Along with the other oratorios that CPE Bach composed, Die Auferstehung und Himmelfahrt Jesu has been described as being "among the most important Protestant vocal works of the second half of the 18th century".

Four years later, a revised edition was performed on March 18, 1778, in the "Auf dem Kamp" concert hall in Hamburg.

[3] From its lack of chorales, it seems that the oratorio was composed expressly for a concert hall audience rather than any church congregation.

The work received several performances in 1788 in Vienna, sponsored by Baron van Swieten and conducted by Mozart with some of his own modifications.

[3] The later impact of the work after CPE Bach's death was far-reaching, reaching not only Catholic parts of southern Germany but was also performed occasionally outside the German-speaking world in England and Italy.

[1] The oratorio is written for three solo parts, soprano, tenor, bass; and a four-part (SATB) mixed choir, with the orchestra consisting of strings, two flutes, two oboes (although flutes and oboes are never used in the same number), a bassoon, two horns, three trumpets, timpani and basso continuo.

The final bass aria (Ihr Torre Gottes) is particularly strongly orchestrated, with trumpet and horn fanfares.

Instead, the arias and choruses portray sensations, thoughts and feelings that reflect their reactions to Jesus' resurrection and ascension; as a rule, these are linked to the previous recitative.

The recitatives in the first part, including a verse from Psalm 114, describe the phenomena associated with Jesus' resurrection, the arrival of Archangel Michael (both in No.