Another YouTube playlist of the cantatas in that edition,
this time with one cantata per video, uploaded by MusicArts61 on 2012-03-12
YouTube playlist for the cantatas conducted by Karl Richter, in liturgical calendar order
An index to German and English texts of the Bach cantatas
| BWV | Title | Year |
|---|---|---|
| 4 | Christ lag in Todesbanden | 1707 |
| 11 | Lobet Gott in seinen Reichen (Ascension Oratorio) | 1735 |
| 29 | Wir danken dir, Gott, wir danken dir | 1731 |
| 31 | Der Himmel lacht! Die Erde jubilieret | 1715 |
| 50 | Nun ist das Heil und die Kraft | 17?? |
| 51 | Jauchzet Gott in allen Landen | 1730 |
| 61 | Nun komm, der Heiden Heiland, I | 1714 |
| 62 | Nun komm, der Heiden Heiland, II | 1724 |
| 63 | Christen, ätzet diesen Tag | 1723 |
| 71 | Gott ist mein König | 1708 |
| 79 | Gott der Herr ist Sonn und Schild | 1725 |
| 80 | Ein feste Burg ist unser Gott | c. 1727 |
| 131 | Aus der Tiefen rufe ich, Herr, zu dir | 1707 |
| 140 | Wachet auf, ruft uns die Stimme | 1731 |
| 147 | Herz und Mund und Tat und Leben | 1723 |
| 182 | Himmelskönig, sei willkommen | 1714 |
| 191 | Gloria in excelsis Deo | c. 1745 |
| 249 | Oster-Oratorium (Easter Oratorio) | 1725 |
Several websites discuss the cantatas:
http://www.bach-cantatas.com/
http://en.wikipedia.org/wiki/Bach_cantata
https://en.wikipedia.org/wiki/List_of_Bach_cantatas
http://www.jsbachcantatas.com/index.htm
A BBC documentary on the John Eliot Gardiner Cantata Pilgrimage (58m01s):
Here is an rough outline/summary of the program,
showing the objective items (dates, places, BWVs performed)
but not so much the musicological content:
BWV 140, “Wachet auf”
Viscount Norwich welcome
Prince Charles introduction
Main title
John Eliot Gardiner begins his narrative
BWV 63 rehearsal
Gardiner on the essence of the project
Gardiner on the places where Bach worked
An (unidentified!) woman on the places for their performances
Rod McPhee
Gardiner rehearses
Gardiner in car, talks about visits to Germany with parents and Schutz
Weimar, Christmas Oratorio BWV 248/1
Gardiner enters Weimar
Herderkirche, Christmas, BWV 248/1
Video 2
Leipzig, Gardiner discusses Leipzig Bach statue, his death, etc.
Thomaskirche, "pearls before swine"
BWV 123
BWV 123 rehearsal
Gardiner on Bach's goals at Leipzig, Leipzig/Cothen relation
Nikolaikirche, Epiphany, BWV 65
train trip, Nicolas Robertson, tenor
Kati Debretzeni, violin
Marcel Poncele, oboe
Suzanne Flowers, soprano
Hamburg, BWV 32 performance
BWV 154
Jakobikirche, 1st Sunday after Epiphany, BWV 217 (unknown composer)
Video 3: Isabella de Sabata, "the evaluator"
train trip, Gardiner on Bach cantatas following the calender
Eisenach, the Georgenkirche, Gardiner on Bach's early years
BWV 51
Alison Bury, violin
BWV 4 rehearsal
Gardiner on Bach and death
Georgenkirche, Eisenach, Easter, BWV 4
auto trip to:
Arnstadt
Video 4
Nicolas Robertson, tenor, again
BWV 42
Gardiner on Arnstadt and its „Neue Kirche" aka St.-Bonifatius-Kirche aka Bachkirche and the Geyersbach story
Bachkirche on the Sunday after Easter, BWV 67
auto trip begins to Blythburgh
Blythburgh
BWV 227: Motet „Jesu meine Freude"
Gardiner on authenticity and the decreasing age of male maturation
Holy Trinity Church, Whitsun, BWV 175
shows removal of tour equipment from the church
Gardiner reports air port snafu which caused travel problem in going to Scotland
Video 5: air trip to Kirkwall
Kirkwall, Gardiner discusses setup issues
rehearsal
BWV 176
Gardiner on the Kirkwall St. Magnus Cathedral
St. Magnus Cathedral, Trinity Sunday, BWV 129
Gardiner on critics of the Pilgrimage
Bardiner discuuses Iona Abbey and the Bach death commemoration concert, BWV ???
St. David's, 11th Sunday after Trinity, Gardiner discusses the scripture reading and cantata BWV 199
St. David's Cathedral, Trinity 11, BWV 199
transition
Cologne, early December, BWV ???, Gardiner discusses the time of year
BWV 62
Video 6: BWV 62 rehearsal
Dietrich Henschel, bass
Gardiner continues rehearsal of BWV 62
Gardiner on musicians and religion
St. Maria im Kapitol, First Sunday in Advent, BWV 61: BWV61/4 bass recitative “Siehe” and BWV61/5 soprano aria “Öffne dich”
chorus and air trip to New York City
Gardiner on the affect of performing the pilgrimage on himself and the musicians
BWV ???
Nicolas Robertson, tenor, on the effect on him
New York City winter street scenes
Kati Debretzeni, violin
Matthew Truscott, violin
Julian Clarkson, bass, on the versatility and universality of Bach's music
Katharine Fuge, soprano, and other sopranos, on the Bach experience not sating them, but leaving them wanting more
St. Bartholomew's, First Sunday after Christmas, BWV 190
Gardiner on God's grace being communicated through the music of Bach
Christoph Wolff on Bach’s cantatas
Here are some excerpts from Christoph Wolff’s excellent biography
Johann Sebastian Bach: The Learned Musician.
[page 100, providing background for Bach’s early cantatas,
written at Arnstadt and Mühlhausen in 1707 and 1708,
when Bach was 22 and 23]
Stylistically, they display considerable mastery,
indeed a deliberate attempt at enhancing the scope and makeup
of the highly flexible genre labeled “church piece,” or early Lutheran cantata.
A biblical text was normally set in the manner of a concertato motet,
with particular attention lavished on musically suggestive individual words;
hymns and hymn melodies were treated in a variety of
homophonic and polyphonic ways;
and free lyrics were presented as tuneful arias, derived from strophic song.
The early cantatas of Bach (see Table 4.4) lack recitatives,
although he had encountered them in Buxtehude’s oratorios, if not before.
Unlike Bach’s other cantatas,
BWV 4 is based exclusively on the seven stanzas of a single text,
Martin Luther’s Easter hymn “Christ lag in Todes Banden.”
A cantata usually opened with an instrumental sinfonia or sonata (sonatina).
Though the instrumental forces in Bach’s earliest works remain modest,
he makes extremely effective use of instrumental combinations,
such as the soft quartet of two recorders and two gambas
in the mourning cantata BWV 106,
or the independent use of violoncello in BWV 150 and fagotto in BWV 196.
The overall degree of mastery by which these early pieces compare favorably
with the best church compositions from the first decade of the eighteenth century,
whether by Johann Philipp Krieger, Johann Kuhnau, Friedrich Wilhelm Zachow,
or others,
proves that the young Bach did not confine himself to playing organ and clavier
but, animated by his Buxtehude visit,
devoted considerable time and effort to vocal composition.
The very few such early works that exist, each a masterpiece in its own right,
must constitute a remnant only—partly a careful selection, partly a random bit—
from a larger body of regular compositions.
[pages 160-161, providing background for Bach’s cantatas written for Weimar in 1708-17,
when Bach was 23-32]
The “modern” German church cantata actually originated in 1700 near Weimar,
at the neighboring court of Saxe-Weissenfels.
The capellmeister there, Johann Philipp Krieger,
set to music the Geistliche Cantaten statt einer Kirchen-Music
(Sacred Cantatas Instead of a Church Music)
by the young Lutheran theologian and poet Erdmann Neumeister.
A native of the duchy, Neumeister was active at various places in central Germany
before moving to the distinguished chief pastorate of the St. Jacobi Church in Hamburg.
For his innovative collection of sacred poems,
which were closely related to the prescribed lessons throughout the ecclesiastical year,
Neumeister took as his model the libretto of the Italian sacred cantata.
(He also adopted the new name in place of the standard German term Kirchen-Music,
which designated the principal musical piece following the gospel lesson.)
Neumeister thus made use of the prevailing types of metric and rhymed verse
found not only in cantatas but also in opera librettos:
recitatives and arias,
free and varied literary forms that originated in the seventeenth-century Italian madrigal.
This kind of madrigalistic poetry was aimed at
advancing the expressive relationship between words and music
and therefore seemed eminently suitable for spiritual meditations set to music.
At the same time, the poetically driven decision to accept the recitative-aria form
immediately revolutionized the style of church music,
which was now closely and lastingly tied to the world of opera.
This connection made church music susceptible to further new developments,
such as the adoption of the da-capo aria,
the tripartite structure of the later seventeenth-century Venetian opera that,
with its repeat of the first part of the piece (ABA),
became the dominating aria type of the early eighteenth century.
Neumeister’s pure aria-recitative poetry was soon modified
to integrate two additional textual elements,
biblical dicta and strophic hymns.
This mixed type shows up first
in an anonymous annual cycle of cantata texts published in 1704,
written apparently by Duke Ludwig Ernst of Saxe-Meiningen
and set to music by his court cappellmeister, Johann Ludwig Bach,
a distant cousin of Johann Sebastian’s.
This cantata form used three textual components—
biblical prose, free poetry (aria, recitative), and chorale—
and was emulated in 1711 by the Darmstadt court poet Georg Christian Lehms
and simultaneously by Neumeister himself,
in his publication of cantata poems written for Georg Philipp Telemann,
then cappellmeister at the court of Saxe-Eisenach.
Originating as a literary-musical genre favored by the central German Protestant courts,
the modern church cantata benefited from the taste-setting influence of the aristocracy,
which insured its wide distribution and acceptance well beyond the courtly realm.
By the second decade of the eighteenth century,
it set the standard in cities and towns throughout Lutheran Germany.
Earlier, multisectional church pieces lacked any formal design,
with freely combined manner of a vocal concerto or concertato motet
(consisting of chorales and chorale elaborations with arias added in).
All of Bach’s pre-Weimar “cantatas” adhere to that form,
probably because it was not until Weimar
that he was given a chance to set madrigalistic poetry to music.
However, the recitatives and arias of the Hunt Cantata, BWV 208,
his first (albeit secular) composition of a Salomo Franck text in the new genre,
demonstrate how quickly and completely he mastered these unaccustomed forms.
[pages 254-255, providing background for Bach’s cantatas written for Leipzig,
mainly between 1723 and 1730, when Bach was 38-45]
According to Leipzig tradition,
the ecclesiastical year comprised regular Sundays and various kinds of feast days:
the high feasts of Christmas, Easter, and Pentecost
(three days each, with the first two formally celebrated as high feasts),
Ascension, the Marian feasts, St. John’s and St. Michael’s Days,
and the Reformation Festival.
The two Lenten periods extended
from the first Sunday in Advent (X-4) to Christmas and
from Invocavit Sunday (E-6) to Easter;
regular Sundays were those
from the first after Epiphany (January 6) to Estomihi (E-7),
from Quasimodogeniti (E+1) to Exaudi (E+6), and
from the first after Trinity (E+8) to the twenty-seventh.
[Compare Wikipedia’s “List of Bach cantatas by liturgical function”.]
Not celebrated as an ecclesiastical feast,
the Monday after St. Bartholomew’s Day (August 24)
was observed with a ceremonial service at St. Nicholas’s
marking the annual election of the city council.
The cantata performance filled the niche as
the principal music piece in the liturgy of the Mass, or main service,
formerly occupied by the Gospel motet,
which in the Lutheran tradition since the Reformation
had functioned to enhance the reading of the Gospel.
This motet, which immediately followed the Gospel lesson prescribed for the day
according to the ancient proper of the Mass,
generally highlighted one or more central verses from the Bible.
In the later seventeenth century,
the Gospel motet was replaced by a concertato motet with aria and chorale supplements
and after 1700 by the cantata,
at which time the multisectional cantata poetry moved from
merely highlighting a passage from the biblical lesson to interpreting it as well.
The theologian-poet Erdmann Neumeister initiated the development
that resulted in the cantata’s function as a musical sermon.
Therefore, all of Bach’s Leipzig cantata texts
followed a standard pattern grounded in the bifocal homiletic structure of a Lutheran sermon:
explication and application,
biblical exegesis and theological instruction succeeded by practical and moral advice.
The libretto ordinarily opens with a biblical dictum,
usually a passage from the prescribed Gospel lesson
that serves as a point of departure (opening chorus).
It is followed by scriptural, doctrinal, and contextual explanations (a recitative-aria pair),
leading to considerations of the consequences to be drawn from the lesson
and the admonition to conduct a true Christian life (another recitative-aria pair).
The text concludes with a congregational prayer in the form of a hymn stanza (chorale).
written at Arnstadt and Mühlhausen in 1707 and 1708,
when Bach was 22 and 23]
Stylistically, they display considerable mastery,
indeed a deliberate attempt at enhancing the scope and makeup
of the highly flexible genre labeled “church piece,” or early Lutheran cantata.
A biblical text was normally set in the manner of a concertato motet,
with particular attention lavished on musically suggestive individual words;
hymns and hymn melodies were treated in a variety of
homophonic and polyphonic ways;
and free lyrics were presented as tuneful arias, derived from strophic song.
The early cantatas of Bach (see Table 4.4) lack recitatives,
although he had encountered them in Buxtehude’s oratorios, if not before.
Unlike Bach’s other cantatas,
BWV 4 is based exclusively on the seven stanzas of a single text,
Martin Luther’s Easter hymn “Christ lag in Todes Banden.”
A cantata usually opened with an instrumental sinfonia or sonata (sonatina).
Though the instrumental forces in Bach’s earliest works remain modest,
he makes extremely effective use of instrumental combinations,
such as the soft quartet of two recorders and two gambas
in the mourning cantata BWV 106,
or the independent use of violoncello in BWV 150 and fagotto in BWV 196.
The overall degree of mastery by which these early pieces compare favorably
with the best church compositions from the first decade of the eighteenth century,
whether by Johann Philipp Krieger, Johann Kuhnau, Friedrich Wilhelm Zachow,
or others,
proves that the young Bach did not confine himself to playing organ and clavier
but, animated by his Buxtehude visit,
devoted considerable time and effort to vocal composition.
The very few such early works that exist, each a masterpiece in its own right,
must constitute a remnant only—partly a careful selection, partly a random bit—
from a larger body of regular compositions.
[pages 160-161, providing background for Bach’s cantatas written for Weimar in 1708-17,
when Bach was 23-32]
The “modern” German church cantata actually originated in 1700 near Weimar,
at the neighboring court of Saxe-Weissenfels.
The capellmeister there, Johann Philipp Krieger,
set to music the Geistliche Cantaten statt einer Kirchen-Music
(Sacred Cantatas Instead of a Church Music)
by the young Lutheran theologian and poet Erdmann Neumeister.
A native of the duchy, Neumeister was active at various places in central Germany
before moving to the distinguished chief pastorate of the St. Jacobi Church in Hamburg.
For his innovative collection of sacred poems,
which were closely related to the prescribed lessons throughout the ecclesiastical year,
Neumeister took as his model the libretto of the Italian sacred cantata.
(He also adopted the new name in place of the standard German term Kirchen-Music,
which designated the principal musical piece following the gospel lesson.)
Neumeister thus made use of the prevailing types of metric and rhymed verse
found not only in cantatas but also in opera librettos:
recitatives and arias,
free and varied literary forms that originated in the seventeenth-century Italian madrigal.
This kind of madrigalistic poetry was aimed at
advancing the expressive relationship between words and music
and therefore seemed eminently suitable for spiritual meditations set to music.
At the same time, the poetically driven decision to accept the recitative-aria form
immediately revolutionized the style of church music,
which was now closely and lastingly tied to the world of opera.
This connection made church music susceptible to further new developments,
such as the adoption of the da-capo aria,
the tripartite structure of the later seventeenth-century Venetian opera that,
with its repeat of the first part of the piece (ABA),
became the dominating aria type of the early eighteenth century.
Neumeister’s pure aria-recitative poetry was soon modified
to integrate two additional textual elements,
biblical dicta and strophic hymns.
This mixed type shows up first
in an anonymous annual cycle of cantata texts published in 1704,
written apparently by Duke Ludwig Ernst of Saxe-Meiningen
and set to music by his court cappellmeister, Johann Ludwig Bach,
a distant cousin of Johann Sebastian’s.
This cantata form used three textual components—
biblical prose, free poetry (aria, recitative), and chorale—
and was emulated in 1711 by the Darmstadt court poet Georg Christian Lehms
and simultaneously by Neumeister himself,
in his publication of cantata poems written for Georg Philipp Telemann,
then cappellmeister at the court of Saxe-Eisenach.
Originating as a literary-musical genre favored by the central German Protestant courts,
the modern church cantata benefited from the taste-setting influence of the aristocracy,
which insured its wide distribution and acceptance well beyond the courtly realm.
By the second decade of the eighteenth century,
it set the standard in cities and towns throughout Lutheran Germany.
Earlier, multisectional church pieces lacked any formal design,
with freely combined manner of a vocal concerto or concertato motet
(consisting of chorales and chorale elaborations with arias added in).
All of Bach’s pre-Weimar “cantatas” adhere to that form,
probably because it was not until Weimar
that he was given a chance to set madrigalistic poetry to music.
However, the recitatives and arias of the Hunt Cantata, BWV 208,
his first (albeit secular) composition of a Salomo Franck text in the new genre,
demonstrate how quickly and completely he mastered these unaccustomed forms.
[pages 254-255, providing background for Bach’s cantatas written for Leipzig,
mainly between 1723 and 1730, when Bach was 38-45]
According to Leipzig tradition,
the ecclesiastical year comprised regular Sundays and various kinds of feast days:
the high feasts of Christmas, Easter, and Pentecost
(three days each, with the first two formally celebrated as high feasts),
Ascension, the Marian feasts, St. John’s and St. Michael’s Days,
and the Reformation Festival.
The two Lenten periods extended
from the first Sunday in Advent (X-4) to Christmas and
from Invocavit Sunday (E-6) to Easter;
regular Sundays were those
from the first after Epiphany (January 6) to Estomihi (E-7),
from Quasimodogeniti (E+1) to Exaudi (E+6), and
from the first after Trinity (E+8) to the twenty-seventh.
[Compare Wikipedia’s “List of Bach cantatas by liturgical function”.]
Not celebrated as an ecclesiastical feast,
the Monday after St. Bartholomew’s Day (August 24)
was observed with a ceremonial service at St. Nicholas’s
marking the annual election of the city council.
The cantata performance filled the niche as
the principal music piece in the liturgy of the Mass, or main service,
formerly occupied by the Gospel motet,
which in the Lutheran tradition since the Reformation
had functioned to enhance the reading of the Gospel.
This motet, which immediately followed the Gospel lesson prescribed for the day
according to the ancient proper of the Mass,
generally highlighted one or more central verses from the Bible.
In the later seventeenth century,
the Gospel motet was replaced by a concertato motet with aria and chorale supplements
and after 1700 by the cantata,
at which time the multisectional cantata poetry moved from
merely highlighting a passage from the biblical lesson to interpreting it as well.
The theologian-poet Erdmann Neumeister initiated the development
that resulted in the cantata’s function as a musical sermon.
Therefore, all of Bach’s Leipzig cantata texts
followed a standard pattern grounded in the bifocal homiletic structure of a Lutheran sermon:
explication and application,
biblical exegesis and theological instruction succeeded by practical and moral advice.
The libretto ordinarily opens with a biblical dictum,
usually a passage from the prescribed Gospel lesson
that serves as a point of departure (opening chorus).
It is followed by scriptural, doctrinal, and contextual explanations (a recitative-aria pair),
leading to considerations of the consequences to be drawn from the lesson
and the admonition to conduct a true Christian life (another recitative-aria pair).
The text concludes with a congregational prayer in the form of a hymn stanza (chorale).
Johann Sebastian Bach Christ lag in Todesbanden BWV 4 (1707)
view playlist
[By the timings of the eight movements
(e.g. 3m45s for the soprano/alto duet, movement 3, versus 2),
this is the (2003) version at Amazon here,
not the 1994 version listed as #34 at bach-cantatas.com.]
