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.
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]
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
Musicedit
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.
^ abTexte 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
^ abcdeDürr, Alfred (1981). Die Kantaten von Johann Sebastian Bach (in German). Vol. 1 (4 ed.). Deutscher Taschenbuchverlag. pp. 322–324. ISBN3-423-04080-7.
^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)
^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.
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
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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 Gelobet sei der Herr mein GottBWV 129Chorale cantata by J S BachThomaskirche LeipzigOccasionTrinity SundayChorale Gelobet sei der Herr mein Gott by Johann OleariusPerformed8 June 1727 1727 06 08 LeipzigMovements5VocalSATB choir solo soprano alto and bassInstrumental3 trumpetstimpaniflauto traverso2 oboesoboe d amore2 violinsviolacontinuoThe 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 Contents 1 History and words 2 Scoring and structure 3 Music 4 Recordings 5 References 6 SourcesHistory and words editThe 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 machtigen Konig 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 editThe 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 jetztMusic editThe 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 Luften 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 editJ S Bach Cantatas BWV 119 amp BWV 129 Diethard Hellmann Bach Chor Mainz Bach Orchester Mainz Lotte Wolf Matthaus Ursula Buckel Margrit Conrad Carl Heinz Muller Cantate 1968 Bach Cantatas Vol 3 Ascension Day Whitsun Trinity Karl Richter Munchener Bach Chor Munchener Bach Orchester Edith Mathis Anna Reynolds Peter Schreier Dietrich Fischer Dieskau Archiv Produktion 1975 Die Bach Kantate Vol 10 Helmuth Rilling Gachinger Kantorei Bach Collegium Stuttgart Arleen Auger Gabriele Schreckenbach Philippe Huttenlocher Hanssler 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 Rene 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 amp Choir Johannette Zomer Bogna Bartosz Christoph Pregardien 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 2009References edit 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 wbr bachdigital wbr de a b c d e Durr 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 p 2 Retrieved 1 June 2011 a href Template Cite book html title Template Cite book cite book a website ignored help 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 amp 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 editLiterature 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 Retrieved from https en wikipedia org w index php title Gelobet sei der Herr mein Gott BWV 129 amp oldid 1107624770, wikipedia, wiki, book, books, library,
