Lobet Gott in seinen Reichen, BWV 11
|Oratorio by J. S. Bach|
|Original||Oratorium In Festo Ascensionis|
|Performed||19 May 1735Leipzig:|
|Movements||11 in two parts (6 + 5)|
Lobet Gott in seinen Reichen (Laud to God in all his kingdoms), 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.
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 had 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. 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. He used the model for the alto aria again much later for the Agnus Dei of his Mass in B minor.
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. The Ascension Oratorio appeared thus in the same liturgical year as the Christmas Oratorio. 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. It follows the story of the Ascension as told 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 24:50–51, 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,
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 1735, 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.
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.
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
"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). The timpani always play with the trumpets and are not mentioned.
|No.||Type||Text (source)||Vocal||Brass and winds||Strings||Bass||Key||Time|
|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|
|3||acc.||Ach, Jesu, ist dein Abschied (Picander)||B||2Ft||Bc|
|4||aria||Ach, bleibe doch, mein liebstes Leben (Picander)||A||Vl (unis.)||Bc||A minor|
|5||rec.||Und ward aufgehoben zusehends (Bible)||T||Bc|
|6||chorale||Nun lieget alles unter dir (Rist)||SATB||2Ft 2Ob||2Vl Va||Bc||D major||3/4|
|7||rec.||Und da sie ihm nachsahen (Bible)||T B||Bc|
|8||acc.||Ach ja! so komme bald zurück (Picander)||A||2Ft||Bc|
|9||rec.||Sie aber beteten ihn an (Bible)||T||Bc|
|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|
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 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. 18. The movement has no fugue, but dance-like elements and Lombard rhythm.
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. 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.
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[animent]), it is accompanied by the flutes and continuo as a recitativo accompagnato.
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.
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.
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.
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.
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". Jones thinks that the setting without an earthly continuo represents the Gnadenblicke (glances of Grace) of the text.
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 to greet him and kiss 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".
The sortable listing is taken from the selection provided by Aryeh Oron on the Bach-Cantatas website. The type of choir and orchestra is roughly shown as a large group by red background, and as an ensemble with period instruments in historically informed performance or a choir of one voice per part (OVPP) by green background.
|Title||Conductor / Choir / Orchestra||Soloists||Label||Year||Choir type||Orch. type|
|Historic Bach cantatas (Karl Straube, 1931)||Straube, KarlKarl Straube Thomanerchor Gewandhausorchester||Querstand||1931||Boys||Chamber|
|Bach: Cantatas No. 67 & 11, from cantata No. 147||Jacques, ReginaldReginald Jacques The Cantata Singers The Jacques Orchestra||Decca||1949|
|J. S. Bach: Cantata BWV 11||Couraud, MarcelMarcel Couraud Stuttgarter Bach-Chor Badische Staatskapelle||mid 1950s?||Bach||Symphony|
|Bach Made in Germany Vol. 2 – Cantatas I||Thomas, KurtKurt Thomas Thomanerchor Gewandhausorchester||Bach Archiv Leipzig||1960||Boys||Symphony|
|Les Grandes Cantates de J. S. Bach Vol. 2||Werner, FritzFritz Werner Heinrich-Schütz-Chor Heilbronn Pforzheim Chamber Orchestra||Erato||1966||Chamber|
|J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Folge / Vol. 3||Harnoncourt, NikolausNikolaus Harnoncourt Leonhardt-Consort||Teldec||1972||Period|
|Bach Cantatas Vol. 3 – Ascension Day, Whitsun, Trinity||Richter, KarlKarl Richter Münchener Bach-Chor Münchener Bach-Orchester||Archiv Produktion||1975||Bach||Bach|
|Die Bach Kantate Vol. 7||Rilling, HelmuthHelmuth Rilling Gächinger Kantorei Württembergisches Kammerorchester Heilbronn||Hänssler||1984||Chamber|
|J. S. Bach: Cantatas BWV 11 & 249||Leonhardt, GustavGustav Leonhardt Choir of the Age of Enlightenment Orchestra of the Age of Enlightenment||Philips||1993||Period|
|J. S. Bach: Himmelfahrts-Oratorium||Herreweghe, PhilippePhilippe Herreweghe Choir of the Age of Enlightenment Orchestra of the Age of Enlightenment||Harmonia Mundi||1993||Period|
|J. S. Bach: Ascension Cantatas||Gardiner, John EliotJohn Eliot Gardiner Monteverdi Choir English Baroque Soloists||Archiv Produktion||2000||Period|
|Bach Edition Vol. 17 – Cantatas Vol. 2||Leusink, Pieter JanPieter Jan Leusink Holland Boys Choir Netherlands Bach Collegium||Brilliant Classics||2000||Boys||Period|
|J. S. Bach: Complete Cantatas Vol. 20||Koopman, TonTon Koopman Amsterdam Baroque Orchestra & Choir||Antoine Marchand||2003||Period|
|J. S. Bach: Easter Oratorio · Ascension Oratorio||Suzuki, MasaakiMasaaki Suzuki Bach Collegium Japan||BIS||2004||Period|
|J. S. Bach: Cantatas for the Complete Liturgical Year Vol. 10||Kuijken, SigiswaldSigiswald Kuijken La Petite Bande||Accent||2009||OVPP||Period|
- "BWV" is Bach-Werke-Verzeichnis, a thematic catalogue of Bach's works.
- Ambrose, Z. Philip (2012). "BWV 165 O heilges Geist- und Wasserbad". University of Vermont. Retrieved 13 May 2015.
- 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 0-19-969628-4.
- Dürr, Alfred (1981). Die Kantaten von Johann Sebastian Bach (in German). 1 (4 ed.). Deutscher Taschenbuchverlag. pp. 288–290. ISBN 3-423-04080-7.
- Dellal, Pamela. "BWV 11 – Lobet Gott in seinen Reichen / (The Ascension Oratorio)". Emmanuel Music. Retrieved 27 April 2015.
- "Gott fähret auf gen Himmel / Text and Translation of Chorale". bach-cantatas. Retrieved 14 May 2015.
- Robins, Brian. "Johann Sebastian Bach / Himmelfahrts-Oratorium, "Lobet Gott in seinen Reichen," (Ascension Oratorio), BWV 11 (BC D9)". AllMusic. Retrieved 12 May 2015.
- Grob, Jochen (2014). "BWV 11 / BC A 90" (in German). s-line.de. Retrieved 20 February 2015.
- Bischof, Walter F. (2012). "BWV 22 Jesus nahm zu sich die Zwölfe". University of Alberta. Retrieved 27 April 2015.
- "Cantata BWV 11, Ascension Oratorio: Lobet Gott in seinen Reichen". The Bach Choir of Bethlehem. Retrieved 12 May 2015.
- Mincham, Julian (2010). "Chapter 50 BWV 11 Lobet Gott in seinen Reichen / Praise God in His Kingdoms; the Ascension Oratorio". jsbachcantatas.com. Retrieved 10 May 2012.
- "Chorale Melodies used in Bach's Vocal Works / Von Gott will ich nicht lassen". bach-cantatas. Retrieved 14 May 2015.
- Oron, Aryeh (2012). "Cantata BWV 11 / Lobet Gott in seinen Reichen / (Himmelfahrts-Oratorium)". bach-cantatas. Retrieved 4 December 2012.
- Lobet Gott in seinen Reichen, BWV 11: Scores at the International Music Score Library Project
- Lobet Gott in seinen Reichen (Ascension Oratorio) BWV 11; BC D 9 / Oratorio (Ascension Day) Leipzig University
- Himmelfahrts-Oratorium (in German) history, scoring, Bach website