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{{Infobox Bach composition
{{Infobox Bach composition
| image = Thomaskirche Interior.jpg
| name = {{nowrap|{{lang|de|Gelobet sei der Herr, mein Gott}}}}
| caption = [[Thomaskirche|Thomaskirche, Leipzig]]
| title = {{lang|de|Gelobet sei der Herr, mein Gott}}
| bwv = 129
| bwv = 129
| type = [[Chorale cantata (Bach)|chorale cantata]]
| type = [[Chorale cantata (Bach)|Chorale cantata]]
| occasion = [[Trinity Sunday|Trinity]]
| image = Thomaskirche Interior.jpg
| performed = {{Timeline-event|date={{Start date|1729|06|16|df=y}}|location=[[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
| movements = 5
| chorale = [[Johann Olearius]]
| chorale = {{based on|"{{lang|de|[[Gelobet sei der Herr, mein Gott]]|italic=no}}"|[[Johann Olearius (1611–1684)|Johann Olearius]]}}
| scoring = {{Collapsible list|title= 
| vocal = {{plainlist|
|[[SATB|{{abbr|SATB|soprano, alto, tenor and bass}}]] choir
* [[SATB|{{abbr|SATB|soprano, alto, tenor and bass}}]] choir
|solo voices: {{abbr|A|alto}} {{abbr|T|tenor}} {{abbr|B|bass}}
* solo: soprano, alto and bass
|3 [[trumpet]]s
|[[timpani]]
|[[flauto traverso]]
|2 [[oboe]]s
|[[oboe d'amore]]
|2 [[violin]]s
|[[viola]]
|[[basso continuo]]
}}
}}
| instrumental = {{hlist | 3 trumpets | timpani | flauto traverso | 2 oboes | oboe d'amore | 2 violins | viola | continuo }}
}}
}}
'''{{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>
{{DISPLAYTITLE:''Gelobet sei der Herr, mein Gott'', BWV 129}}

'''''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.
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 ==
== 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" />
Bach composed the cantata in Leipzig for [[List of Bach cantatas by liturgical function#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 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]] ''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 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 [[Christ lag in Todes Banden, BWV 4|''Christ lag in Todes Banden'', BWV 4]] and [[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" />

According to [[Christoph Wolff]], the cantata was also performed on Reformation Day.<ref name="Mincham" />


== Scoring and structure ==
== 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|italic=no}}
The cantata is festively scored for three soloists, [[alto]], [[tenor]] 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" />
# Aria (bass): {{lang|de|Gelobet sei der Herr, mein Gott, mein Heil|italic=no}}

# Coro: ''Gelobet sei der Herr, mein Gott''
# Aria (soprano): {{lang|de|Gelobet sei der Herr, mein Gott, mein Trost|italic=no}}
# Aria (bass): ''Gelobet sei der Herr, mein Gott, mein Heil''
# Aria (alto): {{lang|de|Gelobet sei der Herr, mein Gott, der ewig lebet|italic=no}}
# Chorale: {{lang|de|Dem wir das Heilig jetzt|italic=no}}
# 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 ==
== 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),
<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|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]].
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),
<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 Creator.


== Recordings ==
The following three movements are all [[aria]]s. In the first aria the bass praises God the Saviour, accompanied only by the continuo. Bach may have thought of the [[Vox Christi]], the 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).<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]].
* ''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

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 (conductor)|Karl Richter]], [[Münchener Bach-Chor]], [[Münchener Bach-Orchester]], [[Edith Mathis]], [[Anna Reynolds (singer)|Anna Reynolds]], [[Peter Schreier]], [[Dietrich Fischer-Dieskau]], [[Archiv Produktion]] 1975
* ''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
* ''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
* ''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 ==
== References ==
{{reflist | 30em

