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Easter Oratorio
BWV 249 · 249.3–5
Oratorio by J. S. Bach
title page of the 1738 autograph, the title and occasion in Latin centered, the performing instruments in a column in the right half
Title page of the 1738 autograph with the title in Latin
Native nameOster-Oratorium (Kommt, eilet und laufet)
OccasionEaster
Cantata textPicander?
Based onShepherd Cantata, BWV 249a (BWV 249.1)
Performed1 April 1725 (1725-04-01): Leipzig (cantata)
6 April 1738 (oratorio)
Movements11
VocalSATB soloists and choir
Instrumental
  • 3 trumpets
  • timpani
  • 2 oboes
  • oboe d'amore
  • bassoon
  • 2 recorders
  • flauto tranverso
  • 2 violins
  • viola
  • continuo

The Easter Oratorio (Latin: Oratorium Festo Paschali; German: Oster-Oratorium),[1] BWV 249,[a] is an oratorio by Johann Sebastian Bach.[2] He wrote an autograph score in Leipzig in 1738 under this title, matching his Christmas Oratorio and Ascension Oratorio.

Bach had already composed the work in 1725, when he used most of its music for two compositions, the congratulatory Shepherd Cantata, BWV 249a (BWV 249.1), and a church cantata for Easter Sunday, Kommt, gehet und eilet ("Come, go and hurry"), BWV 249.3, that later became the oratorio. Both works are musical dramas involving characters, in the secular cantata two shepherds and two shepherdesses, and in the Easter cantata four Biblical figures from the Easter stories in the Gospel of Luke and other Evangelists.

Bach performed the secular work, known as the Shepherd Cantata, on 23 February 1725 for his patron Christian, Duke of Saxe-Weissenfels. Its text was written by Picander, in his first documented collaboration with Bach. Picander may also have adapted his text for the Easter cantata that Bach first performed on Easter Sunday, 1 April 1725, in both a morning service at the Nikolaikirche and a vespers service at the Thomaskirche.

Bach made the composition the Easter Oratorio, BWV 249.4 in 1738 when he wrote a new manuscript copy of the Easter cantata, with some minor changes and a new title. This version is also known as Kommt, eilet und laufet ('Come, hasten and run'). Uniquely among Bach's oratorios, it features no original Biblical text, no Evangelist narrator, and no chorale. In the oratorio, Bach assigned the individual characters of the cantata more generally to four voice parts.

The work, basically the same music in cantata and oratorio, is structured in eleven movements. Two contrasting instrumental movements are followed by a duet for tenor and bass, illustrating two disciples running to the tomb of Jesus, where they meet two women who followed Jesus. The middle movements are alternating recitatives in which the characters mostly engage in conversation, and arias, in which soprano, tenor and alto express their emotions, facing the empty tomb and then the news that Jesus is risen. The final movement is a chorus of praise and thanksgiving. The music is scored festively with a Baroque instrumental ensemble of three trumpets, timpani, two oboes, oboe d'amore, bassoon, two recorders, flauto traverso (only in the oratorio version), strings and continuo.

In the cantata version and the 1738 oratorio version, the choir sang only in the final movement. In the 1740s, Bach again revised the work (BWV 249.5), which he seems to have regarded highly. He arranged the third movement partly for choir. He performed the oratorio once more in 1749, the year before his death.

History

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Background

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In 1723, Bach was appointed Thomaskantor (director of church music) in Leipzig, where he was responsible for the music at four churches, and for the training and education of boys singing in the Thomanerchor. He took office in the middle of the liturgical year, on the first Sunday after Trinity, 30 May 1723.[3] In his first twelve months in office, Bach decided to compose new music for almost all liturgical events, which became his first cantata cycle.[4] He wrote the St John Passion for Good Friday of 1724; unlike the cantatas, this was an extended dramatic sacred oratorio.[5]

The following year, Bach pursued to write a second cantata cycle, basing each on a Lutheran hymn,[6] a format that he kept until Palm Sunday of 1725, when Wie schön leuchtet der Morgenstern, BWV 1, was first performed.[6] It was followed on Good Friday by a performance of the second version of the St John Passion.[1][7]

Secular model, BWV 249.1

[edit]

