Gelobet sei der Herr, mein Gott, BWV 129 (Bach, Johann Sebastian)

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Sheet Music

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Copyist Carl Friedrich Barth (1734-1813)
Publisher. Info. Manuscript, n.d.(ca.1740-1759).
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Misc. Notes Staatsbibliothek zu Berlin (D-B): Mus.ms. Bach P 957.
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Copyist Christian Friedrich Penzel (1737-1801)
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Feldmahler (2006/8/29)

Editor Alfred Dörffel (1821–1905)
First edition
Publisher. Info. Bach-Gesellschaft Ausgabe, Band 26
Leipzig: Breitkopf und Härtel, 1878. Plate B.W. XXVI.
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Editor Alfred Dürr (1918–2011)
Publisher. Info. Neue Bach-Ausgabe, Serie I. Kantaten
Band 15. Kantaten zum Trinitatisfest und zum 1. Sonntag nach Trinitatis (pp.37-84)
Kassel: Bärenreiter Verlag, 1967. Plate BA 5029.
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Parts

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Copyist Christian Friedrich Penzel (1737-1801)
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Misc. Notes Staatsbibliothek zu Berlin (D-B): Mus.ms. Bach St 159.
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Versus 4. Aria: Gelobet sei der Herr, mein Gott, der ewig lebet

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Perlnerd666 (2008/11/13)

Arranger Bernhard Todt (1822–1907) [?]
Publisher. Info. Leipzig: Breitkopf und Härtel, n.d.(ca.1890).
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Misc. Notes Vocal Score based on Bach-Gesellschaft Ausgabe
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Arrangements and Transcriptions

Chorale: Dem wir das Heilig jetzt (No.5)

For 3 Trumpets, Timpani and Organ (Rondeau)

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General Information

Work Title Gelobet sei der Herr, mein Gott
Alternative. Title Praised be the Lord
Composer Bach, Johann Sebastian
Opus/Catalogue NumberOp./Cat. No. BWV 129; BC A93
Key D major
Movements/SectionsMov'ts/Sec's 5 movements
  1. Coro: Gelobet sei der Herr, mein Gott (D major)
  2. Aria (bass): Gelobet sei der Herr, mein Gott, mein Heil (A major)
  3. Aria (soprano): Gelobet sei der Herr, mein Gott, mein Trost (E minor)
  4. Aria (alto): Gelobet sei der Herr, mein Gott, der ewig lebet (G major)
  5. Chorale: Dem wir das Heilig jetzt (D major)
Year/Date of CompositionY/D of Comp. 1726 in Leipzig
First Performance. 1727-06-08 in Leipzig
First Publication. 1878 (BGA)
Librettist Johann Olearius (1611-1684)
Language German
Dedication Feast of Reformation
Trinity Sunday
Average DurationAvg. Duration 24 minutes
Composer Time PeriodComp. Period Baroque
Piece Style Baroque
Instrumentation Voices: soprano, alto, bass, mixed chorus (SATB)
Orchestra: transverse flute, 2 oboes, 3 trumpets
timpani, 2 violins, viola, continuo (harpsichord and/or organ)
Mss Sources Bach Digital (source list)
External Links Wikipedia article
Bach-Cantatas.com

Misc. Comments

Commentary on the movements

Note: Every movement begins with the line "Gelobet sei der Herr, Mein Gott."

  1. Chorus [Versus 1]. A heavy-duty festive orchestration greets the listener first, with the overlapping entrances from trumpet presaging the same from the chorus. O Gott, du frommer Gott is sung line by line in the soprano over an imitative texture.
  2. Aria Versus 2 (Bass). A continuo aria, "[giving] the voice the opportunity for the most highly expressive melody"1.
  3. Aria Versus 3 (Soprano). Flute and violin play a sort of trio sonata which becomes a quartet with the soprano. Despite the serious nature of this movement, the arcing fast figures continually make the movement more lively, along with a few melismas in the voice.
  4. Aria Versus 4 (Alto). The oboe d'amore plays a pastoral theme in 6/8 over a relaxed bass; the alto enters with the same theme. This aria is a perfect example of Bach's arias exhibiting "song-like—almost dance-like—joyfulness"1.
  5. Chorale Versus 5. A "finale of exceptional splendour"1. The chorale is sung plainly with a highly decorative instrumental backdrop.

Print Sources Consulted

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