Abstract
The aim of this research is to discuss the re-illumination of The Resurrection and Ascension of Jesus, the Bach’s oratorio which created in Hamburg and in Europe a syndrome by means of the overplus characteristics of emotions in the theme of “the Savior” after Pietism of the 18th century had elicited the recognition of the importance of emotions. It is to discover the kerygma of music and to identify that Bach told the stories of the gospel by means of his own musical language. The research of the works is approached by a musical analytical research method. Ultimately this research has found that the musical storytelling of “the Savior” by Bach was his own creative theory of musical composition, in which he sought for a new way within the framework of “the religious concert oratorio” genre as the concept of “the lyric oratorio” in the overplus mode of emotions. It is my hope that his musical storytelling about “the Savior” may be re-illuminated in Korean soil in times of Postmodernism.
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