In 1725, approaching his second Easter in office, Bach composed a congratulatory cantata, Entfliehet, verschwindet, entweichet, ihr Sorgen, BWV 249a, known as the Shepherd Cantata, for the 43rd birthday of his patron, Christian, Duke of Saxe-Weissenfels.[8][9][10] During Lent, a time without cantatas in Leipzig, he had the time to write an extended festive composition, reconnecting to the court.[11]

The librettist of the Shepherd Cantata was Picander,[8][12] in their first documented collaboration.[13][14][15] It seems likely that Bach had intended from the start to use most of the music also for an Easter cantata, and that Picander also adapted the text for that purpose.[1][16][17] Picander would write in 1728 about their collaboration: "I flatter myself that the lack of poetic charm may be compensated for by the loveliness of the music of our incomparable Kapellmeister Bach, and that these songs may be sung in the main churches of our pious Leipzig."[18] Their collaboration led to the 1727 St Matthew Passion and several sacred and secular cantatas.[19]

Picander wrote the text for a dramma per musica in which two shepherds and two shepherdesses interact, named after figures in Greek mythology.[11] He published the libretto in 1727[11] as Tafel-Music. The title suggests that it was performed as musical theatre in costumes during a meal[14][20] at Schloss Neu-Augustusburg on 23 February 1723.[8][9]

Easter cantata, BWV 249.3 (1725)

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Bach used the music of the Shepherd Cantata in its exact sequence,[11] composing only new recitatives, for a church cantata for Easter Sunday; its first title was Kommt, gehet und eilet ('Come, go and hurry'), but was soon changed to Kommt, fliehet und eilet ('Come, flee and hurry').[21][22] The festive nature of the original material was well suited to the celebration of Easter. The work can be seen as an Easter play[11][22] which follow a custom of "scenic representation of the Easter story".[21]

It seems likely that Picander also wrote the text for the Easter cantata. Both texts share the same metrical pattern in order to use the arias and the chorus without modifications.[1][10] The librettist could base his work on a Harmonie aller Evangelien in which Johannes Bugenhagen had integrated scenes from the Gospels,[11] including Luke 24:1–13.[1] He created text for dialogues and arias of four Biblical characters, assigned to the four voice parts: the disciples Simon (tenor) and John (bass), appearing in the first duet hurrying to Jesus's grave and finding it empty, meeting there Mary Magdalene (alto) and "the other Mary", Mary Jacobe (soprano).[1][11][23] Bach scholar Hans-Joachim Schulze summarised: "On the whole, the unidentified librettist deserves every recognition for his work to appropriately transform the arias and ensembles of the secular original into the subject matter of Easter with verbal skill and fealty to content."[24]

The cantata, different from the secular model, is opened by two instrumental movements that are probably taken from a concerto of the Köthen period.[21][25][23] The work is, like the Shepherf Cantata, a dramma per musica[11] and features no chorales, which is rare in Bach's liturgical music.[26]

Engraving of a square with a church on the right, with a high tower as part of the facade
1749 engraving of Nikolaikirche, Leipzig

The first performances came on Easter Sunday, 1 April 1725,[1][25][27] a week after Bach had led Wie schön leuchtet der Morgenstern and two days after his St John Passion in its second version on Good Friday.[1][28][27] Bach performed it with the Thomanerchor, with boys singing the women's roles;[11] they gave two performances, one in the morning service at the Nikolaikirche where Salomon Deyling gave the sermon, and in a vespers service at the Thomaskirche, with a sermon by Johann Gottlob Carpzov.[25] Markus Rathey pointed out that this music was Bach's first and only for Easter that matched the dramatic approach of the Passions.[27] Perhaps because of the lack of chorales and original Bible text in the new cantata, the early Easter cantata Christ lag in Todes Banden, BWV 4, was also performed in these services.[1][7]

Oratorio, BWV 249.4 (1738)

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Bach had the time to think of larger musical forms in 1732, an official year of mourning with no festive music. In 1733 he composed the Missa for the Dresden court, mostly compiled in parody style from earlier compositions.[29] In 1734, he wrote the Christmas Oratorio, performed in six church services around Christmas and based mainly on congratulatory cantatas. He also thought of oratorios for two other feasts of a celebratory nature, Easter and Ascension Day, intended for use in their church services.[30] The Ascension Oratorio was probably first performed on Ascension Day 1738.[31]

