Chorale: "Wenn soll es doch geschehen" (BWV 11 No 11) For Small Orchestra
Uploaded on Feb 20, 2016
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, 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, Acts 1:12 and Luke 24:52b. The biblical words are narrated by the tenor as the Evangelist. In his third recitative two men are quoted, for this quotation tenor and bass both sing in an Arioso.
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.
Source: Wikipedia (https://en.wikipedia.org/wiki/Lobet_Gott_in_seinen_Reichen,_BWV_11).
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. 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"
I created this arrangement of the closing Chorale: "Wenn soll es doch geschehen" (When shall it happen) for Small Orchestra (Piccolo Trumpet, Bb Trumpet, Flugelhorn, 2 Flutes, 2 Oboes, 2 Bb Clarinets, French Horn, Bassoon, Timpani, 2 Violins, Viola, cello & Bass).
|Key signature||2 sharps|
|Part names||Trumpet(3), Flute(2), Oboe(2), Clarinet(2), French Horn, Bassoon, Timpani, Violin(2), Viola, Cello, Contrabass|
|Privacy||Everyone can see this score|
|License||None (All rights reserved)|