Misplaced Pages

Lobet Gott in seinen Reichen, BWV 11: Difference between revisions

Article snapshot taken from Wikipedia with creative commons attribution-sharealike license. Give it a read and then ask your questions in the chat. We can research this topic together.
Browse history interactively← Previous editContent deleted Content addedVisualWikitext
Revision as of 18:57, 5 April 2024 editGerda Arendt (talk | contribs)Autopatrolled, Extended confirmed users, File movers, Pending changes reviewers, Rollbackers381,778 edits ft lang← Previous edit Latest revision as of 05:19, 29 June 2024 edit undoLarrykoen (talk | contribs)Extended confirmed users2,558 edits →History: Corrected source page number error introduced in previous edit. 
(31 intermediate revisions by 4 users not shown)
Line 32: Line 32:
}} }}


'''{{lang|de|Lobet Gott in seinen Reichen}}''' (Laud to God in all his kingdoms),<ref name="Ambrose" /> '''{{nowrap|BWV 11}}''',{{efn|"BWV" is ], a thematic catalogue of Bach's works.}} known as the '''''Ascension Oratorio''''' ({{lang|de|Himmelfahrtsoratorium}}), is an ] by ], marked by him as {{lang|la|Oratorium In Festo Ascensionis Xsti}} (Oratorio for the feast of the Ascension of Christ), composed for the service for ] and probably first performed on 15 May 1738.<ref>{{Cite journal |last=Wollny |first=Peter |date=2022-01-06 |title=Neuerkenntnisse zu einigen Kopisten der 1730er Jahre |url=https://journals.qucosa.de/bjb/article/view/2392 |journal=Bach-Jahrbuch |language=de |volume=102 |pages=83–91 |issn=0084-7682}}</ref> '''{{lang|de|Lobet Gott in seinen Reichen}}''' (Laud to God in all his kingdoms), '''{{nowrap|BWV 11}}''',{{efn|"BWV" is ], a thematic catalogue of Bach's works.}} known as the '''''Ascension Oratorio''''' ({{lang|de|Himmelfahrtsoratorium}}), is an ] by ], marked by him as {{lang|la|Oratorium In Festo Ascensionis Xsti}} (Oratorio for the feast of the Ascension of Christ), composed for the service for ] and probably first performed on 15 May 1738.


Bach had composed his '']'', based on the gospels of ] and ], in 1734. He had composed an '']'' already in 1725. The text for the ''Ascension Oratorio'', a compilation of several ] sources, free poetry and ]s, was presumably written by ] who may also have worked on the ] for the ''Christmas Oratorio''. It follows the story of the Ascension as told in Luke, ] and the ]. The oratorio is structured in eleven ] in two parts, taking about half an hour to perform. It is framed by extended choral movements, Part I is concluded by the fourth ] of ]'s hymn "{{lang|de|Du Lebensfürst, Herr Jesu Christ|italic=no}}" in a four-part setting. The closing chorale on the seventh stanza of ]'s "{{lang|de|Gott fähret auf gen Himmel|italic=no}}" is set as a ]. The work is richly scored for the feast day, exactly like the ''Christmas Oratorio'' for four vocal parts, three ]s, ], two ], two ]s, strings and ]. Bach had composed his '']'', based on the gospels of ] and ], in 1734. He had composed an '']'' already in 1725. The text for the ''Ascension Oratorio'', a compilation of several ] sources, free poetry and ]s, was presumably written by ] who may also have worked on the ] for the ''Christmas Oratorio''. It follows the story of the Ascension as told in Luke, ] and the ]. The oratorio is structured in eleven ] in two parts, taking about half an hour to perform. It is framed by extended choral movements, Part I is concluded by the fourth ] of ]'s hymn "{{lang|de|Du Lebensfürst, Herr Jesu Christ|italic=no}}" in a four-part setting. The closing chorale on the seventh stanza of ]'s "{{langr|de|Gott fähret auf gen Himmel}}" is set as a ]. The work is richly scored for the feast day, exactly like the ''Christmas Oratorio'' for four vocal parts, three ]s, ], two ], two ]s, strings and ].
{{TOC limit|3}} {{TOC limit|3}}


== History == == History ==
Bach had composed his '']'', based on the gospels of ] and ], in 1734, a work in six parts to be performed on six occasions during Christmas tide. He had composed an '']'' already in 1725, and revised it for 1738. The composition for ] appeared thus in the same ] as the ''Easter Oratorio''. The text for the ''Ascension Oratorio'', a compilation of several ] sources, free poetry and ]s, was presumably written by ] who had written the ] for the '']'' and other works by Bach. It follows the story of the Ascension as told in Luke, ] and the ].<ref name="Dürr" /> Bach had composed his '']'', based on the gospels of ] and ], in 1734, a work in six parts to be performed on six occasions during Christmas tide. He had composed an '']'' already in 1725, and revised it for 1738. Bach composed the oratorio for ] that same year. The text for the ''Ascension Oratorio'', a compilation of several ] sources, free poetry and ]s, was presumably written by ] who had been the ] for the '']'' and other works by Bach. It follows the story of the Ascension as told both in Luke, ] and the ].{{sfn|Dürr|Jones|2006|p=338}}


