1713:: Between the first and the 7th movement there are four verses of the Magnificat, between the 7th and the last there are also four. First, seventh and last movement are in the tonic key, with full orchestra and choir. The second and 11th movement are in the same major key, the third and the 10th movement are in the relative minor key. The movement preceding, and the one following, the central 7th movement are also in a minor key. The fifth and the ninth are in a major key, different from the tonic. The Christmas additions are separated by two Magnificat verses, the first addition being after the second verse. The Christmas hymns are always in the same key as the preceding movement. By verse, this is what the harmonic structure looks like:
3192:
836:
3077:(As he spake ), the last line of the Magnificat has a theme in four distinct measures: the first repeated notes, the second flowing eighth notes, the third quarter notes in leaps, the fourth half notes leaping up a sixth. When the theme is developed the first time, four voices enter from bottom to top. In the second development, soprano I begins, followed by alto, tenor and bass. The movement ends with a more homophonic section in which the bass has the theme once more, while soprano I sings long suspended notes in a descending scale covering almost an octave.
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797:. It is possible that Bach produced his new version of the Magnificat for this occasion, although Christmas of the same year as first performance date for the new version is possible too: it can not be determined with certainty on which day around 1732–1735 the D major version of the Magnificat was first performed, and until when Bach amended the score to its final state. Around 1733 Bach filed two cantatas by
2007:
60:
3359:"). Lutheran theologians thus rejected the Vulgate version (they would have the verse end on "... bonae voluntes" in Latin), while composers were attached to the classic formula for its melodious rhythm. This Magnificat interpolation is the only place where Bach uses a version of the Gloria text that differs from the Vulgate, more or less catching the spirit of the theologian-approved version.
428:
2892:. Some commentators see an atmosphere close to aggression, others rather an evocation of multitude. The sound in the E-flat major version is somewhat harsher than in the D major version, for example the bass line in measure three, and in measure 24 where the first version has a dissonant dominant ninth which was changed to a less dissonant harmony in the later version.
353:, from 1723 until his death in 1750. Compared to Lutheran practice elsewhere, an uncharacteristic amount of Latin was used in church services in Leipzig. An early account of Bach showing interest in liturgical practices in Leipzig dates from 1714, when he noted down the order of the service on the first Sunday in Advent during a visit to the town. At the time
2787:
chorus takes a leading role, limited groups of instruments accompanying with short ideas taken from the opening tutti, until in the last two measures all instruments join, ending with the second main motive played by trumpet I in measure 60. In this second of three blocks for the singers, the only text they sing is a repetition of the word "magnificat".
2861:(Because he has looked upon the humility) is an aria sung by soprano I with an obbligato oboe (oboe d'amore in the D major version). It is the only movement for which Bach marked the tempo at the beginning: Adagio (only the D major version). Steinberg notes that voice and instrument first share the material in a "contemplative duet", but on
2783:) once, all of them with the last syllable of that word on the first beat of the 45th measure, after which the orchestra, apart from the continuo, is silent till the beginning of measure 47: the singers bridge the central barline between measures 45 and 46 with the first main motive sung by altos, sopranos I and sopranos II consecutively.
1564:, there only accompanied by the continuo. The first three choral movements are, in the version without the Christmas hymns, followed by two movements for a vocal soloist, the second one often with richer scoring. In the movements for vocal soloists the instrumentation is as usual in Bach's cantata's: the soloists are accompanied by an
3434:
instrumental scores adapted to contemporary performance practice for the D major version. By the end of that century "The
Magnificat in D (was) considered one of the grandest illustrations of Bach's genius." Generally it was also the D major version without the Christmas hymns that was chosen for performance.
3441:. Although the D major version remained the standard for life performance and studio recordings, half a century later also the E-flat major version had been published in new editions adapted to performance, it had been recorded several times, and its composition history had been further unravelled.
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for a
Christmas performance. Kuhnau's Magnificat has standard SATB soloists, but like Bach's, a SSATB choir. All three Magnificats set verses 1, 6, 10 and 12 of the Magnificat text for chorus. Kuhnau's has five choral movements, like Bach's, but his second is verse 4 (instead of 3b for Bach), and his
600:
Extended settings of the
Magnificat, also indicated as settings in a concertato sectional construction, that is in several movements with chorus, orchestra and vocal soloists, and a non-linear treatment of the text (parts of the text repeated multiple times by the singers), go back to the old Italian
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were to be performed with a very limited accompaniment of instruments, they were supposedly performed from the small loft in the high choir of the
Thomaskirche, opposite to the large organ loft where the other movements of the Magnificat were performed. The autograph of the E-flat major version
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XI/1 publication, which presented the hymns in an annex. In that publication the hymns were however not transposed to fit in the D major setting of the
Magnificat. More recently publishers offer such transposed (and completed) versions of the hymns, so that they can be performed as part of the
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Measure 31–45: The sopranos enter first, with the first main motive, and from measure 32 alto and tenor imitate the same. The basses enter from measure 33 while the full orchestra plays a short intervention for two measures. In measures 35–36 the chorus sings the second main motive from the opening
2666:, which Kuhnau probably knew. Kuhnau's Magnificat, his largest extant vocal work, has a similar orchestration as the first version of Bach's Magnificat (differences: Kuhnau's has a second viola, Bach's has two recorders in one movement), and it has the same "expandability" with settings of the same
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movement. Each verse of the canticle is assigned to one movement, except verse 48 (the third verse of the
Magnificat) which begins with a soprano solo in the third movement and is concluded by the chorus in the fourth movement. The traditional division of the Magnificat, as used by composers since
