Gelobet sei der Herr, mein Gott, BWV 129: Difference between revisions
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{{Infobox Bach composition |
{{Infobox Bach composition |
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| title = {{nowrap|{{lang|de|Gelobet sei der Herr, mein Gott}}}} |
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| image = Thomaskirche Interior.jpg |
| image = Thomaskirche Interior.jpg |
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| caption = [[Thomaskirche|Thomaskirche, Leipzig]] |
| caption = [[Thomaskirche|''Thomaskirche'', Leipzig]] |
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| occasion = [[Trinity Sunday]] |
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| occasion = [[Trinity Sunday|Trinity]] |
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| performed = {{Timeline-event|date={{Start date|1729|06|16|df=y}}|location=[[Leipzig]]}} |
| performed = {{Timeline-event|date={{Start date|1729|06|16|df=y}}|location=[[Leipzig]]}} |
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| movements = 5 |
| movements = 5 |
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| chorale = [[Johann Olearius]] |
| chorale = by [[Johann Olearius]] |
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| vocal = {{plainlist| |
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* [[SATB|{{abbr|SATB|soprano, alto, tenor and bass}}]] choir |
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* solo: soprano, alto and bass |
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|3 [[trumpet]]s |
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|[[timpani]] |
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|[[flauto traverso]] |
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|2 [[oboe]]s |
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|[[oboe d'amore]] |
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|2 [[violin]]s |
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|[[viola]] |
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|[[basso continuo]] |
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}} |
}} |
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| instrumental = {{hlist | 3 [[trumpet]]s | [[timpani]] | [[flauto traverso]] | 2 [[oboe]]s | [[oboe d'amore]] | 2 [[violin]]s | [[viola]] | [[basso continuo|continuo]] }} |
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}} |
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'''''{{lang|de|Gelobet sei der Herr, mein Gott}}''''' (Praised be the Lord, my God), '''[[Bach-Werke-Verzeichnis|BWV]] 129''', is a [[Bach cantata|church cantata]] by [[Johann Sebastian Bach]]. Bach composed the [[chorale cantata]] in [[Leipzig]] for [[Trinity Sunday]] and possibly first performed it on 16 June 1726. It is a general praise of the [[Trinity]], without a reference to a specific gospel reading. Addressing God the Creator, the Saviour and the Comforter, it could be used for other occasions such as [[Reformation Day]]. The cantata is festively scored and ends in a [[chorale fantasia]], like the ''[[Christmas Oratorio]]''. It is the conclusion of Bach's second annual cycle of cantatas, containing chorale cantatas. |
'''''{{lang|de|Gelobet sei der Herr, mein Gott}}''''' (Praised be the Lord, my God), '''[[Bach-Werke-Verzeichnis|BWV]] 129''', is a [[Bach cantata|church cantata]] by [[Johann Sebastian Bach]]. Bach composed the [[chorale cantata]] in [[Leipzig]] for [[Trinity Sunday]] and possibly first performed it on 16 June 1726. It is a general praise of the [[Trinity]], without a reference to a specific gospel reading. Addressing God the Creator, the Saviour and the Comforter, it could be used for other occasions such as [[Reformation Day]]. The cantata is festively scored and ends in a [[chorale fantasia]], like the ''[[Christmas Oratorio]]''. It is the conclusion of Bach's second annual cycle of cantatas, containing chorale cantatas. |
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== History and words == |
== History and words == |
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Bach composed the cantata in Leipzig for [[ |
Bach composed the cantata in Leipzig for [[Church cantata (Bach)#Trinity|Trinity Sunday]], the earliest in 1726.<ref name="Dürr" /> In his second year Bach had composed [[chorale cantata]]s between the first Sunday after [[Trinity Sunday|Trinity]] of 1724 and [[Palm Sunday]], but for [[Easter]] had returned to cantatas on more varied texts, possibly because he lost his [[Libretto|librettist]].<ref name="Wolff" /> Later Bach composed again chorale cantatas to complete his second annual cycle. This cantata is one of the completing works. It is based entirely on the unchanged words on the [[chorale]] ''{{lang|de|Gelobet sei der Herr, mein Gott}}'' (1665) by [[Johann Olearius]] and celebrates the Trinity in five stanzas.<ref name="Dürr" /><ref name="chorale text" /> |