The bible narration is compiled from multiple sources: the first ] of the ] (] 2) is from ] ({{Sourcetext|source=Bible|version=King James|book=Luke|chapter=24|verse=50|range=–51}}), the second (5) from ] ({{Sourcetext|source=Bible|version=King James|book=Acts|chapter=1|verse=9}}) and ] ({{Sourcetext|source=Bible|version=King James|book=Mark|chapter=16|verse=19}}), the third (7) from Acts 1 ({{Sourcetext|source=Bible|version=King James|book=Acts|chapter=1|verse=10|range=–11}}), the last (9) from Luke 24 ({{Sourcetext|source=Bible|version=King James|book=Luke|chapter=24|verse=52a}}), Acts 1 ({{Sourcetext|source=Bible|version=King James|book=Acts|chapter=1|verse=12}}), and Luke 24 ({{Sourcetext|source=Bible|version=King James|book=Luke|chapter=24|verse=52b}}). The biblical words are narrated by the tenor as the Evangelist. In his third recitative two men are quoted, for this quotation tenor and bass both sing in an ].<ref name="Dürr" /><ref name="Dellal" /> The bible narration is compiled from multiple sources: the first ] of the ] (] 2) is from ] ({{Sourcetext|source=Bible|version=King James|book=Luke|chapter=24|verse=50|range=–51}}), the second (5) from ] ({{Sourcetext|source=Bible|version=King James|book=Acts|chapter=1|verse=9}}) and ] ({{Sourcetext|source=Bible|version=King James|book=Mark|chapter=16|verse=19}}), the third (7) from Acts 1 ({{Sourcetext|source=Bible|version=King James|book=Acts|chapter=1|verse=10|range=–11}}), the last (9) from Luke 24 ({{Sourcetext|source=Bible|version=King James|book=Luke|chapter=24|verse=52a}}), Acts 1 ({{Sourcetext|source=Bible|version=King James|book=Acts|chapter=1|verse=12}}), and Luke 24 ({{Sourcetext|source=Bible|version=King James|book=Luke|chapter=24|verse=52b}}).{{sfn|Dürr|Jones|2006|p=338}} The biblical words are narrated by the tenor as the Evangelist. In his third recitative two men are quoted, for this quotation tenor and bass both sing in an ].{{sfn|Dürr|Jones|2006|p=339}}{{sfn|Dellal|2024}}


Part I, which tells of the Ascension, is concluded by the fourth stanza of ]'s hymn "{{langr|de|Du Lebensfürst, Herr Jesu Christ}}" in a four-part setting. Part II reflects the reaction of the disciples. The closing chorale on the seventh stanza of ]'s "{{langr|de|Gott fähret auf gen Himmel}}"<ref name="chorale text" /> is set as a ]. While the music for the narration and the first chorale were new compositions in 1738, Bach based the framing choral movements and the two arias on earlier compositions. He used the model for the alto aria again much later for the {{langr|la|]}} of his Mass in B minor.<ref name="Robins" /> Part I, which tells of the Ascension, is concluded by the fourth stanza of ]'s hymn "{{langr|de|Du Lebensfürst, Herr Jesu Christ}}" in a four-part setting. Part II reflects the reaction of the disciples. The closing chorale on the seventh stanza of ]'s "{{langr|de|Gott fähret auf gen Himmel}}" is set as a ].{{sfn|Bach Digital|2024}} While the music for the narration and the first chorale were new compositions in 1738, Bach based the framing choral movements and the two arias on earlier compositions. He used the model for the alto aria again much later for the {{langr|la|]}} of his Mass in B minor.{{sfn|Robins|2015}}


Bach probably performed the oratorio first on 15 May 1738,{{sfn|Bach Digital|2024}}{{sfn|Wollny|2022}} while an older reference states that it was composed in 1735, in the same liturgical year as the ''Christmas Oratorio''.{{sfn|Dürr|Jones|2006|p=338}}
In the first complete edition of Bach's works, the {{langr|de|Bach-Ausgabe}} of the {{langr|de|]|italic=no}}, the work was included under the ] (hence its low BWV number), and in the ''Bach Compendium'' it is numbered BC D 9 and included under oratorios.

In the first complete edition of Bach's works, the {{langr|de|Bach-Ausgabe}} of the {{langr|de|]}}, the work was included under the ] (hence its low BWV number), and in the ''Bach Compendium'' it is numbered BC D 9 and included under oratorios.


== Music == == Music ==
=== Scoring and structure === === Scoring and structure ===
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. It takes about half an hour to perform.<ref name="Dürr" /> The title on the first page of the autograph reads: {{quote|{{center|"J.J. Oratorium Festo Ascensionis Xsti. à 4 Voci. 3 Trombe Tamburi<br />2 Travers. 2 Hautb. 2 Violini, Viola e Cont. di<br /> Bach<ref name="Jones" />}}}} "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 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<ref name="Grob" /> as four vocal parts, three ]s (Tr), ], two ] (Ft), two ]s (Ob), two ]s (Vn), ] (Va) and ] (Bc) by Bach.<ref name="Bischof" /> The voices are ], ], ] and ], forming a four-part choir (]).<ref name="Robins" /> The work is festively scored, exactly like the ''Christmas Oratorio''.<ref name="Jones" /> 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. It takes about half an hour to perform.{{sfn|Dürr|Jones|2006}} The title on the first page of the autograph reads: {{quote|{{center|"J.J. Oratorium Festo Ascensionis Xsti. à 4 Voci. 3 Trombe Tamburi<br />2 Travers. 2 Hautb. 2 Violini, Viola e Cont. di<br /> Bach<ref name="Jones" />}}}} "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 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<ref name="Grob" /> as four vocal parts, three ]s (Tr), ], two ] (Ft), two ]s (Ob), two ]s (Vn), ] (Va) and ] (Bc) by Bach.{{sfn|Bach Digital|2024}} The voices are ], ], ] and ], forming a four-part choir (]).{{sfn|Robins|2015}} The work is festively scored, exactly like the ''Christmas Oratorio''.<ref name="Jones" />


The structure shows symmetry around the central chorale. Expansive chorale movements using the complete orchestra frame the work. Both parts contain besides the bible narration (rec.) a reflective accompagnato recitative (acc.) and an aria with ] instruments. In the following table of the movements, the scoring is taken the ]. The ] and ]s are taken from ], using the symbol for common time (4/4). The timpani always play with the trumpets and are not mentioned. The structure shows symmetry around the central chorale. Expansive chorale movements using the complete orchestra frame the work. Both parts contain besides the bible narration (rec.) a reflective accompagnato recitative (acc.) and an aria with ] instruments. In the following table of the movements, the scoring is taken the ]. The ] and ]s are taken from ], using the symbol for common time (4/4). Dürr gives the duration as 32 minutes.{{sfn|Dürr|Jones|2006}} The timpani always play with the trumpets and are not mentioned.