{{reflist
| colwidth = 30em
| refs =
| refs =


<ref name="Dürr">
<ref name="Dellal">{{cite web
| last = Dellal
{{cite book
| first = Pamela
| author-link = Pamela Dellal
| url = https://www.emmanuelmusic.org/bach-translations/bwv-129
| title = BWV 129&nbsp;– "Gelobet sei der Herr, mein Gott"
| publisher = [[Emmanuel Music]]
| access-date = 31 August 2022
}}</ref>

<ref name="Dürr">{{cite book
| last = Dürr
| last = Dürr
| first = Alfred
| first = Alfred
| authorlink = Alfred Dürr
| author-link = Alfred Dürr
| title = Die Kantaten von Johann Sebastian Bach
| title = Die Kantaten von Johann Sebastian Bach
| year = 1971
| year = 1981
| publisher = Bärenreiter-Verlag
| publisher = Deutscher Taschenbuchverlag
| oclc = 523584
| isbn = 3-423-04080-7
| volume = 1
| volume = 1
| language = German
| edition = 4
| pages = 322–324
}}
| language = de
{{page needed|date=May 2013}}
</ref>
}}</ref>


<ref name="Wolff">
<ref name="Gardiner">{{Cite AV media notes
| last = Gardiner
{{cite book
| first = John Eliot
| author-link = John Eliot Gardiner
| url = https://www.hyperion-records.co.uk/dc.asp?dc=D_SDG138
| 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)
| year = 2008
| access-date = 15 June 2019
}}</ref>

<ref name="Mincham">{{cite web
| last = Mincham
| first = Julian
| 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
| access-date = 31 August 2022
}}</ref>

<ref name="Wolff">{{cite web
| last = Wolff
| last = Wolff
| first = Christoph
| first = Christoph
| authorlink = Christoph Wolff
| author-link = Christoph Wolff
| url = http://www.bach-cantatas.com/Pic-Rec-BIG/Koopman-C15c%5BAM-3CD%5D.pdf
| 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
| title = The transition between the second and the third yearly cycle of Bach's Leipzig cantatas (1725)
| website = Bach Cantatas website
(1725)
| format = PDF
| page = 2
| pages = 2
| year = 1999
| year = 1999
| accessdate = 1 June 2011
| access-date = 1 June 2011
}}
}}</ref>
</ref>


<ref name="chorale text">
<ref name="chorale text">{{cite web
{{cite web
| url = http://www.bach-cantatas.com/Texts/Chorale061-Eng3.htm
| url = http://www.bach-cantatas.com/Texts/Chorale061-Eng3.htm
| title = Gelobet sei der Herr, mein Gott / Text and Translation of Chorale
| title = Gelobet sei der Herr, mein Gott / Text and Translation of Chorale
| website = Bach Cantatas Website
| publisher = bach-cantatas.com
| year = 2005
| year = 2005
| accessdate = 14 June 2011
| access-date = 14 June 2011
}}
}}</ref>
</ref>


<ref name="Gardiner">
<ref name="chorale melody">{{cite web
{{cite web
| last = Gardiner
| first = John Eliot
| authorlink = John Eliot Gardiner
| url = http://www.bach-cantatas.com/Pic-Rec-BIG/Gardiner-P27c%5Bsdg138_gb%5D.pdf
| title = Cantatas for Whit Tuesday / Holy Trinity, Blythburgh
| publisher = bach-cantatas.com
| format = PDF
| page = 10
| year = 2008
| accessdate = 7 June 2011
}}
</ref>

<ref name="chorale melody">
{{cite web
| url = http://www.bach-cantatas.com/CM/O-Gott-du-frommer-Gott.htm
| url = http://www.bach-cantatas.com/CM/O-Gott-du-frommer-Gott.htm
| title = Chorale Melodies used in Bach's Vocal Works / O Gott, du frommer Goth
| title = Chorale Melodies used in Bach's Vocal Works / O Gott, du frommer Goth
| website = Bach Cantatas Website
| publisher = bach-cantatas.com
| year = 2006
| year = 2006
| accessdate = 1 June 2011
| access-date = 1 June 2011
}}
}}</ref>
</ref>