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The prescribed readings for the Sunday were from the [[Epistle to the Romans]], reflecting "depth of wisdom" ({{Sourcetext|source=Bible|version=King James|book=Romans|chapter=11|verse=33|range=–36}}), and from the [[Gospel of John]], the meeting of Jesus and [[Nicodemus]] ({{Sourcetext|source=Bible|version=King James|book=John|chapter=3|verse=1|range=–15}}). Unlike most chorale cantatas of 1724/25, but similar to the early {{lang|de|[[Christ lag in Todes Banden, BWV 4|''Christ lag in Todes Banden'', BWV 4]]}} and {{lang|de|[[Lobe den Herren, den mächtigen König der Ehren, BWV 137|''Lobe den Herren, den mächtigen König der Ehren'', BWV 137]]}}, also composed after the second cantata cycle, Bach left the chorale text unchanged, thus without a reference to the readings.<ref name="Dürr" /><ref name="Gardiner" /> |
The prescribed readings for the Sunday were from the [[Epistle to the Romans]], reflecting "depth of wisdom" ({{Sourcetext|source=Bible|version=King James|book=Romans|chapter=11|verse=33|range=–36}}), and from the [[Gospel of John]], the meeting of Jesus and [[Nicodemus]] ({{Sourcetext|source=Bible|version=King James|book=John|chapter=3|verse=1|range=–15}}). Unlike most chorale cantatas of 1724/25, but similar to the early {{lang|de|[[Christ lag in Todes Banden, BWV 4|''Christ lag in Todes Banden'', BWV 4]]}} and {{lang|de|[[Lobe den Herren, den mächtigen König der Ehren, BWV 137|''Lobe den Herren, den mächtigen König der Ehren'', BWV 137]]}}, also composed after the second cantata cycle, Bach left the chorale text unchanged, thus without a reference to the readings.<ref name="Dürr" /><ref name="Gardiner" /> |
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== Scoring and structure == |
== Scoring and structure == |
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The cantata is festively scored for three soloists, [[ |
The cantata in five movements is festively scored for three soloists, [[soprano]], [[alto]] and [[Bass (voice type)|bass]], a four-part choir, three [[trumpet]]s, [[timpani]], [[flauto traverso]], two [[oboe]]s, [[oboe d'amore]], two [[violin]]s, [[viola]], and [[basso continuo]].<ref name="Dürr" /> |
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# Coro: ''{{lang|de|Gelobet sei der Herr, mein Gott}}'' |
# Coro: ''{{lang|de|Gelobet sei der Herr, mein Gott}}'' |
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== Sources == |
== Sources == |
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The first source is the score. |
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Several databases provide additional information on each cantata: |
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* [http://www.bach-cantatas.com/BWV129.htm Cantata BWV 129 Gelobet sei der Herr, mein Gott] history, scoring, sources for text and music, translations to various languages, discography, discussion, Bach Cantatas Website |
* [http://www.bach-cantatas.com/BWV129.htm Cantata BWV 129 Gelobet sei der Herr, mein Gott] history, scoring, sources for text and music, translations to various languages, discography, discussion, Bach Cantatas Website |
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* [http://www.emmanuelmusic.org/notes_trans/transl_cantata/bwv129.htm BWV 129 – "Gelobet sei der Herr, mein Gott"] English translation, discussion, [[Emmanuel Music]] |
* [http://www.emmanuelmusic.org/notes_trans/transl_cantata/bwv129.htm BWV 129 – "Gelobet sei der Herr, mein Gott"] English translation, discussion, [[Emmanuel Music]] |
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{{Bach cantatas}} |
{{Bach cantatas}} |
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{{DEFAULTSORT:Gelobet Sei Der Herr Mein Gott BWV 129}} |
{{DEFAULTSORT:Gelobet Sei Der Herr Mein Gott BWV 129}} |
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[[Category:Cantatas by Johann Sebastian Bach]] |
[[Category:Cantatas by Johann Sebastian Bach]] |
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Revision as of 12:25, 13 June 2014
| Gelobet sei der Herr, mein Gott | |
|---|---|
BWV 129 | |
| Chorale cantata by J. S. Bach | |
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| Occasion | Trinity Sunday |
| Chorale | by Johann Olearius |
| Performed | 16 June 1729: Leipzig |
| Movements | 5 |
| Vocal |
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| Instrumental | |
Gelobet sei der Herr, mein Gott (Praised be the Lord, my God), BWV 129, is a church cantata by Johann Sebastian Bach. Bach composed the chorale cantata in Leipzig for Trinity Sunday and possibly first performed it on 16 June 1726. It is a general praise of the Trinity, without a reference to a specific gospel reading. Addressing God the Creator, the Saviour and the Comforter, it could be used for other occasions such as Reformation Day. The cantata is festively scored and ends in a chorale fantasia, like the Christmas Oratorio. It is the conclusion of Bach's second annual cycle of cantatas, containing chorale cantatas.
History and words
Bach composed the cantata in Leipzig for Trinity Sunday, the earliest in 1726.[1] In his second year Bach had composed chorale cantatas between the first Sunday after Trinity of 1724 and Palm Sunday, but for Easter had returned to cantatas on more varied texts, possibly because he lost his librettist.[2] Later Bach composed again chorale cantatas to complete his second annual cycle. This cantata is one of the completing works. It is based entirely on the unchanged words on the chorale Gelobet sei der Herr, mein Gott (1665) by Johann Olearius and celebrates the Trinity in five stanzas.[1][3]
The prescribed readings for the Sunday were from the Epistle to the Romans, reflecting "depth of wisdom" (Romans 11:33–36), and from the Gospel of John, the meeting of Jesus and Nicodemus (John 3:1–15). Unlike most chorale cantatas of 1724/25, but similar to the early [[[Christ lag in Todes Banden, BWV 4|Christ lag in Todes Banden, BWV 4]]] Error: {{Lang}}: text has italic markup (help) and [[[Lobe den Herren, den mächtigen König der Ehren, BWV 137|Lobe den Herren, den mächtigen König der Ehren, BWV 137]]] Error: {{Lang}}: text has italic markup (help), also composed after the second cantata cycle, Bach left the chorale text unchanged, thus without a reference to the readings.[1][4]
According to Christoph Wolff, the cantata was also performed on Reformation Day.[5]
Scoring and structure
The cantata in five movements is festively scored for three soloists, soprano, alto and bass, a four-part choir, three trumpets, timpani, flauto traverso, two oboes, oboe d'amore, two violins, viola, and basso continuo.[1]
- Coro: Gelobet sei der Herr, mein Gott
- Aria (bass): Gelobet sei der Herr, mein Gott, mein Heil
- Aria (soprano): Gelobet sei der Herr, mein Gott, mein Trost
- Aria (alto): Gelobet sei der Herr, mein Gott, der ewig lebet
- Chorale: Dem wir das Heilig jetzt
Music
The opening chorus on the first stanza of the chorale begins with a concerto of all the instruments as a ritornello. The trumpets highlight occasionally the interplay of strings and woodwinds. The cantus firmus, a melody of O Gott, du frommer Gott by Ahasverus Fritsch (1679), [6] is sung by the soprano, while the other voices sing sometimes in imitation, sometimes in homophony. The text is a praise of the God the Creator.
The following three movements are all arias. In the first aria the bass praises God the Saviour, accompanied only by the continuo. Bach may have thought of the vox Christi (voice of Christ), and of his humility. The word "Gelobet" (praised) is set as an expressive melisma. In the second aria the soprano, accompanied by flute and violin, praises God the Comforter. In the third aria the alto is accompanied by an oboe d'amore in song-like general praise. John Eliot Gardiner suggests that the "pastoral dance" was "inspired, perhaps in its imagery, by the concept of "den alles lobet, was in allen Lüften schwebet" (praised by all things that move in the air).[4] The final chorale is set in a joyful concerto of the instruments, similar to the conclusions of Bach's Christmas Oratorio and Ascension Oratorio.[1] Gardiner calls it "punctuated by brass and orchestral fanfares."[4] By this festive ending Bach marked Trinity Sunday as the conclusion of the first part of the liturgical year.
The last movement is also used on its own as an Easter anthem entitled "Awake thou wintry earth". The lyrics were written by Thomas Blackburn (1916–1977) as "An Easter Hymn".
Selected recordings
- J.S. Bach: Cantatas BWV 119 & BWV 129, Diethard Hellmann, Bach-Chor Mainz, Bach-Orchester Mainz, Lotte Wolf-Matthäus, Ursula Buckel, Margrit Conrad, Carl-Heinz Müller, Cantate 1968
- Bach Cantatas Vol. 3 – Ascension Day, Whitsun, Trinity, Karl Richter, Münchener Bach-Chor, Münchener Bach-Orchester, Edith Mathis, Anna Reynolds, Peter Schreier, Dietrich Fischer-Dieskau, Archiv Produktion 1975
- Die Bach Kantate Vol. 10, Helmuth Rilling, Gächinger Kantorei, Bach-Collegium Stuttgart, Arleen Augér, Gabriele Schreckenbach, Philippe Huttenlocher, Hänssler 1982
- J.S. Bach: Das Kantatenwerk – Sacred Cantatas Vol. 7, Gustav Leonhardt, Knabenchor Hannover, Collegium Vocale Gent, Leonhardt-Consort, Sebastian Hennig (soloist of the Knabenchor Hannover), René Jacobs, Max van Egmond, Teldec 1983
- Bach Cantatas Vol. 27: Blythburgh/Kirkwell, John Eliot Gardiner, Monteverdi Choir, English Baroque Soloists, Ruth Holton, Daniel Taylor, Peter Harvey, Soli Deo Gloria 2000
- J.S. Bach: Complete Cantatas Vol. 19, Ton Koopman, Amsterdam Baroque Orchestra & Choir, Johannette Zomer, Bogna Bartosz, Christoph Prégardien, Klaus Mertens, Antoine Marchand 2002
- J.S. Bach: Cantatas Vol. 45 (Cantatas from Leipzig 1725), Masaaki Suzuki, Bach Collegium Japan, Yukari Nonoshita, Robin Blaze, Peter Kooy, BIS 2009
References
- ^ a b c d e Dürr, Alfred (1971). Die Kantaten von Johann Sebastian Bach (in German). Vol. 1. Bärenreiter-Verlag. OCLC 523584.[page needed]
- ^
Wolff, Christoph (1999). The transition between the second and the third yearly cycle of Bach’s Leipzig cantatas (1725) (PDF). p. 2. Retrieved 1 June 2011.
{{cite book}}:|website=ignored (help); line feed character in|title=at position 88 (help) - ^ "Gelobet sei der Herr, mein Gott / Text and Translation of Chorale". Bach Cantatas Website. 2005. Retrieved 14 June 2011.
- ^ a b c Gardiner, John Eliot (2008). "Cantatas for Whit Tuesday / Holy Trinity, Blythburgh" (PDF). Bach Cantatas Website. p. 10. Retrieved 7 June 2011.
- ^ Mincham, Julian (2010). "Chapter 16 BWV 129 Gelobet sei der Herr". The Cantatas of Johann Sebastian Bach. Retrieved 15 June 2011.
- ^ "Chorale Melodies used in Bach's Vocal Works / O Gott, du frommer Goth". Bach Cantatas Website. 2006. Retrieved 1 June 2011.
Sources
- Free scores by Gelobet sei der Herr, mein Gott, BWV 129 at the International Music Score Library Project (IMSLP)
- Cantata BWV 129 Gelobet sei der Herr, mein Gott history, scoring, sources for text and music, translations to various languages, discography, discussion, Bach Cantatas Website
- BWV 129 – "Gelobet sei der Herr, mein Gott" English translation, discussion, Emmanuel Music
- Gelobet sei der Herr, mein Gott history, scoring, Bach website Template:De icon
- BWV 129 Gelobet sei der Herr, mein Gott English translation, University of Vermont
- BWV 129 Gelobet sei der Herr, mein Gott text, scoring, University of Alberta Template:De icon