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Schlage doch, gewünschte Stunde, BWV 53

January 01, 1970

Schlage doch, gewünschte Stunde (Haste to strike, oh longed for hour), BWV 53, is an aria for alto, bells, strings and continuo. It was likely composed in the early 18th century, although its date of first performance is unknown. From the second half of the 18th century until the early 1950s the aria was attributed to Johann Sebastian Bach. In 1955, it was suggested by the Bach scholar Karl Anton that the aria's composer was more likely to be a member of Melchior Hoffmann's circle.

Pages 3–4 of the aria "Schlage doch, gewünschte Stunde". Manuscript copy, 1780, Berlin State Library. The campanella bells are marked on the top stave.

The aria was likely part of an otherwise lost church cantata for a funeral. The aria was first published in 1863, by the Bach Gesellschaft. It is one of three works to have been attributed to Bach before being attributed to Hoffmann, the others being the German Magnificats BWV 189 and BWV Anh. 21. It is one of the oldest known western compositions in which tuned bells are used in concert with other musical instruments.

History and attribution edit

The cantata has often been attributed to Johann Sebastian Bach. However, Alfred Dürr did not include it in his 1971 book Die Kantaten von Johann Sebastian Bach, based on the Bach-Jahrbuch 1955.[1] In the Appendix of the subsequent English version of the 2006 book on Bach's cantatas with Richard D. P. Jones, BWV 53 appears amongst the spurious cantatas. In that Appendix, the entry for 'composer' is listed as Melchior Hoffmann, accompanied by a question mark.[2]

According to Johann Nikolaus Forkel, the aria was composed by a young Bach, which would mean around the first decade of the 18th century.[3][4] Philipp Spitta, in his multi-volume Bach biography in the second half of the 19th century, thought that Bach wrote the aria in his middle Leipzig period, that is around the middle of the 1723–1750 period, when he would also have written other chamber cantatas for private performance, most of them solo cantatas.[5][6] According to Charles Sanford Terry, Bach composed the aria between 1723 and 1734.[4] Biographers in the late 19th and early 20th century attributing the work to Bach include Bitter[7] and Schweitzer.[8] In 1950, Wolfgang Schmieder listed the aria as No. 53 in the first edition of the Bach-Werke-Verzeichnis (BWV).[9]

In 1761, Johann Gottlob Immanuel Breitkopf offered manuscript copies of the aria in a catalogue printed for the Michaelmas fair in Leipzig. This catalogue does not name the composer.[5][6][10][11] Johann Kirnberger added this copy to the Amalienbibliothek – the library of his employer Princess Anna Amalia of Prussia.[12] Wilhelm Rust's edition of Schlage doch, gewünschte Stunde, as Cantata No. 53 in Vol. 12.2 of the Bach-Gesellschaft Ausgabe (BGA), published in 1863, was based on the Amalienbibliothek copy.[13]

The date of the first performance is unknown. The cantata was performed in the Gewandhaus in Leipzig in 1867 and 1873.[14] Martin Elste's history of Bach performances notes that between 1904 and 1907 in Germany, the most performed work was the St Matthew Passion (49 times), with second place taken by BWV 53 (20 times). The Bach-Jahrbuch of 1906 lists 20 public performances of Schlage doch, gewünschte Stunde, in various European cities, in the period from late 1904 to early 1907, which makes it, among the cantatas listed for that period, the most often performed; by the 1930s, Actus tragicus (BWV 106) became the most often performed cantata.[15][16] Albert Schweitzer in 1935 called Schlage doch, gewünschte Stunde "[t]he best known of the solo cantatas for alto".[8]

While current Bach scholarship has ruled out Bach as its possible composer, there is no clear consensus that Hoffmann should be confirmed as the composer of the piece. In the Bach-Jahrbuch of 1955 (published 1956), Karl Anton [de] described the aria as being extracted from a multi-movement cantata which originated in the circle around Hoffmann.[1] A year later, Dürr confirmed that BWV 53 was likely composed by Hoffmann.[17] In 1994 the musicologist Peter Wollny conjectured that the aria BWV 53 might have been part of the funeral music by Hoffmann, commissioned for the memorial service at Halle on 1 May 1713, to mark the death of Frederick I of Prussia in February 1713.[18]: 25–26, 28–29  In the 1998 revision of the BWV, by Dürr and Yoshitake Kobayashi [d], Schlage doch, gewünschte Stunde was moved to the second Anhang, that is the Anhang of works doubtfully attributed to Bach, naming Hoffmann as its possible composer.[9] If composed by Hoffmann, it must have originated from around the first decade of the 18th century: Hoffmann died in October 1715, ten years after becoming organist and director musices (music director) of the Neukirche in Leipzig.[19]