<ref name="Mincham">
{{cite web
| last = Mincham
| first = Julian
| url = http://www.jsbachcantatas.com/documents/chapter-16-bwv-129.htm
| title = Chapter 16 BWV 129 Gelobet sei der Herr
| publisher = jsbachcantatas.com
| year = 2010
| accessdate = 15 June 2011
}}
</ref>


}}
}}


== Sources ==
== Sources ==
* {{DNB portal|300008228}}

* {{IMSLP|work=Gelobet sei der Herr, mein Gott, BWV 129 (Bach, Johann Sebastian)|cname=Gelobet sei der Herr, mein Gott, BWV 129}}
The first source is the score.
* [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]]
* {{IMSLP2|id=Cantatas, BWV 121–130 (Bach, Johann Sebastian)|cname=Cantatas, BWV 121–130}}
* [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
Several databases provide additional information on each cantata:
* [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.emmanuelmusic.org/notes_trans/transl_cantata/bwv129.htm BWV 129&nbsp;– "Gelobet sei der Herr, mein Gott"] English translation, discussion, [[Emmanuel Music]]
* [http://www.bach.de/werk/bwv/129.html Gelobet sei der Herr, mein Gott] history, scoring, ''Bach'' website {{de icon}}
* [http://www.uvm.edu/~classics/faculty/bach/BWV129.html BWV 129 Gelobet sei der Herr, mein Gott] English translation, [[University of Vermont]]
* [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]]
* [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}}
{{Bach cantatas}}
{{authority control}}

{{DISPLAYTITLE:''Gelobet sei der Herr, mein Gott'', BWV 129}}


[[Category:Church cantatas by Johann Sebastian Bach]]
{{DEFAULTSORT:Gelobet Sei Der Herr Mein Gott BWV 129}}
[[Category:Cantatas by Johann Sebastian Bach]]
[[Category:1726 compositions]]
[[Category:1726 compositions]]
[[Category:Chorale cantatas]]

Latest revision as of 10:46, 12 January 2024

Gelobet sei der Herr, mein Gott
BWV 129
Chorale cantata by J. S. Bach
Thomaskirche, Leipzig
OccasionTrinity Sunday
Chorale"Gelobet sei der Herr, mein Gott"
by Johann Olearius
Performed8 June 1727 (1727-06-08): Leipzig
Movements5
Vocal
  • SATB choir
  • solo: soprano, alto and bass
Instrumental
  • 3 trumpets
  • timpani
  • flauto traverso
  • 2 oboes
  • oboe d'amore
  • 2 violins
  • viola
  • continuo

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

[edit]

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

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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]

  1. Coro: Gelobet sei der Herr, mein Gott
  2. Aria (bass): Gelobet sei der Herr, mein Gott, mein Heil
  3. Aria (soprano): Gelobet sei der Herr, mein Gott, mein Trost
  4. Aria (alto): Gelobet sei der Herr, mein Gott, der ewig lebet
  5. Chorale: Dem wir das Heilig jetzt

Music

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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

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References

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  1. ^ a b Dellal, Pamela. "BWV 129 – "Gelobet sei der Herr, mein Gott"". Emmanuel Music. Retrieved 31 August 2022.
  2. ^ 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
  3. ^ a b Bach Digital Work 00157 at www.bachdigital.de
  4. ^ 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.
  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.
  6. ^ Mincham, Julian (2010). "Chapter 16 BWV 129 Gelobet sei der Herr". The Cantatas of Johann Sebastian Bach. Retrieved 31 August 2022.
  7. ^ "Gelobet sei der Herr, mein Gott / Text and Translation of Chorale". Bach Cantatas Website. 2005. Retrieved 14 June 2011.
  8. ^ 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.
  9. ^ "Chorale Melodies used in Bach's Vocal Works / O Gott, du frommer Goth". Bach Cantatas Website. 2006. Retrieved 1 June 2011.

Sources

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