorus). ", "The performance was one of integrity, movement, passion and weight. Brian Robins notes "the lightly translucent texture reflecting the text's allusion to Christ leaving his body to ascend to Heaven". It takes about half an hour to perform. Matthew Passion’ too was ardently and lovingly performed…”, “This is Bach at its finest. 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: Easter Oratorio; Ascension Oratorio by Gustav Leonhardt, Choir of the Age of Enlightenment & Orchestra of the Age of Enlightenment on Apple Music. 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. On the program: Brandenburg Concerto No. [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]. Crespo) - German Brass. 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. The orchestra was a collection of top freelancers from around the Eastern Seaboard including several from Washington… baritone Dashon Burton, was the standout. daß wir den Heiland küssen? Buy SACD or download online. [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. 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. It is set as a chorale fantasia. Dir Fürsten stehn auch auf der Bahn 6) provides a link to numerous other works by Bach. 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. Ascension Oratorio, BWV. daß ich ihn werde sehn 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. 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. He had composed an Easter Oratorio already in 1725. Listen to J.S. Time: 7:00 pm. Quite simply, the accompanying parts do more than simply fill in the harmonies. Bach - Easter & Ascension Oratorios. Expansive chorale movements using the complete orchestra frame the work. 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. 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. 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's Vocal Work. [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. 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. Siciliano (arr. The problem though when reviewing such a disc is where to begin - with the riveting performance or the beautifully captured recording. 1 in F, BWV 1046 - Leipzig Gewandhaus Orchestra, Riccardo Chailly, conductor. The biblical words are narrated by the tenor as the Evangelist. [7] The singer requests Jesus to stay:[10] "Ach, bleibe doch, mein liebstes Leben" (Ah, just stay, my dearest Life). Bach’s Ascension Oratorio in Corcoran, May 6. Jesu, deine Gnadenblicke By Johann Sebastian Bach Retrospect Ensemble , Matthew Halls 21 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. Cantata BWV 11 - Praise God in his kingdoms [Ascension Oratorio] Event: Ascension Day. ", "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. Readings: Epistle: Acts 1: 1-11; Gospel: Markus 16: 14-20. [3], The soprano aria, "Jesu, deine Gnadenblicke" (Jesus, Your merciful gaze),[4] is also based on the wedding cantata Auf, süß entzückende Gewalt. Chor: "Lobet Gott in seinen Reichen" - 00:00 6. Adagio" and more. 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. © 2021 The Bach Choir of Bethlehem. Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734. What a thrill to hear those punchy, syncopated brass lines accompanying some really polished and vibrant singing. The specific appearance of Jesus to Mary Magdalene is described in the Ramler text for the CPE Bach Ascension (oratorio? 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. 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. Halls Conducts Bach's Ascension Oratorio . Eric Richmond. 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. [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. (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!) Related Program: The Bach Hour. ), Wq 240. ", "The Bach Choir of Bethlehem, founded in the 19th century, has gained international recognition through its annual Bach Festival, tours and recordings. The musical ideas are thick and fast (Bach was in a hurry, too). . 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. 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. The Luke citation (extending to verse 35) is the Gospel reading for Easter Monday. 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. daß wir den Heiland grüßen, (Biblical passages come from Luke 24:50-2; Acts 1:9-12; and Mark 16:19). Cantata BWV 156 Ich steh mit einem Fuss im Grabe! Bach’s magnificent oratorios … The text mixes biblical and poetic material, though the exact librettist is unknown. 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 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 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 text expresses longing for the day of being united with Jesus in Heaven. Marked "Rec: col accomp." 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. [8] The voices are soprano, alto, tenor and bass, forming a four-part choir (SATB). Called an “oratorio,” this is, like the Christmas Oratorio , really a cantata-style piece (the Christmas Oratorio is actually a series of six cantatas). The structure shows symmetry around the central chorale. He used the model for the alto aria again much later for the Agnus Dei of his Mass in B minor.[6]. The text for the Ascension Oratorio, … Actually, everyone – all instruments and voices – are back for a triumphant, joyous ending. [3][9] The movement has no fugue, but dance-like elements and Lombard rhythm. 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. Matthew Halls. All rights reserved. Movement 4 is essentially a trio sonata, with two melody parts (unison violins and the solo alto voice) and continuo. wenn kömmt die liebe Zeit, 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. [2], Bach used the model for the alto aria also for the Agnus Dei of his Mass in B minor. The Bach Choir of Bethlehem gives him all he could have wanted. so komme bald zurück" (Ah yes! Bach. It went beyond mere intelligent programming and committed performance, enriched by a deep sense of the mutual nourishment of music and faith. 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 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. Simply fill out the form and you’ll get regular updates about The Bach Choir of Bethlehem delivered straight to your inbox! Yukari Nonshita (soprano), Patrick van Goethem (counter-tenor), Jan Kobow (tenor), Chiyuki Urano (bass) Bach Collegium Japan, Masaaki Suzuki Du Tag, wenn wirst du sein, 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.”. ", "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. [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 piece is strongly rooted in a minor, again reflecting the disciples sorrow at Christ’s departure. 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. 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. Called an “oratorio,” this is, like the Christmas Oratorio, really a cantata-style piece (the Christmas Oratorio is actually a series of six cantatas). 18. Bach. The soprano sings the cantus firmus in long notes,[10] on the melody of "Von Gott will ich nicht lassen". Both parts contain besides the bible narration (rec.) Muß dir zu Dienste werden. The closing chorale on the seventh stanza of Gottfried Wilhelm Sacer's "Gott fähret auf gen Himmel" is set as a chorale fantasia. < (2a) Later on the third day, two disciples encounter Jesus on the road to Emmaus, Mark 16: 12-13, and Luke 24: 13-32. 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. In his third recitative two men are quoted, for this quotation tenor and bass both sing in an Arioso. With the edition of the Christmas Oratorio within the framework of the Stuttgart Bach Editions, Carus presents a scholarly edition for practical performance. Continuing saying "wir" (we), he imagines to greet him and kiss him. 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. Dir aufzuwarten kommen. 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. Part II reflects the reaction of the disciples. Wenn soll es doch geschehen, The sortable listing is taken from the selection provided by Aryeh Oron on the Bach Cantatas Website. Movement 6 is a simple chorale setting in SATB voicing, with the instruments (except trumpets and timpani) doubling the choral parts. 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 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. 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. What I find interesting here is that there is no continuo part – a rarity in the Baroque, but a link to the. It follows the story of the Ascension as told in Luke, Mark and the Acts of the Apostles. Die Engel müssen für und für He had composed an Easter Oratorio already in 1725. the cantatas BWV 6, 12, 31, 182, 11 (Ascension Oratorio), 147 and the Easter Oratorio (249). Date: May 06, 2018. 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. 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. '' ( recitative after the first recitative of bible narration `` Recit performed… ”, this. 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