Johann Sebastian Bach: Easter Oratorio BWV 249 & Oratorio for Ascension Day BWV 11 - CD, Choir Coach, multimedia | Carus-Verlag

Johann Sebastian Bach Easter Oratorio BWV 249 & Oratorio for Ascension Day BWV 11

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Johann Sebastian Bach himself thought very highly of his Easter Oratorio BWV 249 of 1725. Even though it never attained the popularity of the Christmas Oratorio, Bach himself performed it four times during his lifetime. Some parts of the oratorio originated as parody movements from the birthday cantata "Entfliehet, verschwindet, entweichet, ihr Sorgen" for Christian, Duke of Saxe-Weißenfels. The second work on this CD, the Ascension oratorio "Lobet Gott in seinen Reichen" BWV 11 (1735) also goes back to another work, namely "Froher Tag, verlangte Stunde," a no longer extant cantata composed for the inauguration of the new St. Thomas’s School. In his recording, Frieder Bernius demonstrates at the highest level, that both these oratorios are masterpieces which do not need to hide behind their better known sibling works.


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  • Sinfonia
  • Adagio
  • Duetto e Coro: Kommt, eilet und laufet
  • Recitativo: O kalter Männer Sinn!
  • Aria: Seele, deine Spezereien
  • Recitativo: Hier ist die Gruft
  • Aria: Sanfte soll mein Todeskummer
  • Recitativo: Indessen seufzen wir
  • Aria: Saget, saget mir geschwinde
  • Recitativo: Wir sind erfreut
  • Coro: Preis und Dank bleibe, Herr
  • Coro: Lobet Gott in seinen Reichen
  • Recitativo (T): Der Herr Jesus hub seine Hände auf
  • Recitativo accompagnato (B): Ach, Jesu, ist dein Abschied schon so nah?
  • Aria (A): Ach, bleibe doch, mein liebstes Leben
  • Recitativo (T): Und ward aufgehoben zusehends
  • Corale: Nun lieget alles unter dir
  • Recitativo (TB): Und da sie ihm nachsahen gen Himmel fahren
  • Recitativo accompagnato (A): Ach ja! so komme bald zurück
  • Recitativo (T): Sie aber beteten ihn an
  • Aria (S): Jesu, deine Gnadenblicke
  • Corale: Wenn soll es doch geschehen
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  • 1. Coro

    Praise to God on high in heaven,
    praise him all ye earthly creatures,
    sing his praise with loud acclaim!
    Praise him all ye hosts of heaven,
    men and angels join in chorus,
    sing and praise his holy name.

    2. Recitativo (T)

    Then did Jesus lift up his hands on high and gave unto them his blessing; it came to pass, that as he blessed them, he rose to heaven.

    3. Recitativo accompagnato (B)

    Ah, Jesus must thou go away so soon?
    Ah, is the hour already come,
    when thou and I must needs be parted?
    Ah, look now, see the bitter teardrops
    that down our pallid cheeks are rolling,
    ’tis thee for whom we’re yearning,
    ’tis thou who dost our cares allay.
    Ah, go thou not away!

    4. Aria (A)

    Ah, leave me not, my dearest Saviour,
    ah, linger yet a while with me.
    Thy farewell and the empty morrow
    bring to me deepest, darkest sorrow;
    ah, Lord abide a while with me;
    with thee away is all disaster.

    5. Recitativo (T)

    And before their eyes he was taken away up to heaven, and the clouds of heav’n from out their sight received him; there he reigns with the Father Almighty!

    6. Corale

    Ruler art

    ...

  • 1. Coro

    Lobet Gott in seinen Reichen,
    preiset ihn in seinen Ehren,
    rühmet ihn in seiner Pracht!
    Sucht sein Lob recht zu vergleichen,
    wenn ihr mit gesamten Chören
    ihm ein Lied zu Ehren macht!

    2. Recitativo (T)

    Der Herr Jesus hub seine Hände auf und segnete seine Jünger, und es geschah, da er sie segnete, schied er von ihnen.