3353:, there said by angels in the Christmas night. The Vulgate version translates as "Glory to God in the highest, and on earth peace to people of good will", while the end of the Greek version is rendered more correctly as "Peace on earth, and good will towards men", as it was understood by Luther ("
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In many of these settings a single verse of the
Magnificat can be sung by one or more soloists alternating with choral singing, as Bach does in his treatment of the third Magnificat verse: the soprano sings the first words of the verse, while the chorus concludes it. This particular split of the
3433:
After the composer's death the autographs of both the E-flat major and the D major version of the
Magnificat were owned by his son Carl Philipp Emanuel. Publication followed in the 19th century, including the Christmas hymns of the E-flat major version, and a variety of vocal and
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Measure 46–60: after the sopranos recapitulate the start of the movement with their voices, and a brief intervention by the orchestra in measures 47–48, the second main motive is sung again, first by the highest voices in measure 49, followed by the lower voices in measure 50. In this block the
1778:
The last aria in each of these sets of arias is first a solo, then a duet, then a terzet (trio). When inserting the
Christmas hymns, building up to the seventh movement alternates arias with choral movements, while in the second half of the composition the choral movements at the outer ends are
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Regarding voices and orchestration the four
Magnificat verses between the first and the seventh movement, and those between the seventh and the last, have a less symmetrical build-up: here the idea is rather that after a tutti movement there are two or three arias building up to the next choral
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edition. The same edition printed the Christmas interpolations for the first time. A year later Robert Franz complained the composition had still received too little attention from music critics and so remained virtually unknown to the general public. A year later he published the D major
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in the arias, and altogether no recitatives. Also the text is in Latin (not the usual language for a Bach cantata), the architecture of the movements is fairly complex, as opposed to the fairly simple structure of an average cantata, and the choral writing is in five parts, "outside the normal
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in 1811, edited by Georg Pölchau, however with printing errors, and without the Christmas hymns. It was the first composition of Bach for vocal soloists, chorus and orchestra that was printed in orchestral score, but at the time this publication had little success in sales. When in 1822 young
1199:
is a Magnificat in C major for double SATB choir and orchestra, copied by Bach around 1742. The manuscript score indicates no composer, but in 2012 it was discovered that it is Bach's arrangement (by adding parts for timpani and for a third trumpet) of a late 17th-century composition by
2790:
Measure 61–75: in the first measure of this block the altos sing the first main motive while all instruments halt for at least a few beats. The singers keep the leading role, while groups of instruments play additional motives. Later the orchestral writing thickens, returning from the
1791:
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devoted many pages to the Magnificat in his Bach-biography, considering it recognized as one of the greatest achievements of the composer's genius. Bach's Magnificat was performed several times in the last quarter of the 19th century, for instance in Germany and the Netherlands.
3505:
version of the Magnificat with an orchestral score in line with 19th century performance practice, for example expanding the "organ and continuo" single stave with annotated bass from the autograph and the Bach-edition into several separate staves for organ, bassoon and celli.
2978:(and exalted the humble), is sung without introduction. After a shorter ritornello, the tenor sings the complete text again, the first part in a slightly modified version, but the exaltation is considerably expanded after which the ritornello is repeated at the end in full.
1048:, songs of praise partly in German, partly in Latin to be inserted at certain points in the E-flat major version of the Magnificat. The E-flat major version of the Magnificat including these interpolations is known as BWV 243.1 (previously BWV 243a).
3251:
801:, for the fifth and the sixth Sunday after Trinity (5 and 12 July in 1733): Bach may have relied on church music by other composers for the services in Leipzig in July 1733, while composing and copying out the performance parts of the extensive first part of the
6214:"Magnificat Es-Dur BWV 243a (mit den vier Einlagesätzen: Vom Himmel hoch / Freut euch und jubilieret / Gloria in excelsis / Virga Jesse floruit). Für Soli (SSATB), Chor (SSATB), Orchester und Orgel (lat). Nach dem Urtext der Neuen Bach-Ausgabe. Ed. A. Dürr"
2773:
tutti. After that the orchestra dominates again, with the chorus following or giving contrasting melodies. From the end of measure 37 voices one after another start singing "anima mea", until in the last three measures of this block all singers take the text
1831:
This is also 5 times two verses of the Magnificat followed by a movement with a text that comes from elsewhere, the only bible quote of these other texts (movement C, also a doxology like the last movement) being coupled with the central 7th movement.
2834:("And my spirit has rejoiced ") is an aria sung by soprano II, accompanied by the strings. The aria continues the feelings of joy from the first movement, but in a less extroverted way. In the Christmas 1723 version, this movement is followed by the
2719:
Measure 16–30: in measure 16, almost imperceptible in the whirling movement of other instruments, violin I presents a new motive: it is the second main motive. The last measures before the entrance of the choir that motive is repeated by multiple
6381:). Foreword by the editor in German. English translation by Hans Ferdinand Redlich. For solo voices (SSATB), chorus (SSATB) and orchestra. Parts for: fl1, fl2, ob1, ob2, bsn1, tpt1, tpt2, tpt3, timp. – organ – strings (3,3,2,2). Duration: 30 min.
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as vocal soloists, in 1971. Its CD-release as volume 8 of the Maderna Edition by Arkadia was in 1991. The first recording on period instruments of Bach's Magnificat, with the four choral Christmas interpolations (BWV 243.1), was released by
635:
third verse, leaving only the last two words (omnes generationes) to the chorus, had been practised before by Ruggiero Fedeli, and in a Magnificat in G minor from 1720 which Bach probably knew (that Magnificat in G minor used to be attributed to
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so that they could be fitted in performances of the D major version of the Magnificat. The last measures of the Virga Jesse, missing from the autograph score, were in this edition completed on the basis of a similar composition by Bach.
