Lobet Gott in seinen Reichen, BWV 11

The oratorio spans eleven movements in two parts to be performed before and after the sermon, 1–6 before the sermon and 7–11 after the sermon. It takes about half an hour to perform.[3] The title on the first page of the autograph reads:

"J.J. Oratorium Festo Ascensionis Xsti. à 4 Voci. 3 Trombe Tamburi
2 Travers. 2 Hautb. 2 Violini, Viola e Cont. di
Bach[7]

"J.J." is short for "Jesu juva" (Jesus, help), a formula which Bach and others often wrote at the beginning of a sacred piece. The title in Latin translates to "Oratorio for the feast of the Ascension of Christ", and the scoring in a mixture of French and Italian names the parts and instruments[8] as four vocal parts, three trumpets (Tr), timpani, two flauti traversi (Ft), two oboes (Ob), two violins (Vn), viola (Va) and basso continuo (Bc) by Bach.[9] The voices are soprano, alto, tenor and bass, forming a four-part choir (SATB).[6] The work is festively scored, exactly like the Christmas Oratorio.[7]

The structure shows symmetry around the central chorale. Expansive chorale movements using the complete orchestra frame the work. Both parts contain besides the bible narration (rec.) a reflective accompagnato recitative (acc.) and an aria with obbligato instruments. In the following table of the movements, the scoring is taken the Neue Bach-Ausgabe. The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). The timpani always play with the trumpets and are not mentioned.

No.	Type	Text (source)	Vocal	Brass and winds	Strings	Bass	Key	Time
Part I
1	chorus	Lobet Gott in seinen Reichen (Picander)	SATB	3Tr 2Ft 2Ob	2Vl Va	Bc	D major	2/4
2	rec.	Der Herr Jesus hub seine Hände auf (Bible)	T			Bc
3	acc.	Ach, Jesu, ist dein Abschied (Picander)	B	2Ft		Bc
4	aria	Ach, bleibe doch, mein liebstes Leben (Picander)	A		Vl (unis.)	Bc	A minor
5	rec.	Und ward aufgehoben zusehends (Bible)	T			Bc
6	chorale	Nun lieget alles unter dir (Rist)	SATB	2Ft 2Ob	2Vl Va	Bc	D major	3/4
Part II
7	rec.	Und da sie ihm nachsahen (Bible)	T B			Bc
8	acc.	Ach ja! so komme bald zurück (Picander)	A	2Ft		Bc
9	rec.	Sie aber beteten ihn an (Bible)	T			Bc
10	aria	Jesu, deine Gnadenblicke (Bible)	S	2Ft Ob	unison		G major	3/8
11	chorale	Wenn soll es doch geschehen (Sacer)	SATB	3Tr 2Ft 2Ob	2Vl Va	Bc	D major	6/4

The Bach scholar Richard D. P. Jones compares the Christmas Oratorio and the Ascension Oratorio and arrives at similarities:

the festive opening chorus with trumpets and drums, the Evangelist's secco recitatives, the intermediate four-part chorale, the meditative accompagnati, the semi-dramatic treatment of biblical characters (here the "two men in white") and the elaborate chorale-finale.[7]

The oratorio is similar especially to Part VI of the Christmas Oratorio which also begins with an extended opening chorus and a chorale fantasia as a conclusion.[7]

The festive opening chorus, "Lobet Gott in seinen Reichen", is believed to be based on a movement from the lost secular cantata Froher Tag, verlangte Stunden, BWV Anh. 18.[3][10] The movement has no fugue, but dance-like elements and Lombard rhythm.[7]

Bach marks the first recitative of bible narration "Recit. nach dem ersten Chor" (Recitative after the first chorus).[8] It is sung by the Evangelista (Evangelist), which Bach assigns to the tenor singing secco recitative. The action begins, "Der Herr Jesus hub seine Hände auf" (The Lord Jesus lifted up His hands),[4] with Jesus blessing the disciples and leaving them.[3]

Traverso by Boaz Berney, after an original by Thomas Lot, Paris ca. 1740

A reflecting recitative for bass, "Ach, Jesu, ist dein Abschied" (Ah, Jesus, is Your departure),[4] shows the situation of the disciples afraid that Jesus will leave them soon. Marked "Rec: col accomp." (Recitative: with accomp[animent]),[8] it is accompanied by the flutes and continuo as a recitativo accompagnato.[3]