Many modern full scores or vocal scores, such as the editions of Breitkopf & Härtel and Eulenburg, name the composer of "Schlage doch, gewünschte Stunde" as "M. Hoffmann" or "Melchior Hoffmann".[20]

Text edit

The author of the text is unknown.[21] It is sometimes attributed to Salomon Franck; Spitta believed that Franck's style can be recognized in the text.[22][5][23]

As the work was likely composed for a funeral service,[24][25][22] the text reflects the hour of death as desired. Translations have included "Haste to strike, oh longed for hour",[26] "Strike my hour, so long awaited", and "Strike then thou, O blessed hour".[25] The title of the cantata is rendered In English as "Strike, O Bell" in the Oxford Orchestral Series, as "Strike thou ear" in the edition of Novello & Co and as "Sound your knell" in the editions of Breitkopf & Härtel and Augener & Co.[27][20]

In a middle section, the angels are asked to open heavenly meadows, to see Jesus soon ("Kommt, ihr Engel, … Öffnet mir die Himmelsauen, meinen Jesum bald zu schauen").[25]

The German text of the aria and its English translation by Lucy Broadwood are as follows:[20]

Music and scoring edit

 
A carillon operated by a keyboard in Aarschot, Flanders, Belgium

The aria is composed in the key of E major and has a time signature of 3
2. It is scored for alto, two bells (respectively playing E and B), two violins, viola, and continuo (cello, organ).[25][21][28][29] It is the oldest known composition in which bells are used as a musical instrument.[30] According to musicologist Jeremy Montagu, it is possible that originally the bells might have been activated by the manuals or pedals in the organ register. In modern editions the bells sound as the E above middle C and the B as a fifth higher; the marking Campanella could signify bells in the treble range, as marked, or in the tenor or bass register one or two octaves below. The aria could not have been performed using conventional church bells, because of their size and the problem of coordinating players in the church and the belfry.[31]

When Bach redesigned the organ of the Blasius church in Mühlhausen in 1708, he added a novelty: a register with bells (chimes) in the pedalboard.[32][33] This mechanism—a Glockenspiel in German—was one of Bach's own devising and constructed in collaboration with the organ-builder Johann Friedrich Wender, who had previously assisted Bach on a similar project in Arnstadt.[32][33][34]

According to W. Gillies Whittaker, the musical style of the cantata is "somewhat unusual", with questionable scoring for the violas. He states, however, that the principal theme "is so lovely and the charm of the whole so great that one questions whether any other composer of the day could have written it". In the aria, the tolling bells and continuo play in concert, echoed in the bell-like accompaniment of the crotchets in the violins. The Campanella scoring for the two bells was originally notated in the bass clef with the standard conventions for transposing instruments (so that B and E are scored as D and G respectively). No clear indication is given of the pitch of bells (high or deep).[27]

The aria is characterized by an obbligato bell duet.[35] Clifford Bartlett calls the bell knell "memorable and powerful".[36] Simon Crouch notes that "some of [the aria's] thematic material is suggestive of Bach but the accompanying bells would be unique amongst Bach's surviving output".[26] Forkel considers the usage of bells of doubtful taste.[3][4]

Recordings edit

External audio
  BWV 53 sung by Hilde Rössel-Majdan
  BWV 53 sung by Charles Humphries

The work was first recorded by Emmi Leisner [de] in 1926; this was the first time a cantata credited to Bach was recorded.[15] in 1999 the discographer Martin Elste singled out the recordings of Leisner and of Hildegard Hennecke [de], conducted by August Wenzinger in 1951, as being noteworthy.[15]

In the table below, voice types in the third column adopt the terminology as rendered on the issued recording.

