The Easter Oratorio (German: Oster-Oratorium), BWV249, 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.[1] It was named "oratorio" and given the new title only in a version revised in 1738. 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 CantataEntfliehet, 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]
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.[1]
Oster-Oratorium BWV 249 / Kommet, eilet und laufet history, scoring, sources for text and music, translations to various languages, discography, discussion, Bach Cantatas Website
BWV 249 – BWV 249 – "Kommt, eilet und laufet, ihr flüchtigen Füße" / (The Easter Oratorio) 2008-03-17 at the Wayback Machine English translation, discussion, Emmanuel Music
BWV 249 Kommt, eilet und laufet, ihr flüchtigen Füßen (Oster-Oratorium) English translation, University of Vermont
BWV 249 Kommt, eilet und laufet, ihr flüchtigen Füße (Oster-Oratorium) text, scoring, University of Alberta
Traupman-Carr, Carol. . Bach Choir of Bethlehem. Archived from the original on 22 November 2011. Retrieved 25 February 2012.
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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 Easter OratorioBWV 249Oratorio by J S BachSt Thomas Church LeipzigNative nameOster Oratorium Kommt eilet und laufet OccasionEasterCantata textPicander Based onBWV 249aPerformed1 April 1725 1725 04 01 LeipzigMovements11ScoringSATB soloists and choir instruments Contents 1 History 2 Structure 3 Music 4 Recordings 5 Literature 6 References 7 External linksHistory editThe 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 1 It was named oratorio and given the new title only in a version revised in 1738 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 Kothen period It seems possible that the third movement is based on the concerto s finale 1 Structure editUnlike 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 No First line1 Sinfonia2 Adagio3 Aria tenor bass Kommt eilet und laufet 1st version Kommt gehet und eilet 3rd and 4th versions with Chorus4 Recitative soprano alto tenor bass O kalter Manner Sinn5 Aria soprano Seele deine Spezereien6 Recitative alto tenor bass Hier ist die Gruft7 Aria tenor Sanfte soll mein Todeskummer8 Recitative soprano alto Indessen seufzen wir9 Aria alto Saget saget mir geschwinde10 Recitative bass Wir sind erfreut11 Chorus SATB Preis und DankMusic editThe 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 betrubt 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 editHeinrich Schutz Chor Heilbronn Pforzheim Chamber Orchestra Edith Selig Claudia Hellmann Helmut Krebs Jakob Stampfli conductor Fritz Werner Erato 1964 Suddeutscher Madrigalchor Suddeutsches Kammerorchester Teresa Zylis Gara Patricia Johnson Theo Altmeyer Dietrich Fischer Dieskau conductor Wolfgang Gonnenwein HMV 1965 Amsterdam Baroque Orchestra amp Choir Lisa Larsson Elisabeth von Magnus Gerd Turk Klaus Mertens conductor Ton Koopman Erato 1998 Gabrieli Consort and Players conductor Paul McCreesh Archiv Produktion 2001Literature editMarkus Rathey Bach s Major Vocal Works Music Drama Liturgy London Yale University Press 2016 138 165References edit a b c d Alfred Durr 1971 Die Kantaten von Johann Sebastian Bach Barenreiter in German External links editAutograph score in the Digitized Collections of Berlin State Library and in Bach digital Easter Oratorio Scores at the International Music Score Library Project Oster Oratorium BWV 249 Kommet eilet und laufet history scoring sources for text and music translations to various languages discography discussion Bach Cantatas Website BWV 249 BWV 249 Kommt eilet und laufet ihr fluchtigen Fusse The Easter Oratorio Archived 2008 03 17 at the Wayback Machine English translation discussion Emmanuel Music BWV 249 Kommt eilet und laufet ihr fluchtigen Fussen Oster Oratorium English translation University of Vermont BWV 249 Kommt eilet und laufet ihr fluchtigen Fusse Oster Oratorium text scoring University of Alberta Traupman Carr Carol Easter Oratorio Oster Oratorium BWV 249 Bach Choir of Bethlehem Archived from the original on 22 November 2011 Retrieved 25 February 2012 Easter Oratorio on YouTube State University of Music and Performing Arts Stuttgart conductor Hans Christoph Rademann Retrieved from https en wikipedia org w index php title Easter Oratorio amp oldid 1173879125, wikipedia, wiki, book, books, library,