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of 1733, or another feast in or around that year, Bach produced a new version of his Latin Magnificat, without the Christmas hymns: instrumentation of some movements was altered or expanded, and the key changed from E-flat major to
1516:
Performance time of the Magnificat lies typically between 25 and 30 minutes, with an additional five minutes for the Christmas interpolations. The duration of the version without Christmas hymns is comparable with that of an average
1779:
separated by a set of four arias: solo → solo → duet → trio. In such sixteen-movement performance there is however another symmetry: the third section (movement A), and the third counting down from the last (movement 10) both use a
4396:
3105:
2907:(Because he did great things for me) is an aria sung by the bass, accompanied only by the continuo. The motif, again beginning with repeated notes, is introduced by four measures of the continuo, then repeated by the voice.
6400:"Magnificat D-Dur BWV 243 (mit den vier Einlagesätzen aus der Es-Dur-Fassung BWV 243a, transponiert) für Soli (SSATB), Chor (SSATB), Orchester und Orgel (lat). Nach dem Urtext der Neuen Bach-Ausgabe. Ed. A. Dürr"
3233:. Where the Latin of the preceding movements may have been largely incomprehensible for the congregation in Bach's time, here is a first movement that was not only recognizable for the words, but also for the melody: the
597:. In Protestantism there was no Latin text more often set to music than the Magnificat. Also settings of the German text of the Magnificat were current from the early 17th century, without one form suppressing the other.
3831:
in the St. Thomas church in Leipzig. A DVD of the recording, which included a performance of Kuhnau's Magnificat with his four Christmas interpolations, and of Bach's German Magnificat BWV 10, was released in 2004.
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3798:
Novello published both the E-flat major and the D major version of the Magnificat in a single publication in 2000, edited by Neil Jenkins. This edition also offered a transposed version of the Christmas 1723
3453:
had been performed in Leipzig, like his father's an extended setting. When Johann Sebastian had died, Carl Philipp Emanuel owned the autograph of both versions of his father's Magnificat, and staged the composition in
2941:(He shows strength) shares its key and scoring with the first movement. The tenor is the first voice to enter, followed by alto, SII, bass and SI, leading to two calls without melismas near the middle of the movement.
2713:, but is in fact rather a concerto tutti. The movement has the form of an Italian aria, modelled after the concerto style Bach had developed in Köthen: in that style the material is presented in an instrumental tutti.
3107:
7346:
3056:, on a continuo line that most of the time only changes every measure, moving one step down or up. The voices imitate each other, in gentle movement. Almost the only leaps in the whole measure occur on the word
3042:(He hath holpen his servant Israel) is scored for an unusual combination of the three highest voices and two oboes in unison (a single trumpet in the E-flat major version). The wind instrument(s) cite the
3855:
published a critical edition of all score versions, based on Dürr's 1955 edition, again in 2014/15. The "synthetic" D major version, that is the D major version of the Magnificat with the Christmas
2871:
notes: "Scarcely ever has the idea of virgin purity, simplicity, and humble happiness found more perfect expression than in this German picture of the Madonna, translated, as it were, into musical language."
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last is only verse 12, where for Bach that final chorus sets both verse 11 and 12. In all three Magnificats the other verses are set for soloists, as a single voice or combined into duets and trios.
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3098:
3009:(The hungry) is sung by the alto, accompanied by two flutes. The ritornello of eight measures introduces a motiv moving up, on a continuo of steady quarter notes, for four measures, later sung on
1016:
the four Christmas interpolations were added to the autograph, was first performed on 2 July 1723. That would have been exactly ten years before the transposed version, and composed for the same
1218:
the late Middle Ages, was in 12 verses: it differs from Bach's 12 movements in that Luke's verse 48 is one verse in the traditional division, while the doxology is divided into two verses.
1040:
Before Glöckner's 2003 article on the origin of the Magnificat, and for some authors still after that, it was generally assumed that Bach had composed his Magnificat in the quiet time of
3544:
edited the full orchestral score of the D major version of Bach's Magnificat for publication by Ernst Eulenburg and Edition Peters. Performances of the Magnificat by, among others,
6390:
Urtext edition taken from: J.S. Bach, Neue Ausgabe sämtlicher Werke, Series II, Vol. 3: Magnificat (Alfred Dürr). Preface in German with English translation by Hans Ferdinand Redlich,
3168:
The first time the Christmas hymns of the E-flat major version of Bach's Magnificat were printed was in the same volume as the D major version of the Magnificat, in the 1862
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The earliest LP-releases that contained the Christmas laudes of BWV 243.1 inserted them, transposed, in the D major version BWV 243.2 of the Magnificat. In this form
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Von Himmel hoch (SATB) / Freut euch und jubiliert (SSAT, continuo) / Gloria (SSATB with colla parte instruments & violino obligato) / Virga Jesse (fragment – S, B, continuo)
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In Leipzig, the Magnificat was regularly part of Sunday services, sung in German on ordinary Sundays but more elaborately and in Latin on the high holidays (Christmas,
3283:
1134:
and of the chorale harmonisation BWV 324, a Magnificat for soprano solo was considered lost in the 19th century. The score of that so-called "little" Magnificat (
2922:(And mercy), a duet for alto and tenor, begins with an undulating movement in 12/8 time, played by violins and violas. In the D major version these strings play
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751:. It is a chosen opportunity to give more than ordinary attention to the Magnificat canticle in liturgy, while the feast celebrates the event tied to its origin.
