Ein feste Burg ist unser Gott, BWV 80 (Bach, Johann Sebastian)

Contents

Performances

Recordings

MP3 file (audio)
Rgagnaux (2016/8/14)

Performers Agnes Giebel (soprano), Wilhelmine Matthès (alto)
Richard Lewis (tenor), Heinz Rehfuss (bass)
Choeur Bach, Orchestre de la Société Philharmonique d'Amsterdam
André Vandernoot (conductor)
Publisher Info. Musical Masterpiece Society/Concert Hall, MMS-2240, P 1961
Gagnaux Collection
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Misc. Notes Recorded ca. 1961, published on MMS-2240
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Naxos Search

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Synthesized/MIDI

Aria: Komm in mein Herzenhaus (No.4)

For Trumpet and Organ (Rondeau)

MP3 file (audio)
Michrond (2015/12/28)

Performers MIDI
Publisher Info. Michel Rondeau
Copyright
Misc. Notes These file(s) are part of the Werner Icking Music Collection.
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Sheet Music

Full Scores

PDF scanned by Unknown
Feldmahler (2006/8/08)

PDF scanned by Unknown
Feldmahler (2006/8/08)

Editor Wilhelm Rust (1822–1892)
Publisher. Info. Bach-Gesellschaft Ausgabe, Band 18
Leipzig: Breitkopf und Härtel, 1870. Plate B.W. XVIII.
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BWV0080.pdf

Vocal Scores

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Carolus (2015/5/16)

Language English
Translator John Troutbeck (1832-1899), English text
Publisher. Info. London: Novello, n.d.
Copyright
Misc. Notes This file is part of the Sibley Mirroring Project.
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SIBLEY1802.29486.c02f-39087011354562stronghold.pdf

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Perlnerd666 (2008/11/9)

Arranger Bernhard Todt (1822–1907) [?]
Publisher. Info. Leipzig: Breitkopf & Härtel, n.d.(ca.1890)
Copyright
Misc. Notes Vocal Scores based on Bach-Gesellschaft Ausgabe
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PMLP03847-bwv080.pdf

Arrangements and Transcriptions

Chorale: Ein feste Burg ist unser Gott (No.1)

For 3 violins, 2 violas and 2 cellos (Bartoli)

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RussBart (2015/10/23)

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RussBart (2015/10/23)

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RussBart (2015/10/23)

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RussBart (2015/10/23)

PDF typeset by arranger
RussBart (2015/10/23)

PDF typeset by arranger
RussBart (2015/10/23)

PDF typeset by arranger
RussBart (2015/10/23)

PDF typeset by arranger
RussBart (2015/10/23)

Arranger Russ Bartoli
Publisher. Info. Russ Bartoli
Copyright
Misc. Notes can work just as well with viol consort
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PMLP149581-bach 80.1 s7 3vn2va2vc russ ip - Full Score.pdf

Aria: Komm in mein Herzenhaus (No.4)

For Trumpet and Organ (Rondeau)

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Michrond (2015/12/28)

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Michrond (2015/12/28)

Arranger Michel Rondeau
Publisher. Info. Michel Rondeau
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PMLP149581-BacBWV80a4ALL.pdf

Chorale: Und wenn die Welt voll Teufel wär' (No.5)

For Organ (Bækgaard)

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wrshannon (2011/10/3)

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wrshannon (2011/10/3)

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wrshannon (2011/10/3)

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wrshannon (2011/10/3)

Arranger Peter Bækgaard
Publisher. Info. Peter Bækgaard
Copyright
Misc. Notes These file(s) are part of the Werner Icking Music Collection, and are also included in the Peter Bækgaard Collection.
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General Information

Work Title Ein feste Burg ist unser Gott
Alternative. Title A mighty Fortress is our God
Composer Bach, Johann Sebastian
Opus/Catalogue NumberOp./Cat. No. BWV 80
Key D major
Movements/SectionsMov'ts/Sec's 8 movements
  1. [Chorale]: Ein feste Burg ist unser Gott (D major)
  2. Aria (Soprano, Bass): Alles, was von Gott geboren (D major)
  3. Recitativo (Bass): Erwäge doch (B minor-F minor)
  4. Aria (Soprano): Komm in mein Herzenhaus (B minor)
  5. Choral: Und wenn die Welt voll Teufel wär (D major)
  6. Recitativo (Tenor): So stehe dann (B minor-D major)
  7. Duetto (Alto, Tenor): Wie selig sind doch die, die Gott im Munde tragen (G major)
  8. Choral: Das Wort sie sollen lassen stahn (D major)
Year/Date of CompositionY/D of Comp. 1715
First Performance. 1715-03-15 in Weimar
First Publication. 1821
Librettist Salomo Franck (1659-1725)
Language German
Dedication Feast of Reformation
Average DurationAvg. Duration 30 minutes
Composer Time PeriodComp. Period Baroque
Piece Style Baroque
Instrumentation Vocal: soprano, alto, tenor, bass, mixed chorus (SATB)
Orchestra: 3 oboes, 2 oboes d'amore, oboe da caccia, [3 trumpets and timpani added by Wilhelm Friedemann Bach and included in the BGA], strings, continuo
External Links Wikipedia article
Bach-Cantatas.com


Misc. Comments

Commentary on the movements

  1. [Chorale]: Ein feste Burg ist unser Gott. A true acme of Bach's cantata chorale counterpoint, and one of the epitomes of his counterpoint in general. The chorus sings a choral motet, a series of brief fugal sections on subjects closely tied to each verse of the chorale. Around this, Bach writes a canon at the octave (22nd) with the actual chorale melody between the oboes and the basses. The highly expressive content of the minor-key episodes makes the rest of the movement's glory all the brighter.
  2. Aria (Soprano, Bass): Alles, was von Gott geboren. A "chorale-aria" in which the soprano delivers the chorale melody, virtually accompanied by a flourishing oboe, while the bass sings the "true vocal part," to a vivacious violin accompaniment.
  3. Recitativo (Bass): Erwäge doch. Secco recitative.
  4. Aria (Soprano): Komm in mein Herzenhaus. A continuo aria. Despite the attempts of many "realizers" of the continuo, this aria is of a rather stark and barren texture compared to the rich, thick webs of counterpoint in the preceding movement. However, the vocal line is still highly expressive.
  5. Choral: Und wenn die Welt voll Teufel wär. A different kind of chorale arrangement, full of busy string motion. The chorus, instead of imitation, delivers the chorale in a strong unison.
  6. Recitativo (Tenor): So stehe dann. Secco recitative.
  7. Duetto (Alto, Tenor): Wie selig sind doch die, die Gott im Munde tragen. A strange texture of Oboe da Caccia, Violin, Alto, Tenor, and Continuo, makes this movement stand out as "exotic" among the others. Free imitation abounds, but the movement is primarily concerned with sweet homophonic movement.
  8. Choral: Das Wort sie sollen lassen stahn. A plain chorale setting to conclude.

Version History

  1. Weimar, 1715. BWV 80a (Alles, was von Gott geboren). For the Third Sunday in Lent.
  2. A second version, totally lost, from 1728-31, for the Reformation Festival.
  3. The version in question. The date is completely unknown.
  4. Wilhelm Friedemann Bach added the trumpets and drums to the cantata after his father's death. It is a pity that this version has fallen into disuse; the problems of balance in the first movement's canon could be ameliorated with reinforcement of the bass, and the festiveness of the scoring certainly contributes.

Print Sources Consulted

Oxford: Oxford University Press, 2005.
Cantatas by Johann Sebastian Bach