    3. Recitativo accompagnato (B)

    Ach, Jesu, ist dein Abschied schon so nah?
    Ach, ist denn schon die Stunde da,
    da wir dich von uns lassen sollen?
    Ach, siehe, wie die heißen Tränen
    von unsern blassen Wangen rollen,
    wie wir uns nach dir sehnen,
    wie uns fast aller Trost gebricht.
    Ach, weiche doch noch nicht!

    4. Aria (A)

    Ach, bleibe doch, mein liebstes Leben,
    ach, fliehe nicht so bald von mir!
    Dein Abschied und dein frühes Scheiden
    bringt mir das allergrößte Leiden,
    ach ja, so bleibe doch noch hier;
    sonst werd ich ganz von Schmerz umgeben.

    5. Recitativo (T)

    Und ward aufgehoben zusehends und fuhr auf gen Himmel, eine Wolke nahm ihn weg vor ihren Augen, und er sitzet zur rechten Hand Gottes.

    6. Corale

    Nun lieget alles unter dir,

    ...
  • 

    Text from the CD Carus 83.290

    Ulrich Leisinger
    Translation: Ulrich Leisinger, John Coombs

    “A sacred oratorio [... ] is nothing other than a poem intended to be set to music which presents a certain sacred action or virtue in a dramatic manner.” These words are found in issue 20 of the Critischer Musikus, a weekly magazine about music, by which, between 1737 and 1740, Johann Adolph Scheibe, a student and sometimes rebellious critic of Johann Sebastian Bach, intended to introduce a wider audience to the music of his time. According to Scheibe, “the arrangement of the words consists of biblical sayings, arias, cavatas, recitatives, chorales, or short excerpts from psalms and songs of praise.” Oratorios can be either dramatic, if they include personages, which may be taken either from the bible or be freely invented, with regard to poetic considerations; but at the same time they can also be “poetic and prosaic”, namely when the text is based on the narrative accounts of the Evangelist from the Bible, for example in the Passion or the Resurrection histories. One could object, says Scheibe, that such an oratorio shows a certain tendency towards the epic, “but since the Evangelist, who in

    ...

  • Booklet-Text der CD Carus 83.290

    Ulrich Leisinger

    „Ein geistliches Oratorium [... ] ist nichts andres, als ein Singgedicht, welches eine gewisse geistliche Handlung oder Tugend auf dramatische Art vorstellet“, heißt es im 20. Stück des Critischen Musikus, einer Wochenschrift über Musik, mit der der Bach-Schüler und gelegentlich vorwitzige Bach-Kritiker Johann Adolph Scheibe in den Jahren 1737 bis 1740 einem breiteren Publikum Einblick in die Musik seiner Zeit geben wollte. „Die Einrichtung der Worte“, fährt Scheibe fort, „besteht aus biblischen Sprüchen, Arien, Cavaten, Recitativen, Choralen, oder kurzen Sätzen aus Psalmen und Lobgesängen.“ Oratorien können entweder dramatisch eingerichtet sein, indem sie handelnde, teils biblische, teils aus dichterischen Erwägungen heraus hinzugefügte Personen aufweisen; sie können aber auch „poetisch und prosaisch“ zugleich sein, nämlich dann, wenn sie als Textgrundlage den Evangelienbericht – etwa der Passions- oder der Auferstehungshistorie – aus der Bibel verwenden. Zwar ließe sich einwenden, so Scheibe, dass ein derartiges Oratorium in der Grundtendenz episch angelegt sei,

    ...

  • 1. Sinfonia

    2. Adagio

    3. Duetto (TB) e Coro

    Come, hasten and show us, in eager devotion,
    the way to the cavern where Jesus has lain.
    Laughter and gladness
    has banished our sadness,
    for our dear Saviour lives again.

    4. Recitativo (SATB)

    O man, thy heart is cold,
    why does it now withhold,
    the love thy Saviour well deserves?
    But Mary Magdalena came.
    Yea! put you all to shame,
    when she her Saviour sought
    her faithful vigil keeping,
    with sighs and bitter weeping,
    to him the final unction brought,
    to man was thus a lesson taught.

