01	Chor: "Lobet Gott in seinen Reichen"			Lobet Gott in seinen Reichen BWV 11			04:48
	02	Rezitativ (Tenor): "Der Herr Jesus hob seine Hande auf"			Lobet Gott in seinen Reichen BWV 11			00:37
	03	Rezitativ (Bass): "Ach, Jesu, ist dein Abschied schon so nach ?"			Lobet Gott in seinen Reichen BWV 11			01:27
	04	Arie (Alt): "Ach, bleibe doch, mein liebstes Leben"			Lobet Gott in seinen Reichen BWV 11			09:48
	05	Rezitativ (Tenor): "Und ward aufgehoben zusehends"			Lobet Gott in seinen Reichen BWV 11			00:28
	06	Choral: "Nun lieget alles unter dir"			Lobet Gott in seinen Reichen BWV 11			01:10
	07	Rezitativ (Tenor, Bass): "Und da sie ihm nachsahen"			Lobet Gott in seinen Reichen BWV 11			01:02
	08	Rezitativ (Alt): "Ach ja! so komme bald zuruck"			Lobet Gott in seinen Reichen BWV 11			00:46
	09	Rezitative (Tenor): "Sie aber beteten ihn an"			Lobet Gott in seinen Reichen BWV 11			00:54
	10	Arie (Sopran): "Jesu, deine Gnadenblicke"			Lobet Gott in seinen Reichen BWV 11			07:01
	11	Choral: "Wann soll es doch geschehen"			Lobet Gott in seinen Reichen BWV 11			04:05
	12	Chor (Tenor, Bass): "Sie werden euch in den Bann tun"			Sie werden euch in den Bann tun BWV 44			02:43
	13	Chor: "Es kommt aber die Zeit"			Sie werden euch in den Bann tun BWV 44			01:53
	14	Arie (Alt): "Christen mussen auf der Erden"			Sie werden euch in den Bann tun BWV 44			05:19
	15	Choral (Chor-Tenor): "Ach Gott, wie manches Herzeleid"			Sie werden euch in den Bann tun BWV 44			01:13
	16	Rezitativ (Bass): "Es sucht der Antichrist"			Sie werden euch in den Bann tun BWV 44			01:03
	17	Arie (Sopran): "Es ist und bleibt der Christen Trost"			Sie werden euch in den Bann tun BWV 44			06:10
	18	Choral: "So sei nun, Seele, deine"			Sie werden euch in den Bann tun BWV 44			01:07
	19	Chor: "O ewiges Feuer, o Ursprung der Liebe"			O ewiges Feuer, o Ursprung der Liebe BWV 34			08:42
	20	Rezitativ (Tenor): "Herr, unsre Herzen halten dir"			O ewiges Feuer, o Ursprung der Liebe BWV 34			00:41
	21	Arie (Alt): "Wohl euch, ihr auserwahlten Seelen"			O ewiges Feuer, o Ursprung der Liebe BWV 34			06:22
	22	Rezitativ (Bass): "Erwahlt sich Gott die heiligen Hutten"			O ewiges Feuer, o Ursprung der Liebe BWV 34			00:43
	23	Chor: "Friede uber Israel"			O ewiges Feuer, o Ursprung der Liebe BWV 34			02:38

Himmelfahrts-Oratorium, "Lobet Gott in seinen Reichen," (Ascension Oratorio), BWV 11 (BC D9)

Composition Date May 19, 1735
Publication Date 1856
First Performance May 19, 1735

Composition Description by Brian Robins

There are four extant works by Johan Sebastian Bach for the Feast of the Ascension, part of the liturgical cycle for Easter. Three are cantatas belonging to the cantata cycles composed in 1723-1724 (BWV37), 1724-1725 (BWV128), and 1725-1726 (BWV43). Although often designated as a cantata, the present work is more accurately described as a short oratorio, including as it does a narrative role for the Evangelist. It was composed in 1735, and first performed in one of the principal Leipzig churches on May 19 of that year. The Evangelist's narration was drawn by an unknown librettist from the Gospels of Luke and Mark, and the Acts of the Apostles. These sections plus two recitatives and the chorale placed at the center of the work are the only original parts of the oratorio, the opening and closing choruses, and the two arias all being drawn from previously written cantatas, now lost. The two choruses are planned on a grand scale, with the same brilliantly festive scoring (including three trumpets and drums) Bach had employed in Parts I, III, and IV of the Christmas Oratorio of 1734-1735. The closing chorus is chorale-based, using the hymn "Von Gott will ich nicht lassen" as a choral cantus firmus around which the orchestra weaves a joyously dance-like fantasia. "Ach bleibe doch," the alto aria is an extensive revision of an aria originally found in a lost wedding cantata, the same source the composer drew upon for the Agnus Dei of the Mass in B minor. The soprano aria "Jesu, deine Gandenblicke" is remarkable for the scoring of two flutes, oboe, violins, and violas without bass, the lightly translucent texture reflecting the text's allusion to Christ leaving his body to ascend to Heaven. The central section of recitative includes a telling piece of dramatization at the appearance of the angels, "two men in white apparel," whose words are addressed to the amazed onlookers as a duet.