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in Leipzig on 30 May, the first Sunday after Trinity in 1723. Visitation was the first feast day of his tenure, which called for exceptionally festive music.
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3294:" (Rejoice with pious mind, To Bethlehem go now and find The fair and holy new-born Boy, Who is your comfort peace, and joy), a verse by Sethus Calvisius.
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movement. The four Christmas interpolations are placed after the second, the fifth, the seventh and the ninth movement on the Magnificat text. These four
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299:
After publication of both versions in the 19th century, the second became the standard for performance. It is one of Bach's most popular vocal works.
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Measure 76–90: after 45 measures of choral singing follow fifteen measures of instrumental postlude, with material condensed from the opening tutti.
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4445:
3404:
hath appeared, And hath put on human flesh, And become a lovely child, Alleluja!) and is a fragment of a longer Christmas hymn that was printed in
2801:
for most of this block, the conclusion "anima mea" (my soul) is heard by the alto for the first time, in measure 67, embedded in the other voices'
3492:
The D major version of Bach's Magnificat did not appear in print before the Bach-revival that followed Mendelssohn's 1829 performance of the
1521:. However, there are many differences: the Magnificat contains about twice as many movements as an average cantata, keeping it short by avoiding
646:
choir with more voice parts was however no novelty for Magnificat compositions: for example Johann Pachelbel, the teacher of Johann Sebastian's
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700:
711:(1635) contained three Magnificats with interpolations, the first of these (SSWV 299 for SSATTB and basso continuo) with the first stanza of "
411:
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Kuhnau had composed for insertion in his C major Magnificat when it was to be performed at Christmas. These laudes illustrate what the
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1552: major for BWV 243.1, D major for BWV 243.2), and are the only movements that feature a five-part chorus as well as a
3863:
That the composition ranges among Bach's most popular vocal works is illustrated by its regular appearance in classical music polls like
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647:
2716:
Measure 1–15: the motive played by oboe I in the first measure sets the jubilant tone of the tutti. It is the first of two main motives.
1693:
in most movements. In the 1723 version movement 10 (Suscepit Israel) has a bassett (Ba) part played exclusively by violins and viola in
1583:
were usually tuned in D in Saxony, this is given as a reason why Bach transposed the initial E-flat major version to D major.
296:, for performance reasons of the trumpet parts. This version of Bach's Magnificat is known as BWV 243.2 (previously BWV 243).
3878:. In December 2016, Bach's autograph of the D major version of his Magnificat was among the top three most visited scores at the
3500:
of Bach's D major version of the Magnificat appeared. In 1862 the orchestral and vocal score was published in Volume 11/1 of the
7274:
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4009:
3591:, among which were several with an English translation. More recordings of the Magnificat became available, for instance directed by
7072:
BWV 232 in the context of Catholic Mass settings in Dresden, 1729-1733". In Tomita, Yo; Leaver, Robin A.; Smaczny, Jan (eds.).
7407:
6333:
Magnificat in D, in vocal score with an accompaniment for the organ or pianoforte – The adaptation to English words by J. Troutbeck
3775:. Other CD releases with BWV 243.1 that became available before the end of the century include a recording by Rilling and the
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1158:
1127:, mentions that the composer wrote several Magnificats. Apart from the extant copies of the Latin Magnificat BWV 243, of the
370:
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7172:
Die Bach-Rezeption des späten Beethoven: zum Verhältnis von Musikhistoriographie und Rezeptionsgeschichtsschreibung der "Klassik"
3607:. The second half of the 1960s saw the first recordings of the Christmas version of the Magnificat BWV 243.1 including the
7445:
3828:
3461:
Laudes A and B (transposed to fit in a D major composition) were combined with a movement of a cantate by Graun (probably
1091:
of the Magnificat (BWV 243.1) suggests that Bach intended to perform the first version of his Magnificat also without the
379:
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1774:
movements eight and nine (both solo movements), followed by an aria for vocal trio, build up to the final two choral movements
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3225:, with all sopranos singing the 1539 chorale melody attributed to Luther as a cantus firmus, while the lower voices make the
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melody as cantus firmus: soprano voices in the first case ("Vom Himmel hoch, da komm ich her"), instrumental in the second ("
17:
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6664:[Is there another cantata cycle by Gottfried Heinrich Stölzel that belonged to Bach’s performance repertoire?]. In
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The first occasion after the mourning period that re-allowed concerted church music was the feast of Visitation, Thursday
671:. Around the time when the D major version of the Magnificat originated, he composed for the same extended chorus in
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The tonus peregrinus variant that is associated with Luther's German Magnificat appears in compositions by, among others,
7422:
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2752:
2734:
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4948:[On the identification of the Magnificat BWV Anh. 30 from Johann Sebastian Bach's music library]. In
3015:(He hath filled the hungry with good things), while downward lines and a continuo moving in eighth notes later go with
676:
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6130:
1623:
for BWV 243.1 consists of "due violini, due oboe, tre trombi, tamburi, basson, viola e basso continuo", i.e. two
650:, had composed half a dozen Magnificats for SSATB choir, and one for soli, SSATB double choir and orchestra. Kuhnau's
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6444:. Neue Ausgabe sämtlicher Werke, Series 2: Messen, Passionen und oratorische Werke. Vol. 3. Kassel: Bärenreiter.
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Measure 31–75: accompanied by the continuo, the chorus enters as a concerto soloist, imitating the opening material.