For Easter Sunday, 6 April 1738,[24] Bach could use the 1725 Easter cantata basically as it was. He wrote a new autograph score of the music and at this time labelled the work an oratorio, Oratorium Festo Paschali.[1][32][33] In this version, Bach omitted the assignment of characters to the music and noted only the voice parts.[1][16][33] He made several changes; Ulrich Leisinger, who prepared a critical edition for the publisher Carus, mentioned four of them in his preface:[1][33]

  • the insertion of a measure in the first movement
  • the assignment of a flauto traverso as the solo instrument in the second movement
  • a different underlay of the text in the middle section of the alto aria and five additional measures at its end for better proportion
  • the assignment of an oboe d'amore instead of an oboe as the obbligato instrument in this aria.

Bach took great care with expression marking in this score.[1]

Derived from the secular musical theatre, the Easter Oratorio lacks an Evangelist narrator, Biblical texts and chorales, unlike Bach's other oratorios.[11] It reflects the development of Bach's desire to compose a religious oratorio based on a scriptures, but without using dramatic dialogue. Its early performance history suggests that Bach enjoyed the work.[34]

Revised oratorio, BWV 249.5 (1740s)

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In a later version from the 1740s, between 1743 and 1746, Bach revised the oratorio once more: he expanded the third movement from a duet into a four-part chorus, at least in the outer section,[1][21][35] and he changed the text underlay in the middle section of the soprano aria (movement 5).[1] This final version is the one usually performed and recorded. Conductors have to decide if the duet in the middle section of the third movement is sung by two soloists or the choir sections.[22]

Bach performed the Easter Oratorio for the last time on Easter Sunday, 6 April 1749,[1] the year before his death,[34] right after his last performance of the St John Passion.[1][16] Wolff noted that handwritten notes in the score at the time are among the last indications of performances Bach directed.[36]

Music

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Structure and scoring

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Bach structured the work in eleven movements, with two instrumental movements at the beginning. The third movement is a duet, originally of two disciples moving towards the grave of Jesus. The following movements 4 to 10 alternate recitatives, in which the characters interact, with arias in which they express emotional reaction.[1] The work is concluded by a chorus of praise. The music is festively scored with a Baroque instrumental ensemble of three trumpets (Tr), timpani, two oboes (Ob), oboe d'amore (Oa), bassoon (Fg), two recorders (Rec), flauto traverso (Ft), two violins (Vn), viola (Va) and continuo (Bc).[33][37]

In the following table of the movements, in the revised 1740s version, the scoring, keys and time signatures are taken from Alfred Dürr's Die Kantaten von Johann Sebastian Bach, using the symbol for common time (4/4). Dürr notes a duration of 47 minutes.[38] The timpani only play when the trumpets do and are not mentioned. Information for earlier versions is given in brackets.

No. Type Text (source) Vocal Brass and winds Strings Bass Key Time
1 Sinfonia 3(2)Tr 2Ob Fg 2Vl Va Bc D major 3
8
2 Adagio Ft (Ob) 2Vl Va Bc B minor 3
4
3 Chorus Kommt, eilet und laufet SATB (T B) 3Tr 2Ob 2Vl Va Bc 3
8
4 Rec. O kalter Männer Sinn S A T B Bc B minor common time
5 Aria Seele, deine Spezereien S Ft Bc B minor 3
4
6 Rec. Hier ist die Gruft A T B Bc common time
7 Aria Sanfte soll mein Todeskummer T 2Rec 2Vl Bc G major common time
8 Rec. Indessen seufzen wir S A Bc common time
9 Aria Saget, saget mir geschwinde A Oa (Ob) 2Vl Va Bc A major common time
10 Rec. Wir sind erfreut B Bc common time
11 Chorus Preis und Dank SATB 3(2)Tr 2Ob 2Vl Va Bc D major common time 3
8

Movements

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The music of the arias and the closing chorus, Nos. 3, 5, 7, 9 and 11 in cantata and oratorio, corresponds to movements 2, 4, 6, 8 and 10 of the Shepherd Cantata, while new recitatives were composed for Easter.[1] Conductors John Eliot Gardiner and Yvonne Frindle pointed out that the sequence of arias resembles a dance suite.[16][39] While Bach dropped the assignment of Biblical figures to voice parts in the oratorio version, they are retained in the description of the music, for clarity of the narration. Schulze noted that the listener becomes immediately included in the action and reflection, called by the initial "Kommt, eilet und laufet".[24]