| @Wikipedia, @IMSLP, @bach-cantatas.com Scoring (1707/1708 version): Soli: S A T B, Coro: S A T B, Cornetto, Trombone I-III, Violino I/II, Viola I/II, Continuo | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance and video information | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| Conductor | Ton Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Orchestra | Amsterdam Baroque Orchestra | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Choir | Amsterdam Baroque Choir | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Venue | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance date | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Subtitles | None | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance duration | 19m07s | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| @bach-cantatas.com | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Video type | Audio-only | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube uploader | Marcello Gandolfi | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube upload date | 2009-01-31 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube deletion date | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Soprano | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Alto | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Tenor | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Bass | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Libretto and links | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| # | German - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | German/English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | Koopman | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The somber and serious Cantata 4, Christ lag in Todesbanden, written for Easter, has a slow first movement (Sinfonia), but speeds up in the second. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1 | 1. Sinfonia Violino I/II, Viola I/II, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1-Koopman | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2 | 2. Coro Versus 1 S A T B Violino I/II, Viola I/II, Cornetto col Soprano, Trombone I coll' Alto, Trombone II col Tenore, Trombone III col Basso, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Christ lag in Todesbanden Für unsre Sünd gegeben, Er ist wieder erstanden Und hat uns bracht das Leben; Des wir sollen fröhlich sein, Gott loben und ihm dankbar sein Und singen halleluja, Halleluja! | Christ lay to death in bondage, For all our sin was given; He is once more arisen And hath us brought true life now; For this shall we joyful be, God giving praise and gratitude And singing hallelujah. Hallelujah! | Christ lag in Todesbanden Christ lay in death's bonds Für unsre Sünd gegeben, handed over for our sins, Er ist wieder erstanden he is risen again Und hat uns bracht das Leben; and has brought us life Des wir sollen fröhlich sein, For this we should be joyful, Gott loben und ihm dankbar sein praise God and be thankful to him Und singen halleluja, and sing allelluia, Halleluja! Alleluia! | 2-Koopman (2/Des-Koopman) 2/Des-Koopman (2/Gott-Koopman) 2/Gott-Koopman 2/Und-Koopman 2/Halleluja-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3 | 3. Versus 2 S A Cornetto col Soprano, Trombone I coll' Alto, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Den Tod niemand zwingen kunnt Bei allen Menschenkindern, Das macht' alles unsre Sünd, Kein Unschuld war zu finden. Davon kam der Tod so bald Und nahm über uns Gewalt, Hielt uns in seinem Reich gefangen. Halleluja! | That death no one could subdue Amongst all mankind's children; This was all caused by our sin, No innocence was found then. From this came, then, death so quick And seized power over us, Held us in his realm as captives. Hallelujah! | Den Tod niemand zwingen kunnt Nobody could overcome death Bei allen Menschenkindern, among all the children of mankind. Das macht' alles unsre Sünd, Our sin was the cause of all this, Kein Unschuld war zu finden. no innocence was to be found. Davon kam der Tod so bald Therefore death came so quickly Und nahm über uns Gewalt, and seized power over us, Hielt uns in seinem Reich gefangen. held us captive in his kingdom. Halleluja! Alleluia! | 3-Koopman (3/Davon-Koopman) 3/Davon-Koopman 3/Halleluja-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 4 | 4. Versus 3 T Violino I/II, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Jesus Christus, Gottes Sohn, An unser Statt ist kommen Und hat die Sünde weggetan, Damit dem Tod genommen All sein Recht und sein Gewalt, Da bleibet nichts denn Tods Gestalt, Den Stach'l hat er verloren. Halleluja! | Jesus Christ is God's own Son, To our abode he cometh And hath all sin now set aside, Whereby from death is taken All his rule and all his might; Here bideth nought but death's mere form, His sting hath fully perished. Hallelujah! | Jesus Christus, Gottes Sohn, Jesus Christ, God's son, An unser Statt ist kommen has come in our place Und hat die Sünde weggetan, and has put aside our sins, Damit dem Tod genommen and in this way from death has taken All sein Recht und sein Gewalt, all his rights and his power, Da bleibet nichts denn Tods Gestalt, here remains nothing but death's outward form Den Stach'l hat er verloren. it has lost its sting. Halleluja! Alleluia! | 4-Koopman (4/All-Koopman) 4/All-Koopman (4/Den-Koopman 4/Den-Koopman 4/Halleluja-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 5 | 5. Coro Versus 4 S A T B Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Es war ein wunderlicher Krieg, Da Tod und Leben rungen, Das Leben behielt den Sieg, Es hat den Tod verschlungen. Die Schrift hat verkündigt das, Wie ein Tod den andern fraß, Ein Spott aus dem Tod ist worden. Halleluja! | It was an awesome thing that strife, When death and life(1) did wrestle; And life did the vict'ry win, For it hath death devoured. The Scripture foretold it so,(2) How one death the other ate; To scorn has now death been given. Hallelujah! | Es war ein wunderlicher Krieg, It was a strange battle Da Tod und Leben rungen, where death and life struggled. Das Leben behielt den Sieg, Life won the victory, Es hat den Tod verschlungen. it has swallowed up death. Die Schrift hat verkündigt das, Scripture has proclaimed Wie ein Tod den andern fraß, how one death ate the other, Ein Spott aus dem Tod ist worden. death has become a mockery. Halleluja! Alleluia! | 5-Koopman 5/Die-Koopman 5/Halleluja-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 6 | 6. Versus 5 B Violino I/II, Viola I/II, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Hier ist das rechte Osterlamm, Davon Gott hat geboten, Das ist hoch an des Kreuzes Stamm In heißer Lieb gebraten, Das Blut zeichnet unsre Tür, Das hält der Glaub dem Tode für, Der Würger kann uns nicht mehr schaden. Halleluja! | Here is the spotless Easter lamb, Whereof God hath commanded; It is high on the cross's branch In ardent love now burning; The blood signeth now our door, Our faith doth it to death display, The strangler can now no more harm us. Hallelujah! | Hier ist das rechte Osterlamm, Here is the true Easter lamb Davon Gott hat geboten, that God has offered Das ist hoch an des Kreuzes Stamm which high on the trunk of the cross In heißer Lieb gebraten, is roasted in burning love, Das Blut zeichnet unsre Tür, whose blood marks our doors, Das hält der Glaub dem Tode für, which faith holds in front of death, Der Würger kann uns nicht mehr schaden. the strangler can harm us no more Halleluja! Alleluia! | 6-Koopman 6/Das_ist-Koopman 6/Das_blut-Koopman 6/Der_Würger-Koopman 6/Halleluja-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 7 | 7. Versus 6 S T Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| So feiern wir das hohe Fest Mit Herzensfreud und Wonne, Das uns der Herre scheinen lässt, Er ist selber die Sonne, Der durch seiner Gnade Glanz Erleuchtet unsre Herzen ganz, Der Sünden Nacht ist verschwunden. Halleluja! | So let us keep the great high feast With heartfelt joy and pleasure, Which us the Lord makes manifest; He is himself the sunlight, And through his own shining grace He filleth all our hearts with light; The sin-filled night now hath vanished. Hallelujah! | So feiern wir das hohe Fest Thus we celebrate the high feast Mit Herzensfreud und Wonne, with joy in our hearts and delight Das uns der Herre scheinen läßt, that the Lord lets shine for us, Er ist selber die Sonne, He is himself the sun Der durch seiner Gnade Glanz who through the brilliance of his grace Erleuchtet unsre Herzen ganz, enlightens our hearts completely, Der Sünden Nacht ist verschwunden. the night of sin has disappeared. Halleluja! Alleluia! | 7-Koopman 7/Der_durch-Koopman 7/Der_Sünden-Koopman 7/Halleluja-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 8 | 8. Versus 7 S A T B Violino I/II e Cornetto col Soprano, Viola I e Trombone I coll' Alto, Viola II e Trombone II col Tenore, Trombone III col Basso, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Wir essen und leben wohl In rechten Osterfladen, Der alte Sauerteig nicht soll Sein bei dem Wort der Gnaden, Christus will die Koste sein Und speisen die Seel allein, Der Glaub will keins andern leben. Halleluja! | We eat now and live indeed On this true bread of Easter; The ancient leaven shall not Bide with the word of favor; Christ would be our sustenance And nourish the soul alone, For faith would on none other live. Hallelujah! | Wir essen und leben wohl We eat and live well In rechten Osterfladen, on the right Easter cakes, Der alte Sauerteig nicht soll the old sour-dough should not Sein bei dem Wort Gnaden, be with the word grace, Christus will die Koste sein Christ will be our food Und speisen die Seel allein, and alone feed the soul, Der Glaub will keins andern leben. faith will live in no other way. Halleluja! Alleluia! | 8-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
BWV 11, Lobet Gott in seinen Reichen [Himmelfahrts-Oratorium / Ascension Oratorio] (1735)
@Wikipedia; @bach-cantatas.com; German text; German-English text; view playlist
| @Wikipedia, @IMSLP, @bach-cantatas.com | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance and video information | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| @bach-cantatas.com | 3 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Conductor | Nikolaus Harnoncourt | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Orchestra | Concentus Musicus Wien | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Choir | Wiener Sängerknaben & Chorus Viennensis | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Venue | Palais Rasumovsky, Casino Zögernitz, Vienna, Austria | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance date | 1972/73 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Subtitles | None | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance duration | 23m45s | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Video type | Audio-only | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube uploader | scrymgeour34 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube upload date | 2012-01-03 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube deletion date | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Dramatis Personæ | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Soprano | Boy Soprano: Soloist of the Wiener Sängerknaben | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Alto | Paul Esswood | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Tenor | Kurt Equiluz | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Bass | Max van Egmond | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Libretto and links | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| # | German - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | German/English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | Harnoncourt | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1 | 1. Sinfonia Tromba I-III, Tamburi, Oboe I/II, Violino I/II, Viola, Organo, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1-Harnoncourt | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2 | 2. Coro [Psalm 75:2] Tromba I-III, Tamburi, Oboe I/II, Violino I/II, Viola, Continuo [Same as BWV 232/9, “Gratias agimus tibi”.] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Wir danken dir, Gott, wir danken dir und verkündigen deine Wunder. | We give thee thanks, God, we give thee thanks and proclaim to the world thy wonders. | Wir danken dir, Gott, wir danken dir und verkündigen deine Wunder. We thank you, God, we thank you and proclaim your wonders. | 2-Harnoncourt | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3 | 3. Aria T Violino solo, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Halleluja, Stärk und Macht Sei des Allerhöchsten Namen! Zion ist noch seine Stadt, Da er seine Wohnung hat, Da er noch bei unserm Samen An der Väter Bund gedacht. | Hallelujah, strength and might To the name of God Almighty! Zion is his city still, Where he doth his dwelling keep, Where he still with our descendants Keeps our fathers' covenant. | Halleluja, Stärk und Macht Alleluia, power and might Sei des Allerhöchsten Namen! be to the name of the Highest. Zion ist noch seine Stadt, Zion is still his city, Da er seine Wohnung hat, where he has his dwelling, Da er noch bei unserm Samen where still by our posterity An der Väter Bund gedacht. he thinks of the covenant with our fathers. | (3-Harnoncourt) 3-Harnoncourt (3/Zion-Harnoncourt) 3/Zion-Harnoncourt (3/Hallelujah-Harnoncourt) 3/Hallelujah-Harnoncourt (3/riternello-Harnoncourt) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 4 | 4. Recitativo B Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Gottlob! es geht uns wohl! Gott ist noch unsre Zuversicht, Sein Schutz, sein Trost und Licht Beschirmt die Stadt und die Paläste, Sein Flügel hält die Mauern feste. Er lässt uns allerorten segnen, Der Treue, die den Frieden küsst, Muss für und für Gerechtigkeit begegnen. Wo ist ein solches Volk wie wir, Dem Gott so nah und gnädig ist! | Praise God! We are so blest! God is still our sure confidence, His shield, his help and light Protect the town and all its mansions, His pinions hold the walls unshaken.(1) He gives us ev'rywhere his blessing, And faithfulness which kisseth peace Must evermore With justice meet together.(2) Where is a people such as we, Whom God so near and gracious is? | Gottlob! es geht uns wohl! God be praised ! All goes well for us! Gott ist noch unsre Zuversicht, God is our confidence, Sein Schutz, sein Trost und Licht his protection, consolation and light Beschirmt die Stadt und die Paläste, guard the town and the palaces, Sein Flügel hält die Mauern feste. his wings keep the walls secure. Er läßt uns allerorten segnen, He makes us blessed everywhere, Der Treue, die den Frieden küßt, Faithfulness, that kisses peace, Muß für und für must for ever and ever Gerechtigkeit begegnen. meet with justice. Wo ist ein solches Volk wie wir, Where is there such a people as we Dem Gott so nah und gnädig ist! to whom God is so near and merciful? | 4-Harnoncourt | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 5 | 5. Aria S Oboe, Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Gedenk an uns mit deiner Liebe, Schleuß uns in dein Erbarmen ein! Segne die, so uns regieren, Die uns leiten, schützen, führen, Segne, die gehorsam sein! | Remember us with thine affection, Embrace us in thy mercy's arms! Bless all those who us now govern, Those who lead us, guard us, guide us, Bless those who obey as well! | Gedenk an uns mit deiner Liebe, Think of us with your love, Schleuß uns in dein Erbarmen ein! enclose us in your pity! Segne die, so uns regieren, Bless those who govern us, Die uns leiten, schützen, führen, those who guide, protect and lead us, Segne, die gehorsam sein! bless those who are obedient! | (5-Harnoncourt) 5-Harnoncourt | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 6 | 6. Recitativo A e Coro Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Vergiß es ferner nicht, mit deiner Hand Uns Gutes zu erweisen; So soll Dich unsre Stadt und unser Land, Das deiner Ehre voll, Mit Opfern und mit Danken preisen, Und alles Volk soll sagen: Amen! | Forget not further still with thine own hand Prosperity to give us; Thus shall Now this our town and this our land, Here with thine honor filled, With sacrifice and thanks extol thee, And all the people shall say: Amen!(3) | Vergiß es ferner nicht, mit deiner Hand For the future do not forget with your hand Uns Gutes zu erweisen; to bestow your goodness on us; So soll dich unsre Stadt und unser Land, and so our town and our land, Das deiner Ehre voll, full of your honour, Mit Opfern und mit Danken preisen, will praise you with offerings and thanksgiving, Und alles Volk soll sagen: and all the people will say: Amen! Amen! | 6-Harnoncourt | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 7 | 7. Aria A Organo obligato, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Halleluja, Stärk und Macht Sei des Allerhöchsten Namen! | Hallelujah, strength and might To the name of God Almighty! | Halleluja, Stärk und Macht Alleluia, power and might Sei des Allerhöchsten Namen! be to the name of the Highest! | 7-Harnoncourt | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 8 | 8. Choral [Johann Gramann, verse 5 of “Nun lob, mein Seel, den Herren,” 1548 [sic; 1525] (Wackernagel, I, #455).] Tromba I-III, Tamburi, Oboe I/II, Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Sei Lob und Preis mit Ehren Gott Vater, Sohn, Heiligem Geist! Der woll in uns vermehren, Was er uns aus Gnaden verheißt, Dass wir ihm fest vertrauen, Gänzlich verlassn auf ihn, Von Herzen auf ihn bauen, Dass unsr Herz, Mut und Sinn Ihm tröstlich solln anhangen; Drauf singen wir zur Stund: Amen, wir werden's erlangen, Glaubn wir aus Herzens Grund. | Now laud and praise with honor God Father, Son, and Holy Ghost! That he in us make flourish What he to us in mercy pledged, That we should firmly trust him, In full on him relying, Sincerely in him hoping; That our heart, mind and will To him with joy be fastened; To this now let us sing: Amen, we shall achieve it, We trust with all our heart.(4) | Sei Lob und Preis mit Ehren Let there be glory, praise and honour Gott Vater, Sohn, Heiligem Geist! to God the Father, Son and Holy Spirit! Der woll in uns vermehren, who wants to increase in us Was er uns aus Gnaden verheißt, what he promised to us in his mercy, Daß wir ihm fest vertrauen, so that we firmly trust in him, Gänzlich verlassn auf ihn, rely completely on him, Von Herzen auf ihn bauen, in our hearts build on him, Daß unsr Herz, Mut und Sinn so that our heart, courage and mind Ihm tröstlich solln anhangen; may depend on him for comfort; Drauf singen wir zur Stund: therefore we sing at this hour: Amen, wir werden's erlangen, Amen, we shall achieve this, Glaubn wir aus Herzens Grund. we believe from the bottom of our heart. | 8-Harnoncourt | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
BWV 31, Der Himmel lacht! Die Erde jubilieret (1715)
@Wikipedia; @bach-cantatas.com; German text; German-English text; view playlist
| @Wikipedia, @IMSLP, @bach-cantatas.com | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance and video information | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| @bach-cantatas.com | 10 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Conductor | Nikolaus Harnoncourt | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Orchestra | Concentus Musicus Wien | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Choir | Wiener Sängerknaben & Chorus Viennensis | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Venue | Casino Zögernitz, Vienna, Austria | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance date | 1967 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Subtitles | None | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance duration | 3m51s | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Video type | Audio-only | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube uploader | Francis1930 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube upload date | 2010-12-03 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube deletion date | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Libretto and links | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| # | German - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | German/English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | Harnoncourt 1967 alternative YouTube upload | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1 | 1. Coro doppio [Revelations 12:10 (altered).] Tromba I-III, Tamburi, Oboe I-III, Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Nun ist das Heil und die Kraft und das Reich und die Macht unsers Gottes seines Christus worden, weil der verworfen ist, der sie verklagete Tag und Nacht vor Gott. | Now is the health and the strength and the kingdom and might of our God and of his Christ come to us, for he is cast down now who was accusing them day and night to God. | Nun ist das Heil und die Kraft und das Reich und die Macht unsers Gottes Now is the salvation and the strength and the kingdom and the might of our God seines Christus worden, become [those] of his Christ, weil der verworfen ist, since he has been cast out der sie verklagete Tag und Nacht vor Gott. who complained about them day and night before God. | 1-Harnoncourt | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
between the bass voices of Choir I and the lower strings.
Creating a feeling of rising excitement,
the important words are emphasized on strong beats,
each one higher in pitch than the previous.
We can easily imagine ourselves walking up the stairs
until we reach a higher plane of calm and peace.
A joy-motif is combined with a motif of strength in the rhythm,
which represents the defeat of Satan.
The sopranos and the basses of Choir I begin the fugal theme,
imitated by the other voices.
Choir II bursts in with a great force upon their fugue.
In the second section, the fugue is altered by the two choirs
tossing fragments of their declamation back and forth between their sections.
The two choirs unite finally to bring the movement to an impressive climax.
This is masterpiece of Bach's mature chorale writhing in motet style.
There is a feeling of mystic power that makes it more than
a hymn of triumph over the force of evil.
It seems to be Bach's personal faith in God's supremacy.
This is one of those pieces, which actually plays itself,
reminding works like Ravel's Boléro.
All the components that convey power and triumph and keep its momentum
are already embedded in the work,
even before the first note is played.
Therefore it carries easily the message in every performance,
almost never fails to sweep the listeners and uplift their spirit.
| @Wikipedia, @IMSLP, @bach-cantatas.com | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance and video information | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| @bach-cantatas.com | 25 | 26 | Not there | 2 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Conductor | Karl Richter | Gustav Leonhardt | Helmuth Rilling | Robert King | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Orchestra | Münchener Bach-Orchester | Leonhardt-Consort | Real Filharmonia de Galicia | The King’s Consort | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Venue | Doopsgezinde Kerk, Haarlem, the Netherlands | Auditoruo de Galicia, Santiago de Compostela, Spain | Varaždinske barokne večeri Varazdin Baroque Evenings | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance date | 1972 | 1974-12 | 2011-02-24 | 2011-10-02 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Subtitles | None | None | None | None | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance duration | 17m56s | 17m55s | 20m46s | 19m09s | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Video type | Audio-only | Audio-only | 360p 16:10 | 480p 4:3 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube uploader | voiceofdamascus (?) | MusicArt61 | DKordubaylo | cruxfidelisblog | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube upload date | 2013-01-03 | 2012-03-13 | 2011-03-24 | 2011-11-14 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube deletion date | blocked in U.S. 2013-05-05 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Dramatis Personæ | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Soprano | Edith Mathis | Marianne Kweksilber | Lenneke Ruiten | Lorna Anderson | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Trumpet | Pierre Thibaud | Don Smithers | Javier Simó | Crispian Steele-Perkins | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Libretto and links | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| # | German - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | German/English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | Richter 1972 | Leonhardt 1974 | Rilling 2011 | King 2011 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1 | 1. Aria S Tromba, Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Jauchzet Gott in allen Landen! Was der Himmel und die Welt An Geschöpfen in sich hält, Müssen dessen Ruhm erhöhen, Und wir wollen unserm Gott Gleichfalls itzt ein Opfer bringen, Dass er uns in Kreuz und Not Allezeit hat beigestanden. | Praise ye God in ev'ry nation! All that heaven and the world Of created order hold Must be now his fame exalting, And we would to this our God / With the angels let's today /(1) Likewise now present an off'ring / To our God a song of praise sing/(2) For that he midst cross and woe / For that he midst spite and pain /(3) Always hath stood close beside us. | Jauchzet Gott in allen Landen! Shout for joy to God in every land! Was der Himmel und die Welt An Geschöpfen in sich hält, All the creatures contained in heaven and earth Müssen dessen Ruhm erhöhen, must exalt his glory, Und wir wollen unserm Gott and to our God we would Gleichfalls itzt ein Opfer bringen, now likewise bring an offering Dass er uns in Kreuz und Not since in affliction and distress Allezeit hat beigestanden. at all times he has stood by us. | (1-Richter) 1-Richter (1/Was-Richter) 1/Was-Richter (1/Und-Richter) 1/Und-Richter 1/Jauczet-Richter (1/Jauchzet-Richter) 1/Jauchzet-Richter (1/riternello-Richter) | (1-Leonhardt) 1-Leonhardt (1/Was-Leonhardt) 1/Was-Leonhardt (1/Und-Leonhardt) 1/Und-Leonhardt 1/Jauchzet-Leonhardt (1/Jauchzet-Leonhardt) 1/Jauchzet-Leonhardt (1/riternello-Leonhardt) | (1-Rilling) 1-Rilling (1/Was-Rilling) 1/Was-Rilling (1/Und-Rilling) 1/Und-Rilling 1/Jauchzet-Rilling (1/Jauchzet-Rilling) 1/Jauchzet-Rilling (1/riternello-Rilling) | (1-King) 1-King (1/Was-King) 1/Was-King (1/Und-King) 1/Und-King 1/Jauchzet-King (1/Jauchzet-King) 1/Jauchzet-King (1/riternello-King) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2 | 2. Recitativo S Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Wir beten zu dem Tempel an, Da Gottes Ehre wohnet, Da dessen Treu, So täglich neu, Mit lauter Segen lohnet. Wir preisen, was er an uns hat getan. Muss gleich der schwache Mund von seinen Wundern lallen, So kann ein schlechtes Lob ihm dennoch wohlgefallen. | In prayer we now thy temple face,(4) Where God's own honor dwelleth,(5) Where his good faith, Each day renewed, The purest bliss dispenseth. We praise him for what he for us hath done. Although our feeble voice before his wonders stammers, Perhaps e'en modest praise to him will yet bring pleasure. | Wir beten zu dem Tempel an, We pray at the temple Da Gottes Ehre wohnet, where God's honour dwells, Da dessen Treu, where his faithfulness So täglich neu, that is renewed every day Mit lauter Segen lohnet. Rewards us with unmixed blessing. Wir preisen, was er an uns hat getan. We praise what he has done for us. Muss gleich der schwache Mund von seinen Wundern lallen, Even if our weak mouths have to babble about his wonders, So kann ein schlechtes Lob ihm dennoch wohlgefallen. yet imperfect praise can still please him. | 2-Richter | 2-Leonhardt | 2-Rilling | 2-King | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3 | 3. Aria S Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Höchster, mache deine Güte Ferner alle Morgen neu. So soll vor die Vatertreu Auch ein dankbares Gemüte Durch ein frommes Leben weisen, Dass wir deine Kinder heißen. | Highest, make thy gracious goodness Henceforth ev'ry morning new. / E'en in our dominion new. /(6) Thus before thy father's love Should as well the grateful spirit Through a righteous life show plainly That we are thy children truly. | Höchster, mache deine Güte Most High God, make your goodness Ferner alle Morgen neu. new every morning from now on. So soll vor die Vatertreu Then to your fatherly love Auch ein dankbares Gemüte a thankful spirit in us in turn Durch ein frommes Leben weisen, through a devout life will show Dass wir deine Kinder heißen. that we are called your children. | (3-Richter) 3-Richter (3/So-Richter) 3/So-Richter (3/Höchster-Richter) 3/Höchster-Richter (3/riternello-Richter) | (3-Leonhardt) 3-Leonhardt (3/So-Leonhardt) 3/So-Leonhardt (3/Höchster-Leonhardt) 3/Höchster-Leonhardt (3/riternello-Leonhardt) | (3-Rilling) 3-Rilling (3/So-Rilling 3/So-Rilling (3/Höchster-Rilling) 3/Höchster-Rilling (3/riternello-Rilling) | (3-King) 3-King (3/So-King) 3/So-King (3/Höchster-King) 3/Höchster-King (3/riternello-King) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 4 | 4. Choral S Violino I/II, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Sei Lob und Preis mit Ehren Gott Vater, Sohn, Heiligem Geist! Der woll in uns vermehren, Was er uns aus Gnaden verheißt, Dass wir ihm fest vertrauen, Gänzlich uns lass'n auf ihn, Von Herzen auf ihn bauen, Dass uns'r Herz, Mut und Sinn Ihm festiglich anhangen; Drauf singen wir zur Stund: Amen, wir werdn's erlangen, Glaub'n wir aus Herzensgrund. | Now laud and praise with honor God Father, Son, and Holy Ghost! May he in us make increase What he us with grace hath pledged, So that we firmly trust him, Entirely turn to him, Make him our true foundation, That our heart, mind and will Steadfast to him be cleaving; To this we sing here now: Amen, we shall achieve it, This is our heart's firm faith! | Sei Lob und Preis mit Ehren May there be praise and glory and honour Gott Vater, Sohn, Heiligem Geist! For God the Father, Son and Holy Spirit! Der woll in uns vermehren, May it be his will to increase in us Was er uns aus Gnaden verheißt, what he promises us through his grace, Dass wir ihm fest vertrauen, so that we firmly trust in him, Gänzlich uns lass'n auf ihn. rely completely on him, Von Herzen auf ihn bauen, from our hearts build on him, Dass uns'r Herz, Mut und Sinn so that our heart, spirit and mind Ihm festiglich anhangen; depend steadfastly on him; Drauf singen wir zur Stund: about this we now sing: Amen, wir werdn's erlangen, Amen, we shall achieve this, Glaub'n wir aus Herzensgrund. if we believe from the bottom of our hearts. | (4-Richter) 4-Richter (4/Der-Richter) 4/Der-Richter (4/Dass-Richter) 4/Dass-Richter (4/Von-Richter) 4/Von-Richter (4/Ihm-Richter) 4/Ihm-Richter (4/Amen-Richter) 4/Amen-Richter (4/riternello-Richter) | (4-Leonhardt) 4-Leonhardt (4/Der-Leonhardt) 4/Der-Leonhardt (4/Dass-Leonhardt) 4/Dass-Leonhardt (4/Von-Leonhardt) 4/Von-Leonhardt (4/Ihm-Leonhardt) 4/Ihm-Leonhardt (4/Amen-Leonhardt) 4/Amen-Leonhardt (4/riternello-Leonhardt) | (4-Rilling) 4-Rilling (4/Der-Rilling) 4/Der-Rilling (4/Dass-Rilling) 4/Dass-Rilling (4/Von-Rilling) 4/Von-Rilling (4/Ihm-Rilling) 4/Ihm-Rilling (4/Amen-Rilling) 4/Amen-Rilling (4/riternello-Rilling) | (4-King) 4-King (4/Der-King) 4/Der-King (4/Dass-King) 4/Dass-King (4/Von-King) 4/Von-King (4/Ihm-King) 4/Ihm-King (4/Amen-King) 4/Amen-King (4/riternello-King) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 5 | 5. Aria S Tromba, Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Alleluja! | Alleluja! | Alleluja! Alleluja! | 5-Richter (5/Alleluja-Richter) 5/Alleluja-Richter | 5/Alleluja-Leonhardt (5/Alleluja-Leonhardt) 5/Alleluja-Leonhardt | 5/Alleluja-Rilling (5/Alleluja-Rilling) 5/Alleluja-Rilling | 5/Alleluja-King (5/Alleluja-King) 