Significant recordings
Year Singer Voice type Instrumental Conductor
1926 Emmi Leisner [de] alto Berlin State Opera Orchestra [15]
1936 Lina Falk [d] contralto String orchestra & bells Alexandre Eugène Cellier[37]
1951 Hildegard Hennecke [de] alto Schola Cantorum Basiliensis August Wenzinger[15][38]
1952 Hilde Rössel-Majdan contralto Vienna State Opera Orchestra Hermann Scherchen[38][39]
1958 Helen Watts contralto Philomusica of London Thurston Dart[40]
1963 Claudia Hellmann alto Pforzheim Chamber Orchestra Fritz Werner[41][42]
1964 Maureen Forrester alto I Solisti di Zagreb Antonio Janigro[43][44]
1984 Shirley Love mezzo-soprano Amor Artis Johannes Somary [d][45][46]
1987 René Jacobs countertenor Ensemble 415 [fr] Chiara Banchini[47][48]
1993 Jochen Kowalski altus Academy of St Martin in the Fields Kenneth Sillito [d][49]
1998 Robin Blaze countertenor The Parley of Instruments Peter Holman[50]
2000 Guillemette Laurens mezzo-soprano I Barocchisti [de] Diego Fasolis[51]
2000 Carlos Mena countertenor Ricercar Consort Philippe Pierlot[52][53]
2001 Daniel Taylor countertenor Theatre of Early Music Daniel Taylor[54][55]
2001 Gérard Lesne alto Il Seminario Musicale Patrick Cohën-Akenine[56][57]
2004 Marianne Beate Kielland mezzo-soprano Cologne Chamber Orchestra Helmut Müller-Brühl[58][59]
2011 Andreas Scholl countertenor Kammerorchester Basel Julia Schröder[60]
2012 Charles Humphries countertenor Kontrabande Charles Humphries[61][62]
2012 Damien Guillon alto il Gardellino Marcel Ponseele[63][64]
2015 Robin Blaze alto Bach Collegium Japan Masaaki Suzuki[65]
2017 Bejun Mehta countertenor Akademie für Alte Musik Berlin Forck [de][66]

Ballet version edit

In 1992 the choreographer Mark Morris set BWV 53 as a pas de deux for a female and male dancer. It was titled Beautiful Day in explicit reference to Morris's 1985 pas de deux One Charming Night (to music of Henry Purcell). Morris's biographer, Joan Acolella, described "Beautiful Day" as one of his most sublime dances—"intimate" with no vestiges of the perversity of the 1985 piece.[67] In a review in The New York Times, the critic Jack Anderson felt however that the piece was "choreographically rigid" with too much adherence to the musical score.[68]

References edit

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  2. ^ Dürr, Alfred; Jones, Richard D. P. (2006). "Appendix: dubious and spurious cantatas". The Cantatas of J. S. Bach and Their Librettos in German–English Parallel Text. Oxford University Press. p. 926. ISBN 0199297762.
  3. ^ a b Forkel, Johann Nikolaus (1802). Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke: Für patriotische Verehrer echter musikalischer Kunst  (in German). Hoffmeister & Kühnel. pp. 61–62.
  4. ^ a b c Forkel, Johann Nikolaus; Terry, Charles Sanford (1920). Johann Sebastian Bach: His Life, Art and Work – translated from the German, with notes and appendices. Harcourt, Brace and Howe. p. 140.
  5. ^ a b c Spitta, Philipp (1884). "Book V: Leipzig, 1723–1734". Johann Sebastian Bach: his work and influence on the music of Germany, 1685–1750. Vol. II. Translated by Bell, Clara; Fuller Maitland, John Alexander. Novello & Co. pp. 474–477.
  6. ^ a b Spitta, Philipp (1921) [1880]. "Fünftes Buch. Leipziger Jahre von 1723–1734". Johann Sebastian Bach (in German). Vol. II (3rd ed.). Breitkopf & Härtel. pp. 303–306.
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  8. ^ a b Schweitzer, Albert (1935). J. S. Bach. Vol. II. Translated by Newman, Ernest (Reprint ed.). A. & C. Black. p. 253.
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External links edit