{| class="wikitable plainrowheaders" {| class="wikitable plainrowheaders"
Line 104: Line 106:


=== Movements === === Movements ===
The Bach scholar Richard D. P. Jones compares the ''Christmas Oratorio'' and the ''Ascension Oratorio'' and arrives at similarities: The Bach scholar ] compares the ''Christmas Oratorio'' and the ''Ascension Oratorio'' and arrives at similarities:
{{quote| 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.<ref name="Jones" />}} {{quote| 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.<ref name="Jones" />}}


The oratorio is similar especially to ] of the ''Christmas Oratorio'' which also begins with an extended opening chorus and a chorale fantasia as a conclusion.<ref name="Jones" /> The oratorio is similar especially to ] of the ''Christmas Oratorio'' which also begins with an extended opening chorus and a chorale fantasia as a conclusion.<ref name="Jones" /> Bach derived the opening chorus and two arias of earlier works.{{sfn|Dürr|Jones|2006|p=338}}


==== 1 ==== ==== 1 ====
The festive opening chorus, "{{langr|de|Lobet Gott in seinen Reichen}}", is believed to be based on a movement from the lost secular cantata {{lang|de|]|italic=unset}}.<ref name="Dürr" /><ref name="Choir" /> The movement has no ], but dance-like elements and ].<ref name="Jones" /> The festive opening chorus expressing praise, "{{langr|de|Lobet Gott in seinen Reichen}}", is believed to be based on a movement from the lost secular cantata {{lang|de|]|italic=unset}}.{{sfn|Dürr|Jones|2006|p=338}}{{sfn|Bach Choir|2024}} The movement has no ], but dance-like elements and ]. The orchestra with trumpets, flutes and oboes, begins with extended concertante music. The choir enters in ], with its own themes.{{sfn|Dürr|Jones|2006|p=339}} Two middle sections, similar to each other, have ] themes in ], but the general praise prevails there as well.{{sfn|Dürr|Jones|2006|p=339}}


==== 2 ==== ==== 2 ====
Bach marks the first recitative of bible narration "Recit. nach dem ersten Chor" (Recitative after the first chorus).<ref name="Grob" /> It is sung by the {{langr|la|Evangelista}} (]), which Bach assigns to the tenor singing ]. The action begins, "{{langr|de|Der Herr Jesus hub seine Hände auf}}" (The Lord Jesus lifted up His hands),<ref name="Dellal" /> with Jesus blessing the disciples and leaving them.<ref name="Dürr" /> Bach marks the first recitative of bible narration "Recit. nach dem ersten Chor" (Recitative after the first chorus).<ref name="Grob" /> It is sung by the {{langr|la|Evangelista}} (]), which Bach assigns to the tenor singing ], following an old tradition.{{sfn|Dürr|Jones|2006|p=339}} The action begins, "{{langr|de|Der Herr Jesus hub seine Hände auf}}" (The Lord Jesus lifted up His hands),{{sfn|Dellal|2024}} with Jesus blessing the disciples and leaving them.{{sfn|Dürr|Jones|2006|p=339}}


==== 3 ==== ==== 3 ====
] ]
A reflecting recitative for bass, "{{langr|de|Ach, Jesu, ist dein Abschied}}" (Ah, Jesus, is Your departure),<ref name="Dellal" /> shows the situation of the disciples afraid that Jesus will leave them soon. Marked "Rec: col accomp." (Recitative: with accomp),<ref name="Grob" /> it is accompanied by the flutes and continuo as a {{lang|it|recitativo accompagnato}}.<ref name="Dürr" /> A reflecting recitative for bass, "{{langr|de|Ach, Jesu, ist dein Abschied}}" (Ah, Jesus, is Your departure),{{sfn|Dellal|2024}} shows the situation of the disciples afraid that Jesus will leave them soon. Marked "Rec: col accomp." (Recitative: with accomp),<ref name="Grob" /> it is accompanied by the flutes and continuo as a {{lang|it|recitativo accompagnato}}. The instruments add colour in long notes to the singing, and illustrate feelings and movements in transitions.{{sfn|Dürr|Jones|2006|p=339}}


==== 4 ==== ==== 4 ====
Deeper reflection is expressed in an aria, marked "{{langr|it|Aria Violini unisoni e Alto}}" (Aria Violins in unison and Alto).<ref name="Grob" /> The singer requests Jesus to stay:<ref name="Mincham" /> "{{langr|de|Ach, bleibe doch, mein liebstes Leben}}" (Ah, just stay, my dearest Life).<ref name="Dellal" /> The music is based on a movement from the lost wedding cantata {{lang|de|Auf, süß entzückende Gewalt}}, BWV Anh. 196, written in 1725 on a ] by ].<ref name="Jones" /> Deeper reflection is expressed in an aria, marked "{{langr|it|Aria Violini unisoni e Alto}}" (Aria Violins in unison and Alto).<ref name="Grob" /> The singer requests Jesus to stay: "{{langr|de|Ach, bleibe doch, mein liebstes Leben}}" (Ah, just stay, my dearest Life).{{sfn|Dellal|2024}} The music is based on a movement from the lost wedding cantata {{lang|de|Auf, süß entzückende Gewalt}}, BWV Anh. 196, written in 1725 on a ] by ].{{sfn|Dürr|Jones|2006|p=338}}


Bach used the model for the alto aria also for the {{langr|la|]}} of his Mass in B minor.<ref name="Mincham" /> Bach used the model for the alto aria of the {{langr|la|]}} of his Mass in B minor.{{sfn|Dürr|Jones|2006|p=339}}


==== 5 ==== ==== 5 ====
The Evangelist continues the narration with the Ascension: "{{langr|de|Und ward aufgehoben zusehends}}" (And He was apparently lifted up).<ref name="Dellal" /><ref name="Mincham" /> The Evangelist continues the narration with the Ascension: "{{langr|de|Und ward aufgehoben zusehends}}" (And He was apparently lifted up).{{sfn|Dellal|2024}}