5/Alleluja-King | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Final material | End_of_performance-Rilling | End_of_performance-King | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| @Wikipedia, @IMSLP, @bach-cantatas.com | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance and video information | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| @bach-cantatas.com | 22 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Conductor | Nikolaus Harnoncourt | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Orchestra | Concentus Musicus Wien | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Choir | Arnold Schoenberg Chor | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Venue | Kloster Melk Benedictine Monastery | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance date | 2000 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Subtitles | None | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance duration | 16m03s | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Video type | 360p 16:9 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube uploader | HaydnHouse04Mar1887 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube upload date | 2013-02-25 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube deletion date | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Dramatis Personæ | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Soprano | Christine Schäfer | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Tenor | Ian Bostridge | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Bass | Christopher Maltman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Libretto and links | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| # | German - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | German/English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | Harnoncourt Melk | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1 | 1. Coro Violino I/II, Viola I/II, Fagotto, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Nun komm, der Heiden Heiland, Der Jungfrauen Kind erkannt, Des sich wundert alle Welt, Gott solch Geburt ihm bestellt. | Now come, the gentiles' Savior, As the Virgin's child revealed, At whom marvels all the world That God him this birth ordained. | Nun komm, der Heiden Heiland, Now come, saviour of the gentiles, Der Jungfrauen Kind erkannt, recognised as the child of the Virgin, Des sich wundert alle Welt, at whom all the world is amazed Gott solch Geburt ihm bestellt. that God decreed such a birth for him. | (1-Harnoncourt) 1-Harnoncourt (1/Der-Harnoncourt) 1/Der-Harnoncourt | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2 | 2. Recitativo T Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Der Heiland ist gekommen, Hat unser armes Fleisch und Blut An sich genommen Und nimmet uns zu Blutsverwandten an. O allerhöchstes Gut, Was hast du nicht an uns getan? Was tust du nicht Noch täglich an den Deinen? Du kömmst und lässt dein Licht Mit vollem Segen scheinen. | To us is come the Savior, Who hath our feeble flesh and blood Himself now taken And taketh us as kinsmen of his blood. O treasure unexcelled, What hast thou not for us then done? What dost thou not Yet daily for thy people? Thy coming makes thy light Appear with richest blessing. | Der Heiland ist gekommen, The saviour has come, Hat unser armes Fleisch und Blut and has our humble flesh and blood An sich genommen taken on himself Und nimmet uns zu Blutsverwandten an. and accepts us as his blood relations. O allerhöchstes Gut, O highest goodness of all, Was hast du nicht an uns getan? what have you not done for us ? Was tust du nicht What do you not do Noch täglich an den Deinen? still every day for your people? Du kömmst und läßt dein Licht You come and let your light Mit vollem Segen scheinen. shine with full blessing. | 2-Harnoncourt | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3 | 3. Aria T Violino I/II, Viola I/II, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Komm, Jesu, komm zu deiner Kirche Und gib ein selig neues Jahr! Befördre deines Namens Ehre, Erhalte die gesunde Lehre Und segne Kanzel und Altar! | Come, Jesus, come to this thy church now And fill with blessing the new year! Advance thy name in rank and honor, Uphold thou ev'ry wholesome doctrine, The pulpit and the altar bless! | Komm, Jesu, komm zu deiner Kirche Come, Jesus, come to your church Und gib ein selig neues Jahr! and grant us a blessed new year! Befördre deines Namens Ehre, Increase the honour of your name, Erhalte die gesunde Lehre Preserve sound teaching Und segne Kanzel und Altar! and bless pulpit and altar! | (3-Harnoncourt) 3-Harnoncourt (3/Befördre-Harnoncourt) 3/Befördre-Harnoncourt 3/Komm-Harnoncourt (3/riternello-Harnoncourt) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 4 | 4. Recitativo B Violino I/II, Viola I/II, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Siehe, ich stehe vor der Tür und klopfe an. So jemand meine Stimme hören wird und die Tür auftun, zu dem werde ich eingehen und das Abendmahl mit ihm halten und er mit mir. | See now, I stand before the door and on it knock. If anyone my voice will render heed and make wide the door, I will come into his dwelling and take with him the evening supper, and he with me. | Siehe, ich stehe vor der Tür und klopfe an. See, I stand before the door and knock. So jemand meine Stimme hören wird If anyone will hear my voice und die Tür auftun, and open the door zu dem werde ich eingehen I shall go in und das Abendmahl mit ihm halten und er mit mir. and have supper with him and he with me. | 4-Harnoncourt | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 5 | 5. Aria S Violoncelli, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Öffne dich, mein ganzes Herze, Jesus kömmt und ziehet ein. Bin ich gleich nur Staub und Erde, Will er mich doch nicht verschmähn, Seine Lust an mir zu sehn, Dass ich seine Wohnung werde. O wie selig werd ich sein! | Open wide, my heart and spirit, Jesus comes and draws within. Though I soon be earth and ashes, Me he will yet not disdain, That his joy he find in me And that I become his dwelling. Oh, how blessed shall I be! | Öffne dich, mein ganzes Herze, Open, my whole heart Jesus kömmt und ziehet ein. Jesus comes and enters within. Bin ich gleich nur Staub und Erde, Though I am only like dust and earth, Will er mich doch nicht verschmähn, he does not want to scorn me Seine Lust an mir zu sehn, but to see his pleasure in me Daß ich seine Wohnung werde. so that I become his dwelling. O wie selig werd ich sein! Oh how blessed I shall be! | (5-Harnoncourt) 5-Harnoncourt (5/Bin-Harnoncourt) 5/Bin-Harnoncourt (5/Öffne-Harnoncourt) 5/Öffne-Harnoncourt (5/riternello-Harnoncourt) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 6 | 6. Choral Viola I coll' Alto, Viola II col Tenore, Fagotto col Basso, Violino I/II, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Amen, amen! Komm, du schöne Freudenkrone, bleib nicht lange! Deiner wart ich mit Verlangen. | Amen, amen! Come, thou lovely crown of gladness, do not tarry(2). Here I wait for thee with longing. | Amen, amen! Komm, du schöne Freudenkrone, bleib nicht lange! Come, you beautiful crown of joy, do not delay for a long time ! Deiner wart ich mit Verlangen. I wait for you with longing. | 6-Harnoncourt end_of_performance-Harnoncourt | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| @Wikipedia, @IMSLP, @bach-cantatas.com | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance and video information | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| @bach-cantatas.com | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Conductor | Salamon Kamp | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Orchestra | Lutherania Choir & Chamber orchestra | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Choir | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Venue | Kelenföldi református templom Calvinist Church, Budapest | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance date | 2006-12-06 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Subtitles | None | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance duration | 21m25s | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Video type | 360p 4:3 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube uploader | lutherania | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube upload date | 2011-03-12 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube deletion date | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Dramatis Personæ | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Soprano | Mária Zádori | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Alto | Kornélia Bakos | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Tenor | Zoltán Megyesi | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Bass | László Jekl | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Libretto and links | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| # | German - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | German/English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | Lutherania 2006 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1 | 1. Coro [Martin Luther, verse 1 of the German adaptation of Veni redemptor gentium, 1524 (Wackernagel, III, #16)] Oboe I/II, Violino I/II, Viola, Corno col Soprano, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Nun komm, der Heiden Heiland, Der Jungfrauen Kind erkannt, Des sich wundert alle Welt, Gott solch Geburt ihm bestellt. | Now come, the gentiles' Savior, As the Virgin's child revealed, At whom marvels all the world, That God him this birth ordained. | Nun komm, der Heiden Heiland, Now come, saviour of the gentiles, Der Jungfrauen Kind erkannt, recognised as the child of the Virgin, Des sich wundert alle Welt, at whom all the world is amazed, Gott solch Geburt ihm bestellt. that God decrees such a birth for him. | (1-Lutherania) 1-Lutherania (1/riternello-Lutherania) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2 | 2. Aria T [based loosely on verses 2-3] Oboe I/II, Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Bewundert, o Menschen, dies große Geheimnis: Der höchste Beherrscher erscheinet der Welt. Hier werden die Schätze des Himmels entdecket, Hier wird uns ein göttliches Manna bestellt, O Wunder! die Keuschheit wird gar nicht beflecket. | Admire, all ye people, this mystery's grandeur: The highest of rulers appears to the world. Here are all the treasures of heaven discovered, Here for us a manna divine is ordained, O wonder! Virginity bideth unblemished. | Bewundert, o Menschen, dies große Geheimnis: Admire, mankind, this great mystery, Der höchste Beherrscher erscheinet der Welt. the highest ruler appears to the world. Hier werden die Schätze des Himmels entdecket, Here the treasures of heaven are revealed, Hier wird uns ein göttliches Manna bestellt, here a divine manna is presented to us, O Wunder! die Keuschheit wird gar nicht beflecket. O marvel! Chastity can not be defiled. | (2-Lutherania) 2-Lutherania (2/Hier-Lutherania) 2/Hier-Lutherania (2/Bewundert-Lutherania) 2/Bewundert-Lutherania (2/riternello-Lutherania) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3 | 3. Recitativo B [based on verses 4-5] Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| So geht aus Gottes Herrlichkeit und Thron Sein eingeborner Sohn. Der Held aus Juda bricht herein, Den Weg mit Freudigkeit zu laufen Und uns Gefallne zu erkaufen. O heller Glanz, o wunderbarer Segensschein! | Now comes from God's great majesty and throne His one begotten Son. The man from Judah now appears To run his course with gladness(1) And us the fallen bring redemption. O splendid light, O sign of grace most wonderful! | So geht aus Gottes Herrlichkeit und Thron Thus from God's glory and throne Sein eingeborner Sohn. goes forth his only begotten son. Der Held aus Juda bricht herein, The hero from Judah descends among us Den Weg mit Freudigkeit zu laufen to run his course with joy Und uns Gefallne zu erkaufen. and to redeem us who are fallen. O heller Glanz, o wunderbarer Segensschein! O bright splendour, o wonderful light of bliss! | 3-Lutherania | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 4 | 4. Aria B [based on verse 6] Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Streite, siege, starker Held! Sei vor uns im Fleische kräftig! Sei geschäftig, Das Vermögen in uns Schwachen Stark zu machen! | Fight victorious, hero strong! Show for us in flesh thy power! Ever striving Our own power, now so feeble, Strong to temper. | Streite, siege, starker Held! Fight, conquer, strong hero! Sei vor uns im Fleische kräftig! be mighty for us in the flesh! Sei geschäftig, Be zealous Das Vermögen in uns Schwachen Stark zu machen! with us in our weakness to make our ability strong. | (4-Lutherania) 4-Lutherania (4/Sei_geschäftig-Lutherania) 4/Sei_geschäftig-Lutherania (4/Streite-Lutherania) 4/Streite-Lutherania (4/riternello-Lutherania) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 5 | 5. Recitativo (Duetto) S A [based on verse 7] Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Wir ehren diese Herrlichkeit Und nahen nun zu deiner Krippen Und preisen mit erfreuten Lippen, Was du uns zubereit'; Die Dunkelheit verstört' uns nicht Und sahen dein unendlich Licht. | We honor this great majesty And venture nigh now to thy cradle And praise thee now with lips of gladness For what thou us hast brought; For darkness did not trouble us When we beheld thy lasting light. | Wir ehren diese Herrlichkeit We honour this glory Und nahen nun zu deiner Krippen and now draw near to your crib Und preisen mit erfreuten Lippen, and praise with joyful lips Was du uns zubereit'; what you have prepared for us. Die Dunkelheit verstört' uns nicht The darkness did not disturb us Und sahen dein unendlich Licht. and we saw your unending light. | 5-Lutherania | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 6 | 6. Choral [final verse of the hymn] Corno e Oboe I/II e Violino I col Soprano, Violino II coll' Alto, Viola col Tenore, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Lob sei Gott, dem Vater, g'ton, Lob sei Gott, sein'm eingen Sohn, Lob sei Gott, dem Heilgen Geist, Immer und in Ewigkeit! | Praise to God, the Father, be, Praise to God, his only Son, Praise to God, the Holy Ghost, Always and eternally! | Lob sei Gott, dem Vater, g'ton, Praise be given to God, the Father, Lob sei Gott, sein'm eingen Sohn, Praise be to God, his only Son, Lob sei Gott, dem Heilgen Geist, Praise be to God, the Holy Spirit, Immer und in Ewigkeit! always and in eternity! | 6-Lutherania | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| @Wikipedia, @IMSLP, @bach-cantatas.com | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance and video information | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| @bach-cantatas.com | 7 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Conductor | Nikolaus Harnoncourt | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Orchestra | Concentus Musicus Wien | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Choir | Tölzer Knabenchor | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Venue | Casino Zögernitz, Vienna, Austria | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance date | 1975-11 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Subtitles | None | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance duration | 28m52s | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Video type | Audio-only | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube uploader | MusicArt61 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube upload date | 2012-03-15 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube deletion date | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Dramatis Personæ | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Soprano | Peter Jelosits | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Alto | Paul Esswood | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Tenor | Kurt Equiluz | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Bass | Ruud van der Meer | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Libretto and links | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| # | German - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | German/English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | Harnoncourt 1975 - - - - - - - - - - - - - - | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1 | 1. Coro Tromba I-IV, Tamburi, Oboe I-III, Fagotto, Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Christen, ätzet diesen Tag In Metall und Marmorsteine! Kommt und eilt mit mir zur Krippen Und erweist mit frohen Lippen Euren Dank und eure Pflicht; Denn der Strahl, so da einbricht, Zeigt sich euch zum Gnadenscheine. | Christians, etch ye now this day Both in bronze and stones of marble! Come, quick, join me at the manger And display with lips of gladness All your thanks and all you owe; For the light which here breaks forth Shows to you a sign of blessing. | Christen, ätzet diesen Tag Christians, engrave this day In Metall und Marmorsteine! in metal and marble stone ! Kommt und eilt mit mir zur Krippen Come and hurry with me to the manger Und erweist mit frohen Lippen and prove with happy lips Euren Dank und eure Pflicht; your thanks and your duty; Denn der Strahl, so da einbricht, for the ray that there breaks in Zeigt sich euch zum Gnadenscheine. is shown to you as the light of grace. | (1-Harnoncourt) 1-Harnoncourt (1/Kommt-Harnoncourt) 1/Kommt-Harnoncourt (1/Denn-Harnoncourt) 1/Denn-Harnoncourt (1/Christen-Harnoncourt) 1/Christen-Harnoncourt (1/riternello-Harnoncourt) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2 | 2. Recitativo A Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| O selger Tag! o ungemeines Heute, An dem das Heil der Welt, Der Schilo, den Gott schon im Paradies Dem menschlichen Geschlecht verhieß, Nunmehro sich vollkommen dargestellt Und suchet Israel von der Gefangenschaft und Sklavenketten Des Satans zu erretten. Du liebster Gott, was sind wir arme doch? Ein abgefallnes Volk, so dich verlassen; Und dennoch willst du uns nicht hassen; Denn eh wir sollen noch nach dem Verdienst zu Boden liegen, Eh muss die Gottheit sich bequemen, Die menschliche Natur an sich zu nehmen Und auf der Erden Im Hirtenstall zu einem Kinde werden. O unbegreifliches, doch seliges Verfügen! | O blessed day! O day exceeding rare, this, On which the world's true help, The Shiloh(1), whom God in the Paradise(2) To mankind's race already pledged, From this time forth was perfectly revealed And seeketh Israel now from the prison and the chains of slav'ry Of Satan to deliver. Thou dearest God, what are we wretches then? A people fallen low which thee forsaketh; And even still thou wouldst not hate us; For ere we should according to our merits lie in ruin, Ere that, must deity be willing, The nature of mankind himself assuming, Upon earth dwelling, In shepherd's stall to be a child incarnate. O inconceivable, yet blessed dispensation! | O selger Tag! o ungemeines Heute, Oh blessed day! Oh extraordinary today' An dem das Heil der Welt, on which the saviour of the world, Der Schilo, den Gott schon im Paradies the Schilo [Messiah], whom God already in paradise Dem menschlichen Geschlecht verhieß, promised to the human race, Nunmehro sich vollkommen dargestellt now reveals himself fully Und suchet Israel von der Gefangenschaft und Sklavenketten and seeks from the imprisonment and slave chains Des Satans zu erretten. of Satan to rescue Israel. Du liebster Gott, was sind wir arme doch? Dear God, what are we then in our wretchedness? Ein abgefallnes Volk, so dich verlassen; A fallen people, who forsake you; Und dennoch willst du uns nicht hassen; and nevertheless you do not choose to hate us; Denn eh wir sollen noch nach dem Verdienst zu Boden liegen, for before we should lie on the earth according to our deserts, Eh muß die Gottheit sich bequemen, before that the deity must condescend Die menschliche Natur an sich zu nehmen to take human nature upon himself Und auf der Erden and on the earth Im Hirtenstall zu einem Kinde werden. in the shepherds' stall to become a child. O unbegreifliches, doch seliges Verfügen! Oh incomprehensible but blessed decree! | 2-Harnoncourt | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3 | 3. Aria (Duetto) S B Oboe solo, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Gott, du hast es wohl gefüget, Was uns itzo widerfährt. Drum lasst uns auf ihn stets trauen Und auf seine Gnade bauen, Denn er hat uns dies beschert, Was uns ewig nun vergnüget. | God, thou hast all well accomplished Which to us now comes to pass. Let us then forever trust him And rely upon his favor, For he hath on us bestowed What shall ever be our pleasure. | Gott, du hast es wohl gefüget, God, you have well ordained Was uns itzo widerfährt. what now happens to us. Drum laßt uns auf ihn stets trauen Therefore let us always trust in him Und auf seine Gnade bauen, and build on his grace, Denn er hat uns dies beschert, for he has bestowed on us Was uns ewig nun vergnüget. what delights us now and for ever. | (3-Harnoncourt) 3-Harnoncourt (3/Drum-Harnoncourt) 3/Drum-Harnoncourt (3/Was_uns_ewig-Harnoncourt) 3/Was_uns_ewig-Harnoncourt (3/Gott-Harnoncourt) | 3/Gott-Harnoncourt (3/riternello-Harnoncourt) |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 4 | 4. Recitativo T Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| So kehret sich nun heut Das bange Leid, Mit welchem Israel geängstet und beladen, In lauter Heil und Gnaden. Der Löw aus Davids Stamme ist erschienen, Sein Bogen ist gespannt, das Schwert ist schon gewetzt, Womit er uns in vor'ge Freiheit setzt. | Transformed be now today The anxious pain Which Israel hath troubled long and sorely burdened To perfect health and blessing. Of David's stem the lion now appeareth, His bow already bent, his sword already honed, With which he us to former freedom brings. | So kehret sich nun heut In this way now today is transformed Das bange Leid, the anxious suffering Mit welchem Israel geängstet und beladen, with which Israel was distresed and burdened In lauter Heil und Gnaden. into pure salvation and grace. Der Löw aus Davids Stamme ist erschienen, The lion from the stock of David has appeared, Sein Bogen ist gespannt, das Schwert ist schon gewetzt, his bow is stretched, his sword is already sharpened, Womit er uns in vor'ge Freiheit setzt. with which he places us in our former freedom. | 4-Harnoncourt | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 5 | 5. Aria (Duetto) A T Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Ruft und fleht den Himmel an, Kommt, ihr Christen, kommt zum Reihen, Ihr sollt euch ob dem erfreuen, Was Gott hat anheut getan! Da uns seine Huld verpfleget Und mit so viel Heil beleget, Dass man nicht g'nug danken kann. | Call and cry to heaven now, Come, ye Christians, come in order, Ye should be in this rejoicing Which God hath today achieved! For us now his grace provideth And with such salvation sealeth, More than we could thank him for. | Ruft und fleht den Himmel an, Call and implore heaven, Kommt, ihr Christen, kommt zum Reihen, come, you Christians, come into the ranks, Ihr sollt euch ob dem erfreuen, you should rejoice on account of that Was Gott hat anheut getan! which God has done today! Da uns seine Huld verpfleget since his graciousness maintains us Und mit so viel Heil beleget, and endows us with such great salvation Daß man nicht g'nug danken kann. that sufficient thanks cannot be given. | (5-Harnoncourt) 5-Harnoncourt 5/Ihr-Harnoncourt (5/Da-Harnoncourt) 5/Da-Harnoncourt (5/Ruft-Harnoncourt) 5/Ruft-Harnoncourt (5/riternello-Harnoncourt) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 6 | 6. Recitativo B Oboe I-III, Violino I/II, Viola, Fagotto, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Verdoppelt euch demnach, ihr heißen Andachtsflammen, Und schlagt in Demut brünstiglich zusammen! Steigt fröhlich himmelan Und danket Gott vor dies, was er getan! | Redouble then your strength, ye ardent flames of worship, And come in humble fervor all together! Rise gladly heavenward And thank your God for all this he hath done! | Verdoppelt euch demnach, ihr heißen Andachtsflammen, For this reason be redoubled, you hot flames of devotion, Und schlagt in Demut brünstiglich zusammen! and strike in humility ardently together! Steigt fröhlich himmelan Mount joyfully to heaven Und danket Gott vor dies, was er getan! and thank God for what he has done! | 6-Harnoncourt | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 7 | 7. Coro Tromba I-IV, Tamburi, Oboe I-III, Fagotto, Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Höchster, schau in Gnaden an Diese Glut gebückter Seelen! Lass den Dank, den wir dir bringen, Angenehme vor dir klingen, Lass uns stets in Segen gehn, Aber niemals nicht geschehn, Dass uns der Satan möge quälen. | Highest, look with mercy now At the warmth of rev'rent spirits! Let the thanks we bring before thee To thine ears resound with pleasure. Let us e'er in blessing walk, But yet / Let it / never come to pass That we Satan's torments suffer. | Höchster, schau in Gnaden an Highest, look with grace on Diese Glut gebückter Seelen! this ardour of souls who bow [in worship]. Laß den Dank, den wir dir bringen, Let the thanks, which we bring you, Angenehme vor dir klingen, resound pleasingly before you, Laß uns stets in Segen gehn, Let us always go with your blessing Aber niemals nicht geschehn, but never let it happen Daß uns der Satan möge quälen. that Satan may torment us. | (7-Harnoncourt) 7-Harnoncourt (7/Lass_den-Harnoncourt) 7/Lass_den-Harnoncourt (7/Ahgenehme-Harnoncourt) 7/Angenehme-Harnoncourt (7/Lass_uns-Harnoncourt) 7/Lass_uns-Harnoncourt (7/Aber-Harnoncourt) 7/-Harnoncourt | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
@bach-cantatas.com; German text; German-English text; view playlist
BWV 69 Lobe den Herrn, meine Seele Harnoncourt
Bach BWV 71 Gott ist mein König
Written in 1708, when Bach was 23. One of his first cantatas.
This cantata was written for the annual change of administration in Mühlhausen.
| Instrumental choir I | Trumpet I–III, timpani |
| Instrumental choir II | Violin I–II, viola, violone |
| Instrumental choir III | Oboe I–II, bassoon |
| Instrumental choir IV | Recorder I–II, violoncello |
| Vocal choir I | SATB solo |
| Vocal choir II | SATB ripieno (ad libitum) |
| Organ | Basso per Organo |
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| @Wikipedia; @bach-cantatas.com; @jsbchorales.net; @IMSLP; Vocal and Piano Score (PDF); YouTube playlist | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Movement | German Text - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | English Text - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | Key | Scoring | Mühlhausen Soprano: Constanze Backes Counter-tenor: Werner Buchin Tenor: Knut Schoch Bass: Marek Rzepka Telemann-Kammerorchester Michaelstein & Choir Ludger Rémy, director Recorded at Marienkirche, Mühlhausen, Saxony, Germany 1999 Querstand VKJK-0101 #12 | Rilling Arleen Augér, Sopran Gabriele Schreckenback, Alt Adalbert Kraus, Tenor Philippe Huttenlocker, Baß Gächinger Kantoei Stuttgart Bach Collegium Stuttgart Helmuth Rilling, dirigierte | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| 1. Chorus: Gott ist mein König (Psalm 74:12) | Gott ist mein König von altersher, der alle Hilfe tut, so auf Erden geschicht. | God is my Sovereign since ancient days, who all salvation brings which on earth may be found. | C major | 1. Coro [Tutti] Tromba I-III, Tamburi, Flauto I/II, Violoncello, Oboe I/II, Fagotto, Violino I/II, Viola, Violone, Organo SATB I (solo) + instr II; SATB II (rip) + instr I–IV | 1: 0:00 | 0:00 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2. Aria: Ich bin nun achtzig Jahr (2 Samuel 19:35,37) | Ich bin nun achtzig Jahr, warum soll dein Knecht sich mehr beschweren? Soll ich auf dieser Welt Mein Leben höher bringen, Durch manchen sauren Tritt Hindurch ins Alter dringen, Ich will umkehren, dass ich sterbe in meiner Stadt, So gib Geduld, für Sünd Und Schanden mich bewahr, Auf dass ich tragen mag bei meines Vaters und meiner Mutter Grab. Mit Ehren graues Haar. | I have lived eighty years, wherefore shall thy thrall still more complain, then? If I should in this world My life extend yet longer, Through countless bitter steps Into old age advancing, I would return now, that I die within my own town, Help me forbear, from sin And scandal me defend, So that I may wear well beside my father's and my own mother's grave. With honor my gray hair. | E minor | 2. Aria [Air] T S con Corale in Canto Organo T and S (solo) + organ (with chorale solo part) | 1: 1:38 | 1:48 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3. Fugue: Dein Alter sei wie deine Jugend (Deuteronomy 33:25, Genesis 21:22) | Dein Alter sei wie deine Jugend, und Gott ist mit dir in allem das du tust. | Thine old age be like to thy childhood, and God is with thee in ev'ry deed thou dost. | A minor | 3. Coro [Fuga] Organo SATB I (solo) + organ | 1: 5:29 | 5:58 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 4. Arioso: Tag und Nacht (Psalm 74:16-17) | Tag und Nacht ist dein. Du machest, dass beide, Sonn und Gestirn, ihren gewissen Lauf haben. Du setzest einem jeglichen Lande seine Grenze. | Day and night are thine. Thou makest them both, the sun and the stars, their own appointed course follow. You set any one country's border. | F major | 4. Arioso B Flauto I/II, Violoncello, Oboe I/II, Fagotto, Organo B (solo) + instr III–IV, organ | 1: 7:37 | 8:05 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 5. Aria: Durch mächtige Kraft | Durch mächtige Kraft Erhältst du unsre Grenzen, Hier muss der Friede glänzen, Wenn Mord und Kriegessturm Sich allerort erhebt. Wenn Kron und Zepter bebt, Hast du das Heil geschafft Durch mächtige Kraft! | With mighty power Preservest thou our borders, Here peace must shine, Though murder and storm of war Arise everywhere else. If crown and scepter shake, Then hast thou salvation provided Through mighty power! | C major | 5. Aria [Air] A Tromba I-III, Tamburi, Organo A (solo) + instr I, organ | 2: 0:00 | 10:34 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 6. Chorus: Du wollst dem Feinde (Psalm 74:19) | Du wollest dem Feinde nicht geben die Seele deiner Turteltauben. | May'st thou to the foe not deliver thy turtledoves' own very spirits. | C minor | 6. Coro Flauto I/II, Violoncello, Oboe I/II, Fagotto, Violino I/II, Viola, Violone, Organo SATB II (rip) + instr II–IV, organ | 2: 1:10 | 11:48 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 7. Arioso: Das neue Regiment | Das neue Regiment Auf jeglichen Wegen Bekröne mit Segen! Friede, Ruh und Wohlergehen, Müsse stets zur Seite stehen Dem neuen Regiment. Glück, Heil und großer Sieg Muss täglich von neuen Dich, Joseph, erfreuen, Dass an allen Ort und Landen Ganz beständig sei vorhanden Glück, Heil und großer Sieg! | This our new government In ev'ry endeavor Here crown with thy blessing! Concord, peace and prosp'rous fortune Must alway be in attendance On our new government Joy, health, great victory Must each day continue O Joseph, to please thee, That in ev'ry clime and country Ever steadfast may attend thee Joy, health, great victory! | C major | 7. Coro [Tutti] Tromba I-III, Tamburi, Flauto I/II, Violoncello, Oboe I/II, Fagotto, Violino I/II, Violone, Organo SATB I (solo) + div instr; SATB II (rip) + instr I–IV | 7/Das 4:02 7/Friede 4:33 7/Glück 5:14 7/Muss 5:30 7/Dass 6:30 7/Glück 6:55 | 14:35 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Alternative performance:
Soprano - Sopran - Soprano Wilhelm Wiedl (Tölzer Knabenchor)
Alto - Alt - Alto Paul Esswood
Ténor - Tenor - Tenor Kurt Equiluz
Basse - Baß - Bass Lieuwe Visser
Tölzer Knabenchor - Gerhard Schmidt-Gaden
Concentus musicus Wien - Nikolaus Harnoncourt
1976
18m05s
Published on Mar 21, 2012 by MusicArt61
[Here is a description of the circumstances and content of the above cantata, BWV 71,adapted from Christoph Wolff’s biography
Johann Sebastian Bach: The Learned Musician.]
