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FULL Die Auferstehung und Himmelfahrt Jesu (C. P. E. Bach) Bruges 2017 Laura Verena Incko, Daniel Johanssen, Stephan Genz
Information on the Performance
- Work Title: Die Auferstehung und Himmelfahrt Jesu
- Composer: Bach Carl Philipp Emanuel
- Libretto: Karl Wilhelm Ramler
- Venue & Opera Company: Concertgebouw Brügge, Belgium
- Recorded: August 12, 2017
- Type: Concert Live
- Singers: Laura Verena Incko, Daniel Johanssen, Stephan Genz
- Conductor: Rüdiger Lotter
- Orchestra: Hofkapelle München
- Chorus: Vocalconsort Berlin
- Stage Director:
- Costume Designer:
Information about the Recording
- Published by: Hofkapelle München
- Date Published: 2018
- Format: Streaming
- Quality Video: 4 Audio:4
- Subtitles: nosubs
ADDITIONAL INFORMATION ON THIS PERFORMANCE
Die Auferstehung und Himmelfahrt Jesu or The Resurrection and Ascension of Jesus (BR-CPEB Ds3; Wq 240; H 777) is an oratorio by Carl Philipp Emanuel Bach in which the resurrection and ascension of Christ are celebrated. The first documented performance of the work took place on April 2, 1774. Along with The Israelites in the Desert and The Last Sufferings of the Redeemer, The Resurrection and Ascension of Jesus is one of Carl Philipp Emanuel Bach’s three great oratorios.
The vocal line-up of the oratorio consists of three solo voices (soprano, tenor, bass) and a four-part mixed choir. The orchestra consists of strings, two flutes, two oboes, bassoon, two horns, three trumpets, timpani and basso continuo (harpsichord).
The libretto was written by Karl Wilhelm Ramler as the conclusion of a trilogy of oratorio libretti (after The Death of Jesus and The Shepherds at the Crib in Bethlehem) as early as 1760. Georg Philipp Telemann set this libretto, written in the Sentimental Style, to music as early as 1760. The premiere of Bach’s composition took place in a private setting on Easter Sunday 1774 in Hamburg. Bach had probably composed the work in the months before. The first public performance did not take place until March 18, 1778 in the Concert Hall on the Kamp in Hamburg. Between these two performances, Bach had revised his oratorio. He continued revising the work, in collaboration with the librettist Ramler, until 1784. The first performance venues suggest that Bach had intended the oratorio from the outset for performances in concert halls and not in churches. In addition, the work does not contain any chorales, which would have been very unusual for church music of the time.
Quoted from Wikipedia