January 01, 1970
schlage, doch, gewünschte, stunde, schlage, doch, gewünschte, stunde, haste, strike, longed, hour, aria, alto, bells, strings, continuo, likely, composed, early, 18th, century, although, date, first, performance, unknown, from, second, half, 18th, century, unt. Schlage doch gewunschte Stunde Haste to strike oh longed for hour BWV 53 is an aria for alto bells strings and continuo It was likely composed in the early 18th century although its date of first performance is unknown From the second half of the 18th century until the early 1950s the aria was attributed to Johann Sebastian Bach In 1955 it was suggested by the Bach scholar Karl Anton that the aria s composer was more likely to be a member of Melchior Hoffmann s circle Pages 3 4 of the aria Schlage doch gewunschte Stunde Manuscript copy 1780 Berlin State Library The campanella bells are marked on the top stave The aria was likely part of an otherwise lost church cantata for a funeral The aria was first published in 1863 by the Bach Gesellschaft It is one of three works to have been attributed to Bach before being attributed to Hoffmann the others being the German Magnificats BWV 189 and BWV Anh 21 It is one of the oldest known western compositions in which tuned bells are used in concert with other musical instruments Contents 1 History and attribution 2 Text 3 Music and scoring 4 Recordings 5 Ballet version 6 References 7 External linksHistory and attribution editThe cantata has often been attributed to Johann Sebastian Bach However Alfred Durr did not include it in his 1971 book Die Kantaten von Johann Sebastian Bach based on the Bach Jahrbuch 1955 1 In the Appendix of the subsequent English version of the 2006 book on Bach s cantatas with Richard D P Jones BWV 53 appears amongst the spurious cantatas In that Appendix the entry for composer is listed as Melchior Hoffmann accompanied by a question mark 2 According to Johann Nikolaus Forkel the aria was composed by a young Bach which would mean around the first decade of the 18th century 3 4 Philipp Spitta in his multi volume Bach biography in the second half of the 19th century thought that Bach wrote the aria in his middle Leipzig period that is around the middle of the 1723 1750 period when he would also have written other chamber cantatas for private performance most of them solo cantatas 5 6 According to Charles Sanford Terry Bach composed the aria between 1723 and 1734 4 Biographers in the late 19th and early 20th century attributing the work to Bach include Bitter 7 and Schweitzer 8 In 1950 Wolfgang Schmieder listed the aria as No 53 in the first edition of the Bach Werke Verzeichnis BWV 9 In 1761 Johann Gottlob Immanuel Breitkopf offered manuscript copies of the aria in a catalogue printed for the Michaelmas fair in Leipzig This catalogue does not name the composer 5 6 10 11 Johann Kirnberger added this copy to the Amalienbibliothek the library of his employer Princess Anna Amalia of Prussia 12 Wilhelm Rust s edition of Schlage doch gewunschte Stunde as Cantata No 53 in Vol 12 2 of the Bach Gesellschaft Ausgabe BGA published in 1863 was based on the Amalienbibliothek copy 13 The date of the first performance is unknown The cantata was performed in the Gewandhaus in Leipzig in 1867 and 1873 14 Martin Elste s history of Bach performances notes that between 1904 and 1907 in Germany the most performed work was the St Matthew Passion 49 times with second place taken by BWV 53 20 times The Bach Jahrbuch of 1906 lists 20 public performances of Schlage doch gewunschte Stunde in various European cities in the period from late 1904 to early 1907 which makes it among the cantatas listed for that period the most often performed by the 1930s Actus tragicus BWV 106 became the most often performed cantata 15 16 Albert Schweitzer in 1935 called Schlage doch gewunschte Stunde t he best known of the solo cantatas for alto 8 While current Bach scholarship has ruled out Bach as its possible composer there is no clear consensus that Hoffmann should be confirmed as the composer of the piece In the Bach Jahrbuch of 1955 published 1956 Karl Anton de described the aria as being extracted from a multi movement cantata which originated in the circle around Hoffmann 1 A