1 and 2

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The oratorio opens with two contrasting instrumental movements, a Sinfonia, an Allegro concerto grosso of the full orchestra, and an Adagio, featuring a solo instrument and strings.[1]

Frindle signified that the Allegro with trumpets and timpani meant the return of festive music after the "quiet time" of Lent.[16] It is dominated by the natural trumpets, with solo roles for a violin and a trio of violin, oboes and cello. The music stands for victory, similar to the opening chorus of Bach's 1715 Der Himmel lacht! Die Erde jubilieret, BWV 31.[11]

The Adagio is reminiscent of a Venetian slow movement, according to Gardiner,[39] with sigh motifs (Seufzermotive) in the strings.[1] The lament of the music may illustrate the mood at the burial of Jesus, connecting to the end of the St John Passion.[11]. Bach changed the solo instrument from oboe to flauto traverso in the oratorio version.[1]

The two movements may come from a lost concerto from Bach's Köthen period;[1][21] the first movement is similar to the Brandenburg Concertos from that period. It had been suggested that Bach derived the third movement from the same concerto, but this was rejected on the grounds that no Bach concerto had three movements in triple metre.[1][21][39]

3

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The first movement to be sung is the third movement, "Kommt, eilet und laufet" ('Come, hasten and run').[2] It has a double function: closing the concerto of the beginning in the same key and time as the first movement, and opening the dramatic section. Formally a da capo aria, it is dominated by fast runs in violins, oboes and the voices.[11]

In the secular version, the music is always a duet, first of tenor and bass singing "Entfliehet, verschwindet, entweichet, ihr Sorgen" (Flee, dissolve, fade away, you cares).[40] The middle section is full of coloratura that illustrate laughter and mirth in the secular work,[41] often in parallels of thirds to illustrate the harmony of the hearts mentioned in the text.[11] The beginning is repeated, now in response by soprano and alto.[40]

The music for the Easter work began in the 1725 version as a duet of tenor and bass, depicting the two disciples Simon and John running to the tomb of Jesus. The upward runs now illustrate their motion. Bach retained this duet when he named the work an oratorio in 1738. In a 1740s version, Bach set its outer sections for choir, but leaving the middle section as a duet.[13][21]

4

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A page of sheet music, an autograph of J.S. Bach, showing in 7 staffs the end of the first recitative, marked on top for four voices, and the beginning of an aria with an instrumental ritornello for a flute and basso continuo in the fourth staff, and the first phrases for the soprano voice in the sixths staff
A page of the 1738 autograph, of the end of the first recitative and the beginning of the first aria

All solo voices are involved in the first recitative, "O kalter Männer Sinn!" (O cold hearts of men!),[2] meeting at the empty grave.[23] The tone of the women throughout the oratorio represents the "mysticism of the bride" that shows in the Song of Songs.[24]

5

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The first of the arias is given to the soprano, originally as Maria Jacobe: "Seele, deine Spezereien" (O soul, your spices).[2] While the secular original talked about "Hunderttausend Schmeicheleien" (A hundred thousand pleasantries),[40] the woman at the grave reflects that now, told that Jesus was no longer there, the ointments they brought for the corpse are no longer needed, and she imagines a laurel wreath for the victor.[23] Gardiner compared the music with an obbligato flute to a minuit.[39]

6

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In the second recitative, "Hier ist die Gruft" (Here is the grave),[2][23] the alto (originally Mary Magdalene) shares with the disciples that an angel told her that Jesus is risen.[2]

7

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The second aria is sung by the tenor, originally as Simon: "Sanfte soll mein Todeskummer nur ein Schlummer, Jesu, durch dein Schweißtuch sein" (Gentle shall my death-throes be only a slumber, Jesus, because of your shroud).[2] In the secular aria, the topic was the sleep of the sheep: "Wieget euch, ihr satten Schafe, in dem Schlafe" (Rock yourselves, you contented sheep, into sleep),[40]

