Easter Oratorio

He is Risen! He is Risen Indeed!

First performed for Easter 1725, the Easter Oratorio is a repackaging of previous written material by Bach. The source music, known as the Shepherd Cantata, was first performed on February 23, 1725. Bach wrote new recitatives for the Easter cantata, likely collaborating with Picander on the libretto.

The oratorio is organized into eleven movements: two instrumental (which open the cantata back-to-back), two choral movements bookending the vocal works, and a series of alternating recitatives arias (three each.)

Unlike the great Passion settings by Bach, the Oster-Oratorium features no Evangelist to narrate the events of Easter Morning, even though the text is heavily drawn from Luke 24:1-13. . Instead, Bach writs for four persons: Simon (tenor), John (bass), Mary Magdalene (alto), and Mary Jacobe (also known as ‘the other Mary’, soprano).

Movement 1

The opening Sinfonia is grand and celebratory, punctuated by trumpets and drums. It is grand and soaring. It is a fitting return of festive music after the quiet period of Lent.

Movement 2

The Adagio is contemplative and subdued, especially after the bold opening movement. It is suggestive of the flute features in his Saint Matthew Passion - Aus Liebe. The theme of that movement is “out of love, my Savior is dying.” It is a wonderful reminder of the reason for our joy on Easter Sunday.

Movement 3

Finally the choir enters. Just as we had in Movement 1, the trumpets, timpani and strings work together to produce a celebratory sound. The middle section is a duet between the male voices, Simon Peter and John, as they race for the tomb:

Come, hurry and run, you swift feet,
get to the cave that covers Jesus !
Laughter and jokes,
accompany our hearts,
for our saviour is raised from the dead.

The joy and laughter are well represented in Bach’s melismatic lines for the soloists.

Movement 4

The first recitative features all four soloists:

Alto (Mary Magdalene):
O cold minds of men
Where is the love gone
that you owe to the saviour ?

Soprano (Mary, daughter of James):
A weak woman puts you to shame

Tenor (Peter):
Ah, affliction and grief

Bass (John):
and fearful sorrow of heart

Tenor, Bass (Peter, John):
with salty tears
and melancholy longing
intended an anointing for him,

Soprano, Alto (Mary Magdalene, Mary daughter of James):
which you, as we, have done in vain.

It is a unique movement for Bach to write, where all four voices sing together at the empty tomb.

Movement 5

The soprano soloist, upon her arrival at the tomb, realizes that her burial spices are no longer needed. She recognizes Jesus’ resurrection as the victory her soul desires.

My soul, your spices
should no more be myrrh.
For only with the splendor of the laurel wreath
will your anxious longing be satisfied.

Movement 6

Another recitative, this time featuring the men and Mary Magdalene:

Tenor (Peter):
Here is the tomb

Bass (John):
And here is the stone
which covered it.
But where will my saviour be ?

Alto (Mary Magdalene):
He has risen from the dead!
We met an angel
who proclaimed this to us.

Tenor (Peter):
I see here with pleasure
the veil lies unwound.

Movement 7

This is Peter’s aria. He recognizes that Jesus’ death makes his death more peaceful. John Eliot Gardiner noted that Bach’s use of recorders here is similar to their treatment in BWV 106 - Actus Tragicus, Bach’s funeral cantata.

Gentle should be the sorrow of my death
only a slumber,
Jesus, through your veil.
Yes, that will refresh me there
and the tears of my suffering
it will wipe comfortingly from my cheeks.

Movement 8

This time, we have only the soprano and alto for the recitiative:

Meanwhile we sigh
with fervent yearning:
Ah, if only it might soon happen
to see the saviour himself!

Movement 9

Mary Magdalene’s aria ties directly to Song of Songs and the longing of the soul for Jesus, especially as it is articulated in the first movement of Part II of Bach’s Saint Matthew Passion.

Tell me, tell me quickly
Tell, where may I find Jesus
whom my soul loves!
Come then, come, embrace me,
for my heart is without you
quite orphaned and distressed.

Movement 10

The final recitative goes to Simon Peter and John who echo our joy for Easter:

We are delighted
that our Jesus lives once more
and our heart
before so dissolved and suspended in sadness
forgets its sorrow
and thinks of songs of joy;
for our saviour lives once more.

Movement 11

The Easter Oratorio comes to a close with this finale. Again, the trumpets, timpani, and strings punctuate the movement and the chorus soars above the orchestra. Note the beautiful poetry of the text!

Praise and thanks
remain your song of praise
Hell and the devil are overcome
their gates are destroyed
Shout and cheer, you loosened tongues,
so that you are heard in heaven
Open up, you heavens, the splendid arches,
the Lion of Judah comes drawn in victory !