Deeper reflection is expressed in an aria, marked "Aria Violini unisoni e Alto" (Aria Violins in unison and Alto).[8] The singer requests Jesus to stay:[11] "Ach, bleibe doch, mein liebstes Leben" (Ah, just stay, my dearest Life).[4] The music is based on a movement from the lost wedding cantata Auf, süß entzückende Gewalt, BWV Anh. 196, written in 1725 on a libretto by Johann Christoph Gottsched.[7]

Bach used the model for the alto aria also for the Agnus Dei of his Mass in B minor.[11]

The Evangelist continues the narration with the Ascension: "Und ward aufgehoben zusehends" (And He was apparently lifted up).[4][11]

Johann Rist, the writer of the hymn lyrics

The first chorale, closing part 1, is the fourth stanza of "Du Lebensfürst, Herr Jesu Christ", written in 1641 by Johann Rist. The text "Nun lieget alles unter dir" (Now everything is subject to You)[4] imagines Jesus in heaven, with the angels and elements serving him.

Nun lieget alles unter dir,
Dich selbst nur ausgenommen;
Die Engel müssen für und für
Dir aufzuwarten kommen.
Dir Fürsten stehn auch auf der Bahn
Und sind dir willig untertan;
Luft, Wasser, Feuer, Erden
Muß dir zu Dienste werden.

It is composed as a four-part setting, with the instruments playing colla parte: oboes and violin I enforce the chorale tune, the flutes an octave higher, violin II plays with the alto, viola with the tenor, and the continuo with the bass.[8]

The evangelist begins Part II, "Und da sie ihm nachsahen" (And as they watched),[4] telling of two men in white gowns addressing the disciples. The two men are represented by tenor and bass in a duet.[3]

A reflecting recitative for alto, "Ach ja! so komme bald zurück" (Ah yes! Then come back soon;),[4] requests the return of Jesus. Parallel to the bass recitative in Part I, it is also accompanied by the flutes and continuo.[3]

The evangelist ends the narration, "Sie aber beteten ihn an" (They however prayed to Him),[4] telling of the disciples' return from the mountain which is named the Mount of Olives.[3]

The soprano aria, "Jesu, deine Gnadenblicke" (Jesus, Your merciful gaze),[4] is also based on the wedding cantata Auf, süß entzückende Gewalt.[7] It is one of the rare pieces in Bach's music without basso continuo, with the two unison flutes, the oboe and the unison strings playing a trio, augmented to a quartet by the singer. The original words in the wedding cantata mentioned "Unschuld" (innocence). Brian Robins notes "the lightly translucent texture reflecting the text's allusion to Christ leaving his body to ascend to Heaven".[6] Jones thinks that the setting without an earthly continuo represents the Gnadenblicke (glances of Grace) of the text.[7]

The closing chorale, "Wenn soll es doch geschehen" (When shall it happen"),[4] is the seventh stanza of "Gott fähret auf gen Himmel", written in 1697 by Gottfried Wilhelm Sacer. Set in the first person, it expresses the desire of the speaker for the "liebe Zeit" (dear time) when he sees the Saviour in his glory. Continuing saying "wir" (we), he imagines greeting and kissing him.

Wenn soll es doch geschehen,
wenn kömmt die liebe Zeit,
daß ich ihn werde sehn
in seiner Herrlichkeit?
Du Tag, wenn wirst du sein,
daß wir den Heiland grüßen,
daß wir den Heiland küssen?
Komm, stelle dich doch ein!

It is set as a chorale fantasia. The soprano sings the cantus firmus in long notes,[11] on the melody of "Von Gott will ich nicht lassen".[6][12] Similar to the final chorale Nun seid ihr wohl gerochen of the Christmas Oratorio,[3] the chorale tune in a church mode appears in the triumphant context of a different major key. The text expresses longing for the day of being united with Jesus in Heaven. The musicologist Julian Mincham interprets the mode of the tune as "the human state of waiting and hoping", while the concerto represents the fulfillment.[11] Mincham compares the writing to the opening chorale fantasias of the second cantata cycle of chorale cantatas, finding the composition for the lower voices "endlessly inventive, frequently related to the textual images" pointing out "the passionate and clinging representation of kissing the Saviour beneath the caressing flutes, in the penultimate phrase".[11]