The shroud relates to the story of Lazarus from the Gospel of John,[11][24] understood as an anticipation of the Resurrection.[24] Death is imagined as peaceful now that the shroud indicates that Jesus is risen.[23] The gentle music of muted strings and recorders over a bass with a pedal-like calm pulse is reminiscent of a cradle song.[41] Gardiner compared it to a bourrée and pointed out that recorders were also used in Bach's Actus tragicus funeral music.[39] Rathey noted that the mood again connects to the end of the St John Passion, "Ruht wohl, ihr heiligen Gebeine".[27]

8

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In the third recitative, a dialogue of a man and a woman in the secular work, the two women express their burning desire to see Jesus again,[11] "Indessen seufzen wir" (Meanwhile we sigh),[2][23] They sing in parallel lines or imitation. The motif of burning hearts is taken from the Road to Emmaus narrative.[11]

9

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wood wind instrument

The alto (Mary Magdalene) expresses in the aria "Saget, saget mir geschwinde, saget, wo ich Jesum finde" (Tell me, tell me quickly, say where I can find Jesus),[2] her desire to find Jesus. The expression and phrasing allude to mystic language in the Song of Songs,[1][11] namely 3:1–4.[11]. The scene narrated in the Gospel of John of Mary Magdalene searching for Jesus in the garden remains in the background. The aria has been described as a thrilling expression of unbridled longing for personal community with Jesus.[11]

In the secular model, "Komm doch, Flora, komm geschwinde" (Come, Flora, come quickly), Flora is called to bless the fields so that the peasants can pay their duties to the dedicatee of the music, Christian, Duke of Saxe-Weissenfels. The voice is accompanied by oboe and strings in the cantata version, but Bach replaced the oboe by an oboe d'amore in the 1938 oratorio. The piece opens with a concertante ritornello; the voice picks up the oboe's theme, while the oboe accompanies.[41]

In the middle section of the Easter work the woman says that without her beloved, she is "ganz verwaiset und betrübt" (completely orphaned and desolate).[2] This passage is, deviating from the secular model, set as Adagio.[11][21] The words and emotions are close to those opening of Part Two of the St Matthew Passion. Gardiner, who compared the music to a gavotte, saw the Adagio phrase as "almost a blueprint of a Mozartian tragedienne's grief".[39]

10

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In the last recitative, "Wir sind erfreut, daß unser Jesus wieder lebt" (We are delighted that our Jesus lives again),[2][23] the bass (John) expresses joy that Jesus lives again; he calls for songs of joy. The vocal line for "Wir sind erfreut" recalls the trumpet fanfares from the first movement.[11]

11

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In the final movement the choir offers praise and thanks, "Preis und Dank bleibe, Herr, dein Lobgesang" (Praise and thanks remain, Lord, your hymn of praise).[2] In the secular work, the conclusion was a congratulation, beginning with "Glück und Heil bleibe dein beständig Teil!" (May Fortune and health remain your constant portion!).[2] The movement is structured in two contrasting sections, resembling the Sanctus composed for Christmas 1724 and later made part of the Mass in B minor;[11][21] both pieces feature in a first section dotted rhythm in common time and mostly chordal vocal parts.[41]

The trumpets play a broken chord which the voices imitate with an marked "Glück und Heil" in the secular work and "Preis und Dank" for Easter. In both texts follows "bleibe", and the "remaining" is expressed in melismas. The following section, without the trumpets, is in B minor, for the text of victory over hell and devil.[11]

Picander had closed his secular poetry with a dactyl. The corresponding Easter text is "Eröffnet, ihr Himmel, die prächtigen Bogen, der Löwe von Juda kommt siegend gezogen! (Open, O heavens, your magnificent drawbridges, the Lion of Judah approaches in triumph!), alluding to an image from Revelation 5:5.[11] Rathey noted that the same imagery had also been used in the middle section of the aria "Es ist vollbracht", in the St John Passion, immediately after the death of Jesus.[27]

For this passage Bach returned to the metre and fanfare motifs of the opening Sinfonia,[1] which Gardiner compared to a gigue.[39] The work ends with a short fugato, "crowned" by the trumpets.[11]

Reception

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Bach scholars, beginning with his biographer Philipp Spitta, were critical of the Easter Oratorio because of its libretto and its character as a musical drama.[11] Spitta, unaware of its basis in secular musical theatre, wrote in 1880: "It cannot but surprise us to find that Bach could have been satisfied with such a text.", followed by a detailed critical rendition of the libretto.[24]

Around 1940, Friedrich Smend discovered the relation of the oratorio and what was known then as Schäfergespräch (Shepherds' colloquy) by Picander.[24] It created even more criticism because of a prejudice against parody music: dealing with an important feast of the church without Gospel narrative and chorales was regarded as inadequate, and the new wording assumed to be an "intermediate text prepared with nonchalance and without sympathy".[24] Dürr's 1971 analysis still showed a critical view,[11] but acknowledged the work as in the tradition of Easter plays.