==== 6 ==== ==== 6 ====
], the writer of the hymn lyrics]] ], the writer of the hymn lyrics]]
The first chorale, closing part 1, is the fourth stanza of "{{langr|de|Du Lebensfürst, Herr Jesu Christ}}", written in 1641 by ]. The text "{{langr|de|Nun lieget alles unter dir}}" (Now everything is subject to You)<ref name="Dellal" /> imagines Jesus in heaven, with the angels and elements serving him. The first chorale, closing part 1, is the fourth stanza of "{{langr|de|Du Lebensfürst, Herr Jesu Christ}}", written in 1641 by ].{{sfn|Dürr|Jones|2006|p=339}} The text "{{langr|de|Nun lieget alles unter dir}}" (Now everything is subject to You){{sfn|Dellal|2024}} imagines Jesus in heaven, with the angels and elements serving him:
{{quote|<poem>{{langr|de|Nun lieget alles unter dir, {{quote|<poem>{{langr|de|Nun lieget alles unter dir,
Dich selbst nur ausgenommen; Dich selbst nur ausgenommen;
Line 138: Line 140:
Luft, Wasser, Feuer, Erden Luft, Wasser, Feuer, Erden
Muß dir zu Dienste werden.}}</poem>}} Muß dir zu Dienste werden.}}</poem>}}
It is composed as a four-part setting, with the instruments playing {{lang|it|]}}: 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.<ref name="Grob" /> It is composed as a four-part setting, with the instruments playing {{lang|it|]}}: 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.{{sfn|Dahn|2024}}


==== 7 ==== ==== 7 ====
The evangelist begins Part II, "{{langr|de|Und da sie ihm nachsahen}}" (And as they watched),<ref name="Dellal" /> telling of two men in white gowns addressing the disciples. The two men are represented by tenor and bass in a duet.<ref name="Dürr" /> The evangelist begins Part II, "{{langr|de|Und da sie ihm nachsahen}}" (And as they watched),{{sfn|Dellal|2024}} telling of two men in white gowns addressing the disciples. The two men are represented by tenor and bass in a duet, which begins in homophony and leads to a ].{{sfn|Dürr|Jones|2006|p=339}}


==== 8 ==== ==== 8 ====
A reflecting recitative for alto, "{{langr|de|Ach ja! so komme bald zurück}}" (Ah yes! Then come back soon;),<ref name="Dellal" /> requests the return of Jesus. Parallel to the bass recitative in Part I, it is also accompanied by the flutes and continuo.<ref name="Dürr" /> A reflecting recitative for alto, "{{langr|de|Ach ja! so komme bald zurück}}" (Ah yes! Then come back soon),{{sfn|Dellal|2024}} requests the return of Jesus. Parallel to the bass recitative in Part I, it is also accompanied by the flutes and continuo.{{sfn|Dürr|Jones|2006|p=339}}


==== 9 ==== ==== 9 ====
The evangelist ends the narration, "{{langr|de|Sie aber beteten ihn an}}" (They however prayed to Him),<ref name="Dellal" /> telling of the disciples' return from the mountain which is named the ].<ref name="Dürr" /> The evangelist ends the narration, "{{langr|de|Sie aber beteten ihn an}}" (They however prayed to Him),{{sfn|Dellal|2024}} telling of the disciples' return from the mountain which is named the ].{{sfn|Dürr|Jones|2006|p=339}}


==== 10 ==== ==== 10 ====
The soprano aria, "{{langr|de|Jesu, deine Gnadenblicke}}" (Jesus, Your merciful gaze),<ref name="Dellal" /> is also based on the wedding cantata {{lang|de|Auf, süß entzückende Gewalt}}.<ref name="Jones" /> 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 original words in the wedding cantata mentioned "{{lang|de|Unschuld|italic=no}}" (innocence). Brian Robins notes "the lightly translucent texture reflecting the text's allusion to Christ leaving his body to ascend to Heaven".<ref name="Robins" /> Jones thinks that the setting without an earthly continuo represents the ''Gnadenblicke'' (glances of Grace) of the text.<ref name="Jones" /> The soprano aria, "{{langr|de|Jesu, deine Gnadenblicke}}" (Jesus, Your merciful gaze),{{sfn|Dellal|2024}} is also based on the wedding cantata {{lang|de|Auf, süß entzückende Gewalt}}.{{sfn|Dürr|Jones|2006|p=339}} 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 original words in the wedding cantata mentioned "{{lang|de|Unschuld|italic=no}}" (innocence). Brian Robins notes "the lightly translucent texture reflecting the text's allusion to Christ leaving his body to ascend to Heaven".{{sfn|Robins|2015}} While Dürr saw the music as the illustrtion of a glance towards heaven,{{sfn|Dürr|Jones|2006|p=339}} Jones thinks that the setting without an earthly continuo represents the ''Gnadenblicke'' (glances of Grace) of the text.<ref name="Jones" />


==== 11 ==== ==== 11 ====
The closing chorale, "{{langr|de|Wenn soll es doch geschehen}}" (When shall it happen"),<ref name="Dellal" /> is the seventh stanza of "{{langr|de|Gott fähret auf gen Himmel}}", written in 1697 by ]. 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. Continuing saying "wir" (we), he imagines greeting and kissing him. The closing chorale, "{{langr|de|Wenn soll es doch geschehen}}" (When shall it happen"),{{sfn|Dellal|2024}} is the seventh stanza of "{{langr|de|Gott fähret auf gen Himmel}}", written in 1697 by ].{{sfn|Dürr|Jones|2006|p=339}} 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. Continuing saying "wir" (we), he imagines greeting and kissing him.
{{quote|<poem>Wenn soll es doch geschehen, {{quote|<poem>Wenn soll es doch geschehen,
wenn kömmt die liebe Zeit, wenn kömmt die liebe Zeit,
Line 163: Line 165:
Komm, stelle dich doch ein!</poem>}} Komm, stelle dich doch ein!</poem>}}


It is set as a ]. The soprano sings the {{langr|la|]}} in long notes,<ref name="Mincham" /> on the melody of "{{langr|de|Von Gott will ich nicht lassen}}".<ref name="Robins" /><ref name="chorale melody" /> Similar to the final chorale {{langr|de|Nun seid ihr wohl gerochen}} of the '']'',<ref name="Dürr" /> the chorale tune in a ] appears in the triumphant context of a different ]. The text expresses longing for the day of being united with Jesus in Heaven. The musicologist Julian Mincham interprets the mode of the tune as "the human state of waiting and hoping", while the concerto represents the fulfillment.<ref name="Mincham" /> Mincham compares the writing to the opening chorale fantasias of the ] of ]s, 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".<ref name="Mincham" /> It is set as a ]. The soprano sings the {{langr|la|]}} in long notes,< on the melody of "{{langr|de|Von Gott will ich nicht lassen}}".{{sfn|Robins|2015}}<ref name="chorale melody" /> Similar to the final chorale {{langr|de|Nun seid ihr wohl gerochen}} of the '']'',{{sfn|Dürr|Jones|2006|p=339}} the chorale tune in a ] appears in the triumphant context of a different ]. The text expresses longing for the day of being united with Jesus in Heaven. The musicologist Julian Mincham interprets the mode of the tune as "the human state of waiting and hoping", while the concerto represents the fulfillment.<ref name="Mincham" /> Mincham compares the writing to the opening chorale fantasias of the ] of ]s, 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".<ref name="Mincham" />


