solos: SATB – choir: SATB – 1.2A-rec.2(ob d’am).0.1 – 0.3.0.0 – timp – str – bc
Language:
German / English
Page count:
64
Condition:
New
Oster-Oratorium BWV 249
1. Sinfonia
2. Adagio
3. Chorus: Kommt, eilet und laufet
4. Recitativo: O kalter Männer Sinn!
5. Aria: Seele, deine Spezereien
6. Recitativo: Hier ist die Gruft
7. Aria: Sanfte soll mein Todes-Kummer
8. Recitativo: Indessen seufzen wir
9. Aria: Saget, saget mir geschwinde
10. Recitativo: Wir sind erfreut
11. Chorus: Preis und Dank
Johann Sebastian Bach was a German composer and musician of the late Baroque period, born on March 31, 1685 (O.S. March 21), in Eisenach, Thuringia, Ernestine Saxon Duchies (now Germany). He passed away on July 28, 1750, in Leipzig.
Bach is now generally regarded as one of the greatest and most prolific composers of all time and is celebrated as the creator of the Brandenburg Concertos, The Well-Tempered Clavier, the Mass in B Minor, the St John and St Matthew Passions, the Christmas Oratorio and more than 300 cantatas (although only around 200 are extant. He numerous other masterpieces of church and instrumental music.
Bach’s abilities as an organist were highly respected throughout his lifetime, although he was not widely recognized as a great composer until after his death. Today, he is considered to be the master of fugue, the inventor of the solo keyboard concerto, and the greatest composer of the Baroque era.
His compositions include a wide variety of music such as orchestral music (e.g., the Brandenburg Concertos), solo instrumental works (e.g., the Cello Suites and Sonatas and Partitas for Solo Violin), keyboard works (e.g., the Goldberg Variations and The Well-Tempered Clavier), organ works (e.g., the Schübler Chorales and the Toccata and Fugue in D Minor), and choral works (e.g., the St. Matthew Passion and the Mass in B Minor).
Bach came from a highly musical family and was the last child of a city musician, Johann Ambrosius. After being orphaned at the age of 10, he lived with his eldest brother, Johann Christoph, and continued his musical education in Lüneburg. His career included working as a musician for Protestant churches in Arnstadt and Mühlhausen and at courts in Weimar and Köthen before becoming Thomaskantor (cantor at St. Thomas’s) in Leipzig.
In Leipzig, he composed music for the principal Lutheran churches of the city and for its university’s student ensemble Collegium Musicum. Despite difficult relations with his employer, Bach’s music flourished, and he enriched established German styles through his mastery of counterpoint, harmonic, and motivic organization, and his adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France.
Bach’s legacy is immense, having enriched the German musical tradition and set a precedent in composition that would influence subsequent generations of composers.
The Oratorio for Easter Sunday BWV 249 was first performed on Easter Sunday 1725 with the text “Kommt, eilet und laufet”. In the counting of…
The Oratorio for Easter Sunday BWV 249 was first performed on Easter Sunday 1725 with the text “Kommt, eilet und laufet”. In the counting of the new BWV, this is already BWV 249.3, following two congratulatory cantatas as early forms of the oratorio. As a “drama per musica”, this version still had explicit role assignments for the characters Maria Jacobi (Soprano), Maria Magdalena (Alto), Petrus (Tenore) and Johannes (Basso), which were later no longer used by Bach.
For the 1738 revival (BWV 249.4), Bach wrote an autograph score based on the part set from 1725. The movement [3.] after the instrumental prelude is a duet between tenor and bass here, as in BWV 249.3. In the 1740s, Bach revised the vocal parts and individual instrumental parts (BWV 249.5), turning movement [3.] into a four-part opening chorus. In this version, the work is generally known today as the “Easter Oratorio”.
With the edition by David Erler, the final version is available as an Urtext edition with complete performance material for the first time. In addition, the performance of the version BWV 249.4 is made possible by notes in the course of the score and an appendix with deviating movements; the preface and critical report provide comprehensive information on this. The edition thus meets the highest standards of “Urtext for practice”.
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