Johann Sebastian Bach[n 2] (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the late Baroque period. He is known for his orchestral music such as the Brandenburg Concertos; instrumental compositions such as the Cello Suites; keyboard works such as the Goldberg Variations and The Well-Tempered Clavier; organ works such as the Schubler Chorales and the Toccata and Fugue in D minor; and vocal music such as the St Matthew Passion and the Mass in B minor.
Since the 19th-century Bach revival he has been generally regarded as one of the greatest composers in the history of Western music.
The Easter Oratorio (German: Oster-Oratorium), BWV 249, is an oratorio by Johann Sebastian Bach, beginning with Kommt, eilet und laufet (“Come, hasten and run”). Bach composed it in Leipzig and first performed it on 1 April 1725.
The first version of the work was completed as a cantata for Easter Sunday in Leipzig on 1 April 1725, then under the title Kommt, gehet und eilet. It was named “oratorio” and given the new title only in a version revised in 1735. In a later version in the 1740s the third movement was expanded from a duet to a four-part chorus. The work is based on a secular cantata, the so-called Shepherd Cantata Entfliehet, verschwindet, entweichet, ihr Sorgen, BWV 249a, which is now lost, although the libretto survives. Its author is Picander who is also likely the author of the oratorio’s text. The work is opened by two instrumental movements that are probably taken from a concerto of the Köthen period. It seems possible that the third movement is based on the concerto’s finale.
Unlike the Christmas Oratorio, the Easter Oratorio has no narrator but has four characters assigned to the four voice parts: Simon Peter (tenor) and John the Apostle (bass), appearing in the first duet hurrying to Jesus’ grave and finding it empty, meeting there Mary Magdalene (alto) and “the other Mary”, Mary Jacobe (soprano). The choir was present only in the final movement until a later performance in the 1740s when the opening duet was set partly for four voices. The music is festively scored for three trumpets, timpani, two oboes, oboe d’amore, bassoon, two recorders, transverse flute, two violins, viola and continuo.
The oratorio opens with two contrasting instrumental movements, an Allegro concerto grosso of the full orchestra with solo sections for trumpets, violins and oboes, and an Adagio oboe melody over “Seufzer” motifs (sighs) in the strings (in 3rd version, solo instrument is a Flute).
The first duet of the disciples was set for chorus in a later version, the middle section remaining a duet. Many runs illustrate the movement toward the grave.
Saget, saget mir geschwinde, the aria of Mary Magdalene, is based on words from the Song of Songs, asking where to find the beloved, without whom she is “ganz verwaiset und betrübt” (completely orphaned and desolate), set in the middle section as Adagio, different from the original. The words are close to those opening Part Two of the St Matthew Passion.
The final movement in two contrasting sections resembles the Sanctus composed for Christmas 1724 and later part of the Mass in B minor. (wikipedia)
And here´s a superb album with this musi, recorded by The Amsterdam Baroque Orchestra & Choir and conducted by Ton Koopman:
Antonius Gerhardus Michael Koopman (Dutch: [ˈkoːpmɑn]; born 2 October 1944), known professionally as Ton Koopman, is a Dutch conductor, organist, harpsichordist, and musicologist, primarily known for being the founder and director of the Amsterdam Baroque Orchestra & Choir.
He is a professor in the Royal Conservatory of The Hague and the University of Leiden. In April 2003 he was knighted in the Netherlands and received the Order of the Netherlands Lion.
Koopman had a “classical education” and then studied the organ (with Simon C. Jansen), harpsichord (with Gustav Leonhardt), and musicology at the Amsterdam conservatory. He specialized in Baroque music and received the Prix d’Excellence for both organ and harpsichord.
In the organ, he never learned how to play with heels and toes, and because of his short height, always plays with his toes on the pedalboard. This is an authentic Baroque practice.
