Abstract

Carl Philipp Emanuel Bach's grand cantata, Karl Wilhelm Rammlers Auferstehung und Himmelfahrt Jesu displays a masterful integration of features. This study first surveys the work's historical background, genesis, and early history, then examines both libretto and music for distinguishing characteristics of architecture, philosophical outlook, symbolism, rhetorical approach, and genre. A detailed analysis of seven sonata-style movements then reveals Bach's achievement of artistic unity across every level of scale. His techniques include: a treatment of music and text which synthesizes elements of variety and repetition; continuous development of themes; through-composition of da capo forms achieved through sonata procedures; motivic cross-references which acquire ever-deeper layers of associations as the oratorio progresses; and a tonal "story" that accommodates dynamic contrasts of tempo, timbre, key, and melody within a single trajectory