== Recordings == == Recordings ==
Line 435: Line 437:


== References == == References ==
{{reflist | 30em {{reflist
|refs = |refs = <!--

<ref name="Ambrose">{{cite web
| last = Ambrose
| first = Z. Philip
| url = http://www.uvm.edu/~classics/faculty/bach/BWV165.html
| title = BWV 165 O heilges Geist- und Wasserbad
| year = 2012
| publisher = University of Vermont
| access-date = 13 May 2015
}}</ref>

<ref name="Bischof">{{cite web
| last = Bischof
| first = Walter F.
| url = http://webdocs.cs.ualberta.ca/~wfb/cantatas/11.html
| title = BWV 22 Jesus nahm zu sich die Zwölfe
| year = 2012
| publisher = University of Alberta
| access-date = 27 April 2015
}}</ref>

<ref name="Dellal">{{cite web
| last = Dellal
| first = Pamela
| author-link = Pamela Dellal
| url = https://www.emmanuelmusic.org/bach-translations/bwv-11
| title = BWV 11&nbsp;– Lobet Gott in seinen Reichen / (The Ascension Oratorio)
| publisher = ]
| access-date = 20 August 2022
}}</ref>

<ref name="Dürr">{{cite book <ref name="Dürr">{{cite book
| last = Dürr | last = Dürr
Line 473: Line 444:
| author-link = Alfred Dürr | author-link = Alfred Dürr
| title = Die Kantaten von Johann Sebastian Bach | title = Die Kantaten von Johann Sebastian Bach
| year = 1981 | date = 1981
| publisher = Deutscher Taschenbuchverlag | publisher = Deutscher Taschenbuchverlag
| isbn = 3-423-04080-7 | isbn = 3-423-04080-7
Line 481: Line 452:
| language = de | language = de
| url = https://archive.org/details/diekantatenvonjo0002durr/page/288 | url = https://archive.org/details/diekantatenvonjo0002durr/page/288
}}</ref> }}</ref>-->


<ref name="Grob">{{cite web <ref name="Grob">{{cite web
Line 489: Line 460:
| title = BWV 11 / BC A 90 | title = BWV 11 / BC A 90
| publisher = s-line.de | publisher = s-line.de
| year = 2014 | date = 2014
| language = de | language = de
| access-date = 20 February 2015 | access-date = 20 February 2015
Line 503: Line 474:
| title = The Creative Development of Johann Sebastian Bach, Volume II: 1717–1750: Music to Delight the Spirit | title = The Creative Development of Johann Sebastian Bach, Volume II: 1717–1750: Music to Delight the Spirit
| publisher = Oxford University Press | publisher = Oxford University Press
| year = 2013 | date = 2013
| isbn = 978-0-19-969628-4 | isbn = 978-0-19-969628-4
}}</ref> }}</ref>
Line 512: Line 483:
| url = https://www.jsbachcantatas.com/documents/chapter-50-bwv-11/ | url = https://www.jsbachcantatas.com/documents/chapter-50-bwv-11/
| title = Chapter 50 Bwv 11 – The Cantatas of Johann Sebastian Bach | title = Chapter 50 Bwv 11 – The Cantatas of Johann Sebastian Bach
| year = 2010 | date = 2010
| website = jsbachcantatas.com | website = jsbachcantatas.com
| access-date = 16 August 2022 | access-date = 16 August 2022
Line 522: Line 493:
| url = http://www.bach-cantatas.com/BWV11.htm | url = http://www.bach-cantatas.com/BWV11.htm
| title = Cantata BWV 11 / Lobet Gott in seinen Reichen / (Himmelfahrts-Oratorium) | title = Cantata BWV 11 / Lobet Gott in seinen Reichen / (Himmelfahrts-Oratorium)
| year = 2012 | date = 2012
| publisher = Bach Cantatas Website | publisher = Bach Cantatas Website
| access-date = 4 December 2012 | access-date = 4 December 2012
}}</ref> }}</ref>


<ref name="Robins">{{cite web <ref name="chorale melody">{{cite web
| url = http://www.bach-cantatas.com/CM/Von-Gott-will-ich-nicht-lassen.htm
| title = Chorale Melodies used in Bach's Vocal Works / Von Gott will ich nicht lassen
| website = Bach Cantatas Website
| access-date = 14 May 2015
}}</ref>