    5. Aria (S)

    ...

  • 1. Sinfonia

    2. Adagio

    3. Duetto (TB) e Coro

    Kommt, eilet und laufet, ihr flüchtigen Füße,
    erreichet die Höhle, die Jesum bedeckt!
    Lachen und Scherzen
    begleitet die Herzen,
    denn unser Heil ist auferweckt.

    4. Recitativo (SATB)

    O kalter Männer Sinn!
    Wo ist die Liebe hin,
    die ihr dem Heiland schuldig seid?
    Ein schwaches Weib muss euch beschämen!
    Ach! ein betrübtes Grämen
    und banges Herzeleid
    hat mit gesalz’nen Tränen
    und wehmutsvollem Sehnen
    ihm eine Salbung zugedacht,
    die ihr, wie wir, umsonst gemacht.

    5. Aria (S)

    ...

  • Text from the CD Carus 83.290

    Ulrich Leisinger
    Translation: Ulrich Leisinger, John Coombs

    “A sacred oratorio [... ] is nothing other than a poem intended to be set to music which presents a certain sacred action or virtue in a dramatic manner.” These words are found in issue 20 of the Critischer Musikus, a weekly magazine about music, by which, between 1737 and 1740, Johann Adolph Scheibe, a student and sometimes rebellious critic of Johann Sebastian Bach, intended to introduce a wider audience to the music of his time. According to Scheibe, “the arrangement of the words consists of biblical sayings, arias, cavatas, recitatives, chorales, or short excerpts from psalms and songs of praise.” Oratorios can be either dramatic, if they include personages, which may be taken either from the bible or be freely invented, with regard to poetic considerations; but at the same time they can also be “poetic and prosaic”, namely

    ...

  • Booklet-Text der CD Carus 83.290

    Ulrich Leisinger

    „Ein geistliches Oratorium [... ] ist nichts andres, als ein Singgedicht, welches eine gewisse geistliche Handlung oder Tugend auf dramatische Art vorstellet“, heißt es im 20. Stück des Critischen Musikus, einer Wochenschrift über Musik, mit der der Bach-Schüler und gelegentlich vorwitzige Bach-Kritiker Johann Adolph Scheibe in den Jahren 1737 bis 1740 einem breiteren Publikum Einblick in die Musik seiner Zeit geben wollte. „Die Einrichtung der Worte“, fährt Scheibe fort, „besteht aus biblischen Sprüchen, Arien, Cavaten, Recitativen, Choralen, oder kurzen Sätzen aus Psalmen und Lobgesängen.“ Oratorien können entweder dramatisch eingerichtet sein, indem sie handelnde, teils biblische, teils aus dichterischen Erwägungen heraus hinzugefügte Personen aufweisen; sie können aber auch „poetisch und prosaisch“ zugleich sein, nämlich dann, wenn sie als Textgrundlage den Evangelienbericht – etwa der Passions- oder

    ...
more
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Contents

  • Johann Sebastian Bach is one of the most important composers of Western music history. He came from a widely ramified musical dynasty, which produced numerous musicians and organists in the Thuringian-Saxon area.