2658:
The structure of Bach's Magnificat has been compared with that of Kuhnau's, which he probably knew, and with that of
1670:(Fl) and they get separate parts in all four choral movements. In movements three and four the oboes are replaced by
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7040:
3182:
712:
400:
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6885:
Rimbach, Evangeline (2005). "The Sacred Vocal Music of Johann Kuhnau". In Carl Schalk; Carlos R. Messerli (eds.).
3860:
transposed to fit in that version, now published both by Novello and Bärenreiter, found performers and audiences.
2947:
appears in various voices, but then isolated, in a sequence from the highest voice to the lowest. The conclusion,
1697:. In the 1733 version this continuo line is given to a continuo that includes cello, but not bassoon and violone.
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cantata by an unknown librettist for Visitation 1725. Further, Bach copied Latin Magnificats by other composers:
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346:
240:
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4845:
692:(1734). Such compositions with an extended choir are however outside Bach's usual routine for liturgical music.
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7026:
3712:
include hymns and songs outside the liturgical text in their extended settings, like Bach's Christmas version;
3291:
Freut euch und jubilirt, Zu Bethlehem gefunden wird Das herzeliebe Jesulein, Das soll euer Freud und Wonne sein
332:
6907:
3246:
Quarter of a century later Bach returned to the chorale melody of "Vom Himmel hoch da komm' ich her", writing
3705:
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3173:
D major version of the Magnificat, for instance Novello in 2000 (Neil Jenkins) and Bärenreiter in 2014.
1784:
1656:
1172:
778:(28 June), no concerted music was allowed in the churches. During that period Bach had been composing a
695:
Bach was not the first to include mixed German/Latin Christmas interpolations in a Magnificat sung in Latin:
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A new critical edition of both BWV 243.2 and 243.1 was published in 1955 as Series 2, Volume 3 of the
2813:" once again, soprano II beginning with a long note continued by a melisma in measure 73, the others in 74.
1150:
642:
Another characteristic of Bach's Magnificat is that it is set for a five-part chorus. Extending a standard
590:
568:
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2701:) is the text used for the opening chorus. The movement consists of 6 blocks of 15 measures, totalling 90
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violins, presenting material in a 14 measure ritornello. The second thought of the verse, beginning with
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movements two and three, both for solo soprano, build up to the Omnes generationes choral movement No. 4
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4578:
3450:
3210:
840:
763:
607:
436:
320:
4873:
1794:"Vom Himmel hoch da komm' ich her", the melody of the cantus firmus of the "A" Christmas interpolation
1727:
Verse 4 (movement 5, followed by movement B in the Christmas version): major key different from tonic
361:
in Leipzig. When Kuhnau died in 1722, one of the candidates applying for the post of Thomaskantor was
7470:
7395:
7096:
The Liturgy of the Hours in East and West: The Origins of the Divine Office and Its Meaning for Today
6037:
4594:
4582:
3549:
3520:
3393:
Virga Jesse floruit, Emanuel noster apparuit, Induit carnem Hominis, Fit puer delectabilis. Alleluja.
3138:(Glory to the father), performed by the complete ensemble. The first part of the text ends in a long
2888:(all generations), is given to the chorus. The setting has been likened to a turba chorus as used by
2681:
Magnificat in E-flat major, BWV 243a § The twelve movements of the Magnificat canticle
1746:
Verse 8 (movement 9, followed by movement D in the Christmas version): major key different from tonic
1124:
1120:
748:
288:
7012:
6782:
6756:
The Creative Development of Johann Sebastian Bach, Volume II: 1717–1750: Music to Delight the Spirit
6172:
Magnificat à cinque voci, due violini, due oboe, tre trombi, tamburi, basson, viola e basso continuo
5915:
5394:
4792:
1213:
Bach's Magnificat consists of eleven movements for the text of Luke 1:46–55, concluded by a twelfth
358:
276:) related to that feast. This version, including the Christmas interpolations, was given the number
7509:
7502:
7260:
5377:
4175:
4079:
3686:
3627:
3600:
3410:
1128:
6992:
6788:
6362:
1956) Neue Ausgabe sämtlicher Werke, Series 2: Messen, Passionen und oratorische Werke, Volume 3:
6316:
6196:
5441:
5372:
4785:
2867:(from henceforth shall call me blessed) the voice changes to a "simpler, more declamatory style".
1666:
For the 1733 version, Bach used a somewhat more extended orchestra: the recorders are replaced by
7390:
7050:
6760:
6497:
4586:
3837:
3780:
3736:
3717:
3230:
3221:
a cappella in four parts, and, like the two preceding movements, in the tonic key. The form is a
2755:
2737:
6998:
3731:
Before the end of the century CD recordings of the D major version of Bach's Magnificat by
7118:
6848:
5505:
5035:
4811:
3349:, ending on "... bonae voluntatis", is an incorrect rendering of the original Greek version of
3340:
3322:
2659:
1427:
1044:
1723 for a first performance at the Christmas vespers. For that performance Bach composed four
881:
817:
783:
767:
728:
97:
41:
7170:
7094:
6942:
6754:
6538:
6452:"Bach Magnificat in D & E flat BWV 243 & 243a / (Novello edition ed. N. Jenkins)"
6188:
First edition of the Magnificat score, E-flat major version, without the Christmas hymns.
4733:
3836:'s recording of BWV 243.1, with the Balthasar-Neumann-Chor and Ensemble, was released by
3639:
3045:
369:
as an audition piece in January 1723, three weeks before Bach presented his audition cantatas
7367:
7318:
7044:
6963:
6725:
6683:
6661:
6594:
6514:
6471:
6430:
6263:"Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz : D-B Mus. ms. Bach P 39"
6244:
6145:
5984:
5764:
4967:
4700:
3873:
3864:
3851:
Facsimiles of Bach's autographs of both versions of the Magnificat became available on-line.