year later Durr confirmed that BWV 53 was likely composed by Hoffmann 17 In 1994 the musicologist Peter Wollny conjectured that the aria BWV 53 might have been part of the funeral music by Hoffmann commissioned for the memorial service at Halle on 1 May 1713 to mark the death of Frederick I of Prussia in February 1713 18 25 26 28 29 In the 1998 revision of the BWV by Durr and Yoshitake Kobayashi d Schlage doch gewunschte Stunde was moved to the second Anhang that is the Anhang of works doubtfully attributed to Bach naming Hoffmann as its possible composer 9 If composed by Hoffmann it must have originated from around the first decade of the 18th century Hoffmann died in October 1715 ten years after becoming organist and director musices music director of the Neukirche in Leipzig 19 Many modern full scores or vocal scores such as the editions of Breitkopf amp Hartel and Eulenburg name the composer of Schlage doch gewunschte Stunde as M Hoffmann or Melchior Hoffmann 20 Text editThe author of the text is unknown 21 It is sometimes attributed to Salomon Franck Spitta believed that Franck s style can be recognized in the text 22 5 23 As the work was likely composed for a funeral service 24 25 22 the text reflects the hour of death as desired Translations have included Haste to strike oh longed for hour 26 Strike my hour so long awaited and Strike then thou O blessed hour 25 The title of the cantata is rendered In English as Strike O Bell in the Oxford Orchestral Series as Strike thou ear in the edition of Novello amp Co and as Sound your knell in the editions of Breitkopf amp Hartel and Augener amp Co 27 20 In a middle section the angels are asked to open heavenly meadows to see Jesus soon Kommt ihr Engel Offnet mir die Himmelsauen meinen Jesum bald zu schauen 25 The German text of the aria and its English translation by Lucy Broadwood are as follows 20 Schlage doch gewunschte Stunde brich doch an du schoner Tag Kommt ihr Engel auf mich zu offnet mir die Himmelsauen meinen Jesum bald zu schauen in vergnugter Seelenruh Ich begehr von Herzensgrunde nur den letzten Stundenschlag Sound your knell blest hour of parting Quickly dawn o happy day Angels haste to my release Waft me to the realms supernal Where in Jesu s arms eternal I shall rest in perfect peace Let me hear the last hour tolling That shall call my soul away Salomon Franck Lucy BroadwoodMusic and scoring edit nbsp A carillon operated by a keyboard in Aarschot Flanders Belgium The aria is composed in the key of E major and has a time signature of 32 It is scored for alto two bells respectively playing E and B two violins viola and continuo cello organ 25 21 28 29 It is the oldest known composition in which bells are used as a musical instrument 30 According to musicologist Jeremy Montagu it is possible that originally the bells might have been activated by the manuals or pedals in the organ register In modern editions the bells sound as the E above middle C and the B as a fifth higher the marking Campanella could signify bells in the treble range as marked or in the tenor or bass register one or two octaves below The aria could not have been performed using conventional church bells because of their size and the problem of coordinating players in the church and the belfry 31 When Bach redesigned the organ of the Blasius church in Muhlhausen in 1708 he added a novelty a register with bells chimes in the pedalboard 32 33 This mechanism a Glockenspiel in German was one of Bach s own devising and constructed in collaboration with the organ builder Johann Friedrich Wender who had previously assisted Bach on a similar project in Arnstadt 32 33 34 According to W Gillies Whittaker the musical style of the cantata is somewhat unusual with questionable scoring for the violas He states however that the principal theme is so lovely and the charm of the whole so great that one questions whether any other composer of the day could have written it In the aria the tolling bells and continuo play in concert echoed in the bell like accompaniment of the crotchets in the violins The Campanella scoring for the two bells was originally notated in the bass clef with the standard conventions for transposing instruments so that B and E are scored as