On February 4, 1708, at the age of twenty-two, Bach presented
his first large-scale vocal-instrumental composition
at the annual inauguration of the [Mühlhausen] city council.
The ceremonial service took place at St. Mary’s,
but according to established tradition,
the town council election music,
known as the “little council piece,”
was also repeated at St. Blasius’s on the following Sunday in the Vespers service.
Bach had composed a work of unusual proportions and complexity
that made the performance of earlier council pieces pale by comparison,
as most everyone would have immediately noticed.
[His predecessor, Johann Georg] Ahle’s council pieces
generally consisted of simple strophic arias with instrumental accompaniment.
No longer a little piece,
Bach’s “Gott ist mein König,” BWV 71,
was a full-fledged multimovement cantata,
a “Congratulatory Church Motet” according to its original title.
The large St. Mary’s Church with its several galleries and lofts
had long invited polychoral music.
But never before had the four-hundred-year-old church witnessed a performance
with as spectacular and diversified a vocal-instrumental ensemble
as it did that February in 1708,
under the skilled direction of its [twenty-two-year-old] new organist.
Bach had taken a new kind of compositional structure as his model:
Buxtehude’s famous Lübeck Abend-Musiken [q.v.],
which were known to have featured polychoral design.
The autograph score of BWV 71 clearly lays out its polychoral plan,
involving altogether seven different performing units.
The tutti ensemble, combining all the units,
is heard only in the first and last movements.
The inner movements, meanwhile,
display a variety of vocal instrumental combinations
that closely match the expressive needs of the text—
juxtaposing in movements 4–5, for example, the trumpet choir in
“Durch mächtige Kraft erhältst du unsere Grenzen”
(“Through mighty power You preserve our borders”)
with the two contrasting woodwind choirs in
“Tag und Nacht ist dein”
(“Day and night are Yours”).
Bach’s refined treatment of the vocal-instrumental scoring
demonstrates his ability to deal with
highly differentiated patterns of sound,
a skill that his experience with the organ would have taught him.
But just as impressive is his sophisticated application of
different compositional designs in the seven movements—
for example,
the integrated aria and chorale elaboration in movement 2,
fugal setting in 3, chaconne in 4,
and a French-style choral song (with a liturgical litany ending) in 6;
his construction of the overall tonal scheme,
entailing both sharp and flat keys;
and finally,
his wide-ranging rhythmic patterns in duple and triple meters,
with further “affective” designations
(“animoso” and “un poco allegro” in movement 1,
“andante” in 2, “lente” in 3, “vivace” in 5, “affetuoso e larghetto” in 6,
and “allegro,” “andante,” and “vivace” in 7).
The “council piece” impressed the Mühlhausen authorities so deeply that
even after he moved away,
they invited Bach to provide the cantatas
for the two subsequent years, 1709 and 1710,
and brought him back from Weimar to perform them.
[Now here is another description of the content of the above cantata, BWV 71,
now adapted from Martin Geck’s biography
Johann Sebastian Bach: Life and Work.]
BWV 71, “Gott ist mein König,” quite in contrast to
the compact musical material and rather “quiet” orchestration of cantata BWV 131,
is not only splendidly and richly orchestrated but also
much more varied in its movements.
The text, which was certainly assigned for Bach to set to music,
stems more likely from a pastor than an experienced poet.
Published at municipal expense,
the composition became the first and only printed edition of a Bach work to exist
until the Leipzig period,
aside from a subsequent work published under similar circumstances,
which has been lost.
The publication of BWV 71 attests to the self-promotional bent
of the free imperial city of Mühlhausen,
and the commissioning of Bach attests to
the esteem in which the twenty-two-year-old musician was held.
He shows himself even in his first “strong music” (starcken music)
unmistakably an organist—
for instance, in the duet [2] “Ich bin nun achtzig Jahr,”
composed from start to finish with organ obbligato and
the other continuo instruments tacit.
In all likelihood he played the organ himself,
which figures prominently in the foreground to the end,
and also enjoyed the skilled leading voice.
Woven into the tenor’s vivid account of
an old man’s difficulties in the maintenance of his duties,
and of his readiness for death,
is a soprano voice that sings the religiously confident hymn strophe
“Sol lich auf dieser Welt mein Leben höher bringen”
(“If I should in this world / My life extend yet longer”),
using the technique of the ornamented north German organ chorale,
changing from the beginning key of E minor to a reassuring G major.
Since the organ bass line is innovatively set as a quasi-ostinato,
the result is a quartet of highly idiosyncratic voices
that shows the complexity, if not yet the density, of Bach’s later compositions.
The vocal-instrumental ensemble movement
[6] “Du wollest dem Feinde nicht geben die Seele deiner Turteltauben”
(“May’st thou to the foe not deliver thy turtledoves’ own very spirits”)
radiates the charm of its uniqueness.
While the words in themselves are not particularly sensational,
coming as they do from the same Psalm 74,
which probably was the author’s source in other cases,
the music is a showpiece.
As if snatching a butterfly from the air,
Bach captures a genre composition on paper that for its time,
more clearly than any of his other early vocal compositions,
has no models.
The singers express their ten-word appeal for sanctuary
in a quasi-homophonic movement, carefully marked “affettuoso e larghetto,”
which largely dispenses with motivic or thematic material
and is composed totally of passages of heightening emotion and harmonic asperity.
At the end the voices unite in a monotonic, now almost passionless recitation
in Phrygian psalm mode.
The model for this style of composition is the lament,
which in the seventeenth century played a significant role not only in opera
but also in instrumental music—
not least in the form of the tombeau,
which in turn is a threnodic variant of the allemande.
An allemande can clearly be heard in the melody-leading instrumental part as well,
and a comparison with an allemande from Georg Böhm’s Harpsichord Suite in F Minor seems plausible.
The “chorus” is embedded in a three-layered instrumental movement:
in the higher register a sighing figure is heard, often with an echo effect,
carried by oboes, recorders, and violins:
this figure soon defines the vocal setting as well.
In the middle part an arpeggiated sixteenth-note figure is heard in the cellos,
which is imitated by the bassoon in quasi-heterophonic fashion.
A staccato passage of quarter notes in small intervals
marks the bass register throughout.
[Here the printed edition inserts a part of the score.
At least on 2011-08-03, clicking here, then on "Pages", then in the text area,
will bring up a facsimile of the page containing that score.
The musical example mentioned below is two pages further on.]
Thus, at an early point in time, we have a model for a movement,
a model that Bach later used again and again—
for instance in the opening chorus of the St. John Passion:
a nuanced instrumental sound with three characteristic levels
and a chorus clearly declaiming in the foreground.
Spitta admires the movement as “tone painting,”
Schweitzer as “perfect mood music.”
In anticipation of the nineteenth century one could almost speak of
“composition with sound layers” (Klangflächenkomposition),
a term that seems justified in view of the doubling of cello and bassoon,
done not to achieve structure but for color.
This heterophony provides a soft, blurred effect,
as was then the mode with keyboard instruments.
Daniel Vetter, organist of St. Nicholas’s Church in Leipzig,
deemed it a sign of good taste when “all was sweet and polished”
(alles douce geschleiffet).
But this is only one aspect of the composition:
keeping in his mind’s eye the turtledove
as a symbol of the anxious congregation of the faithful singing through their fears,
Bach writes a movement with obvious illustrative and emblematic qualities.
The chamber music style of the movement contrasts with
the larger-scale scoring of the outer movements.
The opening [1] has an imposing architectural solidarity:
between two concertante sections,
whose several vocal and instrumental choruses point to Buxtehude
and seem almost traditional,
a section is set in which the voices flow polyphonically.
The concision of this movement is deliberate, as shown by the end:
Bach closes not with the festive sound of trumpets and timpani
but in almost mannerist style,
with the quiet echo first of paired oboes, then flutes,
unaccompanied even by continuo.
The final movement [7], on the text “Das neue Regiment,”
begins concertante with several choruses, like the first movement,
but then moves into a permutation fugue on the text “Muß täglich von neuem.”
Carl Philipp Emanuel Bach’s statement that
it was simply his father’s “own peculiarly meditative nature” (blos eigenes Nachsinnen)
that made him into a “pure and skilled fugue maker even in his youth”
is warranted here,
for the permutation fugue has something of the puzzle about it:
a thematic model is devised whose four parts are interchangeable
[again, a musical example appears in the text].
In a second step,
the simultaneously sounding voices are fitted horizontally together,
as in the first soprano entry of the fugue.
Then, once alto, tenor, and bass have entered in sequence in the same manner,
and once the responses at the interval of a fifth have been made
(the fugue form requires that successive entries alternate in the tonic and dominant),
then the first exposition is complete.
Further expositions are essentially
the result of rearrangements of the component parts.
Interludes in a permutation fugue are rare.
This type of fugue was not Bach’s “invention”
(as, surprisingly, was stated in recent literature),
it was already present in Johann Theile’s Musicalisches Kunstbuch, for example,
as well as in instrumental and vocal works of Nicolaus Bruhns.
It is possible that Bach approached the permutation fugue largely through self-study—
but such an accomplishment should not be overrated either:
the “false polyphony” of the permutation fugues can be worked out diagrammatically
and are in no way on the same level as a skillfully wrought polyphonic fabric,
nor do they meet the specialized requirements of the art of counterpoint,
which uses stretti, amplifications, reversions, crabs, and so on.
The fact that Bach writes fugues of this type in his early cantatas,
and indeed that he does not eschew them even in his Leipzig period [1723–50],
does not by any means imply that initially he was not up to
more exacting methods of this kind of composition.
Still, the permutation fugue has its advantages, vocally speaking:
it is easy to sing and, because of the frequent vocal entries,
enables inexperienced listeners to perceive the imitative principle,
without lessening their enjoyment of a clearly, audibly structured work
primarily oriented about song or dancelike sections with harmonic underpinnings.
| @Wikipedia, @IMSLP, @bach-cantatas.com | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance and video information | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| @bach-cantatas.com | 6 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Conductor | Gustav Leonhardt | Georg Christoph Biller | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Orchestra | Leonhardt-Consort | Gewandhausorchester Leipzig | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Choir | Knabenchor Hannover & Collegium Vocale Gent | Thomanerchor | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Venue | Doopsgezinde Kerk, Haarlem, the Netherlands | Leipziger Thomaskirche | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance date | 1977-05 | 2012-10-31 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Subtitles | None | None | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance duration | 15m31 | 15m31 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Video type | Audio-only | 480p 16:9 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube uploader | TheGravicembalo | Peter Kühn | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube upload date | 2012-12-18 | 2012-10-31 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube deletion date | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Dramatis Personæ | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Soprano | Detlef Bratschke | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Alto | Paul Esswood | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Bass | Max van Egmond | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Libretto and links | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| # | German - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | German/English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | Leonhardt 1977 | Biller 2012 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1 | 1. Coro [Psalm 84:12] Corno I/II, Tamburi, Flauto traverso I/II, Oboe I/II, Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Gott der Herr ist Sonn und Schild. Der Herr gibt Gnade und Ehre, er wird kein Gutes mangeln lassen den Frommen. | God the Lord is sun and shield. The Lord gives blessing and honor, he will no worthy thing withhold from the righteous. | Gott der Herr ist Sonn und Schild. God the Lord is sun and shield, Der Herr gibt Gnade und Ehre, the Lord gives mercy and honour, er wird kein Gutes mangeln lassen den Frommen. he will allow no good thing to be lacking to the righteous. | (1-Leonhardt) 1-Leonhardt | (1-Biller) 1-Biller | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2 | 2. Aria A Oboe solo (o, Flauto traverso solo), Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Gott ist unsre Sonn und Schild! Darum rühmet dessen Güte Unser dankbares Gemüte, Die er für sein Häuflein hegt. Denn er will uns ferner schützen, Ob die Feinde Pfeile schnitzen Und ein Lästerhund gleich billt. | God is our true sun and shield! We thus tell abroad his goodness With our spirits ever thankful, For he loves us as his own. And he shall still further guard us Though our foes their arrows sharpen, And the hound of hell should howl. | Gott ist unsre Sonn und Schild! God is our sun and shield! Darum rühmet dessen Güte Unser dankbares Gemüte, Therefore our grateful spirit praises the kindness Die er für sein Häuflein hegt. with which he cares for his little flock. Denn er will uns ferner schützen, For he wants to continue to protect us Ob die Feinde Pfeile schnitzen although our enemies sharpen their arrows Und ein Lästerhund gleich billt. and a blasphemous dog now barks. | (2-Leonhardt) 2-Leonhardt | (2-Biller) 2-Biller | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3 | 3. Choral [Martin Rinckart, verse 1 of the hymn [German, English], 1636 (Fischer-Tümpel, I, #526).] Corno I/II, Tamburi, Flauto traverso I/II e Oboe I/II e Violino I col Soprano, Violino II coll' Alto, Viola col Tenore, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Nun danket alle Gott Mit Herzen, Mund und Händen, Der große Dinge tut An uns und allen Enden, Der uns von Mutterleib Und Kindesbeinen an Unzählig viel zugut Und noch itzund getan. | Now thank ye all our God With heart and tongue and labor, Who mighty things doth work For us in all endeavor, Who since our mother's womb And our first toddling steps Us countless benefit Until this day hath brought. | Nun danket alle Gott Now all thank God Mit Herzen, Mund und Händen, with heart,mouth and hands; Der große Dinge tut He does great things An uns und allen Enden, for us and all our purposes; Der uns von Mutterleib He for us from our mother's womb Und Kindesbeinen an and childish steps Unzählig viel zugut countless great good Und noch itzund getan. has done and still continues to do. | 3-Leonhardt | 3-Biller | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 4 | 4. Recitativo B Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Gottlob, wir wissen Den rechten Weg zur Seligkeit; Denn, Jesu, du hast ihn uns durch dein Wort gewiesen, Drum bleibt dein Name jederzeit gepriesen. Weil aber viele noch Zu dieser Zeit An fremdem Joch Aus Blindheit ziehen müssen, Ach! so erbarme dich Auch ihrer gnädiglich, Dass sie den rechten Weg erkennen Und dich bloß ihren Mittler nennen. | Thank God we know it, The proper path to blessedness, For Jesus, thou hast shown it to us through thy Gospel, Wherefore thy name in ev'ry age is honored. But since so many still Until this day An alien yoke For blindness' sake must carry, Ah, such compassion give E'en these, Lord, graciously, That they the proper path acknowledge And call thee their one intercessor. | Gottlob, wir wissen God be praised, we know Den rechten Weg zur Seligkeit; the right way to blessedness; Denn, Jesu, du hast ihn uns durch dein Wort gewiesen, for, Jesus, you have shown it to us through your word, Drum bleibt dein Name jederzeit gepriesen. therefore your name forever remains praised. Weil aber viele noch But since many still Zu dieser Zeit at this time An fremdem Joch Aus Blindheit ziehen müssen, must bear a foreign yoke through blindness, Ach! so erbarme dich ah! have pity Auch ihrer gnädiglich, on them graciously Daß sie den rechten Weg erkennen so that they come to know the right way Und dich bloß ihren Mittler nennen. and name you as their only mediator. | 4-Leonhardt | 4-Biller | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 5 | 5. Aria (Duetto) S B Violino I/II, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Gott, ach Gott, verlass die Deinen Nimmermehr! Lass dein Wort uns helle scheinen; Obgleich sehr Wider uns die Feinde toben, So soll unser Mund dich loben. | God, O God, forsake thy people Nevermore! Let thy word o'er us shine brightly; Even though Sorely rage our foes against us, Yet shall these our mouths extol thee. | Gott, ach Gott, verlaß die Deinen God, ah God, forsake your people Nimmermehr! never again! Laß dein Wort uns helle scheinen; Let your word shine clearly for us; Obgleich sehr Wider uns die Feinde toben, although our enemies rage very greatly against us, So soll unser Mund dich loben. our mouth will then praise you. | 5-Leonhardt (5/riternello-Leonhardt) | 5-Biller (5/riternello-Biller) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 6 | 6. Choral [Ludwig Helmbold, last verse of “Nun lasst uns Gott, dem Herren,” 1575 (Wackernagel, IV, #932).] Corno I/II, Tamburi, Flauto traverso I/II e Oboe I/II e Violino I col Soprano, Violino II coll' Alto, Viola col Tenore, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Erhalt uns in der Wahrheit, Gib ewigliche Freiheit, Zu preisen deinen Namen Durch Jesum Christum. Amen. | Preserve us in the true path, Grant everlasting freedom To raise thy name in glory Through our Christ Jesus. Amen. | Erhalt uns in der Wahrheit, Keep us in the truth, Gib ewigliche Freiheit, give us eternal freedom Zu preisen deinen Namen to praise your name Durch Jesum Christum. Amen. through Jesus Christ. Amen. | 6-Leonhardt | 6-Biller | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
@Wikipedia; @bach-cantatas.com; German text; German-English text
googlegoogle.com
| @Wikipedia, @IMSLP, @bach-cantatas.com | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance and video information | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| @bach-cantatas.com | 9 | C-4 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Conductor | Nikolaus Harnoncourt | Philippe Herreweghe | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Orchestra | Concentus Musicus Wien | La Chapelle Royale | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Choir | Tölzer Knabenchor | Collegium Vocale Gent | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Venue | Casino Zögernitz, Vienna, Austria | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance date | 1977 | 1990-01 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Subtitles | None | None | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance duration | 22m58s | 24m52s | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Video type | Audio-only | Audio-only | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube uploader | TheGravicembalo | Alberto Sosa | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube upload date | 2012-12-18 | 2012-03-15 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube deletion date | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Dramatis Personæ | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Soprano | Wilhelm Wiedl | Barbara Schlick | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Alto | Paul Esswood | Gérard Lesne | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Tenor | Kurt Equiluz | Howard Crook | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Bass | Ruud van der Meer | Peter Kooy | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Libretto and links | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| # | German - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | German/English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | Harnoncourt 1977 - - - - - - - - - - - - - - - - - | Herreweghe 1990 - - - - - - - - - - - - - - - - - | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1 | 1. Coro [Martin Luther, verse 1 of the hymn [German, English] (Wackernagel, I, #210)] Oboe I-III all' unisono, Violino I/II, Viola, Violoncello, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Ein feste Burg ist unser Gott, Ein gute Wehr und Waffen; Er hilft uns frei aus aller Not, Die uns itzt hat betroffen. Der alte böse Feind, Mit Ernst er's jetzt meint, Groß Macht und viel List Sein grausam Rüstung ist, Auf Erd ist nicht seinsgleichen. | A mighty fortress is our God,(1) A sure defense and armor; He helps us free from ev'ry need Which us till now hath stricken. The ancient wicked foe, Grim is his intent, Vast might and deceit His cruel weapons are, On earth is not his equal. | Ein feste Burg ist unser Gott, A mighty fortress is our God, Ein gute Wehr und Waffen; a good defence and weapon; Er hilft uns frei aus aller Not, he helps us freely out of the distress Die uns itzt hat betroffen. that we have now met with. Der alte böse Feind, The old evil enemy Mit Ernst er's jetzt meint, earnestly plots against us, Groß Macht und viel List great might and many forms of deceit Sein grausam Rüstung ist, are his fearsome weapons, Auf Erd ist nicht seinsgleichen. on earth there is none to match him. | 1-Harnoncourt 1/Ein_gute-Harnoncourt 1/Er_hilft-Harnoncourt 1/Die-Harnoncourt 1/Der-Harnoncourt 1/Mit-Harnoncourt 1/Groß-Harnoncourt 1/Sein-Harnoncourt 1/Auf-Harnoncourt | 1-Herreweghe 1/Ein_gute-Herreweghe 1/Er_hilft-Herreweghe 1/Die-Herreweghe 1/Der-Herreweghe 1/Mit-Herreweghe 1/Groß-Herreweghe 1/Sein-Herreweghe 1/Auf-Herreweghe | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2 | 2. Aria B e Choral S [verse 2 with interpolated aria] Oboe, Violino I/II, Viola (all' unisono), Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Alles, was von Gott geboren, Ist zum Siegen auserkoren. Mit unsrer Macht ist nichts getan, Wir sind gar bald verloren. Es streit' vor uns der rechte Mann, Den Gott selbst hat erkoren. Wer bei Christi Blutpanier In der Taufe Treu geschworen, Siegt im Geiste für und für. Fragst du, wer er ist? Er heißt Jesus Christ, Der Herre Zebaoth, Und ist kein andrer Gott, Das Feld muss er behalten. Alles, was von Gott geboren, Ist zum Siegen auserkoren. | (B) All that which of God is fathered(2) Is for victory intended. (S) With our own might is nothing done, We face so soon destruction. He strives for us, the righteous man, Whom God himself hath chosen. (B) Who hath Christ's own bloodstained flag In baptism sworn allegiance Wins in spirit ever more. (S) Ask thou who he is? His name: Jesus Christ, The Lord of Sabaoth, There is no other god, The field is his forever. (B) All that which of God is fathered Is for victory intended. | Alles, was von Gott geboren, All that is born of God Ist zum Siegen auserkoren. Is destined for victory. Mit unsrer Macht ist nichts getan, By our own power nothing is accomplished Wir sind gar bald verloren. We are very soon lost. Es streit' vor uns der rechte Mann, the right man fights for us Den Gott selbst hat erkoren. Whom God himself has chosen. Wer bei Christi Blutpanier Those who by the bloodstained banner of Christ In der Taufe Treu geschworen, have sworn faithfulness in baptism Siegt im Geiste für und für. gain victory in the spirit for ever and ever. Fragst du, wer er ist? Do you ask who he is? Er heißt Jesus Christ, he is called Jesus Christ, Der Herre Zebaoth, the Lord of Sabaoth, Und ist kein andrer Gott, and there is no other god Das Feld muss er behalten. He shall hold the field of battle. Alles, was von Gott geboren, All that is born of God Ist zum Siegen auserkoren. is destined to victory. | (2-Harnoncourt) 2-Harnoncourt (2/riternello-Harnoncourt) | (2-Herreweghe) 2-Herreweghe (2/riternello-Herreweghe) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3 | 3. Recitativo B Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Erwäge doch, Kind Gottes, die so große Liebe, Da Jesus sich Mit seinem Blute dir verschriebe, Wormit er dich Zum Kriege wider Satans Heer und wider Welt, und Sünde Geworben hat! Gib nicht in deiner Seele Dem Satan und den Lastern statt! Lass nicht dein Herz, Den Himmel Gottes auf der Erden, Zur Wüste werden! Bereue deine Schuld mit Schmerz, Dass Christi Geist mit dir sich fest verbinde! | Consider well, O child of God, this love so mighty, Which Jesus hath In his own blood for thee now written; By which he thee For war opposing Satan's host, opposing world and error, Enlisted thee! Yield not within thy spirit To Satan and his viciousness! Let not thy heart, Which is on earth God's heav'nly kingdom, Become a wasteland! Confess thy guilt with grief and pain, That Christ's own soul to thine be firm united! | Erwäge doch, Kind Gottes, die so große Liebe, Only consider, child of God how great his love, Da Jesus sich since Jesus himself Mit seinem Blute dir verschriebe, with his blood has given his pledge for you, Wormit er dich by which Zum Kriege wider Satans Heer und wider Welt, und Sünde for the war against Satan's army and against the world and sin, Geworben hat! He has enlisted you! Gib nicht in deiner Seele Do not give any place in your soul Dem Satan und den Lastern statt! to Satan and depravity! Laß nicht dein Herz, Do not let your heart, Den Himmel Gottes auf der Erden, God's heaven on earth, Zur Wüste werden! become a desert! Bereue deine Schuld mit Schmerz, Repent your guilt with sorrow Dass Christi Geist mit dir sich fest verbinde! so that Christ's spirit may be firmly united with you! | 3-Harnoncourt | 3-Herreweghe | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 4 | 4. Aria S Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Komm in mein Herzenshaus, Herr Jesu, mein Verlangen! Treib Welt und Satan aus Und lass dein Bild in mir erneuert prangen! Weg, schnöder Sündengraus! | Come in my heart's abode, Lord Jesus, my desiring! Drive world and Satan out, And let thine image find in me new glory! Hence, prideful cloud of sin! | Komm in mein Herzenshaus, Come into my heart's house, Herr Jesu, mein Verlangen! Lord Jesus, my desire! Treib Welt und Satan aus Drive out the world and Satan Und lass dein Bild in mir erneuert prangen! and let you image renewed within me shine in splendour! Weg, schnöder Sündengraus! Away, loathsome horror of sin! | (4-Harnoncourt) 4-Harnoncourt (4/Treib-Harnoncourt) 4/Treib-Harnoncourt (4/riternello-Harnoncourt) | (4-Herreweghe) 4-Herreweghe (4/Treib-Herreweghe) 4/Treib-Herreweghe (4/Weg-Herreweghe) 4/Weg-Herreweghe (4/Komm-Herreweghe) 4/Komm-Herreweghe (4/riternello-Herreweghe) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 5 | 5. Choral [verse 3 of the hymn] Oboe d'amore I/II, Taille, Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Und wenn die Welt voll Teufel wär Und wollten uns verschlingen, So fürchten wir uns nicht so sehr, Es soll uns doch gelingen. Der Fürst dieser Welt, Wie saur er sich stellt, Tut er uns doch nicht, Das macht, er ist gericht', Ein Wörtlein kann ihn fällen. | And were the world with devils filled, Intending to devour us, Our fear e'en yet would be not great, For we shall win the vict'ry. The prince of this world, How grim may he be, Worketh us no ill, That is, he is destroyed. One little word can fell him. | Und wenn die Welt voll Teufel wär And if the world were full of devils Und wollten uns verschlingen, and they wanted to devour as So fürchten wir uns nicht so sehr, then we would not be very afraid, Es soll uns doch gelingen. we would still be successful. Der Fürst dieser Welt, The Prince of this world, Wie saur er sich stellt, however grimly he presents himself Tut er uns doch nicht, can do nothing against us, Das macht, er ist gericht', since he is already condemned, Ein Wörtlein kann ihn fällen. a little word can fell him. | (5-Harnoncourt) 5-Harnoncourt (5/Und-Harnoncourt) 5/Und-Harnoncourt (5/So-Harnoncourt) 5/So-Harnoncourt (5/Es-Harnoncourt) 5/Es-Harnoncourt (5/Der-Harnoncourt) 5/Der-Harnoncourt (5/Wie-Harnoncourt) 5/Wie-Harnoncourt (5/Tut-Harnoncourt) 5/Tut-Harnoncourt (5/Das-Harnoncourt) 5/Das-Harnoncourt (5/Ein-Harnoncourt) 5/Ein-Harnoncourt (5/riternello-Harnoncourt) | (5-Herreweghe) 5-Herreweghe (5/Und-Herreweghe) 5/Und-Herreweghe (5/So-Herreweghe 5/So-Herreweghe (5/Es-Herreweghe) 5/Es-Herreweghe (5/Der-Herreweghe) 5/Der-Herreweghe (5/Wie-Herreweghe) 5/Wie-Herreweghe (5/Tut-Herreweghe) 5/Tut-Herreweghe (5/Das-Herreweghe) 5/Das-Herreweghe (5/Ein-Herreweghe) 5/Ein-Herreweghe (5/riternello-Herreweghe) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 6 | 6. Recitativo T Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| So stehe dann bei Christi blutgefärbten Fahne, O Seele, fest Und glaube, dass dein Haupt dich nicht verlässt, Ja, dass sein Sieg Auch dir den Weg zu deiner Krone bahne! Tritt freudig an den Krieg! Wirst du nur Gottes Wort So hören als bewahren, So wird der Feind gezwungen auszufahren, Dein Heiland bleibt dein Hort! | So stand then under Christ's own bloodstained flag and banner, O spirit, firm, And trust that this thy head betrays thee not, His victory E'en thee the way to gain thy crown prepareth! March gladly on to war! If thou but God's own word Obey as well as hearken, Then shall the foe be forced to leave the battle; Thy Savior is thy shield. | So stehe dann bei Christi blutgefärbten Fahne, Then take your stand by Christ's bloodstained banner, O Seele, fest O soul, firmly, Und glaube, dass dein Haupt dich nicht verlässt, and believe that your leader will not forsake you, Ja, dass sein Sieg yes, that his victory Auch dir den Weg zu deiner Krone bahne! Will open the way to your crown! Tritt freudig an den Krieg! March joyfully to war! Wirst du nur Gottes Wort If only God's word So hören als bewahren, is both heard and kept by you So wird der Feind gezwungen auszufahren, then your enemy wull be forced to withdraw, Dein Heiland bleibt dein Hort! your saviour remains your protector! | 6-Harnoncourt | 6-Herreweghe | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 7 | 7. Aria (Duetto) A T Oboe da caccia, Violino, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Wie selig sind doch die, die Gott im Munde tragen, Doch selger ist das Herz, das ihn im Glauben trägt! Es bleibet unbesiegt und kann die Feinde schlagen Und wird zuletzt gekrönt, wenn es den Tod erlegt. | How blessed though are those who God hold in their voices, More blessed still the heart which him in faith doth hold! Unconquered it abides, can deal the foe destruction, And shall at last be crowned when it shall death defeat. | Wie selig sind doch die, die Gott im Munde tragen, How blessed are those who bear God in their mouths, Doch selger ist das Herz, das ihn im Glauben trägt! but more blessed is the heart that bears God in faith! Es bleibet unbesiegt und kann die Feinde schlagen Such a heart remains unconquered and can strike its enemies Und wird zuletzt gekrönt, wenn es den Tod erlegt. and will in the end be crowned after death has been defeated. | (7-Harnoncourt) 7-Harnoncourt | (7-Herreweghe) 7-Herreweghe (7/Es-Herreweghe) 7/Es-Herreweghe | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 8 | 8. Choral [verse 4 of the hymn] Instrumentierung nicht überliefert | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Das Wort sie sollen lassen stahn Und kein' Dank dazu haben. Er ist bei uns wohl auf dem Plan Mit seinem Geist und Gaben. Nehmen sie uns den Leib, Gut, Ehr, Kind und Weib, Lass fahren dahin, Sie habens kein' Gewinn; Das Reich muss uns doch bleiben. | That word they must allow to stand, No thanks to all their efforts. He is with us by his own plan, With his own gifts and Spirit. Our body let them take, Wealth, rank, child and wife, Let them all be lost, And still they cannot win; His realm is ours forever. | Das Wort sie sollen lassen stahn They shall pay no heed to God's word Und kein' Dank dazu haben. And have no thanks for it. Er ist bei uns wohl auf dem Plan He is indeed with us on the field of battle Mit seinem Geist und Gaben. With his Spirit and his gifts. Nehmen sie uns den Leib, Let them take our body Gut, Ehr, Kind und Weib, wealth,honour, child and wife Laß fahren dahin, let them be taken away, Sie habens kein' Gewinn; they gain nothing by this; Das Reich muss uns doch bleiben. The kingdom must still remain ours. | 8-Harnoncourt 8/Nehmen-Harnoncourt | 8-Herreweghe 8/Nehmen-Herreweghe | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
The first is a very rapid and powerful reading of the great opening chorale by Richter et al.
The second is the period instrument performance by Koopman.
The third is a much more stately performance by the Munich Bach Etc.,
this time led by Schneidt, showing the performers.
These latter two lead into performances of the complete cantata.
| Ein feste Burg ist unser Gott, Ein gute Wehr und Waffen; Er hilft uns frei aus aller Not, Die uns itzt hat betroffen. Der alte böse Feind, Mit Ernst er’s jetzt meint, Groß Macht und viel List Sein grausam Rüstung ist, Auf Erd ist nicht seinsgleichen. | A mighty fortress is our God, A sure defense and armor; He helps us free from ev’ry need Which us till now hath stricken. The ancient wicked foe, Grim is his intent, Vast might and deceit His cruel weapons are, On earth is not his equal. |
J. S. Bach - Kantate "Aus der Tiefen rufe ich, Herr, zu dir", BWV 131 (Ton Koopman)
Uploaded on Jan 15, 2012 by Eliahavani (Video)
| @Wikipedia, @IMSLP, @bach-cantatas.com | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| @bach-cantatas.com | 24 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Conductor | Ton Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Orchestra | Amsterdam Baroque Orchestra & Choir | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Choir | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Venue | Pieterskerk, Utrecht, The Netherlands (Image) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance date | 1997 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Subtitles | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance duration | 24m13s | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Video type | 480p 16:9 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube uploader | Eliahavani | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube upload date | 2012-01-15 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube deletion date | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Dramatis Personæ | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Tenor | Lothar Odinius | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Bass | Klaus Mertens | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Libretto and links | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| # | German - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | German/English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | Koopman 1997 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1 | 1. Coro [Psalm 130:1-2] Oboe, Fagotto, Violino, Viola I/II, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Aus der Tiefen rufe ich, Herr, zu dir. Herr, höre meine Stimme, lass deine Ohren merken auf die Stimme meines Flehens! | From the depths now do(1) call, Lord, to thee. Lord, hear my voice's crying, and let thine ears consider well the voice of my complaining. | Aus der Tiefen rufe ich, Herr, zu dir. Out of the depths I cry, Lord, to you. Herr, höre meine Stimme, Lord, hear my voice, laß deine Ohren merken auf let your ears notice die Stimme meines Flehens! the voice of my pleading. | (1-Koopman) 1-Koopman 1/Herr-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2 | 2. Arioso B e Choral S [Psalm 130:3-4 and Bartholomäus Ringwaldt, verse 2 of “Herr Jesus Christ, du höchstes Gut,” 1582 (Wackernagel, IV, #1523)] Oboe, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| So du willst, Herr, Sünde zurechnen, Herr, wer wird bestehen? Erbarm dich mein in solcher Last, Nimm sie aus meinem Herzen, Dieweil du sie gebüßet hast Am Holz mit Todesschmerzen Denn bei dir ist die Vergebung, dass man dich fürchte. Auf dass ich nicht mit großem Weh In meinen Sünden untergeh, Noch ewiglich verzage. | (B) If thou willt, Lord, mark what is sinful, Lord, who will abide it? (S) Have mercy on me in such grief, Remove it from my bosom, Because thou hast now paid for it On wood with pains of dying, (B) For with thee there is forgiveness, that we might fear thee. (S) So that I might with grievous woe Within my sinful state not die, Nor give up hope forever. | Bass: So du willst, Herr, Sünde zurechnen, Herr, wer wird bestehen ? If you want to count up sin , Lord, who will withstand you? Soprano: Erbarm dich mein in solcher Last, Have mercy on me with such a burden, Nimm sie aus meinem Herzen, Take it away from my heart, Dieweil du sie gebüßet hast since you have paid the price for it Am Holz mit Todesschmerzen, on the wood [of the cross] with the pains of death. Bass: Denn bei dir ist die Vergebung, daß man dich fürchte. For with you is forgiveness , so that we may fear you. Soprano: Auf daß ich nicht mit großem Weh So that I may not with great sorrow In meinen Sünden untergeh, drown in my sins Noch ewiglich verzage. nor despair for ever. | 2-Koopman 2/Denn-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3 | 3. Coro [Psalm 13:5] Oboe, Fagotto, Violino, Viola I/II, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Ich harre des Herrn, meine Seele harret, und ich hoffe auf sein Wort. | I wait for the Lord, this my spirit waiteth, and I put trust in his word. | Ich harre des Herrn, meine Seele harret, und ich hoffe auf sein Wort. I wait for the Lord, my soul waits, and I hope in his word. | 3-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 4 | 4. Aria T e Choral A [Psalm 130:6 and Ringwaldt, verse 5 of the hymn] Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Meine Seele wartet auf den Herrn von einer Morgenwache bis zu der andern. Und weil ich denn in meinem Sinn, Wie ich zuvor geklaget, Auch ein betrübter Sünder bin, Den sein Gewissen naget, Und wollte gern im Blute dein Von Sünden abgewaschen sein Wie David und Manasse. | (T) This my spirit waiteth for the Lord before one morning watch until the next watch. (A) Especially that in my heart, As I have long lamented, I, too, an anxious sinner am, Who is by conscience rankled, And would so glad within thy blood From sinfulness be washed and pure Like David and Manasseh.(2) | Tenor: Meine Seele wartet auf den Herrn My soul waits for the Lord von einer Morgenwache bis zu der andern. from one morning watch until the next. Alto: Und weil ich denn in meinem Sinn, Especially since I in my mind, Wie ich zuvor geklaget, as I have for a long time lamented, Auch ein betrübter Sünder bin, am also a troubled sinner, Den sein Gewissen naget, who is gnawed by his conscience, Und wollte gern im Blute dein and would willingly in your blood Von Sünden abgewaschen sein be washed clean from my sins Wie David und Manasse. like David and Manasseh. | (4-Koopman) 4-Koopman (4/Von-Koopman) 4/Von-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 5 | 5. Coro [Psalm 130:7-8] Oboe, Fagotto, Violino, Viola I/II, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Israel hoffe auf den Herrn; denn bei dem Herrn ist die Gnade und viel Erlösung bei ihm. Und er wird Israel erlösen aus allen seinen Sünden. | Israel, trust now in the Lord; for with the Lord there is mercy, and much redemption with him. And he shall Israel deliver from all of his transgressions. | Israel hoffe auf den Herrn; Israel , hope in the Lord denn bei dem Herrn ist die Gnade for with the Lord is grace und viel Erlösung bei ihm. and much redemption with him Und er wird Israel erlösen aus allen seinen Sünden. and he shall redeem Israel from all his sins. | 5-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| @Wikipedia, @IMSLP, @bach-cantatas.com | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| Conductor | Ton Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Orchestra | Amsterdam Baroque Orchestra & Choir | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Choir | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Venue | Grote kerk Naarden, The Netherlands | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance date | 1997 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Subtitles | None | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance duration | 27m05s | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Video type | 480p 16:9 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube uploader | Eliahavani | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube upload date | 2012-01-16 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube deletion date | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Dramatis Personæ | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Soprano | Lisa Larsson | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Tenor | Lothar Odinius | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Bass | Klaus Mertens | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Libretto and links | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| # | German - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | German/English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | Koopman 1997 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1 | 1. Coro Oboe I/II, Taille, Violino I/II, Violino piccolo, Viola, Corno col Soprano, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Wachet auf, ruft uns die Stimme Der Wächter sehr hoch auf der Zinne, Wach auf, du Stadt Jerusalem! Mitternacht heißt diese Stunde; Sie rufen uns mit hellem Munde: Wo seid ihr klugen Jungfrauen? Wohl auf, der Bräutgam kömmt; Steht auf, die Lampen nehmt! Alleluja! Macht euch bereit Zu der Hochzeit, Ihr müsset ihm entgegen gehn! | Wake, arise, the voices call us Of watchmen from the lofty tower; Arise, thou town Jerusalem! Midnight's hour doth give its summons; They call to us with ringing voices; Where are ye prudent virgins now? Make haste, the bridegroom comes; Rise up and take your lamps! Alleluia! Prepare to join The wedding feast, Go forth to meet him as he comes! | Wachet auf, ruft uns die Stimme Wake up, the voice calls us Der Wächter sehr hoch auf der Zinne, of the watchmen high up on the battlements, Wach auf, du Stadt Jerusalem! wake up, you city of Jerusalem! Mitternacht heißt diese Stunde; This hour is called midnight; Sie rufen uns mit hellem Munde: they call us with a clear voice: Wo seid ihr klugen Jungfrauen? where are you, wise virgins ? Wohl auf, der Bräutgam kömmt; Get up, the bridegroom comes; Steht auf, die Lampen nehmt! Alleluja! Stand up, take your lamps! Hallelujah! Macht euch bereit Make yourselves ready Zu der Hochzeit, for the wedding, Ihr müsset ihm entgegen gehn! you must go to meet him! | (1-Koopman) 1-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2 | 2. Recitativo T Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Er kommt, er kommt, Der Bräutgam kommt! Ihr Töchter Zions, kommt heraus, Sein Ausgang eilet aus der Höhe In euer Mutter Haus. Der Bräutgam kommt, der einem Rehe Und jungen Hirsche gleich Auf denen Hügeln springt Und euch das Mahl der Hochzeit bringt. Wacht auf, ermuntert euch! Den Bräutgam zu empfangen! Dort, sehet, kommt er hergegangen. | He comes, he comes, The bridegroom comes!(1) O Zion's daughters, come ye forth,(2) His journey hieth from the heavens(3) Into your mother's house.(4) The bridegroom comes, who to a roebuck And youthful stag is like,(5) Which on the hills doth leap;(6) To you the marriage meal he brings. Rise up, be lively now The bridegroom here to welcome! There, look now, thence he comes to meet you. | Er kommt, er kommt, He comes, he comes, Der Bräutgam kommt! the bridegroom comes! Ihr Töchter Zions, kommt heraus, You daughters of Zion, come out, Sein Ausgang eilet aus der Höhe he hastens his departure from on high In euer Mutter Haus. to your mother's house. Der Bräutgam kommt, der einem Rehe The bridegroom comes, who like a roedeer Und jungen Hirsche gleich and a young stag Auf denen Hügeln springt leaps on the hills Und euch das Mahl der Hochzeit bringt. and brings to you the wedding feast. Wacht auf, ermuntert euch! Wake up, rouse yourselves Den Bräutgam zu empfangen! to welcome the bridegroom! Dort, sehet, kommt er hergegangen. There, see, he comes this way. | 2-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3 | 3. Aria (Duetto) S B Violino piccolo, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Seele (S), Jesus (B) Sopran Wenn kömmst du, mein Heil? Bass Ich komme, dein Teil. Sopran Ich warte mit brennendem Öle. {Sopran, Bass} {Eröffne, Ich öffne} den Saal beide Zum himmlischen Mahl Sopran Komm, Jesu! Bass Komm, liebliche Seele! | (Soul) When com'st thou, my Savior?(7) (Jesus) I'm coming, thy share. (Soul) I'm waiting with my burning oil.(8) (Soul, Jesus) Now open { } the hall I open For heaven's rich meal. (Soul) Come, Jesus! (Jesus) Come, O lovely soul! | Soul: Wenn kömmst du, mein Heil? When are you coming, my salvation? Jesus: Ich komme, dein Teil. I come, your portion. Soul: Ich warte mit brennendem Öle. I wait with burning oil. Jesus: Eröffne den Saal Open the hall Soul: Ich öffne den Saal I open the hall Both: Zum himmlischen Mahl to the heavenly feast. Soul: Komm, Jesu! Come, Jesus! Jesus: Komm, liebliche Seele! Come, lovely soul! | (3-Koopman) 3-Koopman (3/riternello-Koopman) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 4 | 4. Choral T Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Zion hört die Wächter singen, Das Herz tut ihr vor Freuden springen, Sie wachet und steht eilend auf. Ihr Freund kommt vom Himmel prächtig, Von Gnaden stark, von Wahrheit mächtig, Ihr Licht wird hell, ihr Stern geht auf. Nun komm, du werte Kron, Herr Jesu, Gottes Sohn! Hosianna! Wir folgen all Zum Freudensaal Und halten mit das Abendmahl. | Zion hears the watchmen singing, Her heart within for joy is dancing, She watches and makes haste to rise. Her friend comes from heaven glorious, In mercy strong, in truth most mighty, Her light is bright, her star doth rise. Now come, thou precious crown, Lord Jesus, God's own Son! Hosannah pray! We follow all To joy's glad hall And join therein the evening meal. | Zion hört die Wächter singen, Zion hears the watchmen sing, Das Herz tut ihr vor Freuden springen, her heart leaps for joy, Sie wachet und steht eilend auf. she awakes and gets up in haste. Ihr Freund kommt vom Himmel prächtig, Her friend comes from heaven in his splendour, Von Gnaden stark, von Wahrheit mächtig, strong in mercy, mighty in truth. Ihr Licht wird hell, ihr Stern geht auf. Her light becomes bright, her star rises. Nun komm, du werte Kron, Now come, you worthy crown, Herr Jesu, Gottes Sohn! Lord Jesus, God's son! Hosianna! Hosanna! Wir folgen all We all follow Zum Freudensaal to the hall of joy Und halten mit das Abendmahl. and share in the Lord's supper. | (4-Koopman) 4-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 5 | 5. Recitativo B Violino I/II, Violino piccolo, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| So geh herein zu mir, Du mir erwählte Braut! Ich habe mich mit dir Von Ewigkeit vertraut. Dich will ich auf mein Herz, Auf meinem Arm gleich wie ein Siegel setzen Und dein betrübtes Aug ergötzen. Vergiß, o Seele, nun Die Angst, den Schmerz, Den du erdulden müssen; Auf meiner Linken sollst du ruhn, Und meine Rechte soll dich küssen. | So come within to me, Thou mine elected bride! I have myself to thee Eternally betrothed.(9) I will upon my heart, Upon my arm like as a seal engrave thee(10) And to thy troubled eye bring pleasure. Forget, O spirit, now The fear, the pain Which thou hast had to suffer; Upon my left hand shalt thou rest, And this my right hand shall embrace thee.(11) | So geh herein zu mir, So come inside to me Du mir erwählte Braut! you bride that I have chosen for myself, Ich habe mich mit dir Von Ewigkeit vertraut. I have betrothed mysef to you from eternity to eternity. Dich will ich auf mein Herz, It is you that I want to set in my heart, Auf meinem Arm gleich wie ein Siegel setzen on my arm like a seal Und dein betrübtes Aug ergötzen. and to delight your grieved eyes. Vergiß, o Seele, nun Forget now, o soul, Die Angst, den Schmerz, the anguish, the sorrow Den du erdulden müssen; that you had to suffer Auf meiner Linken sollst du ruhn, On my left hand you should rest Und meine Rechte soll dich küssen. and my right hand should kiss you. | 5-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 6 | 6. Aria (Duetto) S B Oboe solo, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Seele (S), Jesus (B) Seele Mein Freund ist mein, Bass Und ich bin dein, beide Die Liebe soll nichts scheiden. {Seele, Bass} {Ich will, du sollst} mit {dir,mir} in Himmels Rosen weiden, beide Da Freude die Fülle, da Wonne wird sein. | (Soul) My friend is mine, (Jesus) And I am thine,(12) (Both) Let love bring no division. (Soul, Jesus) I will thee { } with { } on heaven's roses pasture,(13) Thou shalt me Where pleasure in fullness, where joy will abound.(14) | Soul: Mein Freund ist mein, My friend is mine, Jesus: Und ich bin dein, and I am yours, Both: Die Liebe soll nichts scheiden. Nothing shall divide our love. Soul: Ich will mit dir in Himmels Rosen weiden, I want to graze on heaven's roses with you, Jesus: du sollst mit mir in Himmels Rosen weiden, You will graze on heaven's roses with me, Both: Da Freude die Fülle, da Wonne wird sein. There will be fullness of joy, there will be delight. | (6-Koopman) 6-Koopman (6/-Koopman) 6/-Koopman (6/riternello-Koopman) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 7 | 7. Choral Violino piccolo in octava e Corno e Oboe I e Violino I col Soprano, Oboe II e Violino II coll' Alto, Taille e Viola col Tenore, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Gloria sei dir gesungen Mit Menschen- und englischen Zungen, Mit Harfen und mit Zimbeln schon. Von zwölf Perlen sind die Pforten, An deiner Stadt; wir sind Konsorten Der Engel hoch um deinen Thron. Kein Aug hat je gespürt, Kein Ohr hat je gehört Solche Freude. Des sind wir froh, Io, io! Ewig in dulci jubilo. | Gloria to thee be sung now With mortal and angelic voices, With harps and with the cymbals, too. Of twelve pearls are made the portals; Amidst thy city we are consorts Of angels high around thy throne. No eye hath yet perceived, No ear hath e'er yet heard Such great gladness. Thus we find joy, Io, io, Ever in dulci jubilo! | Gloria sei dir gesungen May gloria be sung to you Mit Menschen- und englischen Zungen, with the tongues of men and angels, Mit Harfen und mit Zimbeln schon. with harps and with cymbals. Von zwölf Perlen sind die Pforten, The gates are made of twelve pearls, An deiner Stadt sind wir Konsorten in your city we are companions Der Engel hoch um deinen Thron. of the angels on high around your throne. Kein Aug hat je gespürt, No eye has ever perceived, Kein Ohr hat je gehört no ear has ever heard Solche Freude. such joy. Des sind wir froh, Therefore we are joyful, Io, io! hurray, hurray! Ewig in dulci jubilo. for ever in sweet rejoicing. | 7-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Final material | end_of_performance-Koopman Closing_credits-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