More recent studies saw that the oratorio, by disconnecting the music from individual characters, supports the inclusion of the listener. As Schulze pointed out, the first words "Kommt, eilet und laufet" are no longer historic narration but an "appeal to meditatio" which he compared to the opening of the St Matthew Passion, "Kommt, ihr Töchter, helft mir klagen" (Come, you daughters, help me lament).[24] The musicologist Christoph Wolff, who called the three oratorios a trilogy, summarised: "Bach managed to alter markedly the oratorio by skillfully transforming it from theatrical into devotional music".[34] Rathey saw the oratorio as a sequel to the St John Passion, "continuing the dramatic narrative but also its theological and musical interpretation".[27]

Manuscripts and publication

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The oldest sources of the Easter Cantata are 14 manuscript parts, probably from the secular cantata, which were used for the performance for Easter 1725, probably with the score of the secular work with added lines of text.[1]

The autograph score of the Easter Oratorio from 1738 is extant. It features unusually detailed markings for articulation and dynamics; the editor Ulrich Leisinger called it "one of Bach's most beautiful scores". Bach wrote the vocal parts again in 1743.[1] The only part for a third trumpet dates from the last performance in 1749, although it was present in the 1738 score.[11]

The Easter Oratorio was published in 1874 by the Bach-Gesellschaft in the Bach-Gesellschaft Ausgabe (BGA), the first edition of Bach works. Diethard Hellmann published an edition in 1962.[1] The final form of the oratorio was published in the Neue Bach-Ausgabe in 1977, edited by Paul Brainard;[1] a critical report followed in 1981.[25] Carus-Verlag published in 2003, as part of Stuttgarter Bach-Ausgaben, the 1738 manuscript with variants, edited by Leisinger.[1]

Recordings

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A list of recordings is provided on the Bach Cantatas website.[42] Choirs with one voice per part (OVPP) and ensembles playing period instruments in historically informed performances are shown with a green background. Michael Wersin compared several recordings in 2014.[22]

Recordings of Easter Oratorio
Title Conductor / Choir / Orchestra Soloists Label Year Choir type Orch. type
J. S. Bach: Oster-Oratorium BWV 249[22] Marcel Couraud
L'ensemble vocal et instrumental de Stuttgart
Erato 1956 (1956)
Oratorio de Pâques Fritz Werner
Heinrich-Schütz-Chor Heilbronn
Pforzheim Chamber Orchestra
Erato 1964 (1964)
Osteroratorium BWV 249 Wolfgang Gönnenwein
Süddeutscher Madrigalchor
Süddeutsches Kammerorchester
HMV 1965 (1965)
J. S. Bach: Easter Oratorio; Cantata BWV 10[22] Karl Münchinger
Wiener Akademiechor
Stuttgarter Kammerorchester
Decca 1968 (1968)
Die Bach Kantate Vol. 11[22] Helmuth Rilling
Gächinger Kantorei
Bach-Collegium Stuttgart
Hänssler 1981 (1981)
J. S. Bach: Cantatas BWV 11 "Ascension" · "Himmelfahrts-Oratoriun"; BWV 249 Easter" · "Pâques" · "Oster-Oratorium" Gustav Leonhardt
Orchestra & Choir of the Age of Enlightenment
Philips 1993 (1993) Period
J. S. Bach: Christ lag in Todes Banden; Oster-Oratorium · Easter Oratorio (BWV 4, 249)[22] Andrew Parrott
Taverner Consort & Players
Virgin Classics 1993 (1993) OVPP Period
J. S. Bach - Easter Oratorio BWV 249; Cantata BWV 66 "Erfreut euch, ihr Herzen[22][43] Philippe Herreweghe
Collegium Vocale Gent
Harmonia Mundi 1994 (1994) Period
Oster-Oratorium BWV 249 Philippe Herreweghe
Collegium Vocale Gent
Brilliant Classics 1994 (1994) Period
Easter Oratorio Ton Koopman
Amsterdam Baroque Orchestra & Choir
Erato 1998 (1998) Period
J. S. Bach: Magnificat · Easter Oratorio[22] Paul McCreesh
Gabrieli Consort
Archiv Produktion 2001 (2001) OVPP Period
J.S. Bach: Easter Oratorio · Ascension Oratorio[22] Masaaki Suzuki
Bach Collegium Japan
BIS 2004 (2004) Period
J. S. Bach: Cantatas for the Complete Liturgical Year Vol. 13: "Oster-Oratorium" (Cantatas BWV 249, 6)[44] Sigiswald Kuijken
La Petite Bande
Archiv Produktion 2009 (2009) OVPP Period
J. S. Bach: Easter Oratorio, BWV 249[17] Frans Brüggen
Cappella Amsterdam
Orchestra of the 18th Century
Glossa 2011 (2011) Period
Bach: Easter Oratorio; Actus Tragicus[39][45] John Eliot Gardiner
Monteverdi Choir
English Baroque Soloists
  • Hannah Morrison
  • Margaret Bragle
  • Nicholas Mulroy
  • Peter Harvey
 Soli Deo Gloria 2013 (2013) Period
J. S. Bach: Osteroratorium · C. P. E. Bach: Danket dem Herrn / Heilig[22] Frieder Bernius
Kammerchor Stuttgart
Barockorchester Stuttgart
Carus 2014 (2014) Period
J.S. Bach: Easter Oratorio - Magnificat[46] Nicholas McGegan
Cantata Collective
Avie 2025 (2025) Period

