The Easter Oratorio (BWV 249), is an oratorio by Johann
Sebastian Bach, Kommt, eilet und laufet (Come, hasten
and run), first performed in Leipzig in 1725. The first
version of the work was completed as a cantata for
Easter Sunday in Leipzig on April 1, 1725, then under
the title Kommt, gehet und eilet. It was named
"oratorio" and given the new title only in a version
revised in 1735.
The "Easter Oratorio" (different from the "Christmas
Oratorio") has no narrator but four characters ass...(+)
The Easter Oratorio (BWV 249), is an oratorio by Johann
Sebastian Bach, Kommt, eilet und laufet (Come, hasten
and run), first performed in Leipzig in 1725. The first
version of the work was completed as a cantata for
Easter Sunday in Leipzig on April 1, 1725, then under
the title Kommt, gehet und eilet. It was named
"oratorio" and given the new title only in a version
revised in 1735.
The "Easter Oratorio" (different from the "Christmas
Oratorio") has no narrator but 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 fourth Aria (Mvt. 9) "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.
Although this aria was originally written for solo Alto
& period instruments, I created this arrangement for
Woodwind Sextet (Flute, Alto Flute, Oboe, English Horn,
Bb Clarinet and Bassoon).
PARTITION