J. S. Bach - Kantate “Herz und Mund und Tat und Leben”, BWV 147 (Ton Koopman)
Uploaded on Jan 16, 2012 by Eliahavani
| @Wikipedia, @IMSLP, @bach-cantatas.com | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance and video information | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| @bach-cantatas.com | 22 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Conductor | Ton Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Orchestra | Amsterdam Baroque Orchestra & Choir | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Choir | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Venue | Grote kerk Naarden, The Netherlands | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance date | 1997 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Subtitles | None | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance duration | 30m14s 31m59s | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Video type | 480p 16:9 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube uploader | Eliahavani | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube upload date | 2012-01-16 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube deletion date | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Dramatis Personæ | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Soprano | Lisa Larsson | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Alto | Elisabeth von Magnus | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Tenor | Lothar Odinius | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Bass | Klaus Mertens | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Libretto and links | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| # | German - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | German/English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | Koopman 1997 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Erster Teil | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1 | 1. Coro Tromba, Oboe I/II, Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Herz und Mund und Tat und Leben Muss von Christo Zeugnis geben Ohne Furcht und Heuchelei, Dass er Gott und Heiland sei. | Heart and mouth and deed and living Must for Christ their witness offer Without fear and falsity That he God and Savior is. | Herz und Mund und Tat und Leben Heart and mouth and deed and life Muss von Christo Zeugnis geben must bear witness to Christ Ohne Furcht und Heuchelei, without fear or hypocrisy Dass er Gott und Heiland sei. that he is God and saviour. | (1-Koopman) (1-Koopman) 1-Koopman (1/riternello-Koopman) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2 | 2. Recitativo T Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Gebenedeiter Mund! Maria macht ihr Innerstes der Seelen Durch Dank und Rühmen kund; Sie fänget bei sich an, Des Heilands Wunder zu erzählen, Was er an ihr als seiner Magd getan. O menschliches Geschlecht, Des Satans und der Sünden Knecht, Du bist befreit Durch Christi tröstendes Erscheinen Von dieser Last und Dienstbarkeit! Jedoch dein Mund und dein verstockt Gemüte Verschweigt, verleugnet solche Güte; Doch wisse, dass dich nach der Schrift Ein allzuscharfes Urteil trifft! | O thou most blessed voice! Now Mary makes her spirit's deepest feelings Through thanks and praising known; She undertakes alone To tell the wonders of the Savior, All he in her, his virgin maid, hath wrought. O mortal race of men, Of Satan and of sin the thrall, Thou art set free Through Christ's most comforting appearance From all this weight and slavery! But yet thy voice and thine own stubborn spirit Grow still, denying all such kindness; Remember that the Scripture saith An awesome judgment shall thee strike! | Gebenedeiter Mund! Blessed mouth! Maria macht ihr Innerstes der Seelen Mary makes the innermost part of her soul Durch Dank und Rühmen kund; known through thanks and praise; Sie fänget bei sich an, with herself she begins Des Heilands Wunder zu erzählen, to tell of the wonders of the saviour, Was er an ihr als seiner Magd getan. all that he has done for her as his handmaid. O menschliches Geschlecht, O human race Des Satans und der Sünden Knecht, servant of Satan and sin, Du bist befreit you are set free Durch Christi tröstendes Erscheinen through Christ's consoling appearance Von dieser Last und Dienstbarkeit! from this burden and servitude! Jedoch dein Mund und dein verstockt Gemüte Yet your mouth and your obdurate spirit Verschweigt, verleugnet solche Güte; keep silent and deny such kindness; Doch wisse, dass dich nach der Schrift but be aware, that according to scripture Ein allzuscharfes Urteil trifft! there awaits you a judgement that is all too sharp! | 2-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3 | 3. Aria A Oboe d'amore, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Schäme dich, o Seele, nicht, Deinen Heiland zu bekennen, Soll er dich die seine nennen Vor des Vaters Angesicht! Doch wer ihn auf dieser Erden Zu verleugnen sich nicht scheut, Soll von ihm verleugnet werden, Wenn er kommt zur Herrlichkeit. | Be ashamed, O spirit, not, This thy Savior to acknowledge,(1) Should he as his own e'er name thee(2) 'Fore his Father's countenance. For he who him on earth now To deny is not afraid Is by him to be deniéd When he comes in majesty. | Schäme dich, o Seele, nicht, Do not be ashamed,O Soul, Deinen Heiland zu bekennen, to acknowledge your saviour Soll er dich die seine nennen if he were to call you his own Vor des Vaters Angesicht! before his father's face! Doch wer ihn auf dieser Erden B ut whoever on this earth Zu verleugnen sich nicht scheut, does not shrink from denying him Soll von ihm verleugnet werden, will himself be denied by him Wenn er kommt zur Herrlichkeit. when he comes in glory. | (3-Koopman) 3-Koopman (3/Doch-Koopman) 3/Doch-Koopman (3/riternello-Koopman) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 4 | 4. Recitativo B Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Verstockung kann Gewaltige verblenden, Bis sie des Höchsten Arm vom Stuhle stößt; Doch dieser Arm erhebt, Obschon vor ihm der Erde Kreis erbebt, Hingegen die Elenden, So er erlöst. O hochbeglückte Christen, Auf, machet euch bereit, Itzt ist die angenehme Zeit, Itzt ist der Tag des Heils: der Heiland heißt Euch Leib und Geist Mit Glaubensgaben rüsten, Auf, ruft zu ihm in brünstigem Verlangen, Um ihn im Glauben zu empfangen! | The mighty can by stubbornness be blinded Till them the Highest's arm thrust from their throne; But this arm doth exalt, E'en though 'fore it the earthly ball doth quake, In turn the meek and humble, Whom he shall save. O highly favored Christians, Rise, get yourselves prepared, Now is the time of joy at hand, Now is the day of grace:(3) the Savior bids You arm both soul and body with faith's blessings; Rise, call to him with fervor and with yearning, That ye in faith may now receive him. | Verstockung kann Gewaltige verblenden, Stubbornness can blind the powerful Bis sie des Höchsten Arm vom Stuhle stößt; until the arm of the highest thrusts them from their seat; Doch dieser Arm erhebt, yet this arm Obschon vor ihm der Erde Kreis erbebt, even though the round earth trembles before it Hingegen die Elenden, on the other hand raises the wretched, So er erlöst. Whom he redeems. O hochbeglückte Christen, O very fortunate Christians Auf, machet euch bereit, up, make yourself ready, Itzt ist die angenehme Zeit, now is the acceptable time, Itzt ist der Tag des Heils: der Heiland heißt now is the day of salvation: the saviour calls Euch Leib und Geist you to arm body and spirit Mit Glaubensgaben rüsten, with the gifts of faith, Auf, ruft zu ihm in brünstigem Verlangen, up, call to him in ardent longing Um ihn im Glauben zu empfangen! to receive him in faith! | 4-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 5 | 5. Aria S Violino solo, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Bereite dir, Jesu, noch itzo die Bahn, Mein Heiland, erwähle Die gläubende Seele Und siehe mit Augen der Gnade mich an! | Make ready, O Jesus, to thee now the way; My Savior, elect now My soul ever faithful And look down with eyes full of grace now on me! | Bereite dir, Jesu, noch itzo die Bahn, Prepare the way to you now, Jesus, Mein Heiland, erwähle my saviour, choose Die gläubende Seele the believing soul Und siehe mit Augen der Gnade mich an! and look upon me with eyes of mercy! | (5-Koopman) 5-Koopman (5/riternello-Koopman) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 6 | 6. Choral Tromba, Oboe I/II, Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Wohl mir, dass ich Jesum habe, O wie feste halt ich ihn, Dass er mir mein Herze labe, Wenn ich krank und traurig bin. Jesum hab ich, der mich liebet Und sich mir zu eigen gibet; Ach drum lass ich Jesum nicht, Wenn mir gleich mein Herze bricht. | Blest am I that I have Jesus, Oh, how firmly I hold him, That he bring my soul refreshment When I'm ill and filled with grief. I have Jesus, who doth love me And himself to me entrusteth; Ah, I'll hence leave Jesus not, Even though my heart should break. | Wohl mir, dass ich Jesum habe, What joy for me that I have Jesus, O wie feste halt ich ihn, oh how firmly I hold on to him Dass er mir mein Herze labe, so that he may make my heart rejoice, Wenn ich krank und traurig bin. when I am sick and mournful. Jesum hab ich, der mich liebet I have Jesus, who loves me Und sich mir zu eigen gibet; and gives himself to me for his own. Ach drum lass ich Jesum nicht, Ah, therefore I shall not let go of Jesus, Wenn mir gleich mein Herze bricht. even if my heart should break. | (6-Koopman) 6-Koopman (6/riternello-Koopman) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Zweiter Teil | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 7 | 7. Aria T Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Hilf, Jesu, hilf, dass ich auch dich bekenne In Wohl und Weh, in Freud und Leid, Dass ich dich meinen Heiland nenne Im Glauben und Gelassenheit, Dass stets mein Herz von deiner Liebe brenne. | Help, Jesus, help both that I may confess thee In health and woe, joy and grief, And that I may my Savior call thee In steadfast faith and confidence, That e'er thy love within my heart be burning. | Hilf, Jesu, hilf, dass ich auch dich bekenne Help me, Jesus, so that I may confess you In Wohl und Weh, in Freud und Leid, in good fortune and misfortune, joy and sorrow, Dass ich dich meinen Heiland nenne so that I may call you my saviour Im Glauben und Gelassenheit, in faith and calmness, Dass stets mein Herz von deiner Liebe brenne. so my heart may always burn with your love. | (7-Koopman) 7-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 8 | 8. Recitativo A Oboe da caccia I/II, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Der höchsten Allmacht Wunderhand Wirkt im Verborgenen der Erden. Johannes muss mit Geist erfüllet werden, Ihn zieht der Liebe Band Bereits in seiner Mutter Leibe, Dass er den Heiland kennt, Ob er ihn gleich noch nicht Mit seinem Munde nennt, Er wird bewegt, er hüpft und springet, Indem Elisabeth das Wunderwerk ausspricht, Indem Mariae Mund der Lippen Opfer bringet. Wenn ihr, o Gläubige, des Fleisches Schwachheit merkt Wenn euer Herz in Liebe brennet, Und doch der Mund den Heiland nicht bekennet, Gott ist es, der euch kräftig stärkt, Er will in euch des Geistes Kraft erregen, Ja Dank und Preis auf eure Zunge legen. | The wondrous hand of might sublime Doth work in earth's unseen recesses; Since John now must be made full of the Spirit, The bond of love tugs him Already in his mother's body; That he the Savior know, Although he not at once Him with his mouth address, He is stirred up, he leaps and springeth, So that Elizabeth the marvel doth proclaim, So that Maria's mouth the gift of lips doth offer. If ye, O ye of faith, the flesh's weakness see, And if your heart with love is burning, But still your mouth thy Savior not acknowledge, God is it who gives you great strength; He shall in you the spirit's pow'r awaken, Yea, thanks and praise upon your tongue shall lay then. | Der höchsten Allmacht Wunderhand The miraculous hand of the Almighty Wirkt im Verborgenen der Erden. works in the secret places of the earth. Johannes muss mit Geist erfüllet werden, John must be filled with the spirit, Ihn zieht der Liebe Band the bond of love draws him Bereits in seiner Mutter Leibe, already in his mother's body, Dass er den Heiland kennt, so that he recognises the saviour Ob er ihn gleich noch nicht even though he could not yet Mit seinem Munde nennt, name him with his mouth, Er wird bewegt, er hüpft und springet, he is moved, he leaps and jumps Indem Elisabeth das Wunderwerk ausspricht, while Elizabeth declares the miracle, Indem Mariae Mund der Lippen Opfer bringet. while Mary's mouth brings the offering of lips. Wenn ihr, o Gläubige, des Fleisches Schwachheit merkt If you, O believer, note the weakness of the flesh, Wenn euer Herz in Liebe brennet, if your hearts burn with love Und doch der Mund den Heiland nicht bekennet, and yet your mouth does not confess the saviour Gott ist es, der euch kräftig stärkt, it is God who powerfully strengthens you, Er will in euch des Geistes Kraft erregen, he will stir up in you the power of the spirit, Ja Dank und Preis auf eure Zunge legen. indeed, he will place thanks and praise on your tongues. | 8-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 9 | 9. Aria B Tromba, Oboe I/II, Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Ich will von Jesu Wundern singen Und ihm der Lippen Opfer bringen, Er wird nach seiner Liebe Bund Das schwache Fleisch, den irdischen Mund Durch heilges Feuer kräftig zwingen. | Of Jesus' wonders(4) I'll be singing And bring to him my lips' glad off'ring; He will by bond of his own love My feeble flesh, my mundane voice Through holy fire overpower. | Ich will von Jesu Wundern singen I shall sing of the wonders of Jesus Und ihm der Lippen Opfer bringen, and bring to him the offering of my lips, Er wird nach seiner Liebe Bund according to the covenant of his love Das schwache Fleisch, den irdischen Mund he will subdue the weak flesh, the earthly mouth Durch heilges Feuer kräftig zwingen. powerfully through his holy Fire. | (9-Koopman) 9-Koopman (9/riternello-Koopman) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 10 | 10. Choral Tromba, Oboe I/II, Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Jesus bleibet meine Freude, Meines Herzens Trost und Saft, Jesus wehret allem Leide, Er ist meines Lebens Kraft, Meiner Augen Lust und Sonne, Meiner Seele Schatz und Wonne; Darum lass ich Jesum nicht Aus dem Herzen und Gesicht. | Jesus shall remain my gladness, Essence of my heart, its hope; Jesus from all grief protecteth, He is of my life its strength, Of mine eyes the sun and pleasure, Of my soul the joy and treasure; Therefore I will Jesus not From my heart and sight allow. | Jesus bleibet meine Freude, Jesus remains my joy, Meines Herzens Trost und Saft, the comfort and life's blood of my heart, Jesus wehret allem Leide, Jesus defends me against all sorrows, Er ist meines Lebens Kraft, he is my life's strength, Meiner Augen Lust und Sonne, the delight and sun of my eyes Meiner Seele Schatz und Wonne; my soul's treasure and joy; Darum lass ich Jesum nicht therefore I shall not let Jesus go Aus dem Herzen und Gesicht. from my heart and sight. | (10-Koopman) 10-Koopman (10/riternello-Koopman) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Final material | Closing_credits-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Johann Sebastian Bach Himmelskönig, sei willkommen BWV 182 (1714)
@Wikipedia; @bach-cantatas.com; German text; German-English text; view playlist
| @Wikipedia, @IMSLP, @bach-cantatas.com Scoring: Soli: A T B, Coro: S A T B, Flauto, Violino I/II, Viola I/II, Continuo | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance and video information | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| Conductor | None! | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Orchestra | Bach Consort (Moscow) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Venue | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance date | 2011-06-11 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance duration | 30m41s | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| @bach-cantatas.com | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Video type | 480p 16:9 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube uploader | bachconsort | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube upload date | 2011-07-07 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube deletion date | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Soprano | Liliya Gaysina | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Alto | Yulia Mikkonen | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Tenor | Paul Bentley Andrey Krasavin | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Bass | Anton Tutnov | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Libretto and links | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| # | German - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | German/English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | bachconsort | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1 | 1. Sonata Flauto, Violino concertante, Violino di ripieno, Viola I/II, Violoncello, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1-bachconsort | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2 | 2. Coro Flauto, Violino, Viola I/II, Violoncello, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Himmelskönig, sei willkommen, Lass auch uns dein Zion sein! Komm herein, Du hast uns das Herz genommen. | King of heaven, thou art welcome, Let e'en us thy Zion be! Come inside, Thou hast won our hearts completely. | Himmelskönig, sei willkommen, King of heaven, welcome, Laß auch uns dein Zion sein! let us also be your Zion ! Komm herein, Come within, Du hast uns das Herz genommen. You have taken our hearts from us. | 2-bachconsort | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3 | 3. Recitativo B Violoncello, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Siehe, ich komme, im Buch ist von mir geschrieben; deinen Willen, mein Gott, tu ich gerne. | Lo now, I'm coming. Of me in the book is written: What thy will is, my God, I do gladly. | Siehe, ich komme, im Buch ist von mir geschrieben; deinen Willen, mein Gott, tu ich gerne. See , I come, in the book it is written of me: your will , my God, I do gladly. | 3-bachconsort | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 4 | 4. Aria B Violino, Viola I/II, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Starkes Lieben, Das dich, großer Gottessohn, Von dem Thron Deiner Herrlichkeit getrieben, Dass du dich zum Heil der Welt Als ein Opfer vorgestellt, Dass du dich mit Blut verschrieben. | Strong compassion, Which, O mighty Son of God, From the throne Of thy majesty did drive thee! Strong compassion, That thou didst to heal the world As a victim give thyself, That thyself with blood didst sentence. | Starkes Lieben, Mighty love Das dich, großer Gottessohn, by which you, great Son of God, Von dem Thron from the throne Deiner Herrlichkeit getrieben, of your glory were driven Daß du dich zum Heil der Welt so that for the salvation of the world Als ein Opfer vorgestellt, you presented yourself as a sacrifice Daß du dich mit Blut verschrieben. and with blood you signed away yourself. | (4-bachconsort) 4-bachconsort | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 5 | 5. Aria A Flauto solo, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Leget euch dem Heiland unter, Herzen, die ihr christlich seid! Tragt ein unbeflecktes Kleid Eures Glaubens ihm entgegen, Leib und Leben und Vermögen Sei dem König itzt geweiht. | Lie before your Savior prostrate, Hearts of all who Christian are! Don ye now a spotless robe Of your faith in which to meet him; Life and body and possessions To the king now consecrate. | Leget euch dem Heiland unter, Put yourselves beneath the Saviour, Herzen, die ihr christlich seid! you hearts, who are Christian! Tragt ein unbeflecktes Kleid Wear an unspotted robe Eures Glaubens ihm entgegen, of your faith to meet him, Leib und Leben und Vermögen Body and life and possessions Sei dem König itzt geweiht. now dedicate to the king. | (5-bachconsort) 5-bachconsort (5/Tragt-bachconsort) 5/Tragt-bachconsort (5/Leget-bachconsort) 5/Leget-bachconsort | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 6 | 6. Aria T Violoncello, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Jesu, lass durch Wohl und Weh Mich auch mit dir ziehen! Schreit die Welt nur »Kreuzige!«, So lass mich nicht fliehen, Herr, von deinem Kreuzpanier; Kron und Palmen find ich hier. | Jesus, let through weal and woe Me go also with thee! Though the world shout “Crucify!” Let me not abandon, Lord, the banner of thy cross; Crown and palm shall I find here. | Jesu, laß durch Wohl und Weh Jesus, through weal and woe Mich auch mit dir ziehen! let me go with you! Schreit die Welt nur »Kreuzige!«, If the world cries only “Crucify “, So laß mich nicht fliehen, do not let me flee Herr, von deinem Kreuzpanier; Lord, from the banner of your cross; Kron und Palmen find ich hier. I find crown and palms here. | (6-bachconsort) 6-bachconsort (6/Schreit-bachconsort) 6/Schreit-bachconsort (6/Herr-bachconsort) 6/Herr-bachconsort | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 7 | 7. Choral Flauto, Violino, Viola I/II, Violoncello, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Jesu, deine Passion Ist mir lauter Freude, Deine Wunden, Kron und Hohn Meines Herzens Weide; Meine Seel auf Rosen geht, Wenn ich dran gedenke, In dem Himmel eine Stätt Uns deswegen schenke. | Jesus, this thy passion Brings me purest pleasure; All thy wounds, thy crown and scorn, Are my heart's true pasture; This my soul is all in bloom Once I have considered: In yon heaven is a home To us(2) by this offered. | Jesu, deine Passion Jesus, your passion Ist mir lauter Freude, is for me pure joy, Deine Wunden, Kron und Hohn your wounds, crown and shame Meines Herzens Weide; are my heart's pasture; Meine Seel auf Rosen geht, My soul walks on roses Wenn ich dran gedenke, if I think on this, In dem Himmel eine Stätt in heaven a place Uns deswegen schenke. for this reason grant to us. | 7-bachconsort | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 8 | 8. Coro Flauto, Violino, Viola I/II, Violoncello, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| So lasset uns gehen in Salem der Freuden, Begleitet den König in Lieben und Leiden. Er gehet voran Und öffnet die Bahn. | So let us go forth to that Salem of gladness, Attend ye the King both in love and in sorrow. He leadeth the way And opens the path. | So lasset uns gehen in Salem der Freuden, So let us go in the Salem of joy, Begleitet den König in Lieben und Leiden. accompany the king in love and in sorrows Er gehet voran he goes before Und öffnet die Bahn. and opens the way. | (8-bachconsort) 8-bachconsort (8/Er-bachconsort) 8/Er-bachconsort (8/So-bachconsort) 8/So-bachconsort | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
BWV 191 Gloria in excelsis Deo
@Wikipedia; @bach-cantatas.com; Latin text; Latin-English text
1: 0:00, 2: 6:45, 3: 10:40
The three parts of this became movements 1, 5, and 9
of the Gloria of BWV 232, the Mass in B Minor.
