- Easter Oratorio
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The Easter Oratorio (in German: Oster-Oratorium), BWV 249, is an oratorio by Johann Sebastian Bach, Kommt, eilet und laufet (Come, hasten and run), first performed in Leipzig in 1725.
Contents
History
The first version of the work was completed as a cantata for Easter Sunday in Leipzig on April 1, 1725, then under the title Kommt, gehet und eilet.[1] 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.[1] 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.[1]
Structure
The oratorio - different from the Christmas Oratorio - has no narrator but 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, violins, and basso continuo.
No. First Line 1 Sinfonia 2 Adagio 3 Aria Duetto tenor, bass Kommt, eilet und laufet 4 Recitativo soprano, alto, tenor, bass O kalter Männer Sinn 5 Aria soprano Seele, deine Spezereien 6 Recitativo alto, tenor, bass Hier ist die Gruft 7 Aria tenor Sanfte soll mein Todeskummer 8 Recitativo soprano, alto Indessen seufzen wir 9 Aria alto Saget, saget mir geschwinde 10 Recitativo bass Wir sind erfreut 11 Chorus SATB Preis und Dank Music
The oratorio opens with two contrasting instrumental movements, an Allegro concerto grosso of the full orchestra with solo sections for violin and oboes, and an Adagio oboe melody over "Seufzer" motifs (sighs) in the strings.
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.[1]
Recordings
- Heinrich-Schütz-Chor Heilbronn, Pforzheim Chamber Orchestra, Edith Selig, Claudia Hellmann, Helmut Krebs, Jakob Stämpfli, conductor Fritz Werner, Erato 1964
- Süddeutscher Madrigalchor, Süddeutsches Kammerorchester, Teresa Żylis Gara, Patricia Johnson, Theo Altmeyer, Dietrich Fischer-Dieskau, conductor Wolfgang Gönnenwein, HMV 1965
- Amsterdam Baroque Orchestra & Choir, Lisa Larsson, Elisabeth von Magnus, Gerd Türk, Klaus Mertens, conductor Ton Koopman, Erato, 1998
See also
References
External links
- Easter Oratorio: Free scores at the International Music Score Library Project.
- Easter Oratorio BWV 249 on bach-cantatas
- German text and English translation Emmanuel Music, Boston
- Entries for the Easter Oratorio, BWV 249 on WorldCat
Categories:- Oratorios
- Compositions by Johann Sebastian Bach
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