D and G respectively No clear indication is given of the pitch of bells high or deep 27 The aria is characterized by an obbligato bell duet 35 Clifford Bartlett calls the bell knell memorable and powerful 36 Simon Crouch notes that some of the aria s thematic material is suggestive of Bach but the accompanying bells would be unique amongst Bach s surviving output 26 Forkel considers the usage of bells of doubtful taste 3 4 Recordings editExternal audio nbsp BWV 53 sung by Hilde Rossel Majdan nbsp BWV 53 sung by Charles Humphries The work was first recorded by Emmi Leisner de in 1926 this was the first time a cantata credited to Bach was recorded 15 in 1999 the discographer Martin Elste singled out the recordings of Leisner and of Hildegard Hennecke de conducted by August Wenzinger in 1951 as being noteworthy 15 In the table below voice types in the third column adopt the terminology as rendered on the issued recording Significant recordings Year Singer Voice type Instrumental Conductor 1926 Emmi Leisner de alto Berlin State Opera Orchestra 15 1936 Lina Falk d contralto String orchestra amp bells Alexandre Eugene Cellier 37 1951 Hildegard Hennecke de alto Schola Cantorum Basiliensis August Wenzinger 15 38 1952 Hilde Rossel Majdan contralto Vienna State Opera Orchestra Hermann Scherchen 38 39 1958 Helen Watts contralto Philomusica of London Thurston Dart 40 1963 Claudia Hellmann alto Pforzheim Chamber Orchestra Fritz Werner 41 42 1964 Maureen Forrester alto I Solisti di Zagreb Antonio Janigro 43 44 1984 Shirley Love mezzo soprano Amor Artis Johannes Somary d 45 46 1987 Rene Jacobs countertenor Ensemble 415 fr Chiara Banchini 47 48 1993 Jochen Kowalski altus Academy of St Martin in the Fields Kenneth Sillito d 49 1998 Robin Blaze countertenor The Parley of Instruments Peter Holman 50 2000 Guillemette Laurens mezzo soprano I Barocchisti de Diego Fasolis 51 2000 Carlos Mena countertenor Ricercar Consort Philippe Pierlot 52 53 2001 Daniel Taylor countertenor Theatre of Early Music Daniel Taylor 54 55 2001 Gerard Lesne alto Il Seminario Musicale Patrick Cohen Akenine 56 57 2004 Marianne Beate Kielland mezzo soprano Cologne Chamber Orchestra Helmut Muller Bruhl 58 59 2011 Andreas Scholl countertenor Kammerorchester Basel Julia Schroder 60 2012 Charles Humphries countertenor Kontrabande Charles Humphries 61 62 2012 Damien Guillon alto il Gardellino Marcel Ponseele 63 64 2015 Robin Blaze alto Bach Collegium Japan Masaaki Suzuki 65 2017 Bejun Mehta countertenor Akademie fur Alte Musik Berlin Forck de 66 Ballet version editIn 1992 the choreographer Mark Morris set BWV 53 as a pas de deux for a female and male dancer It was titled Beautiful Day in explicit reference to Morris s 1985 pas de deux One Charming Night to music of Henry Purcell Morris s biographer Joan Acolella described Beautiful Day as one of his most sublime dances intimate with no vestiges of the perversity of the 1985 piece 67 In a review in The New York Times the critic Jack Anderson felt however that the piece was choreographically rigid with too much adherence to the musical score 68 References edit a b Anton Karl in German 1956 Neue Erkenntnisse zur Geschichte der Bachbewegung In Durr Alfred Neumann Werner eds Bach Jahrbuch 1955 Bach Jahrbuch in German Vol 42 Neue Bachgesellschaft Evangelische Verlagsanstalt p 15 footnote 9 doi 10 13141 bjb v1955 Durr Alfred Jones Richard D P 2006 Appendix dubious and spurious cantatas The Cantatas of J S Bach and Their Librettos in German English Parallel Text Oxford University Press p 926 ISBN 0199297762 a b Forkel Johann Nikolaus 1802 Ueber Johann Sebastian Bachs Leben Kunst und Kunstwerke Fur patriotische Verehrer echter musikalischer Kunst in German Hoffmeister amp Kuhnel pp 61 62 a b c Forkel Johann Nikolaus Terry Charles Sanford 1920 Johann Sebastian Bach His Life Art and Work translated from the German with notes and appendices Harcourt Brace and Howe p 140 a b c Spitta Philipp 1884 Book V Leipzig 1723 1734 Johann Sebastian Bach his work and influence on the music of Germany 1685 1750 Vol II Translated by Bell Clara Fuller Maitland John Alexander Novello amp Co pp 474 477 a b Spitta Philipp 1921 1880 Funftes Buch Leipziger Jahre von 1723 1734 Johann Sebastian Bach in German