    Bach vocal

    Ever since Carus-Verlag was founded in 1972, publishing the music of Johann Sebastian Bach has been a special focus for us. In the 2017 Reformation anniversary year we completed the Bach vocal project. Bach's complete sacred vocal works are now available in modern Urtext editions, together with performance material. A complete edition of all the full scores is also available in a high quality box set. Personal details
  • The Kammerchor Stuttgart is regarded as one of the best ensembles of its kind. Over its fifty-year existence, Frieder Bernius has developed the choir into an exceptional ensemble acclaimed by audiences and press alike. This has led to invitations for the choir to perform at all the important European festivals. In Germany the chamber choir performs at festivals and in concert halls in repertoire ranging from the 17th to the 21st century. Frieder Bernius and his ensemble have received numerous accolades for their contribution to new music. The Kammerchor Stuttgart has made over 80 CDs and LPs, numerous of which have been awarded international recording prizes (including the Edison award, Diapason d’or, Gramophone Choice, Classical Internet Award, International Classical Music Award, and German Record Critics’ Award prizes). The International Federation for Choral Music has invited the ensemble to sing at the 1st, 4th and 10th World Symposia on Choral Music in Vienna, Sydney and Seoul. Regular tours of North America and Asia since 1988 and a South America tour reflect the Kammerchor Stuttgart’s international reputation. Since 1984 the top ensemble has also been invited to Israel biennially. Personal details
  • The Barockorchester Stuttgart, which was founded by Bernius in 1985, specializes in 18th century music. The musicians are among the leading representatives of historical performance practice and perform exclusively on original instruments. The ensemble dedicates itself to a large extent to the revival of 18th century operas. It has performed at numerous international festivals, among others in Rome, Dresden and Göttingen. Personal details
  • Frieder Bernius’s work has earned great worldwide recognition. He is in demand internationally as a conductor and as a teacher. His principal artistic collaborators are the ensembles he founded himself, the Kammerchor Stuttgart, the Barockorchester Stuttgart, the Hofkapelle Stuttgart and the Klassische Philharmonie Stuttgart. As a guest conductor, he has collaborated repeatedly with, for example, the SWR Vokalensemble Stuttgart, the Deutsche Kammerphilharmonie Bremen, the Stuttgarter Kammerorchester and the Streicherakademie Bozen. Great stylistic versatility is Frieder Bernius’s hallmark. Whether he conducts vocal works by Monteverdi, Bach, Händel, Mozart, Beethoven, Fauré and Ligeti, stage music by Mendelssohn or symphonies by Haydn, Burgmüller and Schubert, his work always aims for a sound that is at once unmistakably personal and at the same time oriented towards the original period sound ideal. He devotes himself equally to the rediscovery of 18th century operas and to first performances of contemporary compositions. He is particularly interested in the musical history of southwestern Germany. Carus-Verlag has awarded Frieder Bernius a Golden CD for his complete recording of the sacred music of Felix Mendelssohn Bartholdy. The award was presented to him during the German Choir Festival in Stuttgart 2016. The sale of over 250,000 recordings, which has been acclaimed with a number of awards, has made a not insignificant contribution to what today is the obvious presence of Mendelssohn's complete œuvre in the concert repertoire. Personal details
  • Joanne Lunn, soprano, studied at the Royal College of Music in London, where she won the renowned Tagore Gold Medal. She regularly concertizes as a soloist with all the renowned early music ensembles. She gave her opera debut at the English National Opera in Monteverdi’s L’incoronazione di Poppea and sang the role of Helena in Britten’s A Midsummer Night’s Dream in Venice, as well as singing in Monteverdi’s L’Orfeo in Paris and Beijing. In the field of oratorio, Joanne Lunn has worked together with conductors such as Bernius, Minkowski, Norrington and Suzuki. Personal details
  • The Swedish mezzo-soprano Elisabeth Jansson, born 1976, studied at the Richard Strauss Konservatorium in Munich, the Royal Academy of Music in London and the Royal Opera Academy, Copenhagen. She was engaged for principal roles in various opera productions – from 2007 to 2009 she held a soloist ensemble position at The Royal Opera, Copenhagen. Elisabeth Jansson is a much sought after concert singer and has appeared in concerts and at renowned festivals throughout Europe. (BWV 249) Personal details
  • The tenor Samuel Boden studied at Trinity College of Music in London with John Wakefield and graduated with distinction in 2006. His repertoire is very broad and includes operas and oratorios ranging from the Baroque to the modern period. His concert repertoire includes, among others, works by Bach, Mozart, Britten and Charpentier. CD recordings of Monteverdi's "Vespers 1610" with the Orchestra of the Age of Enlightenment, cantatas by Pachelbel und Bach, as well as Bach's "B Minor Mass" document his predilection for Baroque music. Personal details
  • Gotthold Schwarz received his first musical training at the Dresden Kirchenmusikschule and at the Hochschule für Musik Felix Mendelssohn Bartholdy in Leipzig. This bass studied singing with Gerda Schriever and conducting with Max Pommer and Hans-Joachim Rotzsch. He appears regularly throughout Europe with such celebrated artists as Frieder Bernius, Peter Schreier and Philippe Herreweghe. In additoin to his extensive concert activity, some of it in the USA, he has given courses in the interpretation of Bach’s works. Numerous CD and radio productions document his wide repertoire, which along with concert and opera singing includes song recitals featuring literature ranging from the baroque era to the present day. Personal details
  • Tobias Berndt began his musical education in the Dresden Kreuzchor. He studied with Christian Polster in Leipzig and continued his training with Rudolf Piernay in Mannheim. He also studied with Dietrich Fischer-Dieskau and Thomas Quasthoff. He was a laureate in numerous renowned singing competitions, winning – among others – the International Das Lied Competition in Berlin, the International Brahms Competition and the Cantilena Singing Competition. Tobias Berndt has also established himself abroad as an opera and concert singer. He has collaborated with conductors such as Philippe Herreweghe, Helmuth Rilling, Frieder Bernius, Teodor Currentzis, Marcus Creed, Hans-Christoph Rademann, Andrea Marcon, Marek Janowski and Sir Roger Norrington and has performed at the Berliner Philharmonie, the Tonhalle in Zurich, the Concertgebouw Amsterdam, the Leipzig Gewandhaus, the Tchaikovsky Concert Hall in Moscow, the Teatro Colon in Buenos Aires and at Lincoln Center in New York. He has also performed at important festivals such as the Prague Spring, the Rheingau Musik Festival, the Händel Festivals in Göttingen und Halle, the Bachfest Leipzig, the Oregon Bach Festival and the International Music Festival in Peking. An extensive discography attests to his versatile artistic activities. Personal details

