Gelobet sei der Herr, mein Gott, BWV 129

Blessed be the Lord my God ( BWV 129 ) is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for Trinity and led them probably on June 16, 1726 for the first time. Your content is a general praise of the Trinity, without specific reference to the Sunday Gospel. Therefore, could the cantata, which responds to God as Creator, salvation and consolation, make music on other occasions, for example at the Reformation. The cantata, later to complete his 1724 started year cycle of chorale cantatas with the Bach is busy festive and ends with a chorale fantasy, such as the Christmas Oratorio.

History and words

Bach composed the chorale cantata in Leipzig for the Trinity Sunday. The earliest possible performance date is 16 June in 1726. Bach added with this cantata his second cantata cycle of chorale cantatas, which he had begun in 1724 on the first Sunday after Trinity. For the period from Easter 1725 he had no chorale cantatas. The text of the cantata is the unchanged Choral Praise be to the Lord my God ( 1665) by Johann OLEARIUS that celebrates the Trinity in five stanzas.

The prescribed readings for the Sunday were Romans 11:33-36 and John LUT LUT 3.1 to 15, the meeting of Jesus with Nicodemus. Unlike in most chorale cantatas from 1724 /25, but as in the early Easter cantata Christ lag in death bands, BWV 4, Bach kept the chorale text at unchanged, missing references to the Gospel.

After Christoph Wolff, the cantata was also listed at the Reformation.

Scoring and structure

The cantata is festively decorated with three soloists, alto, tenor and bass, four-part choir, three trumpets, timpani, flauto traverso, two oboes, oboe d' amore, two violins, viola and basso continuo.

Music

The opening chorus to the first verse begins with a chorale concerto of instruments, an interplay of strings and woodwind interjections with the trumpets. The cantus firmus, a melody of O God, thou good God of Ahasuerus Fritsch ( 1679 ), is in the soprano, while the deep voices imitating times, sometimes sing homophonic. The text praises God, the Creator.

Here are three verses which are set to music as arias. In stark contrast to the large orchestras and polyphonic opening chorus is the verse that praises God as savior, entrusted to the Bass and is accompanied only by the continuo. Bach may have thought about the Vox Christi ( voice of Christ ), and the thrifty accompaniment illustrates the reduction of the Son of God. The word " Blessed " is set to music as expressive melisma. In the second aria, which God, the Comforter praises, the soprano is accompanied by flute and violin. In the third aria, a general praise, alto and oboe d' amore concert very vocally. John Eliot Gardiner believed that her lilting dance was inspired by the text " all the praise, which hovers in all ventilation". The final chorale verse is embedded in a jubilant orchestral concerto, as in the final records in Bach's Christmas Oratorio and Ascension Oratorio.

Recordings

  • JS Bach: Cantatas BWV 119 & BWV 129 Diethard Hellmann, Mainz Bach Choir, Bach Orchestra Mainz, Lotte Wolf- Matthew, Ursula Buckel, Margrit Conrad, Carl -Heinz Müller. Cantate, 1968.
  • Bach Cantatas Vol 3 - Ascension Day, Whitsun, Trinity. Karl Richter, Munich Bach Choir, Munich Bach Orchestra, Edith Mathis, Anna Reynolds, Peter Schreier, Dietrich Fischer-Dieskau. Archiv Produktion, 1975.
  • The Bach Cantata Vol 10 Helmuth Rilling, Gächinger Kantorei, Bach-Collegium Stuttgart, Arleen Augér, Gabriele terror Bach, Philippe Huttenlocher. Hänssler, 1982.
  • JS Bach: The cantatas - Sacred Cantatas Vol 7 Gustav Leonhardt, Hannover Boys Choir, Collegium Vocale Gent, Leonhardt Consort, Sebastian Hennig ( soloist of the choir boys Hannover), René Jacobs, Max van Egmond. Teldec, 1983.
  • Bach Cantatas Vol 27: Blythburgh / Kirkwall Well. John Eliot Gardiner, Monteverdi Choir, English Baroque Soloists, Ruth Holton, Daniel Taylor, Peter Harvey. Soli Deo Gloria, 2000.
  • JS Bach: Complete Cantatas Vol 19 Ton Koopman, Amsterdam Baroque Orchestra & Choir, Johan Zomer, Bogna Bartosz, Christoph Prégardien, Klaus Mertens. Antoine Marchand, 2002.
  • JS Bach: Cantatas Vol 45 ( Cantatas from Leipzig 1725). Masaaki Suzuki, Bach Collegium Japan, Yukari Nonoshita, Robin Blaze, Peter Kooy. BIS, 2009.
  • Blessed be the Lord my God. Rudolf Lutz, choir and orchestra of the JS Bach Foundation, Ulrike Hofbauer, Claude Eichenberger, Klaus Haeger. Felizitas Countess of Schönborn ( reflection). DVD. Gallus Media, 2008.

Pictures of Gelobet sei der Herr, mein Gott, BWV 129

Gelobet sei der Herr, mein Gott, BWV 129 # Gelobet sei der Herr, mein Gott, BWV 129 # Gelobet sei der Herr, mein Gott, BWV 129 # Gelobet sei der Herr, mein Gott, BWV 129 # Gelobet sei der Herr, mein Gott, BWV 129 # Gelobet sei der Herr, mein Gott, BWV 129 # Gelobet sei der Herr, mein Gott, BWV 129 # Gelobet sei der Herr, mein Gott, BWV 129 # Gelobet sei der Herr, mein Gott, BWV 129 # Gelobet sei der Herr, mein Gott, BWV 129 #
Bach-Werke-Verzeichnis Reformation Day Bass (voice type) Ahasverus Fritsch Homophone Karl Richter (conductor) Anna Reynolds (singer) Knabenchor Hannover Leonhardt-Consort Peter Harvey (baritone) Werner Neumann Ach Gott, wie manches Herzeleid, BWV 3 Allein zu dir, Herr Jesu Christ, BWV 33 Brich dem Hungrigen dein Brot, BWV 39 Am Abend aber desselbigen Sabbats, BWV 42 Also hat Gott die Welt geliebt, BWV 68 Alles nur nach Gottes Willen, BWV 72 Alles, was von Gott geboren, BWV 80a Bisher habt ihr nichts gebeten in meinem Namen, BWV 87 Ach, lieben Christen, seid getrost, BWV 114 Christum wir sollen loben schon, BWV 121 Auf Christi Himmelfahrt allein, BWV 128 Aus der Tiefen rufe ich, Herr, zu dir, BWV 131 Bereitet die Wege, bereitet die Bahn! BWV 132 Erforsche mich, Gott, und erfahre mein Herz, BWV 136 Bringet dem Herrn Ehre seines Namens, BWV 148 Ach! ich sehe, itzt, da ich zur Hochzeit gehe, BWV 162 Barmherziges Herze der ewigen Liebe, BWV 185 Mein Herze schwimmt im Blut, BWV 199 Entfliehet, verschwindet, entweichet, ihr Sorgen, BWV 249a St Mark Passion (Bach)
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