}}

=== Cited sources ===
* {{cite web
| url = http://www.bach-digital.de/receive/BachDigitalWork_work_00000013?lang=en
| title = Lobet Gott in seinen Reichen (Ascension Oratorio) BWV 11; BWV 11 / 249b; BC D 9
| date = 2024
| website = ]
| access-date = 28 April 2024
| ref = {{sfnref|Bach Digital|2024}}
}}
* {{cite web
| last = Dahn
| first = Luke
| url = http://www.bach-chorales.com/BWV0011_6.htm
| title = BWV 11.6
| date = 2024
| publisher = bach-chorales.com
| access-date = 29 April 2024
}}
* {{cite web
| last = Dellal
| first = Pamela
| author-link = Pamela Dellal
| url = https://www.emmanuelmusic.org/bach-translations/bwv-11
| title = BWV 11&nbsp;– Lobet Gott in seinen Reichen / (The Ascension Oratorio)
| date = 2024
| publisher = ]
| access-date = 29 April 2024
}}
* {{cite book
| last1 = Dürr
| first1 = Alfred
| author1-link = Alfred Dürr
| last2 = Jones
| first2 = Richard D. P.
| author2-link = Richard D. P. Jones
| chapter-url = https://books.google.com/books?id=m9JuwslMcq4C&pg=PA336
| chapter = Lobet Gott in seinen Reichen / Himmelfahrtsoratorium Ascension Oratorio BWV 11
| title = The Cantatas of J. S. Bach: With Their Librettos in German-English Parallel Text
| location = Oxford
| publisher = ]
| date = 2006
| pages = 336–340
| isbn = 978-0-19-969628-4
}}
* {{cite web
| last = Robins | last = Robins
| first = Brian | first = Brian
| url = http://www.allmusic.com/composition/himmelfahrts-oratorium-lobet-gott-in-seinen-reichen-ascension-oratorio-bwv-11-bc-d9-mc0002369158 | url = http://www.allmusic.com/composition/himmelfahrts-oratorium-lobet-gott-in-seinen-reichen-ascension-oratorio-bwv-11-bc-d9-mc0002369158
| title = Johann Sebastian Bach / Himmelfahrts-Oratorium, "Lobet Gott in seinen Reichen," (Ascension Oratorio), BWV 11 (BC D9) | title = Johann Sebastian Bach / Himmelfahrts-Oratorium, "Lobet Gott in seinen Reichen," (Ascension Oratorio), BWV 11 (BC D9)
| date = 2015
| website = ] | website = ]
| access-date = 12 May 2015 | access-date = 12 May 2015
}}</ref> }}
* {{cite journal

| last = Wollny
<ref name="Choir">{{cite web
| first = Peter
| author-link = Peter Wollny
| date = 6 January 2022
| title = Neuerkenntnisse zu einigen Kopisten der 1730er Jahre
| url = https://journals.qucosa.de/bjb/article/view/2392
| journal = Bach-Jahrbuch
| language = de
| volume = 102
| pages = 83–91
| issn = 0084-7682
}}
* {{cite web
| url = http://www.bach.org/bwv11.php | url = http://www.bach.org/bwv11.php
| title = Cantata BWV 11, Ascension Oratorio: Lobet Gott in seinen Reichen | title = Cantata BWV 11, Ascension Oratorio: Lobet Gott in seinen Reichen
| website = ] | website = ]
| access-date = 12 May 2015 | access-date = 29 April 2024
| ref = {{sfnref|Bach Choir|2024}}
}}</ref>

<ref name="chorale text">{{cite web
| url = http://www.bach-cantatas.com/Texts/Chorale080-Eng3.htm
| title = Gott fähret auf gen Himmel / Text and Translation of Chorale
| website = Bach Cantatas Website
| access-date = 14 May 2015
}}</ref>

<ref name="chorale melody">{{cite web
| url = http://www.bach-cantatas.com/CM/Von-Gott-will-ich-nicht-lassen.htm
| title = Chorale Melodies used in Bach's Vocal Works / Von Gott will ich nicht lassen
| website = Bach Cantatas Website
| access-date = 14 May 2015
}}</ref>

}} }}


== External links == == External links ==
* {{IMSLP|work=Lobet Gott in seinen Reichen, BWV 11 (Bach, Johann Sebastian)}} * {{IMSLP|work=Lobet Gott in seinen Reichen, BWV 11 (Bach, Johann Sebastian)}}
* {{cite web
* ]
| last = Ambrose
* bach-chorales.com
| first = Z. Philip
| url = http://www.uvm.edu/~classics/faculty/bach/BWV11.html
| title = BWV 11 Lobet Gott in seinen Reichen
| date = 2012
| publisher = University of Vermont
}}
* {{cite web
| last = Bischof
| first = Walter F.
| url = http://webdocs.cs.ualberta.ca/~wfb/cantatas/11.html
| title = BWV 11 Lobet Gott in seinen Reichen
| date = 2012
| publisher = University of Alberta
| access-date = 27 April 2015
}}
* {{YouTube|NU_nXGhvjJM|J.S. Bach - Lobet Gott in seinen Reichen BWV 11 / Collegium Vocale Gent }}


{{Masses, Magnificat, Passions and Oratorios by Johann Sebastian Bach}} {{Masses, Magnificat, Passions and Oratorios by Johann Sebastian Bach}}

Latest revision as of 05:19, 29 June 2024

Oratorio by Johann Sebastian Bach (1729)
  • Lobet Gott in seinen Reichen
  • Ascension Oratorio
BWV 11
Oratorio by J. S. Bach
Ascension, Church of the Holy Cross in Jelenia Góra
Native nameOratorium In Festo Ascensionis
RelatedAgnus Dei
OccasionFeast of the Ascension
Cantata textPicander?
Bible text Luke, Acts, Mark
Chorale
Performed15 May 1738 (1738-05-15)?: Leipzig
Movements11 in two parts (6 + 5)
VocalSATB soloists and choir
Instrumental
  • 3 trumpets
  • timpani
  • 2 flauti traversi
  • 2 oboes
  • 2 violins
  • viola
  • continuo

Lobet Gott in seinen Reichen (Laud to God in all his kingdoms), BWV 11, 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), composed for the service for Ascension and probably first performed on 15 May 1738.

Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734. He had composed an Easter Oratorio already in 1725. The text for the Ascension Oratorio, a compilation of several biblical sources, free poetry and chorales, was presumably written by Picander who may also have worked on the libretto for the Christmas Oratorio. It follows the story of the Ascension as told in Luke, Mark and the Acts of the Apostles. The oratorio is structured in eleven movements in two parts, taking about half an hour to perform. 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 closing chorale on the seventh stanza of Gottfried Wilhelm Sacer's "Gott fähret auf gen Himmel" is set as a chorale fantasia. 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.

History

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. He had composed an Easter Oratorio already in 1725, and revised it for 1738. Bach composed the oratorio for Ascension that same year. The text for the Ascension Oratorio, a compilation of several biblical sources, free poetry and chorales, was presumably written by Picander who had been the librettist for the St Matthew Passion and other works by Bach. It follows the story of the Ascension as told both in Luke, Mark and the Acts of the Apostles.