3816:
3647:
3569:
1724:
Verse 3: starts in relative minor key (movement 3), moving to another minor key (movement 4)
827:
696:
501:
427:
220:
51:
7146:
6797:
6743:
Passion on the Polder: The start of the Netherlands Bach Tradition in the nineteenth century
6618:
5964:
4946:"Zur Identifizierung des Magnificats BWV Anh. 30 aus Johann Sebastian Bachs Notenbibliothek"
4377:
3776:
758:. The D major version of Bach's Magnificat (BWV 243.2) may have been performed on
6662:"Ein weiterer Kantatenjahrgang Gottfried Heinrich Stölzels in Bachs Aufführungsrepertoire?"
6386:
6155:(Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, D-B Mus. ms. Bach P 38, at
4678:
4674:
3764:
3690:
3524:
628:
6669:
6579:
6451:
5373:"Alia pia Cantio de Incarnatione Jesu Christi, à 4. Vocibus cum Basso continuo", pp. 77–83
3725:
3704:
20th century Magnificat composers often refer to Bach's composition in their new setting:
2953:, is marked Adagio and illustrates the text in long chords, with accents by the trumpets.
544:
8:
7326:
7114:
6778:
6750:
6721:
5980:
5512:, Litt.D. Cantab. Harcourt, Brace and Howe, New York, 1920: Introduction (Terry), p. xvii
3812:
3744:
3709:
3698:
3565:
3462:
3381:
1620:
1591:
Bach set the Magnificat for SSATB five-part choir. Five vocal soloists are required: two
1510:
556:
236:
6628:
5322:
4666:
4062:
3579:
published Bach's Magnificat (both BWV 243.1 and BWV 243.2) in 1955, edited by
1003:
623:
are cited as possible inspirations for Bach. Around Bach's time there are also examples
7543:
7483:
7361:
7128:
6585:
6480:
6442:
Magnificat: erste Fassung in Es-Dur BWV 243a, zweite Fassung in D-Dur BWV 243
5368:
4652:
4574:
4087:
3833:
3792:
3756:
3545:
3480:
The score of the E-flat major version of Bach's Magnificat was first published by
3405:
3256:
1109:
1036:
Magnificat in E-flat major, BWV 243a § The four Christmas interpolations
681:
602:
528:
of his Latin Magnificat. He uses it again in his "German Magnificat", i.e. the cantata
513:
481:
or Aeolian mode. For the traditional setting of Luther's German Magnificat that is the
362:
6739:
Passie in de polder: Het begin van de Nederlandse Bach-traditie in de negentiende eeuw
6433:. Magnificat in E-flat major and Magnificat in D major (published together)
5701:
3612:
505:
7614:
7218:
7190:
7180:
7155:
7142:
7100:
7079:
7054:
6969:
6948:
6922:
6892:
6871:
6852:
6809:
6764:
6709:
6699:
6600:
6548:
6520:
6195:. Bach-Gesellschaft Ausgabe, Volume 11.1, Appendix. Edited by Wilhelm Rust. Leipzig:
6179:
6102:
5879:
5824:
5800:
5779:
5675:
5642:
5621:
4993:
4983:
4825:
4817:
4716:
3732:
3669:
3596:
3576:
3515:
edition of the D major Magnificat in 1874, using a translation to English which
3501:
3486:
3270:), 700, 701, 738 and 738a are chorale preludes based on the "Vom Himmel hoch" theme.
3169:
1604:
1137:
1063:
Bach had included in his Christmas Magnificat were not a self-contained cantata, but
1017:
620:
6394:
and J. Bradford Robinson. Kassel / New York : Bärenreiter. 11th printing, 2005.
1717:
Verse 1 and 2 (movements 1 and 2, followed by movement A in the Christmas version):
7457:
7233:
7007:, Zweiter Band. Dritte unveränderte Auflage, Leipzig: Breitkopf & Härtel, 1921.
6845:
Salzburg W.B. XIV: Historical Context, Liturgical Significance and Critical Edition
6691:
6644:
6534:
5943:
4975:
4879:
4708:
3845:
3841:
3772:
3748:
3677:
3616:
3438:
3222:
1780:
1640:
1498:
740:
605:'s Magnificat a 7 voci, one of two alternative Magnificat settings included in his
509:
464:
255:
6652:
3266:
3239:
chorale would have been sung by the congregation the preceding evening during the
1164:
for tenor solo and composed for Visitation, has also been attributed to Hoffmann.
766:. That year there had been a period of mourning after the death of the sovereign,
7589:
7464:
7435:
7385:
7322:
7212:
7073:
7030:
6886:
6865:
6730:
6351:
6067:
6045:
5922:
5531:
5062:
5042:
4682:
3694:
3623:
3604:
3541:
3508:
3366:
3307:
2889:
2588:
2532:
2493:
2412:
2328:
2279:
2193:
2144:
2088:
2045:
1671:
1580:
1435:
1184:
802:
636:
552:
486:
474:
65:
7018:
Johann Sebastian Bach: his work and influence on the music of Germany, 1685–1750
6824:
4953:
4686:
2968:(He hath put down the mighty) is an aria for tenor, accompanied by continuo and
1490:
movements are usually indicated by the letters A to D, with these text sources:
1474:
There is however no numbering of movements in Bach's autographs, nor is there a
585:, the Magnificat was, already for over a century before Bach's composition, the
235:. It is scored for five vocal parts (two sopranos, alto, tenor and bass), and a
6982:
6570:
4449:
3820:
3784:
3768:
3752:
3740:
3673:
3584:
3561:
3528:
3516:
3160:(as it was in the beginning), repeats material from the beginning of the work.
