Gelobet sei der Herr, mein Gott, BWV 129 (Bach, Johann Sebastian)
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Performances
Recordings
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Synthesized/MIDI
Versus 4. Aria: Gelobet sei der Herr, mein Gott, der ewig lebet
*#258377 - 0.02MB - ? - (0) - - !N/!N/!N - 13x⇩
Versus 4. Aria: Gelobet sei der Herr, mein Gott, der ewig lebet
*#258378 - 3.81MB - 4:09 - (0) - - !N/!N/!N - 19x⇩
MIDI
Michel Rondeau
Creative Commons Attribution 3.0 [tag/del]
These file(s) are part of the Werner Icking Music Collection.
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Sheet Music
Full Scores
Complete Score
*#01383 - 3.66MB, 246 pp. - (2) - V/V/V - 1675x⇩
PDF scanned by Unknown
Feldmahler (2006/8/29)
Alfred Dörffel (1821–1905)
First edition
Bach-Gesellschaft Ausgabe, Band 26
Leipzig: Breitkopf & Härtel, 1878. Plate B.W. XXVI.
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Parts
Versus 4. Aria: Gelobet sei der Herr, mein Gott, der ewig lebet
Oboe d'amore/ Continuo
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Oboe d'amore
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Engraving files (Finale & XML)
*#258376 - 0.27MB, ? pp. - (0) - !N/!N/!N - 44x⇩
Michel Rondeau
Creative Commons Attribution 3.0 [tag/del]
These file(s) are part of the Werner Icking Music Collection.
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Vocal Scores
Complete Score
*#24361 - 2.00MB, 36 pp. - (0) - C/V/C - 716x⇩
PDF scanned by bh2000
Perlnerd666 (2008/11/13)
Bernhard Todt (1822–1907) [?]
Leipzig: Breitkopf & Härtel, n.d.(ca.1890)
Vocal Score based on Bach-Gesellschaft Ausgabe
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General Information
| Work Title | Gelobet sei der Herr, mein Gott |
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| Alternative Title | Praised be the Lord |
| Composer | Bach, Johann Sebastian |
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| Opus/Catalogue Number | BWV 129 |
| Key | D major |
| Movements/Sections | 5 movements Note: Every movement begins with the line "Gelobet sei der Herr, Mein Gott."
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| Year/Date of Composition | 1726 |
| First Performance | 1726-06-16 in Leipzig |
| First Publication | 1878 (BGA) |
| Librettist | Johann Olearius |
| Language | German |
| Average Duration | 24 minutes |
| Piece Style | Baroque |
| Instrumentation | Vocal — Soloists (SATB), Chorus (SATB) Orchestra — Flute, 2 oboes, 3 trumpets, timpani, strings, continuo |
| External Links | Wikipedia article Bach-Cantatas.com |
Misc. Comments
For Trinity.
Commentary on the movements
Note: Every movement begins with the line "Gelobet sei der Herr, Mein Gott."
- Chorus [Versus 1]. A heavy-duty festive orchestration greets the listener first, with the overlapping entrances from trumpet presaging the same from the chorus. O Gott, du frommer Gott is sung line by line in the soprano over an imitative texture.
- Aria Versus 2 (Bass). A continuo aria, "[giving] the voice the opportunity for the most highly expressive melody"1.
- Aria Versus 3 (Soprano). Flute and violin play a sort of trio sonata which becomes a quartet with the soprano. Despite the serious nature of this movement, the arcing fast figures continually make the movement more lively, along with a few melismas in the voice.
- Aria Versus 4 (Alto). The oboe d'amore plays a pastoral theme in 6/8 over a relaxed bass; the alto enters with the same theme. This aria is a perfect example of Bach's arias exhibiting "song-like—almost dance-like—joyfulness"1.
- Chorale Versus 5. A "finale of exceptional splendour"1. The chorale is sung plainly with a highly decorative instrumental backdrop.
Print Sources Consulted
- Dürr, Alfred. The Cantatas of J.S. Bach. 2 ed. Richard D.P. Jones (Trans).
- Oxford: Oxford University Press, 2005.
- Recordings
- WIMA files
- Dörffel, Alfred/Editor
- Pages with First Editions
- Pages with scores
- Rondeau, Michel/Editor
- Pages with parts
- Todt, Bernhard/Arranger
- Scores
- Bach, Johann Sebastian
- Baroque
- Sacred cantatas
- Cantatas
- Religious works
- For 3 voices, mixed chorus, orchestra
- For voices and chorus with orchestra
- Scores featuring the voice
- Scores featuring the soprano voice
- Scores featuring the alto voice
- Scores featuring the bass voice
- Scores featuring mixed chorus
- Scores featuring the orchestra
- German language
- Pages with parts for purchase