Reviews

Leichtfüßiger Schwung und warme Timbres beleben mit ausdrucksvoller Gestaltungsfreude das Oster- und das Himmelfahrtsoratorium ... Eine erstklassige Einspielung mit dem Barockorchester Stuttgart unter Frieder Bernius.
Anne Zehrt, www. klassik.com, 18.11.2016

Frieder Bernius formt aus dem reichhaltigen Mikrokosmos dieser beiden Oratorien [...] eine spontan zugängliche, interpretatorisch überzeugende und rhetorisch spannende Klangrede.
Musik & Liturgie, März 2016

Xenia Löffler musiziert ein bewundernswert >>geschwindes<< Oboe d'amore-Solo... - wie überhaupt das historische Instrumentarium mit souveränder Leichtigkeit, Ausdrucksfülle und Phrasierungskunst gespielt wird.
Ann-Katrin Zimmermann, Jahrbuch 2015 "Musik in Baden-Württemberg"

In his recording, Frieder Bernius conducts the Barockorchester Stuttgart and Kammerchor Stuttgart in fine performances of both these masterpieces.
http://www.new-classics.co.uk

”[…] eine insgesamt gelungene, empfehlenswerte Neuerscheinung auf dem Tonträgermarkt.”
Rashid-S. Pegah, Musik & Kirche, Juli/August 2015

...les récitatifs sont très théâtraux et on y entend un ténor au timbre moelleux, Samuel Boden. Le chœur d’entrée séduit par sa verve.
Jean-Luc Macia, Diapason, Juli 2017

„Festmusik ist [...] der Leitfaden von Frieder Bernius’ Lektüre – es geht immerhin um Auferstehung und Himmelfahrt. Frieder Bernius vermeidet aber unmotiviertes, plakatives Jubelgeschrei. Er lässt die Chöre triumphieren, wenn sie von Lachen und Scherzen singen, lässt die Solisten aber ebenso staunen und bedrückt sein, wenn es um die Entdeckung des leeren Grabes geht und eine gewisse Unruhe und Unsicherheit sich breit machen.”
Guy Engels, pizzicato.lu, 10. April 2015

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