Vol II 3rd ed Breitkopf amp Hartel pp 303 306 Bitter Karl Hermann 1865 Johann Sebastian Bach in German Vol II Schneider p XCVI a b Schweitzer Albert 1935 J S Bach Vol II Translated by Newman Ernest Reprint ed A amp C Black p 253 a b Durr Alfred Kobayashi Yoshitake eds 1998 Bach Werke Verzeichnis Kleine Ausgabe Nach der von Wolfgang Schmieder vorgelegten 2 Ausgabe Bach Works Catalogue Small Edition After Wolfgang Schmieder s 2nd edition in German Kirsten Beisswenger collaborator BWV2a ed Breitkopf amp Hartel ISBN 9783765102493 Ebata Nobuaki ed 9 September 2018 Lost source BWV 53 Breitkopf Bach Digital Breitkopf Johann Gottlob Immanuel 1761 Verzeichniss Musicalischer Werke allein zur Praxis sowohl zum Singen als fur alle Instrumente welche nicht durch den Druck bekannt gemacht worden in ihre gehorige Classen ordentlich eingetheilet welche in richtigen Abschriften bey Joh Gottlob Immanuel Breitkopf in Leipzig zu bekommen sind in German Breitkopf p 23 Ebata Nobuaki ed 16 July 2019 D B Am B 43 Fascicle 2 Bach Digital Rust Wilhelm ed 1863 Joh Seb Bach s Kirchencantaten Sechster Band No 51 60 Joh Seb Bach s church cantatas Sixth volume Nos 51 60 Bach Gesellschaft Ausgabe in German Vol 12 Bach Gesellschaft Breitkopf amp Hartel p X Dorffel Alfred 1884 Statistik der Concerte im Saale des Gewandhauses zu Leipzig Geschichte der Gewandhausconcerte zu Leipzig vom 25 November 1781 bis 25 November 1881 Im Auftrage der Concert Direction verfasst in German p 3 a b c d e Elste Martin 2016 1999 Meilensteine der Bach Interpretation 1750 2000 Eine Werkgeschichte im Wandel in German Springer pp 90 154 155 ISBN 9783476037923 Neue Bachgesellschaft 1907 Bach Jahrbuch 1906 Bach Jahrbuch in German Breitkopf amp Hartel pp 116 121 Durr Alfred 1957 Zur Echtheit der Kantate Meine Seele ruhmt und preist In Durr Alfred Neumann Werner eds Bach Jahrbuch 1956 Bach Jahrbuch in German Vol 43 Neue Bachgesellschaft Evangelische Verlagsanstalt p 155 doi 10 13141 bjb v1956 Wollny Peter 1994 Bachs Bewerbung um die Organistenstelle an der Marienkirche in Halle und ihr Kontext Bach s candidature for the position as organist at the St Mary s Church in Halle and its context In Schulze Hans Joachim Wolff Christoph eds Bach Jahrbuch 1994 Bach Yearbook 1994 Bach Jahrbuch in German Vol 80 Neue Bachgesellschaft Evangelische Verlagsanstalt pp 25 39 doi 10 13141 bjb v1994 ISBN 3 374 01550 6 ISSN 0084 7682 Hoffmann Georg Melchior Bach Digital 27 May 2019 a b c Hofmann Georg Melchior 1961 Raphael Gunther ed Kantate Nr 53 Schlage doch gewunschte Stunde fur Alt Solo Cantata No 53 Sound your knell blest hour of parting in German Translated by Lucy Broadwood Breitkopf amp Hartel ISMN 979 0 004 17207 0 a b Schlage doch gewunschte Stunde Aria BWV 53 Anh II 23 gt Bach Digital 11 March 2019 a b Wolff Christoph Emery Walter 2001 Bach Johann Sebastian Grove Music Online Oxford University Press Doubtful and spurious doi 10 1093 gmo 9781561592630 article 6002278195 ISBN 9781561592630 Schlage doch gewunschte Stunde BWV 53 Anh II 23 gt in French BnF Retrieved 11 January 2021 Cantata BWV 53 Bach Cantatas Website Retrieved 31 May 2013 a b c d BWV 53 Schlage doch gewunschte Stunde University of Vermont Retrieved 26 May 2014 a b Crouch Simon 1999 Schlage doch gewunschte Stunde Haste to strike oh longed for hour classical net Retrieved 31 May 2013 a b Whittaker W Gillies 1978 Cantata No 53 The Cantatas of Johann Sebastian Bach Sacred and Secular Vol I Reprint ed Oxford University Press pp 366 367 ISBN 019315238X Trauer Arie Schlage doch gewunschte Stunde Berlin State Library Retrieved 11 January 2021 Glockner Andreas 2001 Hoffmann Melchior Grove Music Online Oxford University Press doi 10 1093 gmo 9781561592630 article 13159 Price Percival Rae Charles Bodman Blades James 2001 Bell i Grove Music Online Oxford University Press doi 10 1093 gmo 9781561592630 article 42837 Montagu Jeremy 2002 Timpani and percussion Yale University Press p 92 ISBN 978 0 300 09337 7 a b Wolff Christoph 2002 At the Blasius Church in Muhlhausen Johann Sebastian Bach The Learned Musician Norton p 109 ISBN 9780199248841 a b Eidam Klaus 2001 V The True Life of Johann Sebastian Bach Translated by Rogers Hoyt Basic Books ISBN 0 465 01861 0 Wolff Christoph Zepf Markus 2012 The organs