Koopman founded the Amsterdam Baroque Orchestra in 1979 and the Amsterdam Baroque Choir in 1992 – now combined as the Amsterdam Baroque Orchestra & Choir – and was Founder Director of the Portland Baroque Orchestra in 1984. Koopman concentrates on Baroque music, especially that of Bach and is a leading figure in the “authentic performance” movement. While a number of early-music conductors have ventured into newer music, Koopman has not. He has said, “I draw the line at Mozart’s death” (1791). One exception is his recording of the Concert Champêtre of Francis Poulenc, written in 1928. (wikipedia)
Enjoy this real unique Easter music !
Personnel:
Tracklist:
Easter Oratorio BWV 249 (41.02):
01. Sinfonia 4.01
02. Adagio 3.16
03. Chorus: “Kommit, Eilet und Laufet” 4.46
04. Recitativo: “O Kalter Männer Sinn!” 1.04
05. Aria: “Seele, Deine Spezereien” 11.01
06. Recitativo: “Hier Ist Die Gruft” 0.47
07. Aria: “Sanfte Soll Mein Todeskummer” 6.17
08. Recitativo: “Indessen Seufzen Wir” 1.05
09. Aria: “Saget, Saget Mir Geschwinde” 5.47
10. Recitativo: “Wir Sind Erfreut” 0.40
11. Chorus: “Preis Und Dank” 220
Magnificat BWV 243 (25.18):
12. Chorus: “Magnificat Anima Mea Dominum” 2.50
13. Aria: “Et Exsultavit Spiritus Meus In Deo” 2.27
14. Aria: “Quia Respexit Humilitatem” 2.23
15. Chorus: “Omnes Generationes” 1.14
16. Aria: “Quia Fecit Mihi Magna Qui Potens Est” 2.07
17. Aria: “Et Misericordia” 3.14
18. Chorus: “Fecit Potentiam In Brachio Suo” 1.49
19. Aria: “Deposuit Potentes De Sede” 2.17
20. Aria: “Esurientes Implevit Bonis” 2.44
21. Chorus: “Suscepit Israel Puerum Summ” 1.22
22. Chorus: “Sicut Locutus Est Ad Patres Nostros” 1.18
23. Chorus: “Gloria Patri, Gloria Filio” 1.47
Johann Sebastian Bach’s Magnificat, BWV 243, is a musical setting of the biblical canticle Magnificat. It is scored for five vocal parts (two sopranos, alto, tenor and bass), and a Baroque orchestra including trumpets and timpani. It is the first major liturgical composition on a Latin text by Bach.
In 1723, after taking up his post as Thomaskantor in Leipzig, Bach set the text of the Magnificat in a twelve movement composition in the key of E-flat major. For a performance at Christmas he inserted four hymns (laudes) related to that feast. This version, including the Christmas interpolations, was given the number 243.1 (previously 243a) in the catalogue of Bach’s works.
Likely for the feast of Visitation of 1733, or another feast in or around that year, Bach produced a new version of his Latin Magnificat, without the Christmas hymns: instrumentation of some movements was altered or expanded, and the key changed from E-flat major to D major, for performance reasons of the trumpet parts. This version of Bach’s Magnificat is known as BWV 243.2 (previously BWV 243).[2]
After publication of both versions in the 19th century, the second became the standard for performance. It is one of Bach’s most popular vocal works. (wikipedia)
Bach’s celebration of Easter is a mostly joyous one, opening with a three-movement sinfonia, richly orchestrated, and complete with trumpets and drums: the third movement includes the chorus inviting listeners to rejoice and hasten to the tomb of Jesus, “For our Savior has awakened.” There follow recitatives and arias for Mary Magdalen, Mary, the mother of James, Peter, and John. Each character goes through grief to love and gratefulness, and Bach’s endlessly inventive scoring, melodic lines, and changing orchestral textures take us on a rich, 40-minute musical journey to peace. Only a too-long soprano aria tends to wear. The Oratorio is coupled on this CD with Bach’s justly famous 12-movement setting (in 25 minutes) of the Magnificat text from Luke. Also elaborately scored, with the vocal choices, tempos, and mood changing every couple of minutes, this is one of the great works of Western liturgical music (Gardiner’s masterly reading of this work is a must-have). The performances, on Baroque instruments and with crisp, clean, unsentimental Baroque style, are exemplary. Rejoice! (by Robert Levine)
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