| @Wikipedia, @IMSLP, @bach-cantatas.com | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance and video information | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| @bach-cantatas.com | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Conductor | Ton Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Orchestra | Amsterdam Baroque Orchestra & Choir | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Choir | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Venue | Waalse Kerk, Amsterdam, Holland | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance date | 1999-03 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Subtitles | No | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance duration | 14m51s | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Video type | Audio-only | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube uploader | TheGravicembalo2 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube upload date | 2010-11-29 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube deletion date | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Dramatis Personæ | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Soprano | Caroline Stam | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Tenor | Paul Agnew | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Libretto and links | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| # | Latin - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | Latin/English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | Koopman | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1 | 1. Coro (BWV232/2/1, “Gloria in excelsis Deo.”) Tromba I-III, Tamburi, Flauto traverso I e Oboe I all' unisono, Flauto traverso II e Oboe II all' unisono, Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. | Glory be to God on high, and on earth peace, good will towards men. | Gloria in excelsis Deo. Glory to God on high Et in terra pax hominibus and peace on earth to men bonae voluntatis. of good will. | (1-Koopman) 1-Koopman 1/Et-Koopman (1/Et-Koopman) 1/Et-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2 | 2. (Duetto) S T (BWV232/2/5, “Domine Deus, Rex coelestis”) Flauto traverso I/II, Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Gloria Patri et Filio et Spiritui sancto. | Glory be to the Father, and to the Son, and to the Holy Ghost. | Gloria Patri et Filio et Spiritui sancto. Glory to the Father and the Son and the Holy Spirit. | (2-Koopman) 2-Koopman (2/ritornello-Koopman) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3 | 3. Coro (BWV232/2/9, “Cum Sancto Spiritu”) Tromba I-III, Tamburi, Flauto traverso I/II, Oboe I/II, Violino I/II, Viola, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Sicut erat in principio et nunc et semper et in saecula saeculorum, amen. | As it was in the beginning, is now, and ever shall be, world without end. Amen. | Sicut erat in principio et nunc et semper As it was in the beginning and is now and always will be et in saecula saeculorum, amen. And for age after age, amen. | 3-Koopman 3-Koopman | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
BWV 192, Nun danket alle Gott (1730)
BWV 192, Leusink
JS Bach Cantatas BWV 188 & 192, Nikolaus Harnoncourt
Gardiner; full playlist here
Johann Sebastian Bach Easter Oratorio BWV 249 (1725)
Collegium Vocale, Gent
Uploaded on Apr 3, 2008 by protestant7
view playlist
Collegium 1704
Published on Jun 14, 2012 by ArioniaTellus2
John Eliot Gardiner
English Baroque Soloists
Published on Aug 17, 2013 by MartialVidz
| @Wikipedia, @IMSLP, @bach-cantatas.com Scoring: Soli: S A T B, Coro: S A T B, Tromba I-III, Tamburi, Flauto traverso, Flauto I/II, Oboe I/II, Oboe d'amore, Violino I/II, Viola, Fagotto, Continuo | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance and video information | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| Conductor | Philippe Herreweghe | Václav Luks | John Eliot Gardiner | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Orchestra | Collegium Vocale, Gent | Collegium 1704 | English Baroque Soloists | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Choir | Collegium Vocale, Gent | Collegium Vocale 1704 | Monteverdi Choir | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Venue | Abbatiale d'Ambronay | BBC Proms 2013 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance date | 2011-09-09 | 2013 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Subtitles | Italian | None | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Performance duration | 42m18s | 43m58s | 46m58s | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| @bach-cantatas.com | V-1 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Video type | 360p 4:3 | 360p 16:9 | 1440HD 16:9 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube uploader | HaydnHouse04Mar1887 | ArioniaTellus2 | MartialVidz | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube upload date | 2013-01-20 | 2012-06-14 | 2013-08-17 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| YouTube deletion date | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Maria Jacobi (Mary, daughter of James) (Soprano) | Agnès Mellon | Hannah Morrison | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Maria Magdalena (Mary Magdalene) (Alto) | Andreas Scholl | Meg Bragle | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Petrus (Peter) (Tenor) | Mark Padmore | Nicholas Mulroy | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Johannes (John) (Bass) | Peter Kooy | Peter Harvey | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Libretto and links | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| # | German - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | German/English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | Herrewehge | Luks - - - - - - - - - - - - - - - - | Gardiner 2013 - - - - - - - - - - - - - - - - | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1 | 1. Sinfonia Tromba I-III, Tamburi, Oboe I/II, Violino I/II, Viola, Fagotto, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1-Herreweghe | 1-Luks | (conductor_enters-Gardiner) 1-Gardiner | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2 | 2. Adagio Oboe I, Violino I/II, Viola, Fagotto, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2-Herreweghe | 2-Luks | 2-Gardiner | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3 | 3. Aria (Duetto) T B Tromba I-III, Tamburi, Oboe I/II, Violino I/II, Viola, Fagotto, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Petrus, Johannes Kommt, eilet und laufet, ihr flüchtigen Füße, Erreichet die Höhle, die Jesum bedeckt! Lachen und Scherzen Begleitet die Herzen, Denn unser Heil ist auferweckt. | Peter, John Come, hasten and hurry,(2) ye fleet-footed paces, Make haste for the grotto which Jesus doth veil! Laughter and pleasure, Attend ye our hearts now, For he who saves us is raised up. | Petrus (Peter), Johannes (John) Kommt, eilet und laufet, ihr flüchtigen Füße, Come, hurry and run, you swift feet, Erreichet die Höhle, die Jesum bedeckt! get to the cave that covers Jesus ! Lachen und Scherzen Laughter and jokes, Begleitet die Herzen, accompany our hearts, Denn unser Heil ist auferweckt. for our saviour is raised from the dead. | (3/Kommt-Herreweghe) 3/Kommt-Herreweghe (3/Lachen-Herreweghe) 3/Lachen-Herreweghe (3/Kommt-Herreweghe) 3/Kommt-Herreweghe | (3/Kommt-Luks) 3/Kommt-Luks (3/Lachen-Luks) 3/Lachen-Luks (3/Kommt-Luks) 3/Kommt-Luks | (3/Kommt-Gardiner) 3/Kommt-Gardiner (3/Lachen-Gardiner) -Gardiner -Gardiner -Gardiner | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 4 | 4. Recitativo A S T B Fagotto, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Alt O kalter Männer Sinn! Wo ist die Liebe hin, Die ihr dem Heiland schuldig seid? Sopran Ein schwaches Weib muss euch beschämen! Tenor Ach, ein betrübtes Grämen Bass Und banges Herzeleid Tenor, Bass Hat mit gesalznen Tränen Und wehmutsvollem Sehnen Ihm eine Salbung zugedacht, Sopran, Alt Die ihr, wie wir, umsonst gemacht. | (Mary Magdalene) O men so cold of heart! Where is that love then gone Which to the Savior ye now owe? (Mary, daughter of James) A helpless woman must upbraid you! (Peter) Ah, our sore-troubled grieving (John) And anxious, heartfelt woe (Peter, John) Here, joined with salty weeping And melancholy yearning, For him an unction did intend, (Mary, daughter of James, Mary Magdalene) Which ye, as we, in vain have brought. | Alto (Mary Magdalene): O kalter Männer Sinn! O cold minds of men Wo ist die Liebe hin, Where is the love gone Die ihr dem Heiland schuldig seid? that you owe to the saviour ? Soprano (Mary, daughter of James): Ein schwaches Weib muß euch beschämen! A weak woman puts you to shame Tenor (Peter): Ach, ein betrübtes Grämen Ah, affliction and grief Bass (John): Und banges Herzeleid and fearful sorrow of heart Tenor, Bass (Peter, John): Hat mit gesalznen Tränen with salty tears Und wehmutsvollem Sehnen and melancholy longing Ihm eine Salbung zugedacht, intended an anointing for him, Soprano, Alto (Mary Magdalene, Mary daughter of James): Die ihr, wie wir, umsonst gemacht. which you, as we, have done in vain. | 4-Herreweghe | 4-Luks | -Gardiner | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 5 | 5. Aria S Flauto traverso o Violino solo, Fagotto, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Maria Jacobi Seele, deine Spezereien Sollen nicht mehr Myrrhen sein. Denn allein Mit dem Lorbeerkranze prangen, Stillt dein ängstliches Verlangen. | Mary, daughter of James Spirit, these thy costly spices Should consist no more of myrrh. For alone, Crowned with laurel wreaths resplendent, Wilt thou still thy anxious longing(3). | (Mary, daughter of James) Seele, deine Spezereien My soul, your spices Sollen nicht mehr Myrrhen sein. should no more be myrrh. Denn allein For only Mit dem Lorbeerkranze prangen, with the splendour of the laurel wreath Stillt dein ängstliches Verlangen. will your anxious longing be satisfied. | (5-Herreweghe) 5-Herreweghe (5/Seele-Herreweghe) 5/Seele-Herreweghe (5/Denn-Herreweghe) 5/Denn-Herreweghe (5/Denn-Herreweghe) 5/Denn-Herreweghe (5/Seele-Herreweghe) 5/Seele-Herreweghe (5/Seele-Herreweghe) 5/Seele-Herreweghe | (5-Luks) 5-Luks (5/Denn-Luks) 5/Denn-Luks (5/Denn-Luks) 5/Denn-Luks (5/Seele-Luks) 5/Seele-Luks (5/Denn-Luks) 5/Denn-Luks | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 6 | 6. Recitativo T B A Fagotto, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Petrus, Johannes, Maria Magdalena Tenor Hier ist die Gruft Bass Und hier der Stein, Der solche zugedeckt. Wo aber wird mein Heiland sein? Alt Er ist vom Tode auferweckt! Wir trafen einen Engel an, Der hat uns solches kundgetan. Tenor Hier seh ich mit Vergnügen Das Schweißtuch abgewickelt liegen. | Peter, John, Mary Magdalene (Peter) Here is the crypt (John) And here the stone Which kept it tightly closed. But where, then, is my Savior gone? (Mary Magdalene) He is from death now risen up! We met, before, an angel here Who brought to us report of this. (Peter) I see now with great rapture The napkin all unwound here lying. | Tenor (Peter): Hier ist die Gruft Here is the tomb Bass (John): Und hier der Stein, And here is the stone Der solche zugedeckt. which covered it. Wo aber wird mein Heiland sein? But where will my saviour be ? Alto (Mary Magdalene): Er ist vom Tode auferweckt! He has risen from the dead! Wir trafen einen Engel an, We met an angel Der hat uns solches kundgetan. who proclaimed this to us. Tenor (Peter): Hier seh ich mit Vergnügen I see here with pleasure Das Schweißtuch abgewickelt liegen. the veil lies unwound. | 6-Herreweghe | 6-Luks | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 7 | 7. Aria T Flauto dolce I/II, Violino I/II, Fagotto, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Petrus Sanfte soll mein Todeskummer, Nur ein Schlummer, Jesu, durch dein Schweißtuch sein. Ja, das wird mich dort erfrischen Und die Zähren meiner Pein Von den Wangen tröstlich wischen. | Peter Gentle shall my dying labor, Nought but slumber, Jesus, through thy napkin be. Yes, for it will there(4) refresh me And the tears of all my pain From my cheeks wipe dry with comfort. | Peter Sanfte soll mein Todeskummer, Gentle should be the sorrow of my death Nur ein Schlummer, only a slumber, Jesu, durch dein Schweißtuch sein. Jesus, through your veil. Ja, das wird mich dort erfrischen Yes, that will refresh me there Und die Zähren meiner Pein and the tears of my suffering Von den Wangen tröstlich wischen. it will wipe comfortingly from my cheeks. | (7-Herreweghe) 7-Herreweghe (7/Ja-Herreweghe) 7/Ja-Herreweghe (7/Sanfte-Herreweghe) 7/Sanfte-Herreweghe | (7-Luks) 7-Luks (7/Ja-Luks) 7/Ja-Luks (7/Sanfte-Luks) 7/Sanfte-Luks | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 8 | 8. Recitativo S A Fagotto, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Maria Jacobi, Maria Magdalena Indessen seufzen wir Mit brennender Begier: Ach, könnt es doch nur bald geschehen, Den Heiland selbst zu sehen! | Mary, daughter of James, Mary Magdalene And meanwhile, sighing, we Here burn with deep desire: Ah, if it only soon might happen, To see himself the Savior! | Mary, daughter of James, Mary Magdalene) Indessen seufzen wir Meanwhile we sigh Mit brennender Begier: with fervent yearning: Ach, könnt es doch nur bald geschehen, Ah, if only it might soon happen Den Heiland selbst zu sehen! to see the saviour himself! | 8-Herreweghe | 8-Luks | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 9 | 9. Aria A Oboe d'amore, Violino I/II, Viola, Fagotto, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Mary Magdalene Saget, saget mir geschwinde, Saget, wo ich Jesum finde, Welchen meine Seele liebt! Komm doch, komm, umfasse mich; Denn mein Herz ist ohne dich Ganz verwaiset und betrübt. | Mary Magdalene Tell me, tell me, tell me quickly, Tell me where I may find Jesus, Him whom all my soul doth love! Come now, come, and hold me close, For my heart is, lacking thee, Left an orphan and distressed. | Mary Magdalene Saget, saget mir geschwinde, Tell me, tell me quickly Saget, wo ich Jesum finde, Tell, where may I find Jesus Welchen meine Seele liebt! whom my soul loves! Komm doch, komm, umfasse mich; Come then, come, embrace me, Denn mein Herz ist ohne dich for my heart is without you Ganz verwaiset und betrübt. quite orphaned and distressed. | (9-Herreweghe) 9-Herreweghe (9/Komm-Herreweghe) 9/Komm-Herreweghe (9/Saget-Herreweghe) 9/Saget-Herreweghe (9/Saget-Herreweghe) 9/Saget-Herreweghe | (9-Luks) 9-Luks (9/Komm-Luks) 9/Komm-Luks (9/Saget-Luks) 9/Saget-Luks (9/Saget-Luks) 9/Saget-Luks | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 10 | 10. Recitativo B Fagotto, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Johannes Wir sind erfreut, Dass unser Jesus wieder lebt, Und unser Herz, So erst in Traurigkeit zerflossen und geschwebt Vergisst den Schmerz Und sinnt auf Freudenlieder; Denn unser Heiland lebet wieder. | John We now rejoice That this our Jesus lives again, And these our hearts, Which once in sadness were dissolved and in suspense, Forget their pain And turn to joyful anthems, For this our Savior once more liveth. | John Wir sind erfreut, We are delighted Daß unser Jesus wieder lebt, that our Jesus lives once more Und unser Herz, and our heart So erst in Traurigkeit zerflossen und geschwebt before so dissolved and suspended in sadness Vergißt den Schmerz forgets its sorrow Und sinnt auf Freudenlieder; and thinks of songs of joy; Denn unser Heiland lebet wieder. for our saviour lives once more. | 10-Herreweghe | 10-Luks | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 11 | 11. Coro Tromba I-III, Tamburi, Oboe I/II, Violino I/II, Viola, Fagotto, Continuo | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Preis und Dank Bleibe, Herr, dein Lobgesang. Höll und Teufel sind bezwungen, Ihre Pforten sind zerstört. Jauchzet, ihr erlösten Zungen, Dass man es im Himmel hört. Eröffnet, ihr Himmel, die prächtigen Bogen, Der Löwe von Juda kommt siegend gezogen! | Laud and thanks Bide, O Lord, thy song of praise. Hell and devil are now vanquished, And their portals are destroyed. Triumph, O ye ransomed voices, Till ye be in heaven heard. Spread open, ye heavens, your glorious arches, The Lion of Judah with triumph shall enter! | Preis und Dank Praise and thanks Bleibe, Herr, dein Lobgesang. rermain your song of praise Höll und Teufel sind bezwungen, Hell and the devil are overcome Ihre Pforten sind zerstört. their gates are destroyed. Jauchzet, ihr erlösten Zungen, Shout and cheer, you loosened tongues, Daß man es im Himmel hört. so that you are heard in heaven Eröffnet, ihr Himmel, die prächtigen Bogen, Open up, you heavens,the splendid arches, Der Löwe von Juda kommt siegend gezogen! the Lion of Judah comes drawn in victory ! | (11-Herreweghe) 11-Herreweghe 11/Höll-Herreweghe 11/Eröffnet-Herreweghe | 11-Luks | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Final material | End_of_performance-Luks | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Offsets for the cantatas in the Teldec Harnoncourt/Leonhardt edition:
1 “Wie schön leuchtet der Morgenstern” 00:00
1/6 “Wie bin ich doch so herzlich froh” Chorale 23:57
2 “Ach Gott, vom Himmel sieh darein” 25:35
2/6 “Das wollst du, Gott, bewahren rein” 43:28
3 “Das wollst du, Gott, bewahren rein” 44:40
3/2 “Wie schwerlich lässt sich Fleisch und Blut” Recitativo (e Choral) T A S B 49:35
3/5 “Wenn Sorgen auf mich dringen” Duet SA 59:07
3/6 “Erhalt mein Herz im Glauben rein,” Chorale 1:07:42
4 “Christ lag in Todesbanden” 00:00
5 “Wo soll ich fliehen hin” 20:15
5/5 Aria B “Verstumme, Höllenheer” 33:36
5/7 Chorale “Führ auch mein Herz und Sinn” 42:15
6 “Bleib bei uns, denn es will Abend warden” 43:09
6/6 Chorale “Beweis dein Macht, Herr Jesu Christ” 1:01:22
BWV 7 at 00:00, BWV 8 at 26:00, BWV 9 at 45:15
BWV 10 at 00:00, BWV 11 at 21:50, BWV 12 at 50:50
BWV 14 at 23:15, BWV 16 at 41:05
BWV 18 “Gleichwie der Regen und Schnee vom Himmel fällt” at 17:50,
BWV 19 “Es erhub sich ein Streit” at 32:20
BWV 21/11
1:00:32 Das Lamm, das erwürget ist, ist würdig zu nehmen
Kraft und Reichtum und Weisheit und Stärke
und Ehre und Preis und Lob.
1:01:08 Lob und Ehre und Preis und Gewalt
sei unserm Gott von Ewigkeit zu Ewigkeit.
Amen, Alleluja!
The lamb that was slain is worthy to receive
power and riches and wisdom and strength
and honour and praise and glory.
Glory and honour and praise and power
be to our God for ever and ever.
Amen. Alleluia!
http://www1.cpdl.org/wiki/images/a/a1/Ich_hatte_viel_Bek%C3%BCmmerniss.pdf
page 33, #88 ff.
22 “Jesus nahm zu sich die Zwölfe” 00:00
23 “Du wahrer Gott und Davids Sohn” 17:48
24 “Ein ungefärbt Gemüte” 36:55
25 “Es ist nichts Gesundes an meinem Leibe” 54:10
26 “Ach wie flüchtig, ach wie nichtig” 00:00
27 “Wer weiß, wie nahe mir mein Ende?” 16:40
28 “Gottlob! nun geht das Jahr zu Ende” 32:20
29 “Wir danken dir, Gott, wir danken dir” 48:22
30 “Freue dich, erlöste Schar” 0:00
30 Zweiter Teil, #7 “So bist du denn, mein Heil, bedacht” 17:00
31 “Der Himmel lacht! die Erde jubilieret” 37:40
32 “Liebster Jesu, mein Verlangen” 00:00
33 “Allein zu dir, Herr Jesu Christ” 23:50
34 “O ewiges Feuer, o Ursprung der Liebe” 45:20
++ 35 “Geist und Seele wird verwirret” 00:00
35 Part II, “Ach, starker Gott, lass mich” 18:45
36 “Schwingt freudig euch empor zu den erhabnen Sternen” 27:00
36/2 “Nun komm, der Heiden Heiland” (S/A duet) 31:15
36/4 “Zwingt die Saiten in Cythara” (chorale) 40:42
36 Part II, 36/5 42:15
36/8 “Lob sei Gott, dem Vater, g'ton” (chorale) 56:34
37 “Wer da gläubet und getauft wird, der wird selig werden” 00:00
37/3 “Herr Gott Vater, mein starker Held!” Chorale (Duet, SA) 8:04
38 “Aus tiefer Not schrei ich zu dir” 16:25
38/5 “Wenn meine Trübsal als mit Ketten” Aria (Terzetto, SAB) 30:18
39 “Brich dem Hungrigen dein Brot” 35:10
39 Part 2, “Wohlzutun und mitzuteilen vergesset nicht” 49:55
40 “Dazu ist erschienen der Sohn Gottes” 1:00:00
+++ 41 “Jesu, nun sei gepreiset” 00:00
42 “Am Abend aber desselbigen Sabbats” 27:44
42/4 “Verzage nicht, o Häuflein klein” Aria (Duetto) S T 45:14
43 “Gott fähret auf mit Jauchzen” 55:02
43 Part 2 43/6 “Es kommt der Helden Held” 1:05:02
44 “Sie werden euch in den Bann tun” 00:00
44/7 Chorale “So sei nun, Seele, deine” 16:30
45 “Es ist dir gesagt, Mensch, was gut ist” 17:23
45 Part 2 #4 “Es werden viele zu mir sagen an jenem Tage” 28:00
45/7 Chorale “Gib, dass ich tu mit Fleiß” 36:03
46 “Schauet doch und sehet” 36:55
46/6 Chorale “O großer Gott von Treu” 52:35
47 “Wer sich selbst erhöhet” 53:37
47/5 “Der zeitlichen Ehrn will ich gern entbehrn” 1:15:12
48 “Ich elender Mensch, wer wird mich erlösen” 00:00
49 “Ich geh und suche mit Verlangen” 16:07
50 “Nun ist das Heil und die Kraft und das Reich und die Macht unsers Gottes” 41:40
51 “Jauchzet Gott in allen Landen!” 45:27
BWV 52 “Falsche Welt, dir trau ich nicht!” 00:00
BWV 54 “Widerstehe doch der Sünde” 16:40
BWV 55 “Ich armer Mensch, ich Sündenknecht” 29:18
BWV 56 “Ich will den Kreuzstab gerne tragen” 42:28
57 “Selig ist der Mann” 00:00
58 “Ach Gott, wie manches Herzeleid” 22:30
59 “Wer mich liebet, der wird mein Wort halten” 34:55
60 “O Ewigkeit, du Donnerwort” 47:10
61 “Nun komm, der Heiden Heiland [I]” 00:00
62 “Nun komm, der Heiden Heiland [II]” 14:45
63 “Christen, ätzet diesen Tag” 34:40
67 “Halt im Gedächtnis Jesum Christ” 00:00
68 “Also hat Gott die Welt geliebt” 13:35
69 “Lobe den Herrn, meine Seele” (however this omits #1 and starts with #2 Recitativo S “Wie groß ist Gottes Güte doch!”) 30:35
69a “Lobe den Herrn, meine Seele” 41:35
70 “Wachet! betet! betet! wachet!” 00:00
70/8 (Part 2) “Hebt euer Haupt empor” 13:55
71 “Gott ist mein König” 22:12
71/7 “Glück, Heil und großer Sieg” 38:00
72 “Alles nur nach Gottes Willen” 40:30
73 “Herr, wie du willt” 58:08
74 “Wer mich liebet, der wird mein Wort halten” 00:00
75 “Die Elenden sollen essen, daß sie satt warden” 21:35
75/7 Coro “Was Gott tut, das ist wohlgetan” 39:44
75/8 (Part Two) Sinfonia 41:25
75/14 Coro “Was Gott tut, das ist wohlgetan” 53:16
76 "Die Himmel erzählen die Ehre Gottes" 00:00
76/5 Aria B, Tromba, Violino I/II, Viola, Continuo, "Fahr hin, abgöttische Zunft!" 11:27
76/7 Choral, Tromba, Violino I/II, Viola, Continuo, "Es woll uns Gott genädig sein" 16:16
76 Part 2 76/8 18:10
76/14 Choral Tromba, Violino I/II, Viola, Continuo, "Es danke, Gott, und lobe dich" 28:35
77 "Du sollt Gott, deinen Herren, lieben" 30:40
77/6 Choral "Herr, durch den Glauben wohn in mir" 45:36
78 "Jesu, der du meine Seele" 46:40
78/7 Choral "Herr, ich glaube, hilf mir Schwachen" 1:06:51
79 “Gott der Herr ist Sonn und Schild” 00:00
79/3 Choral “Nun danket alle Gott” 8:41
79/5 Aria (Duetto) S B “Gott, ach Gott, verlass die Deinen Nimmermehr!” 11:47
79/6 Choral “Erhalt uns in der Wahrheit” 15:00
80 “Ein feste Burg ist unser Gott” 15:40
80/2 Aria B e Choral S “Alles, was von Gott geboren” 20:55
80/5 Choral “Und wenn die Welt voll Teufel wär”29:28
80/8 Choral “Das Wort sie sollen lassen stahn” 37:41
81 “Jesus schläft, was soll ich hoffen?” 38:50
82 “Ich habe genug” 54:55
83 “Erfreute Zeit im neuen Bunde” 00:00
84 “Ich bin vergnügt mit meinem Glücke” 20:25
85 “Ich bin ein guter Hirt” 34:00
86 “Wahrlich, wahrlich, ich sage euch” 49:20
87 “Bisher habt ihr nichts gebeten in meinem Namen” 00:00
88 “Siehe, ich will viel Fischer aussenden” 17:42
88/4 (Part 2) “Jesus sprach zu Simon:” 29:12
89 “Was soll ich aus dir machen, Ephraim?” 36:50
90 “Es reißet euch ein schrecklich Ende” 49:30
90/3 Aria B Tromba, Violino I/II, Viola, Continuo “So löschet im Eifer der rächende Richter” 56:58
91 “Gelobet seist du, Jesu Christ” 00:00
91/6 Choral “Das hat er alles uns getan” 17:22
92 “Ich hab in Gottes Herz und Sinn” 18:10
92/7Choral e Recitativo S A T B “Ei nun, mein Gott” 40:49
92/9 Choral “Soll ich den auch des Todes Weg” 46:20
93 “Wer nur den lieben Gott läßt walten” 47:32
93/7 Choral “Sing, bet und geh auf Gottes Wegen” 1:04:42
94 “Was frag ich nach der Welt” 00:00
94/8 Choral “Was frag ich nach der Welt!” 22:58
95 “Christus, der ist mein Leben” 24:57
95/7 Choral “Weil du vom Tod erstanden bist” 38:37
96 “Herr Christ, der einge Gottessohn” 39:42
96/6 Choral “Ertöt uns durch dein Güte” 58:49
97 “In allem meinen Taten” 00:00
97/9 Choral “So sein nun, Seele, deine” 25:45
98 “Was Gott tut, das ist wohlgetan” [I] 26:47
99 “Was Gott tut, das ist wohlgetan” [II] 41:22
99/9 Choral “Was Gott tut, das ist wohlgetan” 58:43
100 “Was Gott tut, das ist wohlgetan” [III] 00:00 +++
100/6 Coro “Was Gott tut, das ist wohlgetan” 21:44
101 “Nimm von uns Herr, du treuer Gott” 23:52
101/7 Choral “Leit uns mit deiner rechten Hand” 47:07
102 “Herr, deine Augen sehen nach dem Glauben!” 48:08
102 Part 2 #5 “Erschrecke doch” 1:02:47
102/7 Choral “Heut lebst du, heut bekehre dich” 1:07:46
103, “Ihr werdet weinen und heulen” 00:00
103/5 Aria T, Tromba, Oboe d'amore I/II, Violino I/II, Viola, Continuo
“Erholet euch, betrübte Sinnen” 11:58
103/6 Choral “Ich hab dich einen Augenblick” 15:15
104 “Du Hirte Israel, höre” 16:27
104/6 Choral “Der Herr ist mein getreuer Hirt” 33:47
105 “Herr, gehe nicht ins Gericht mit deinem Knecht” 34:58
105/6 Choral “Nun, ich weiß, du wirst mir stillen” 54:26
106 “Gottes Zeit ist die allerbeste Zeit” (Actus Tragicus) 00:00 ++
106/2 “Gottes Zeit ist die allerbeste Zeit” 2:37 ++
106/4 Coro “Glorie, Lob, Ehr und Herrlichkeit” 17:31 ++
107 “Was willst du dich betrüben” 20:24
107/6 Flauto traverso I/II all' unisono, Continuo,
“Darum ich mich ihm ergebe” 33:55
107/7 Coro “Herr, gib, dass ich dein Ehre” 36:48
108 “Es ist euch gut, daß ich hingehe” 39:12
108/4 Coro “Wenn aber jener, der Geist der Wahrheit, kommen wird” 47:24
108/6 Choral “Dein Geist, den Gott vom Himmel gibt” 54:17
109 “Ich glaube, lieber Herr” 00:00
109/6 Choral Corno da caccia, Oboe I/II, Violino I/II, Viola, Continuo
“Wer hofft in Gott und dem vertraut” 21:10
110 “Unser Mund sei voll Lachens” 25:28 +++ 27:08
110/5 Aria (Duetto) S T “Ehre sei Gott in der Höhe” 41:36
110/6 Aria B Tromba, Oboe I/II, Oboe da caccia, Violino I/II, Viola, Continuo
“Wacht auf, ihr Adern und ihr Glieder” 48:01
110/7 Choral Tromba e Oboe I e Flauto traverso I/II col Soprano, Oboe II e Violino II coll'Alto, Oboe da caccia e Viola col Tenore, Continuo
“Alleluja! Gelobt sei Gott” 49:34
111 “Was mein Gott will, das g'scheh allzeit” 50:34 +++
111/6 Choral “Noch eins, Herr, will ich bitten dich” 1:06:17
112 “Der Herr ist mein getreuer Hirt” (Psalm 23) 00:00 +++
Coro Corno I/II, Oboe d'amore I/II, Violino I/II, Viola, Continuo
Der Herr ist mein getreuer Hirt,
Hält mich in seiner Hute,
Darin mir gar nichts mangeln wird
Irgend an einem Gute,
Er weidet mich ohn Unterlass,
Darauf wächst das wohlschmeckend Gras
Seines heilsamen Wortes.