of Johann Sebastian Bach a handbook Translated by Butler Lynn Edwards University of Illinois Press p 141 ISBN 9780252078453 Lessner Joanne Sydney Andreas Scholl Bach Cantatas Opera News 76 10 69 70 Bartlett Clifford Andreas Scholl Bach Cantatas Decca Classics Archived from the original on 23 December 2012 Retrieved 31 May 2013 Darrell R D 1936 The Gramophone Shop Encyclopedia Of Recorded Music The Gramophone Shop p 34 a b Miller Philip L at Wikidata 1955 The Guide to Long Playing Music Vocal Music Alfred A Knopf p 8 Rossel Majdan Hilde Scherchen Hermann Vienna State Opera Orchestra 1952 Cantates Nos 170 53 54 LP Ducretet Thomson 320CW086 Pursglove Glyn January 2020 Songs for Courtiers and Cavaliers MusicWeb International Quinn John 5 May 2005 Johann Sebastian Bach 1685 1750 The Cantatas Volume 2 MusicWeb International Hellmann Claudia Werner Fritz Pforzheim Chamber Orchestra 1969 Cantata no 68 Also hat Gott die Welt geliebt Cantata no 98 Was Gott tut das ist wohlgetan Cantata no 53 Schlage doch gewunschte Stunde LP Musical Heritage Society OCLC 4357209 Bach Cantatas Handel Maureen Forrester Janigro Et Al ArkivMusic Retrieved 29 January 2021 Forrester Maureen Janigro Antonio I Solisti di Zagreb 2000 Cantata BWV 170 Vergnugte Ruh beliebte Seelenlust Cantata BWV 53 Schlage doch Mass in B minor Agnus Dei CD Amadeus 7010 Rosenberg Kenyon 1990 A Basic Classical and Operatic Recordings Collection on Compact Discs for Libraries Scarecrow Press p 104 Love Shirley Somary Johannes d Amor Artis 1986 Cantata no 158 Motet Furchte dich nicht Cantata no 53 Motet Der Geist hilft Cantata no 211 CD Moss Music Group OCLC 968800397 McElhearn Kirk 3 August 2003 JS Bach Cantatas for Alto MusicWeb International Jacobs Rene Banchini Chiara Ensemble 415 fr 1988 Bach Cantates pour Alto CD Harmonia Mundi OCLC 493506134 Kowalski Jochen Sillito Kenneth d Academy of St Martin in the Fields 1995 Johann Sebastian Bach Kantaten Cantatas BWV 53 82 170 200 CD Capriccio OCLC 886834541 Wilson Brian 8 July 2008 CD review German 17th Century Church Music MusicWeb International Laurens Guillemette Fasolis Diego I Barocchisti de 2004 Cantatas BWV 198 Trauerode BWV 106 Actus tragicus BWV 196 BWV 53 CD Arts OCLC 64666762 Mena Carlos Pierlot Philippe Ricercar Consort 2001 De Aeternitate CD Mirare OCLC 833390702 Vernier David De Aeternitate Review Classics Today Retrieved 4 February 2021 Taylor Daniel Theatre of Early Music 2002 Lamento CD ATMA OCLC 1055458144 Woolf Jonathan 13 September 2013 Review The Best of Daniel Taylor MusicWeb International Bach Family Arias and Cantatas Gramophone August 2002 Anderson Nicholas 20 January 2012 Bach JM Bach JC Bach Classical Music Satz Don 2006 Sacred Cantatas for Alto classical net Reichelt Peter ed 2005 Johann Sebastian Bach Sacred Cantatas for Alto Liner notes Translated by Keith Anderson Naxos Records 8 557621 Lessner Joanne Sydney April 2012 Andreas Scholl Bach Cantatas Opera News Vol 76 no 10 pp 69 70 Humphries Charles Kontrabande 2013 Music of Bach CD Claudio OCLC 906536031 Billinge Dave 14 October 2014 Review CLAUDIO CR5154 2 MusicWeb International Guillon Damien Ponseele Marcel il Gardellino 2014 Schlage doch gewunschte Stunde Bach Telemann Hoffmann Cantatas CD Passacaille OCLC 1053416991 Riedstra Siebe January 2015 CD recensie Schlage doch gewunschte Stunde Bach Telemann Hoffmann Cantates OpusKlassiek in Dutch Stancliffe David 1 April 2016 Bach Trauerode Early Music Review Cookson Michael April 2018 Cantata Yet Can I Hear MusicWeb International Acocella Joan Ross 2004 Mark Morris Wesleyan University Press p 110 ISBN 9780819567314 Anderson Jack 9 April 1992 Dance Review A Mark Morris Romp With Pink Pajamas The New York Times Retrieved 16 January 2021 External links editSchlage doch gewunschte Stunde at the International Music Score Library Project Melchior Hoffmann Schlage doch gewunschte Stunde funeral cantata for voice bells strings amp continuo formerly BWV 53 at AllMusic Performance of BWV 53 by Marriane Beate Kieland with Cologne Chamber Orchestra youtube com Retrieved from https en wikipedia org w index php title Schlage doch gewunschte Stunde BWV 53 amp oldid 1195117054, wikipedia, wiki, book, books, library,

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