3143:
2868:
1856:
1652:
1078:
991:
986:
724:
704:
394:
209:
204:
7312:
6856:
6567:"Bach Cantata Translations / BWV 243a – "Magnificat" (E-flat Major)"
6437:
6406:
6378:
6220:
6204:
5821:
5588:
LMU-Publikationen: Geschichts- und Kunstwissenschaften Nr. 27, 2007. pp. 19–20
4883:
4806:
4647:
3852:
3588:
3580:
3523:. In 1880, when Bach's autographs of the composition were already kept in the
2846:
1482:(where the soprano soloist sings their last note) is the first measure of the
7634:
7194:
6926:
6713:
6679:
6596:
Tonus Peregrinus: The History of a Psalm-tone and its use in Polyphonic Music
6562:
5968:
4997:
4963:
4720:
4696:
3682:
3657:
3489:
composed a Magnificat in D major he showed that he knew Bach's version.
3397:
3240:
2120:
2006:
1682:
1663:, Fl) are required for aria No. 9 Esurientes, but are not part of the tutti.
616:
519:
494:
490:
454:
354:
272:
259:
7214:
The Music of Johann Sebastian Bach: The Sources, the Style, the Significance
6519:. Bach perspectives. Vol. 7. University of Illinois Press. p. 53.
6183:
4650:. "An Investigation into the Authenticity of Bach's ‘Kleine Magnificat’" in
3560:
of the early 1950s included live performances of the Magnificat directed by
1806:
Verse in minor key (mvt. 3, 4) → two movements in the same major key (5, B)
1560:, accompanied by an orchestra without trumpets and timpani, and in movement
7298:
6665:
6648:
6614:
4949:
4930:
4925:
4906:
4901:
4859:
4854:
4744:
4739:
3993:
3920:
3903:
3879:
3497:
3300:
3226:
3151:
2157:
1917:
1660:
1518:
1201:
856:
744:
594:
316:
263:
247:
4833:
4816:. Preface in English and German. Wiesbaden: Breitkopf & Härtel, 1998.
1095:, depending on circumstances, for example on other feasts than Christmas.
4945:
4670:
3824:
3760:
3147:
2923:
2792:
2702:
1195:
5880:
Magnificat in D major BWV 243.2, Complete Recordings 1990–1999
5738:
5498:
4814:: Kleine Ausgabe, nach der von Wolfgang Schmieder vorgelegten 2. Ausgabe
1818:
Verse in minor key (mvt. 8) → two movements in the same major key (9, D)
1771:
movements five (solo) and six (duet), build up to the 7th tutti movement
1175:
for performance on 2 July 1728, may have been set by Bach. Similarly, a
1059:. Possibly those settings in C major of the same four texts as the
679:(SSSATB) for Christmas 1724, and compositions for double choir like the
654:
also used a SSATB choir. Bach had already composed for a SSATB choir in
7256:
7120:
The Standard Oratorios: Their Stories, Their Music, And Their Composers
7022:
6888:
Thine the Amen: Essays on Lutheran Church Music in Honor of Carl Schalk
6695:
6633:"Bachs Es-Dur-Magnificat BWV 243a – eine genuine Weihnachtsmusik?"
6175:
5130:
5128:
4979:
4919:
4895:
4712:
4671:"Die Leipziger Neukirchenmusik und das "Kleine Magnificat" BWV Anh. 21"
3713:
3592:
3481:
3449:
In 1749, a year before his father's death, Carl Philipp Emanuel Bach's
3385:
3326:
3279:
3186:
3122:
2710:
1733:
Verse 6 (movement 7, followed by movement C in the Christmas version):
1573:
1187:'s Magnificat in C major, arranging its Suscepit Israel movement (
482:
478:
470:
440:
232:
6075:
5801:
Magnificat in D major BWV 243, Complete Recordings 1970–1979
5780:
Magnificat in D major BWV 243, Complete Recordings 1980–1989
5676:
Magnificat in D major BWV 243, Complete Recordings 1960–1969
5643:
Magnificat in D major BWV 243, Complete Recordings 1950–1959
5622:
Magnificat in D major BWV 243, Complete Recordings 1900–1949
5456:
3693:'s first recording of the D major version followed in 1984. Also
1787:"). The symmetry of the Christmas version can be pictured as follows:
1055:
had been used in Leipzig in a Christmas cantata by Bach's predecessor
1006:
argued that the very first version of Bach's Magnificat, that is the E
3665:
3557:
1565:
1546:
are the cornerstones of the composition: they are in the tonic key (E
665:, an Easter cantata from 1715). He did the same in his funeral motet
312:
267:
86:
5125:
2780:
5833:
5585:
Die Rezeption der Alten Musik in München zwischen ca. 1880 und 1930
4781:
2991:
2709:
Measure 1–30: the orchestra presents itself with what looks like a
1678:
the oboes replace the trumpet for the obbligato instrumental part.
1667:
1478:
between the third and the fourth movement: the 25th measure of the
1214:
1188:
1168:
1144:
1116:
900:
844:
578:
342:
116:
6787:. Part II, Volume 1: Kirchliche Werke (in German) (5th ed.).
5583:
2674:
1167:
Another German libretto paraphrasing the Magnificat, published by
5927:
4875:
Werke zweifelhafter Echtheit, Bearbeitungen fremder Kompositionen
3701:
had by then recorded the D major version of the Magnificat.