The bible narration is compiled from multiple sources: the first recitative of the Evangelist (movement 2) is from Luke 24 (Luke 24:50–51), the second (5) from Acts 1 (Acts 1:9) and Mark 16 (Mark 16:19), the third (7) from Acts 1 (Acts 1:10–11), the last (9) from Luke 24 (Luke 24:52a), Acts 1 (Acts 1:12), and Luke 24 (Luke 24:52b). The biblical words are narrated by the tenor as the Evangelist. In his third recitative two men are quoted, for this quotation tenor and bass both sing in an arioso.

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. Part II reflects the reaction of the disciples. The closing chorale on the seventh stanza of Gottfried Wilhelm Sacer's "Gott fähret auf gen Himmel" is set as a chorale fantasia. While the music for the narration and the first chorale were new compositions in 1738, Bach based the framing choral movements and the two arias on earlier compositions. He used the model for the alto aria again much later for the Agnus Dei of his Mass in B minor.

Bach probably performed the oratorio first on 15 May 1738, while an older reference states that it was composed in 1735, in the same liturgical year as the Christmas Oratorio.

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.

Music

Scoring and structure

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. It takes about half an hour to perform. The title on the first page of the autograph reads:

"J.J. Oratorium Festo Ascensionis Xsti. à 4 Voci. 3 Trombe Tamburi
2 Travers. 2 Hautb. 2 Violini, Viola e Cont. di
Bach

"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 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 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. The voices are soprano, alto, tenor and bass, forming a four-part choir (SATB). The work is festively scored, exactly like the Christmas Oratorio.

The structure shows symmetry around the central chorale. Expansive chorale movements using the complete orchestra frame the work. Both parts contain besides the bible narration (rec.) a reflective accompagnato recitative (acc.) and an aria with obbligato instruments. In the following table of the movements, the scoring is taken the Neue Bach-Ausgabe. The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). Dürr gives the duration as 32 minutes. The timpani always play with the trumpets and are not mentioned.

No. Type Text (source) Vocal Brass and winds Strings Bass Key Time
Part I
1 chorus Lobet Gott in seinen Reichen (Picander) SATB 3Tr 2Ft 2Ob 2Vl Va Bc D major 2/4
2 rec. Der Herr Jesus hub seine Hände auf (Bible) T Bc common time
3 acc. Ach, Jesu, ist dein Abschied (Picander) B 2Ft Bc common time
4 aria Ach, bleibe doch, mein liebstes Leben (Picander) A Vl (unis.) Bc A minor common time
5 rec. Und ward aufgehoben zusehends (Bible) T Bc common time
6 chorale Nun lieget alles unter dir (Rist) SATB 2Ft 2Ob 2Vl Va Bc D major 3/4
Part II
7 rec. Und da sie ihm nachsahen (Bible) T B Bc common time
8 acc. Ach ja! so komme bald zurück (Picander) A 2Ft Bc common time
9 rec. Sie aber beteten ihn an (Bible) T Bc common time
10 aria Jesu, deine Gnadenblicke (Bible) S 2Ft Ob unison G major 3/8
11 chorale Wenn soll es doch geschehen (Sacer) SATB 3Tr 2Ft 2Ob 2Vl Va Bc D major 6/4

Movements

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.

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. Bach derived the opening chorus and two arias of earlier works.

1

The festive opening chorus expressing praise, "Lobet Gott in seinen Reichen", is believed to be based on a movement from the lost secular cantata Froher Tag, verlangte Stunden, BWV Anh. 18. The movement has no fugue, but dance-like elements and Lombard rhythm. The orchestra with trumpets, flutes and oboes, begins with extended concertante music. The choir enters in homophony, with its own themes. Two middle sections, similar to each other, have syncopated themes in minor modes, but the general praise prevails there as well.

2

Bach marks the first recitative of bible narration "Recit. nach dem ersten Chor" (Recitative after the first chorus). It is sung by the Evangelista (Evangelist), which Bach assigns to the tenor singing secco recitative, following an old tradition. The action begins, "Der Herr Jesus hub seine Hände auf" (The Lord Jesus lifted up His hands), with Jesus blessing the disciples and leaving them.

3

Traverso by Boaz Berney, after an original by Thomas Lot, Paris ca. 1740

A reflecting recitative for bass, "Ach, Jesu, ist dein Abschied" (Ah, Jesus, is Your departure), shows the situation of the disciples afraid that Jesus will leave them soon. Marked "Rec: col accomp." (Recitative: with accomp), it is accompanied by the flutes and continuo as a recitativo accompagnato. The instruments add colour in long notes to the singing, and illustrate feelings and movements in transitions.

4

Deeper reflection is expressed in an aria, marked "Aria Violini unisoni e Alto" (Aria Violins in unison and Alto). The singer requests Jesus to stay: "Ach, bleibe doch, mein liebstes Leben" (Ah, just stay, my dearest Life). The music is based on a movement from the lost wedding cantata Auf, süß entzückende Gewalt, BWV Anh. 196, written in 1725 on a libretto by Johann Christoph Gottsched.

Bach used the model for the alto aria of the Agnus Dei of his Mass in B minor.

5

The Evangelist continues the narration with the Ascension: "Und ward aufgehoben zusehends" (And He was apparently lifted up).

6

Johann Rist, the writer of the hymn lyrics

The first chorale, closing part 1, is the fourth stanza of "Du Lebensfürst, Herr Jesu Christ", written in 1641 by Johann Rist. The text "Nun lieget alles unter dir" (Now everything is subject to You) imagines Jesus in heaven, with the angels and elements serving him:

Nun lieget alles unter dir,
Dich selbst nur ausgenommen;
Die Engel müssen für und für
Dir aufzuwarten kommen.
Dir Fürsten stehn auch auf der Bahn
Und sind dir willig untertan;
Luft, Wasser, Feuer, Erden
Muß dir zu Dienste werden.

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.

7

The evangelist begins Part II, "Und da sie ihm nachsahen" (And as they watched), telling of two men in white gowns addressing the disciples. The two men are represented by tenor and bass in a duet, which begins in homophony and leads to a canon.

8

A reflecting recitative for alto, "Ach ja! so komme bald zurück" (Ah yes! Then come back soon), requests the return of Jesus. Parallel to the bass recitative in Part I, it is also accompanied by the flutes and continuo.

9

The evangelist ends the narration, "Sie aber beteten ihn an" (They however prayed to Him), telling of the disciples' return from the mountain which is named the Mount of Olives.

