 | Bach, Johann Sebastian - Aria: "Ach, bleibe doch, mein liebstes Leben" for String Trio BWV 11 No 4 2 Violons, Violoncelle |
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | 2 Violons, Violoncelle | ||||
| Genre : | Baroque | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 08 Janv 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_Rei chen,_BWV_11). Deeper reflection is expressed in an aria, marked "Aria Violini unisoni e Alto" (Aria Violins in unison and Alto). The singer requests Jesus to stay:Ach, bleibe doch, mein liebstes Leben (Ah, just stay, my dearest Life). The music is based on a movement from the lost wedding cantata Auf, süß entzückende Gewalt, BWV Anh. 196, written in 1725 on a libretto by Johann Christoph Gottsched. Bach used the model for the alto aria also for the Agnus Dei of his Mass in B minor. I created this arrangement of the first Aria: "Ach, bleibe doch, mein liebstes Leben" (Ah, just stay, my dearest Life) for String Trio (2 Violins & Cello). Partition centrale : | Lobet Gott in seinen Reichen (9 partitions) | | |||