Notes

[edit]
  1. ^ "BWV" is Bach-Werke-Verzeichnis, a thematic catalogue of Bach's works.

References

[edit]
  1. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae Leisinger 2003.
  2. ^ a b c d e f g h i j k l m Dellal 2025.
  3. ^ Wolff 2002, p. 253.
  4. ^ Wolff 2002, pp. 253–254.
  5. ^ Wolff 2002, p. 295.
  6. ^ a b Wolff 2002, p. 275.
  7. ^ a b Wolff 2002, p. 277.
  8. ^ a b c Bach Digital secular 2025.
  9. ^ a b Wolf 2021.
  10. ^ a b Wolff 2020, p. 241.
  11. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac Klek 2017.
  12. ^ Dürr & Jones 2006, pp. 273–274.
  13. ^ a b Maul 2025.
  14. ^ a b Grychtolik 2019.
  15. ^ Wolff 2002, p. 284.
  16. ^ a b c d e Frindle 2021.
  17. ^ a b Veen 2013.
  18. ^ Orchestra of the Age of Enlightenment 2025.
  19. ^ Bach digital St Matthew Passion 2025.
  20. ^ Funk 2025.
  21. ^ a b c d e f g h i Dürr & Jones 2006, p. 274.
  22. ^ a b c d e f g h i j k l Wersin 2014.
  23. ^ a b c d e f g h Dürr & Jones 2006, p. 273.
  24. ^ a b c d e f g h i j Schulze 2024.
  25. ^ a b c d Bach Digital cantata 2025.
  26. ^ Wolff 2020, p. 242.
  27. ^ a b c d e f Rathey 2016.
  28. ^ Bach digital St John Passion 2025.
  29. ^ Wolff 2020, p. 229.
  30. ^ Wolff 2020, p. 192.
  31. ^ Bach Digital Ascension 2024.
  32. ^ Wolff 2010.
  33. ^ a b c d Bach Digital oratorio 2025.
  34. ^ a b c Wolff 2020, p. 243.
  35. ^ Bach Digital oratorio late 2025.
  36. ^ Wolff 2002, p. 447.
  37. ^ Dürr & Jones 2006, pp. 271–230.
  38. ^ Dürr & Jones 2006, p. 271.
  39. ^ a b c d e f g h Gardiner 2014.
  40. ^ a b c d Dellal 2 2025.
  41. ^ a b c d Dürr & Jones 2006, p. 809.
  42. ^ Oron 2024.
  43. ^ Vernier 2000.
  44. ^ Henkel 2011.
  45. ^ Quinn 2014.
  46. ^ Stancliffe 2025.

Cited sources

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Bach Digital

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Sources by author

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Other sources

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