10

The soprano aria, "Jesu, deine Gnadenblicke" (Jesus, Your merciful gaze), is also based on the wedding cantata Auf, süß entzückende Gewalt. 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 original words in the wedding cantata mentioned "Unschuld" (innocence). Brian Robins notes "the lightly translucent texture reflecting the text's allusion to Christ leaving his body to ascend to Heaven". While Dürr saw the music as the illustrtion of a glance towards heaven, Jones thinks that the setting without an earthly continuo represents the Gnadenblicke (glances of Grace) of the text.

11

The closing chorale, "Wenn soll es doch geschehen" (When shall it happen"), is the seventh stanza of "Gott fähret auf gen Himmel", written in 1697 by Gottfried Wilhelm Sacer. 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. Continuing saying "wir" (we), he imagines greeting and kissing him.

Wenn soll es doch geschehen,
wenn kömmt die liebe Zeit,
daß ich ihn werde sehn
in seiner Herrlichkeit?
Du Tag, wenn wirst du sein,
daß wir den Heiland grüßen,
daß wir den Heiland küssen?
Komm, stelle dich doch ein!

It is set as a chorale fantasia. The soprano sings the cantus firmus in long notes,< on the melody of "Von Gott will ich nicht lassen". Similar to the final chorale Nun seid ihr wohl gerochen of the Christmas Oratorio, the chorale tune in a church mode appears in the triumphant context of a different major key. The text expresses longing for the day of being united with Jesus in Heaven. The musicologist Julian Mincham interprets the mode of the tune as "the human state of waiting and hoping", while the concerto represents the fulfillment. 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".

Recordings

The sortable listing is taken from the selection provided by Aryeh Oron on the Bach Cantatas Website. Ensembles with period instruments in historically informed performance and choirs of one voice per part (OVPP) is marked by green background.

Recordings of Lobet Gott in seinen Reichen
Title Conductor / Choir / Orchestra Soloists Label Year Choir type Orch. type
Historic Bach cantatas (Karl Straube, 1931) Karl StraubeThomanerchorGewandhausorchester Querstand 1931 (1931)
Bach: Cantatas No. 67 & 11, from cantata No. 147 Reginald JacquesThe Cantata SingersThe Jacques Orchestra Decca 1949 (1949)
J. S. Bach: Cantata BWV 11 Marcel CouraudStuttgarter Bach-ChorBadische Staatskapelle mid 1950s?
Bach Made in Germany Vol. 2 – Cantatas I Kurt ThomasThomanerchorGewandhausorchester Bach Archiv Leipzig 1960 (1960)
Les Grandes Cantates de J. S. Bach Vol. 2 Fritz WernerHeinrich-Schütz-Chor HeilbronnPforzheim Chamber Orchestra Erato 1966 (1966)
J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Folge / Vol. 3 Nikolaus Harnoncourt Leonhardt-Consort Teldec 1972 (1972) Period
Bach Cantatas Vol. 3 – Ascension Day, Whitsun, Trinity Karl RichterMünchener Bach-ChorMünchener Bach-Orchester Archiv Produktion 1975 (1975)
Die Bach Kantate Vol. 7 Helmuth RillingGächinger KantoreiWürttembergisches Kammerorchester Heilbronn Hänssler 1984 (1984)
J. S. Bach: Cantatas BWV 11 & 249 Gustav LeonhardtChoir of the Age of EnlightenmentOrchestra of the Age of Enlightenment Philips 1993 (1993) Period
J. S. Bach: Himmelfahrts-Oratorium Philippe HerrewegheChoir of the Age of EnlightenmentOrchestra of the Age of Enlightenment Harmonia Mundi 1993 (1993) Period
J. S. Bach: Ascension Cantatas John Eliot GardinerMonteverdi ChoirEnglish Baroque Soloists Archiv Produktion 2000 (2000) Period
Bach Edition Vol. 17 – Cantatas Vol. 2 Pieter Jan LeusinkHolland Boys ChoirNetherlands Bach Collegium Brilliant Classics 2000 (2000) Period
J. S. Bach: Complete Cantatas Vol. 20 Ton KoopmanAmsterdam Baroque Orchestra & Choir Antoine Marchand 2003 (2003) Period
J. S. Bach: Easter Oratorio · Ascension Oratorio Masaaki SuzukiBach Collegium Japan BIS 2004 (2004) Period
J. S. Bach: Cantatas for the Complete Liturgical Year Vol. 10 Sigiswald KuijkenLa Petite Bande Accent 2009 (2009) OVPP Period


Notes

  1. "BWV" is Bach-Werke-Verzeichnis, a thematic catalogue of Bach's works.

References

  1. ^ Dürr & Jones 2006, p. 338.
  2. ^ Dürr & Jones 2006, p. 339.
  3. ^ Dellal 2024.
  4. ^ Bach Digital 2024.
  5. ^ Robins 2015.
  6. Wollny 2022.
  7. ^ Dürr & Jones 2006.
  8. ^ Jones, Richard D. P. (2013). The Creative Development of Johann Sebastian Bach, Volume II: 1717–1750: Music to Delight the Spirit. Oxford University Press. ISBN 978-0-19-969628-4.
  9. ^ Grob, Jochen (2014). "BWV 11 / BC A 90" (in German). s-line.de. Archived from the original on 18 May 2015. Retrieved 20 February 2015.
  10. Bach Choir 2024.
  11. Dahn 2024.
  12. "Chorale Melodies used in Bach's Vocal Works / Von Gott will ich nicht lassen". Bach Cantatas Website. Retrieved 14 May 2015.
  13. ^ Mincham, Julian (2010). "Chapter 50 Bwv 11 – The Cantatas of Johann Sebastian Bach". jsbachcantatas.com. Retrieved 16 August 2022.
  14. Oron, Aryeh (2012). "Cantata BWV 11 / Lobet Gott in seinen Reichen / (Himmelfahrts-Oratorium)". Bach Cantatas Website. Retrieved 4 December 2012.

Cited sources

External links

Masses, magnificat, passions and oratorios by Johann Sebastian Bach
Latin church music
Passions
Oratorios
Cantatas by Johann Sebastian Bach by BWV number

Categories: