Gelobet sei der Herr, mein Gott, BWV 129: Difference between revisions

*Gelobet sei der Herr, mein Gott*
Gelobet sei der Herr, mein Gott
BWV 129
Chorale cantata by J. S. Bach
	Thomaskirche, Leipzig
Occasion	Trinity Sunday
Chorale	"Gelobet sei der Herr, mein Gott"; by Johann Olearius
Performed	8 June 1727: Leipzig
Movements	5
Vocal	SATB choir; solo: soprano, alto and bass;
Instrumental	3 trumpets; timpani; flauto traverso; 2 oboes; oboe d'amore; 2 violins; viola; continuo;

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Gelobet sei der Herr, mein Gott (Praised be the Lord, my God),^[1] BWV 129, is a church cantata by Johann Sebastian Bach. It is a chorale cantata performed on Trinity Sunday 8 June 1727 in Leipzig.^[2] Rediscovery of the printed libretto of the cantata in the first decade of the 21st century led to a re-appraisal of prior assumptions regarding the early performance chronology of a few cantatas, including this one.^[3]

The text of the cantata 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.

History and words

The cantata was apparently composed for Trinity Sunday. Originally it was thought the cantata may have been performed as early as 16 June 1726.^[4] In his second year Bach had composed chorale cantatas between the first Sunday after Trinity of 1724 and Palm Sunday 1725, but for Easter that year he had returned to cantatas on more varied texts, possibly because he lost his librettist.^[5] Later Bach composed again chorale cantatas which may have been intended to complete his second annual cycle. This cantata was possibly one of such completing works. Rediscovery of the printed libretto of the cantata in the first decade of the 21st century led to a re-appraisal of prior assumptions regarding the first performance of this cantata: it was performed on Trinity Sunday 8 June 1727.^[3]^[2] The cantata may also have been performed on Reformation Day.^[6]

The cantata is based entirely on the unchanged words on the hymn Gelobet sei der Herr, mein Gott (1665) by Johann Olearius and celebrates the Trinity in five stanzas.^[4]^[7] The prescribed readings for Trinity 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, and 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.^[4]^[8]

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.^[4]

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), ^[9] 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).^[1]^[8] The final chorale is set in a joyful concerto of the instruments, similar to the conclusions of Bach's Christmas Oratorio and Ascension Oratorio.^[4] Gardiner calls it "punctuated by brass and orchestral fanfares."^[8] By this festive ending Bach marked Trinity Sunday as the conclusion of the first part of the liturgical year.

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 Dellal, Pamela. "BWV 129 – "Gelobet sei der Herr, mein Gott"". Emmanuel Music. Retrieved 31 August 2022.
^ ^a ^b Texte zur Leipziger Kirchen-Music auf die Heiligen Pfingst-Feyertage und das Fest der H. Dreyfaltigkeit 1727. Leipzig: Immanuel Tietzen, 1727. Quoted in "Recent Discoveries in St Petersburg and their Meaning for the Understanding of Bach's Cantatas" by Tatiana Shabalina, pp. 77-99 in Understanding Bach 4, 2009
^ ^a ^b Bach Digital Work 00157 at www.bachdigital.de
^ ^a ^b ^c ^d ^e Dürr, Alfred (1981). Die Kantaten von Johann Sebastian Bach (in German). Vol. 1 (4 ed.). Deutscher Taschenbuchverlag. pp. 322–324. ISBN 3-423-04080-7.
^ Wolff, Christoph (1999). "The transition between the second and the third yearly cycle of Bach's Leipzig cantatas (1725)" (PDF). Bach Cantatas website. p. 2. Retrieved 1 June 2011.
^ Mincham, Julian (2010). "Chapter 16 BWV 129 Gelobet sei der Herr". The Cantatas of Johann Sebastian Bach. Retrieved 31 August 2022.
^ "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). Johann Sebastian Bach (1685-1750) / Cantatas Nos 129, 165, 175, 176, 184 & 194 (Media notes). Soli Deo Gloria (at Hyperion Records website). Retrieved 15 June 2019.
^ "Chorale Melodies used in Bach's Vocal Works / O Gott, du frommer Goth". Bach Cantatas Website. 2006. Retrieved 1 June 2011.

Sources

Literature by and about Gelobet sei der Herr, mein Gott, BWV 129 in the German National Library catalogue
Gelobet sei der Herr, mein Gott, BWV 129: Scores at the International Music Score Library Project
Gelobet sei der Herr, mein Gott BWV 129; BC A 93 / Chorale cantata (Trinity Sunday) Bach Digital
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, University of Vermont
BWV 129 Gelobet sei der Herr, mein Gott text, scoring, University of Alberta
Luke Dahn: BWV 129.5 bach-chorales.com

[Dellal-1] Dellal, Pamela. "BWV 129 – "Gelobet sei der Herr, mein Gott"". Emmanuel Music. Retrieved 31 August 2022.

[Shabalina2009-2] Texte zur Leipziger Kirchen-Music auf die Heiligen Pfingst-Feyertage und das Fest der H. Dreyfaltigkeit 1727. Leipzig: Immanuel Tietzen, 1727. Quoted in "Recent Discoveries in St Petersburg and their Meaning for the Understanding of Bach's Cantatas" by Tatiana Shabalina, pp. 77-99 in Understanding Bach 4, 2009

[BDW157-3] Bach Digital Work 00157 at www.bachdigital.de

[Dürr-4] Dürr, Alfred (1981). Die Kantaten von Johann Sebastian Bach (in German). Vol. 1 (4 ed.). Deutscher Taschenbuchverlag. pp. 322–324. ISBN 3-423-04080-7.

[Wolff-5] Wolff, Christoph (1999). "The transition between the second and the third yearly cycle of Bach's Leipzig cantatas (1725)" (PDF). Bach Cantatas website. p. 2. Retrieved 1 June 2011.

[Mincham-6] Mincham, Julian (2010). "Chapter 16 BWV 129 Gelobet sei der Herr". The Cantatas of Johann Sebastian Bach. Retrieved 31 August 2022.

[chorale_text-7] "Gelobet sei der Herr, mein Gott / Text and Translation of Chorale". Bach Cantatas Website. 2005. Retrieved 14 June 2011.

[Gardiner-8] Gardiner, John Eliot (2008). Johann Sebastian Bach (1685-1750) / Cantatas Nos 129, 165, 175, 176, 184 & 194 (Media notes). Soli Deo Gloria (at Hyperion Records website). Retrieved 15 June 2019.

[chorale_melody-9] "Chorale Melodies used in Bach's Vocal Works / O Gott, du frommer Goth". Bach Cantatas Website. 2006. Retrieved 1 June 2011.

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@@ Line 1: / Line 1: @@
 {{Infobox Bach composition
-| title                 = {{nowrap|{{lang|de|Gelobet sei der Herr, mein Gott}}}}
+| name                 = {{nowrap|{{lang|de|Gelobet sei der Herr, mein Gott}}}}
 | bwv                   = 129
 | type                  = [[Chorale cantata (Bach)|Chorale cantata]]
 | image                 = Thomaskirche Interior.jpg
-| caption               = {{lang|de|[[Thomaskirche|''Thomaskirche'', Leipzig]]}}
+| caption               = {{lang|de|[[Thomaskirche]]|italic=no}}, Leipzig
 | occasion              = [[Trinity Sunday]]
 | performed             = {{Timeline-event|date={{Start date|1727|06|08|df=y}}|location=[[Leipzig]]}}
 | movements             = 5
-| chorale               = {{based on|"{{lang|de|Gelobet sei der Herr, mein Gott}}"|[[Johann Olearius]]}}
+| chorale               = {{based on|"{{lang|de|[[Gelobet sei der Herr, mein Gott]]|italic=no}}"|[[Johann Olearius (1611–1684)|Johann Olearius]]}}
 | vocal                 = {{plainlist|
 * [[SATB|{{abbr|SATB|soprano, alto, tenor and bass}}]] choir
@@ Line 14: / Line 14: @@
 }}
 | instrumental          = {{hlist | 3 trumpets | timpani | flauto traverso | 2 oboes | oboe d'amore | 2 violins | viola | continuo }}
-| italic title = no
 }}
-'''{{lang|de|Gelobet sei der Herr, mein Gott}}''' (Praised be the Lord, my God),<ref name="Dellal" /> {{nowrap|[[BWV]] 129,}} is a [[church cantata (Bach)|church cantata]] by [[Johann Sebastian Bach]]. It is a [[chorale cantata (Bach)|chorale cantata]] performed on [[Trinity Sunday]] 8 June 1727 in [[Leipzig]].<ref name="Shabalina2009">''Texte zur Leipziger Kirchen-Music auf die Heiligen Pfingst-Feyertage und das Fest der H. Dreyfaltigkeit 1727''. Leipzig: Immanuel Tietzen, 1727. Quoted in [http://www.bachnetwork.co.uk/ub4/shabalina.pdf "Recent Discoveries in St Petersburg and their Meaning for the Understanding of Bach’s Cantatas"] by Tatiana Shabalina, pp. 77-99 in [http://www.bachnetwork.co.uk/understanding-bach/ub4/ ''Understanding Bach'' 4], 2009</ref> Rediscovery of the printed libretto of the cantata in the first decade of the 21st century led to a re-appraisal of prior assumptions regarding the early performance chronology of a few cantatas, including this one.<ref name="BDW157">Bach Digital Work {{BDW|0157}} at {{url|www.bachdigital.de}}</ref>
+'''{{lang|de|Gelobet sei der Herr, mein Gott}}''' (Praised be the Lord, my God),<ref name="Dellal" /> {{nowrap|[[BWV]] 129,}} is a [[church cantata (Bach)|church cantata]] by [[Johann Sebastian Bach]]. It is a [[chorale cantata (Bach)|chorale cantata]] performed on [[Trinity Sunday]] 8 June 1727 in [[Leipzig]].<ref name="Shabalina2009">''Texte zur Leipziger Kirchen-Music auf die Heiligen Pfingst-Feyertage und das Fest der H. Dreyfaltigkeit 1727''. Leipzig: Immanuel Tietzen, 1727. Quoted in [http://www.bachnetwork.co.uk/ub4/shabalina.pdf "Recent Discoveries in St Petersburg and their Meaning for the Understanding of Bach's Cantatas"] by Tatiana Shabalina, pp. 77-99 in [http://www.bachnetwork.co.uk/understanding-bach/ub4/ ''Understanding Bach'' 4], 2009</ref> Rediscovery of the printed libretto of the cantata in the first decade of the 21st century led to a re-appraisal of prior assumptions regarding the early performance chronology of a few cantatas, including this one.<ref name="BDW157">Bach Digital Work {{BDW|0157}} at {{url|www.bachdigital.de}}</ref>
 The text of the cantata 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]]''.
 == History and words ==
+The cantata was apparently composed for [[List of church cantatas by liturgical occasion#Trinity|Trinity Sunday]]. Originally it was thought the cantata may have been performed as early as 16 June 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]] 1725, but for [[Easter]] that year he had returned to cantatas on more varied texts, possibly because he lost his [[Libretto|librettist]].<ref name="Wolff" /> Later Bach composed again chorale cantatas which may have been intended to complete his second annual cycle. This cantata was possibly one of such completing works. Rediscovery of the printed libretto of the cantata in the first decade of the 21st century led to a re-appraisal of prior assumptions regarding the first performance of this cantata: it was performed on Trinity Sunday 8 June 1727.<ref name="BDW157" /><ref  name="Shabalina2009" /> The cantata may also have been performed on Reformation Day.<ref name="Mincham" />
+The cantata is based entirely on the unchanged words on the [[hymn]] {{lang|de|[[Gelobet sei der Herr, mein Gott]]|italic=no}} (1665) by [[Johann Olearius (1611–1684)|Johann Olearius]] and celebrates the Trinity in five stanzas.<ref name="Dürr" /><ref name="chorale text" /> The prescribed readings for Trinity 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]] |italic=unset}}, and {{lang|de|[[Lobe den Herren, den mächtigen König der Ehren, BWV 137|''Lobe den Herren, den mächtigen König der Ehren'', BWV 137]] |italic=unset}}, 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 cantata was apparently composed for [[Church cantata (Bach)#Trinity|Trinity Sunday]]. Originally it was thought the cantata may have been performed as early as 16 June 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]] 1725, but for [[Easter]] that year he had returned to cantatas on more varied texts, possibly because he lost his [[Libretto|librettist]].<ref name="Wolff" /> Later Bach composed again chorale cantatas which may have been intended to complete his second annual cycle. This cantata was possibly one of such completing works. Rediscovery of the printed libretto of the cantata in the first decade of the 21st century led to a re-appraisal of prior assumptions regarding the first performance of this cantata: it was performed on Trinity Sunday 8 June 1727.<ref name="BDW157" /><ref  name="Shabalina2009" /> The cantata may also have been performed on Reformation Day.<ref name="Mincham" />
-The cantata is based entirely on the unchanged words on the [[hymn]] {{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" /> The prescribed readings for Trinity 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" />
 == Scoring and structure ==
 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" />
-# Coro: {{lang|de|Gelobet sei der Herr, mein Gott}}
+# Coro: {{lang|de|Gelobet sei der Herr, mein Gott|italic=no}}
-# Aria (bass): {{lang|de|Gelobet sei der Herr, mein Gott, mein Heil}}
+# Aria (bass): {{lang|de|Gelobet sei der Herr, mein Gott, mein Heil|italic=no}}
-# Aria (soprano): {{lang|de|Gelobet sei der Herr, mein Gott, mein Trost}}
+# Aria (soprano): {{lang|de|Gelobet sei der Herr, mein Gott, mein Trost|italic=no}}
-# Aria (alto): {{lang|de|Gelobet sei der Herr, mein Gott, der ewig lebet}}
+# Aria (alto): {{lang|de|Gelobet sei der Herr, mein Gott, der ewig lebet|italic=no}}
-# Chorale: {{lang|de|Dem wir das Heilig jetzt}}
+# Chorale: {{lang|de|Dem wir das Heilig jetzt|italic=no}}
 == 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 {{lang|de|O Gott, du frommer Gott|italic=no}} by [[Ahasverus Fritsch]] (1679),
-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 {{lang|de|O Gott, du frommer Gott}} by [[Ahasverus Fritsch]] (1679),
 <ref name="chorale melody" /> 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 Father|God the Creator]].
-The following three movements are all [[aria]]s. In the first aria the bass praises [[God the Son|God the Saviour]], accompanied only by the continuo. Bach may have thought of the {{lang|la|[[vox Christi]]}} (voice of Christ), and of his humility. The word "{{lang|de|Gelobet}}" (praised) is set as an expressive [[melisma]]. In the second aria the soprano, accompanied by flute and violin, praises [[Holy Spirit (Christianity)|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 "{{lang|de|den alles lobet, was in allen Lüften schwebet}}" (praised by all things that move in the air).<ref name="Dellal" /><ref name="Gardiner" /> The final chorale is set in a joyful concerto of the instruments, similar to the conclusions of Bach's ''[[Christmas Oratorio]]'' and ''[[Ascension Oratorio]]''.<ref name="Dürr" /> Gardiner calls it "punctuated by brass and orchestral fanfares."<ref name="Gardiner" /> By this festive ending Bach marked Trinity Sunday as the conclusion of the first part of the [[liturgical year]].
+The following three movements are all [[aria]]s. In the first aria the bass praises [[God the Son|God the Saviour]], accompanied only by the continuo. Bach may have thought of the {{lang|la|[[vox Christi]]}} (voice of Christ), and of his humility. The word "{{lang|de|Gelobet|italic=no}}" (praised) is set as an expressive [[melisma]]. In the second aria the soprano, accompanied by flute and violin, praises [[Holy Spirit (Christianity)|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 "{{lang|de|den alles lobet, was in allen Lüften schwebet|italic=no}}" (praised by all things that move in the air).<ref name="Dellal" /><ref name="Gardiner" /> The final chorale is set in a joyful concerto of the instruments, similar to the conclusions of Bach's ''[[Christmas Oratorio]]'' and ''[[Ascension Oratorio]]''.<ref name="Dürr" /> Gardiner calls it "punctuated by brass and orchestral fanfares."<ref name="Gardiner" /> By this festive ending Bach marked Trinity Sunday as the conclusion of the first part of the [[liturgical year]].
-== Selected recordings ==
+== 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
+* ''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 (conductor)|Karl Richter]], [[Münchener Bach-Chor]], [[Münchener Bach-Orchester]], [[Edith Mathis]], [[Anna Reynolds (singer)|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 Classic|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
+* ''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 (countertenor)|Daniel Taylor]], [[Peter Harvey (bass)|Peter Harvey]], [[Soli Deo Gloria (record label)|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: 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 Records|BIS]] 2009
+* ''J. S. Bach: Cantatas Vol. 45 (Cantatas from Leipzig 1725)'', [[Masaaki Suzuki]], [[Bach Collegium Japan]], [[Yukari Nonoshita]], [[Robin Blaze]], [[Peter Kooy]], [[BIS Records|BIS]] 2009
 == References ==
 {{reflist | 30em
 | refs =
@@ Line 61: / Line 55: @@
 | last = Dellal
 | first = Pamela
-| authorlink = Pamela Dellal
+| author-link = Pamela Dellal
-| url = http://www.emmanuelmusic.org/notes_trans/transl_cantata/bwv129.htm
+| url = https://www.emmanuelmusic.org/bach-translations/bwv-129
 | title = BWV 129&nbsp;– "Gelobet sei der Herr, mein Gott"
 | publisher = [[Emmanuel Music]]
-| accessdate = 13 June 2014
+| access-date = 31 August 2022
 }}</ref>
@@ Line 71: / Line 65: @@
 | last = Dürr
 | first = Alfred
-| authorlink = Alfred Dürr
+| author-link = Alfred Dürr
 | title = Die Kantaten von Johann Sebastian Bach
 | year = 1981
@@ Line 79: / Line 73: @@
 | edition = 4
 | pages = 322–324
-| language = German
+| language = de
 }}</ref>
-<ref name="Gardiner">{{cite web
+<ref name="Gardiner">{{Cite AV media notes
 | last = Gardiner
 | first = John Eliot
-| authorlink = John Eliot Gardiner
+| author-link = John Eliot Gardiner
+| url = https://www.hyperion-records.co.uk/dc.asp?dc=D_SDG138
-| url = http://www.bach-cantatas.com/Pic-Rec-BIG/Gardiner-P27c%5Bsdg138_gb%5D.pdf
-| title = Cantatas for Whit Tuesday / Holy Trinity, Blythburgh
+| title = Johann Sebastian Bach (1685-1750) / Cantatas Nos 129, 165, 175, 176, 184 & 194
+| publisher = [[Soli Deo Gloria (record label)|Soli Deo Gloria]] (at [[Hyperion Records]] website)
-| website = Bach Cantatas Website
-| format = PDF
-| page = 10
 | year = 2008
-| accessdate = 7 June 2011
+| access-date = 15 June 2019
 }}</ref>
@@ Line 98: / Line 90: @@
 | last = Mincham
 | first = Julian
-| url = http://www.jsbachcantatas.com/documents/chapter-16-bwv-129.htm
+| url = https://www.jsbachcantatas.com/documents/chapter-16-bwv-129
 | title = Chapter 16 BWV 129 Gelobet sei der Herr
 | website=The Cantatas of Johann Sebastian Bach
 | year = 2010
-| accessdate = 15 June 2011
+| access-date = 31 August 2022
 }}</ref>
-<ref name="Wolff">{{cite book
+<ref name="Wolff">{{cite web
 | last = Wolff
 | first = Christoph
-| authorlink = Christoph Wolff
+| author-link = Christoph Wolff
 | url = http://www.bach-cantatas.com/Pic-Rec-BIG/Koopman-C15c%5BAM-3CD%5D.pdf
-| title = The transition between the second and the third yearly cycle of Bach’s Leipzig cantatas (1725)
+| title = The transition between the second and the third yearly cycle of Bach's Leipzig cantatas (1725)
+| website = Bach Cantatas website
-| format = PDF
+| page = 2
-| website = Bach Cantatas Website
-| pages = 2
 | year = 1999
-| accessdate = 1 June 2011
+| access-date = 1 June 2011
 }}</ref>
@@ Line 123: / Line 114: @@
 | website = Bach Cantatas Website
 | year = 2005
-| accessdate = 14 June 2011
+| access-date = 14 June 2011
 }}</ref>
@@ Line 131: / Line 122: @@
 | website = Bach Cantatas Website
 | year = 2006
-| accessdate = 1 June 2011
+| access-date = 1 June 2011
 }}</ref>
@@ Line 137: / Line 128: @@
 == Sources ==
+* {{DNB portal|300008228}}
-* {{IMSLP2|work=Gelobet sei der Herr, mein Gott, BWV 129 (Bach, Johann Sebastian)|cname=Gelobet sei der Herr, mein Gott, BWV 129}}
+* {{IMSLP|work=Gelobet sei der Herr, mein Gott, BWV 129 (Bach, Johann Sebastian)|cname=Gelobet sei der Herr, mein Gott, BWV 129}}
-* [http://www.bach-digital.de/receive/BachDigitalWork_work_00000157?lang=en Gelobet sei der Herr, mein Gott BWV 129; BC A 93 / Chorale cantata (Trinity Sunday)] [[Leipzig University]]
+* [http://www.bach-digital.de/receive/BachDigitalWork_work_00000157?lang=en Gelobet sei der Herr, mein Gott BWV 129; BC A 93 / Chorale cantata (Trinity Sunday)] [[Bach Digital]]
 * [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.uvm.edu/~classics/faculty/bach/BWV129.html BWV 129 Gelobet sei der Herr, mein Gott] English translation, [[University of Vermont]]
-* [http://webdocs.cs.ualberta.ca/~wfb/cantatas/129.html BWV 129 Gelobet sei der Herr, mein Gott] text, scoring, [[University of Alberta]] {{de icon}}
+* [http://webdocs.cs.ualberta.ca/~wfb/cantatas/129.html BWV 129 Gelobet sei der Herr, mein Gott] text, scoring, [[University of Alberta]]
+* Luke Dahn: [http://www.bach-chorales.com/BWV0129_5.htm BWV 129.5] bach-chorales.com
 {{Bach's third cantata cycle and later}}
 {{Bach cantatas}}
 {{authority control}}
 {{DISPLAYTITLE:''Gelobet sei der Herr, mein Gott'', BWV 129}}
-{{DEFAULTSORT:Gelobet Sei Der Herr Mein Gott BWV 129}}
 [[Category:Church cantatas by Johann Sebastian Bach]]
 [[Category:1726 compositions]]
+[[Category:Chorale cantatas]]

v t e Church cantatas by Johann Sebastian Bach
Before Leipzig	Early: BWV 4 131 71 1138.1 & .2 106 196 150 143 Weimar: BWV 61 70a 186a 132 147a 63 152 155 18 54 80a 182 31 12 172 165 21 185 199 161 162 163 Köthen: BWV Anh. 5
First cycle (1723–24)	Between Trinity and Advent: BWV 75 76 24 167 147 186 136 105 46 179 69a 77 25 138 95 148 48 109 89 60 90 70 From Advent to Trinity: BWV 40 64 190 153 65 154 73 81 83 144 181 22 23 66 134 67 104 166 86 37 44 59 184
Second cycle (and chorale cantatas)	Chorale cantatas between Trinity and Easter: BWV 20 2 7 135 10 93 107 178 94 101 113 33 78 99 8 130 114 96 5 180 38 115 139 26 116 62 91 121 133 122 41 123 124 3 111 92 125 126 127 1 Continuation of the second cycle: BWV 6 42 85 103 108 87 128 183 74 68 175 176 Later additions to the chorale cantata cycle: BWV 80 137 129 58 112 140 177 9 14 Other late chorale cantatas: BWV 117 192 100 97
Third cycle	After Trinity 1725: BWV 168 164 79 Liturgical year 1725–26: BWV 110 57 151 28 16 32 13 72 146 43 39 88 170 187 45 102 35 17 19 27 47 169 56 49 98 55 52 1727: BWV 82 84 34 173
Later and other	Picander cycle: BWV 149 188 197a 171 156 159 145 174 Late parodies: BWV 36 30 191 200 248 (I, II, III, IV, V, VI) 1083 Council election (Leipzig): BWV 119 193 29 120 69 (lost: 1139.1, 1140–1141) Wedding: BWV 34a 195 120a 197 Funeral: 157 244a Other: 194 190a 120b 51 158 50 Doubtful: 53 142 189 217 220 221 223 224
Bach cantata List of Bach cantatas Discography: Monteverdi Choir/Koopman/Teldec

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