The Lord is my faithful shepherd
he holds me in his protection,
where there is nothing lacking to me
at all of any goodness,
he puts me out to pasture continually
where grows the sweet-tasting grass
of his holy word.
112/5 Coro Oboe d'amore I e Violino I col Soprano, Oboe d'amore II e Violino II coll'Alto, Viola col Tenore, Corno I/II, Continuo 12:30
Gutes und die Barmherzigkeit
Folgen mir nach im Leben,
Und ich werd bleiben allezeit
Im Haus des Herren eben,
Auf Erd in christlicher Gemein
Und nach dem Tod da werd ich sein
Bei Christo meinem Herren.
Goodness and mercy
follow me through my life
and I shall remain forever
in the house of the Lord,
on earth in Christian company
and after my death I shall be there
with Christ my Lord.
113 “Herr Jesu Christ, du höchstes Gut” 13:45
113/8 Choral “Stärk mich mit deinem Freudengeist” 38:35
114 “Ach, lieben Christen, seid getrost” 39:40
114/7 Choral Corno e Oboe I/II e Violino I col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo
“Wir wachen oder schlafen ein” 1:02:49
115 “Mache dich, mein Geist, bereit” 00:00
115/6 Coro “Drum so lasst uns immerdar” 21:00
116 “Du Friedefürst, Herr Jesu Christ” 22:04
116/ Choral “Erleucht auch unser Sinn und Herz” 35:42
117 “Sei Lob und Ehr dem höchsten Gut” 36:50
117/9 Coro “So kommet vor sein Angesicht” 55:23
119 “Preise, Jerusalem, den Herrn” 00:00
119/7 Coro Tromba I-IV, Timpani, Flauto I/II, Oboe I-III, Violino I/II, Viola, Continuo
“Der Herr hat Guts an uns getan,
Des sind wir alle fröhlich.
Er seh die teuren Väter an
Und halte auf unzählig
Und späte lange Jahre naus
In ihrem Regimente Haus,
So wollen wir ihn preisen.” 16:40
(this runs to 23:46 !)
119/9 Choral “Hilf deinem Volk, Herr Jesu Christ” 24:24
120 “Gott, man lobet dich in der Stille zu Zion” 25:25
120/2 Coro Tromba I-III, Timpani, Oboe d'amore I e Violino I all' unisono, Oboe d'amore II e Violino II all' unisono, Viola, Continuo
“Jauchzet, ihr erfreuten Stimmen,
Steiget bis zum Himmel nauf!
Lobet Gott im Heiligtum
Und erhebet seinen Ruhm;
Seine Güte,
Sein erbarmendes Gemüte
Hört zu keinen Zeiten auf!” 31:35
(= BWV 232/21 “Et exspecto”, the conclusion to the Gloria)
120/6 Choral “Nun hilf uns, Herr, den Dienern dein” 45:31
121 “Christum wir sollen loben schon” 00:00
121/6 Choral “Lob, Ehr und Dank sei dir gesagt” 19:23
122 “Das neugeborne Kindelein” 20:32
122/4 Choral A e Aria (Duetto) S T “Ist Gott versöhnt und unser Freund” 30:38
122/6 Choral “Es bringt das rechte Jubeljahr” 34:46
123 “Liebster Immanuel, Herzog der Frommen” 35:30
123/6 Choral “Drum fahrt nur immer hin, ihr Eitelkeiten” 55:29
124 “Meinen Jesum lass ich nicht” 57:04
124/6 Choral “Jesum lass ich nicht von mir” 1:10:30
125/1 Coro Corno col Soprano, Flauto traverso, Oboe, Violino I/II, Viola, Continuo
“Mit Fried und Freud ich fahr dahin” 00:00
125/3 Recitativo e Choral B Violino I/II, Viola, Continuo
“O Wunder, dass ein Herz” 14:10
125/4 Aria (Duetto) T B Violino I/II, Continuo
“Ein unbegreiflich Licht erfüllt” 16:40
125/6 Choral Corno e Flauto traverso in octava e Oboe e Violino I col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo
“Er ist das Heil und selig Licht” 23:01 ++
126/1 Coro Tromba, Oboe I/II, Violino I/II, Viola, Continuo
“Erhalt uns, Herr, bei deinem Wort,
Und steur' des Papsts und Türken Mord,
Die Jesum Christum, deinen Sohn,
Stürzen wollen von seinem Thron.” 23:58 ++
(perhaps not the ideal cantata for Ecumenical Sunday :-)
126/3 Choral e Recitativo A T Continuo
“Der Menschen Gunst und Macht wird wenig nützen” 31:11
126/6 Choral Tromba e Oboe I/II e Violino I col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo
“Verleih uns Frieden gnädiglich” 39:23
127/1 Coro Flauto I/II, Oboe I/II, Violino I/II, Viola, Continuo
“Herr Jesu Christ, wahr' Mensch und Gott” 41:18
127/4 Recitativo e Aria B Tromba, Violino I/II, Viola, Continuo
“Wenn einstens die Posaunen schallen” 56:31
127/5 Chorale [S, A, T, B] Flauto I/II in octava e Oboe I/II e Violino I col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo
“Ach, Herr, vergib all unsre Schuld” 1:00:52
128 “Auf Christi Himmelfahrt allein” 00:00
128/3 Aria e Recitativo B Tromba, Violino I/II, Continuo “Auf, auf, mit hellem Schall” 5:49
128/5 Coro Oboe I e Violino I col Soprano, Oboe II e Violino II coll'Alto, Oboe da caccia e Viola col Tenore, Continuo
“Alsdenn so wirst du mich” 16:44
129 Coro Tromba I-III, Timpani, Flauto traverso, Oboe I/II, Violino I/II, Viola, Continuo
“Gelobet sei der Herr” 17:52 – 22:36 +++
129/4 Aria A Oboe d'amore, Continuo “Gelobet sei der Herr” 31:24
129/5 Choral Tromba I-III, Timpani, Flauto traverso, Oboe I/II, Violino I/II, Viola, Continuo
“Dem wir das Heilig itzt” 36:26 +++
Dem wir das Heilig itzt
Mit Freuden lassen klingen
Und mit der Engel Schar
Das Heilig, Heilig singen,
Den herzlich lobt und preist
Die ganze Christenheit:
Gelobet sei mein Gott
In alle Ewigkeit!
130 Coro Tromba I-III, Timpani, Oboe I-III, Violino I/II, Viola, Continuo
“Herr Gott, dich loben alle wir” 38:16
130/3 Aria B Tromba I-III, TIMPANI, Continuo “Der alte Drache brennt vor Neid” 42:25
130/6 Choral Tromba I-III, Timpani, Oboe I e Violino I col Soprano, Oboe II e Violino II coll'Alto, Oboe III e Viola col Tenore, Continuo
“Darum wir billig loben dich” 52:49 ++
Darum wir billig loben dich
Und danken dir, Gott, ewiglich,
Wie auch der lieben Engel Schar
Dich preisen heut und immerdar.
Und bitten dich, wollst allezeit
Dieselben heißen sein bereit,
Zu schützen deine kleine Herd,
So hält dein göttlichs Wort in Wert.
131 “Aus der Tiefen rufe ich, Herr, zu dir.” 00:00
131/1 “Herr” 03:00
131/5 Coro Oboe, Fagotto, Violino, Viola I/II, Continuo
“Israel hoffe auf den Herrn” 20:10
132 “Bereitet die Wege, bereitet die Bahn!” 25:07
132/6 Choral “Ertöt uns durch deine Güte” 43:25
133/1 Coro Cornetto col Soprano, Oboe d'amore I/II, Violino I/II, Viola, Continuo
“Ich freue mich in dir” 44:24
133/2 Aria A Oboe d'amore I/II, Continuo
“Getrost!” 48:41
133/6 Choral Cornetto e Oboe d'amore I e Violino I col Soprano, Oboe d'amore II e Violino II coll'Alto, Viola col Tenore, Continuo
“Wohlan, so will ich mich” 1:04:04
134 “Ein Herz, das seinen Jesum lebend weiß” 00:00
134/4 Aria (Duetto) A T Violino I/II, Viola, Continuo
Wir danken und preisen dein brünstiges Lieben 8:32
134/6 Coro Oboe I/II, Violino I col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo
“Erschallet, ihr Himmel, erfreue dich, Erde” 18:50
135 Coro Trombone, Oboe I/II, Violino I/II, Viola, Continuo
“Ach Herr, mich armen Sünder” 26:37
135/6 Choral Cornetto e Oboe I/II e Violino I col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo
“Ehr sei ins Himmels Throne” 39:54
136 Coro Corno, Oboe, Oboe d'amore, Violino I/II, Viola, Continuo
“Erforsche mich, Gott, und erfahre mein Herz” 41:00
136/5 Aria (Duetto) T B Violino I/II all' unisono, Continuo
“Uns treffen zwar der Sünden Flecken” 52:50
136/6 Choral Violino I, Corno e Oboe e Oboe d'amore col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo
“Dein Blut, der edle Saft” 57:05
137/1 Coro Tromba I-III, Timpani, Oboe I/II, Violino I/II, Viola, Continuo
“Lobe den Herren, den mächtigen König der Ehren” 58:02
137/2 Aria A Violino solo, Continuo
“Lobe den Herren, der alles so herrlich regieret” 1:01:30
137/3 Aria (Duetto) S B Oboe I/II, Continuo
“Lobe den Herren, der künstlich und fein dich bereitet” 1:04:52
137/4 Aria (e Choral) T Tromba, Continuo
“Lobe den Herren, der deinen Stand sichtbar gesegnet” 1:08:24
137/5 Choral Tromba I-III, Timpani, Oboe I/II e Violino I col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo
“Lobe den Herren, was in mir ist, lobe den Namen!” 1:11:21
138/1 Choral e Recitativo A; Oboe d'amore I/II, Violino I/II, Viola, Continuo
“Warum betrübst du dich, mein Herz?” 00:00
138/7 Choral; Oboe d'amore I/II, Violino I/II, Viola, Continuo
“Weil du mein Gott und Vater bist” 15:46
139/1 Coro; Oboe d'amore I/II, Violino I/II, Viola, Continuo
“Wohl dem, der sich auf seinen Gott” 18:00
139/6 Choral; Oboe d'amore I/II e Violino I col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo
“Dahero Trotz der Höllen Heer!” 35:54
140/1 Coro; Corno col Soprano, Oboe I/II, Taille, Violino I/II, Violino piccolo, Viola, Continuo
“Wachet auf, ruft uns die Stimme” 37:00
140/3 Aria [(Duet) Soprano (Soul), Bass (Jesus)]; Violino piccolo, Continuo
S: “Wenn kömmst du, mein Heil?” 45:10
140/4 Choral T; Violino I/II e Viola all' unisono, Continuo
“Zion hört die Wächter singen” 51:42
140/6 Aria (Duet) [Soprano (Soul), Bass (Jesus)]; Oboe solo, Continuo
S: “Mein Freund ist mein” 57:18
140/7 Choral; Corno e Oboe I e Violino piccolo in octava e Violino I col Soprano, Oboe II e Violino II coll'Alto, Taille e Viola col Tenore, Continuo
“Gloria sei dir gesungen” 1:03:40
143/1 Coro Corno ca caccia I-III, Timpani, Fagotto, Violino I/II, Viola, Continuo
“Lobe den Herrn, meine Seele” 00:00 +++
143/5 Aria B Corno ca caccia I-III, Timpani, Fagotto, Continuo
“Der Herr ist König ewiglich” 6:50 ++
143/7 Coro Corno ca caccia I-III, Timpani, Fagotto, Violino I/II, Viola, Continuo
“Halleluja” 11:00 ++++++
144/1 Coro Oboe I/II, Oboe d'amore, Violino I/II, Viola, Continuo
“Nimm, was dein ist, und gehe hin.” 13:22
144/3 Choral “Was Gott tut, das ist wohlgetan” 20:35
144/6 Choral “Was mein Gott will, das gscheh allzeit” 25:30
145/A Choral “Auf, mein Herz, des Herren Tag” 26:50
145/3 Aria B Tromba, Flauto traverso, Oboe d'amore I/II, Violino I/II, Continuo
“Merke, mein Herze, beständig nur dies” 31:28
145/5 Choral Zink e Flauto traverso e Oboe d'amore I e Violino I col Soprano, Oboe d'amore II e Violino II coll'Alto, Viola col Tenore, Continuo
“Drum wir auch billig fröhlich sein” 35:39
146/1 Sinfonia Organo, Oboe I/II, Taille, Violino I/II, Viola, Continuo 36:26 +++
146/2 Coro “Wir müssen durch viel Trübsal in das Reich Gottes eingehen.” 44:04
146/7 Aria (Duetto) T B Oboe I/II, Violino I/II, Viola, Continuo
“Wie will ich mich freuen, wie will ich mich laben” 1:07:37
146/8 Choral 1:13:29
147/1 Coro Tromba, Oboe I/II, Violino I/II, Viola, Continuo
“Herz und Mund und Tat und Leben” 00:00
147/4 Recitativo B “Verstockung” 11:08
147/6 Choral Tromba, Oboe I/II, Violino I/II, Viola, Continuo
“Wohl mir, dass ich Jesum habe” 17:51
147/7 (147 Part II) Aria T “Hilf, Jesu, hilf, dass ich auch dich bekenne” 20:30
147/9 Aria B Tromba, Oboe I/II, Violino I/II, Viola, Continuo
“Ich will von Jesu Wundern singen” 26:19
147/10 Choral Tromba, Oboe I/II, Violino I/II, Viola, Continuo
“Jesus bleibet meine Freude” 28:57
148/1 Coro Tromba, Violino I/II, Viola, Continuo
“Bringet dem Herrn Ehre seines Namens” 31:40
148/6 Choral “Amen zu aller Stund” 48:30
149/1 Coro Tromba I-III, Timpani, Oboe I-III, Fagotto, Violino I/II, Viola, Continuo
“Man singet mit Freuden vom Sieg” 49:32
149/7 Choral Tromba I-III, Timpani, Continuo
Violino I e Oboe I col Soprano, Violino II e Oboe II/III coll'Alto,
Viola col Tenore, Fagotto col Basso
“Ach Herr, lass dein lieb Engelein” 1:07:16
BWV 150 “Nach dir, Herr, verlanget mich.”
150/1 Sinfonia 0:00
150/2 Coro Fagotto, Violino I/II, Continuo
“Nach dir, Herr, verlanget mich.” 1:25
150/3 Aria S Violino I/II all' unisono, Continuo
“Doch bin und bleibe ich vergnügt” 5:15
150/4 Coro Fagotto, Violino I/II, Continuo
“Leite mich in deiner Wahrheit und lehre mich” 6:40
150/5 Aria ATB Fagotto, Continuo
“Zedern müssen von den Winden” 8:34
150/6 Coro Fagotto, Violino I/II, Continuo
“Meine Augen sehen stets zu dem Herrn” 10:05
150/7 Coro Fagotto, Violino I/II, Continuo
“Meine Tage in dem Leide” 12:23
BWV 151 “Süßer Trost, mein Jesus kömmt”
151/1 Aria S Flauto traverso, oboe d'amore, violini, viole, basso continuo
“Süßer Trost, mein Jesus kömmt”15:37
151/5 Choral Flauto traverso, oboe d'amore, violini, viole, basso continuo
“Heut schleußt er wieder auf die Tür” 31:23
BWV 152 “Tritt auf die Glaubensbahn”
32:06
BWV 153 “Schau, lieber Gott, wie meine Feind”
153/1 Choral Violino I col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo
“Schau, lieber Gott, wie meine Feind” 51:17
153/5 Choral Violino I col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo
“Und ob gleich alle Teufel” 56:09
153/9 Choral Violino I col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo
“Drum will ich, weil ich lebe noch” 1:04:44
BWV 154 “Mein liebster Jesus ist verloren”
154/1 Aria T Violino I/II, Viola, Continuo
“Mein liebster Jesus ist verloren” 00:00
154/3 Choral Oboe d'amore I/II e Violino I col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo
“Jesu, mein Hort und Erretter” 3:28
154/8 Choral Oboe d'amore I/II e Violino I col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo
“Meinen Jesum lass ich nicht” 15:00
BWV 155 “Mein Gott, wie lang, ach lange?”
155/1 Recitativo S Violino I/II, Viola, Continuo
“Mein Gott, wie lang, ach lange?” 16:00
155/5 Choral Violino I col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo
“Ob sichs anließ, als wollt er nicht” 29:00
BWV 156 “Ich steh mit einem Fuß im Grabe”
156/1 Sinfonia Oboe, Violino I/II, Viola, Continuo 30:15
156/2 Choral S e Aria T Violino I/II e Viola all' unisono, Continuo
“Ich steh mit einem Fuß im Grabe” (33:04) 33:38
156/6 Choral Oboe e Violino I col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo
“Herr, wie du willt, so schicks mit mir” 45:26
BWV 157 “Ich lasse dich nicht, du segnest mich denn!”
157/1 Aria (Duetto) T B Flauto traverso, Oboe, Violino solo, Continu
“Ich lasse dich nicht, du segnest mich denn!” 46:47
157/5 Choral Flauto traverso in octava e Oboe e Violino I col Soprano, Violino II coll'Alto, Violetta col Tenore, Continuo
“Meinen Jesum lass ich nicht” 1:05:37
BWV 158 “Der Friede sei mit dir”
158/1 Recitativo B, Continuo
“Der Friede sei mit dir” 00:00
158/2 Aria B e Choral S Violino solo, Oboe col Soprano, Continuo
Bass: “Welt, ade, ich bin dein müde” (1:46) 2:40
158/4 Choral
“Hier ist das rechte Osterlamm” 10:28
BWV 159 “Sehet! wir gehn hinauf gen Jerusalem”
159/1 Arioso B e Recitativo A, Violino I/II, Viola, Continuo
“Sehet! wir gehn hinauf gen Jerusalem” 11:41
159/5 Choral Oboe e Violino I col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo
“Jesu, deine Passion” 25:19
BWV 161 “Komm, du süße Todesstunde”
161/1 Aria A, Flauto traverso I/II, Continuo
“Komm, du süße Todesstunde” 26:35
161/5 Coro Flauto traverso I/II, Violino I/II, Viola, Continuo
“Wenn es meines Gottes Wille” (40:34) 40:58
161/6 Choral Flauto traverso I/II, Violino I/II, Viola, Continuo
“Der Leib zwar in der Erden” 43:31
BWV 162 “Ach! ich sehe, itzt, da ich zur Hochzeit gehe”
162/1 Aria B, Corno da tirarsi, Violino I/II, Viola, Fagotto, Continuo
“Ach! ich sehe, itzt, da ich zur Hochzeit gehe” (44:50) 45:20
162/5 Aria (Duetto) A T Continuo
“In meinem Gott bin ich erfreut!” (56:03) 56:20
162/6 Choral Corno da tirarsi e Violino I col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo
“Ach, ich habe schon erblicket” 1:00:24
BWV 163 Nur jedem das Seine!" 00:00
BWV 164 "Ihr, die ihr euch von Christo nennet" 14:22
BWV 165 "O heilges Geist- und Wasserbad" 32:04
BWV 166 " "Wo gehest du hin?" 44:50
BWV 167/1 Violino I/II, Viola, Continuo
“Ihr Menschen, rühmet Gottes Liebe” 00:00
167/3 Aria (Duetto) S A
“Gottes Wort, das trüget nicht” (7:31) 7:50
167/5 Choral Clarino, Oboe, Violino I/II, Viola, Continuo
“Sei Lob und Preis mit Ehren” 16:03
BWV 168/1 Aria B Violino I/II, Viola, Continuo
“Tue Rechnung! Donnerwort,” 18:45
168/6 Choral Oboe d'amore I/II e Violino I col Soprano, Violino II coll'Alto, Viola col Tenore, Continuo
“Stärk mich mit deinem Freudengeist” 31:19
BWV 169 “Gott soll allein mein Herze haben” 32:20 (BWV 1053/1)
169/2 Arioso A
“Gott soll allein mein Herze haben” (40:00) 40:12
167/7 Oboe I/II e Violino col Soprano, Violino coll'Alto, Taille e Viola col Tenore, Continuo
“Du süße Liebe, schenk uns deine Gunst ” 54:04
BWV 170 "Vergnugte Ruh, beliebte Seelenlust" 00:00
BWV 171 "Gott, wie dein Name, so ist auch dein Ruhm" 22:52
171/6 Choral "Lass uns das Jahr vollbringen" 36:55
BWV 172 "Erschallet, ihr Leider, erklinget, ihr Saiten!" 39:03 (compare BWV 214 and 248/1)
172/6 Choral "Von Gott kommt mir ein Freudenschein" 54:43
BWV 173 "Erhohtes Fleisch und Blut" 56:08 , 173/6 Coro "Ruhre, Hochster, unsern Geist" (1:07:57) 1:08:15
BWV 174 "Ich liebe den Hochsten von ganzem Gemute" 00:00
174/5 Choral "Herzlich lieb hab ich dich, o Herr." 18:56
BWV 175 "Er rufet seinen Schafen mit Namen" 20:42
175/6 Aria B "Offnet euch, ihr beiden Ohren" 31:33
175/7 Choral "Nun, werter Geist, ich folg dir" 36:09
BWV 176 "Es ist ein trotzig und verzagt Ding" 37:52
176/6 Choral "Auf dass wir also allzugleich" 49:02
BWV 177 "Ich ruf zu dir, Herr Jesu Christ" 0:00
177/5 Choral "Ich lieg im Streit und widerstreb" 23:40
BWV 178 "Wo Gott der Herr nicht bei uns halt" 24:58
178/2 Choral "Was Menschenkraft" 30:20
178/5 Choral e Recitativo B T A 37:53
178/7 Coro "Die Feind sind all in deiner Hand" 43:24
BWV 179 "Siehe zu, dass deine Gottesfurcht nicht Heuchelei sei" 45:20
179/6 Choral "Ich armer Mensch, ich armer Sunder" 57:10
BWV 195/1 “Dem Gerechten muss das Licht immer wieder aufgehen” Coro Tromba I-III, Timpani, Flauto traverso I coll' Oboe I, Flauto traverso II coll' Oboe II, Violino I/II, Viola, Continuo 39:18
195/2 R B “Dem Freudenlicht gerechter Frommen” 44:43
195/3 B Oboe d'amore I/II, Flauto traverso I/II, Violino I/II, Viola, Continuo "Rühmet Gottes Güt und Treu" 46:03
195/4 R S Flauto traverso I/II, Oboe d'amore I/II, Continuo "Wohlan, so knüpfet denn ein Band" 50:24
195/5 CoroTromba I-III, Timpani, Flauto traverso I coll' Oboe I, Flauto traverso II coll' Oboe II, Violino I/II, Viola, Continuo "Wir kommen, deine Heiligkeit" 51:39
195/6 Choral Corno I/II, Timpani, Flauto traverso I/II, Oboe I e Violino I col Soprano, Oboe II e Violino II coll'Alto, Viola col Tenore, Continuo "Nun danket all und bringet Her" 57:30
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