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

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 Complete Score
#01383 - 3.66MB, 246 pages -  6.0/10 2 4 6 8 10 (2) - V/V/V - 914x

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Feldmahler (29 August 2006)

Editor:

Alfred Dörffel (1821–1905)

Publisher Info.:

Bach-Gesellschaft Ausgabe, Band 26
Leipzig: Breitkopf & Härtel, 1878. Plate B.W. XXVI.

Copyright:

Public Domain [tag all]

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 Complete Score
#24361 - 2.00MB, 36 pages -  0.0/10 2 4 6 8 10 (0) - C/V/C - 384x

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Perlnerd666 (13 November 2008)

Arranger:

Bernhard Todt (1822–1907) [?]

Publisher Info.:

Leipzig: Breitkopf & Härtel, n.d.(ca.1880)

Copyright:

Public Domain [tag all]

Misc. Notes:

Vocal Score based on Bach-Gesellschaft Ausgabe

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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 Number BWV 129
Key D Major
Movements/Sections 5 Movements
Year/Date of Composition 1726
First Performance June 16, 1726
Librettist Johann Olearius
Language German
Average Duration 24 Minutes
Piece Style Baroque
Instrumentation Vocal — Soloists (SATB), Chorus (SATB)
Orchestra — Flute, 2 Oboes, 3 Trumpets, Timpani, Strings, BC


Misc. Comments

For Trinity.

Section Listing

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. D Major
  2. Aria Versus 2 (Bass). A continuo aria, "[giving] the voice the opportunity for the most highly expressive melody"1. A Major
  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. e minor
  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. G Major
  5. Chorale Versus 5. A "finale of exceptional splendour"1. The chorale is sung plainly with a highly decorative instrumental backdrop. D Major

Print Sources Consulted

Oxford: Oxford University Press, 2005.

External Links

Cantatas by Johann Sebastian Bach
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