3611:, and new recordings of the D major version by von Karajan,
3455:
3346:
3254:. Bach also included three settings of the chorale melody in his
3139:
2436:
2425:
2262:
2248:
2173:
2104:
2069:
2058:
1935:
1690:
1644:
1636:
1632:
1592:
1522:
1475:
933:
586:
574:
432:
350:
293:
251:
76:
7154:. J. S. Bach. Vol. 2. Breitkopf & Härtel. pp. 1–.
4279:
3721:
3689:
in 1978 (L'Oiseau Lyre / Decca), coupled with Vivaldi's Gloria.
3163:
1790:
6544:
5884:
5805:
5784:
5710:
5680:
5647:
5626:
4791:
Leipzig: Joh. Theod. Boetii Tochter (1732; 2nd printing 1737),
4397:
Magnificat (with German interpolations for Christmas), SSWV 299
3771:'s 1995 recording of the E-flat major version appeared on
3553:
2969:
1694:
1624:
1204:. An earlier attribution of the work had been to Antonio Lotti.
1072:
1068:
1056:
1041:
755:
655:
582:
422:
308:
7234:"J.S. Bach: Leipzig Christmas cantatas; Magnificat/Herreweghe"
6131:"Bach: Magnificat – Buxtehude: Magnificat anima mea. (Sleeve)"
6098:"Weihnachtsoratorium beliebteste Bach-Handschrift im Internet"
5948:
4765:
4300:
4298:
4296:
4294:
3844:
performed the D major version of the Magnificat with the
3334:
Gloria in excelsis Deo et in terra pax homínibus bona voluntas
2880:
The continuation of the verse and completion of the sentence,
1157:. A similar cantata on a German paraphrase of the Magnificat,
953:
477:. The tonus peregrinus (or ninth tone) is associated with the
166:
59:
6294:
6280:
6157:
5327:
4878:(Volume 9 of Series II: Masses, Passions, Oratorios from the
3660:
recorded BWV 243.1, with the choir and orchestra of the
3401:
3248:
a set of five canonic variations on that theme (BWV 769)
3021:(and the rich he hath sent away). In Latin, the last word is
2986:
1686:
1648:
1600:
1553:
736:
338:
7257:
Performance of the Magnificat in D major (BWV 243)
5743:
5446:
4429:
4427:
4108:
4106:
4291:
4257:
4255:
4253:
4251:
4249:
3720:
makes musical associations to Bach's D major setting;
3284:
choralwiki:Freut euch und jubiliert (Johann Sebastian Bach)
1628:
1596:
952:
643:
326:
165:
6808:. Vol. 1. Cambridge University Press. pp. 3–17.
6335:. Novello's Original Octavo Edition. Novello, Ewer and Co.
5663:
Bärenreiter 1956 (Müller – Redlich), 1959 (Dürr – Redlich)
5224:
4310:
4210:
3644:
Bach: Magnificat in D (Including Christmas Interpolations)
6477:"Brich dem Hungrigen dein Brot BWV 39; BC A 96 / Cantata"
5468:
4424:
4184:
4103:
3943:
3941:
3939:
3937:
3935:
3933:
3931:
3929:
3827:
recorded the Christmas version of Bach's Magnificat with
2754:
Audio playback is not supported in your browser. You can
2736:
Audio playback is not supported in your browser. You can
1153:
was identified as the composer of this German Magnificat
281:
231: 243, is a musical setting of the biblical canticle
228:
6825:"Magnificats BWV 243 & BWV 243a – Details"
6340:
Magnificat in D dur: Klavierauszug von Salomon Jadassohn
6014:
5591:
5016:
4519:
4517:
4246:
4043:
4041:
905:
Christmas interpolations: traditional German/Latin texts
6999:"Fünftes Buch: Leipziger Jahre von 1723–1734" pp. 3–479
6620:
Mittheilungen über Johann Sebastian Bach's "Magnificat"
6581:
Evensong Explained, with Notes on Matins and the Litany
5352:
5350:
4557:
4555:
4414:
4412:
4382:
4342:
4340:
4327:
4325:
4157:
4063:
Mus.ms 430/29 (Autograph of Graupner's 1722 Magnificat)
611:. In a Lutheran tradition there is for example Schütz'
7446:
Jesus Christus ist um unsrer Missetat willen verwundet
7315:
from impresario.ch, with practice files for choristers
6080:
6054:
5868:
Pärt and Penderecki: Divergent Voices and Common Bonds
5304:
5103:
5101:
5099:
5097:
5095:
5080:
4846:"D-B Mus.ms. 2755, Fascicle 1 (formerly Mus. ms. Bach
4677:
and the "Little Magnificat" BWV Anh. 21]. In
4504:
4502:
4145:
4118:
4014:
3926:
2850:
First measures of Quia respexit (B minor version)
1280:
ecce enim ex hoc beatam me dicent omnes generationes.
1142:) was rediscovered in the 20th century, and listed as
1075:'s birth, and were embedded in an old tradition named
562:
239:
including trumpets and timpani. It is the first major
4514:
4135:
4133:
4038:
2747:
Second motive (as sung by the tenors in measure 35):
675:. Other extended choral settings by Bach include his
6258:– Preußischer Kulturbesitz, D-B Mus. ms. Bach P 39:
5944:
Bach Johann Sebastian – Leipziger Weihnachtskantaten
5899:
5897:
5603:
5546:
5347:
5176:
5164:
5004:
4735:"Meine Seele rühmt und preist BWV 189 / Anh. II 23→"
4630:
4628:
4626:
4624:
4622:
4552:
4487:
4409:
4337:
4322:
4234:
4026:
3587:
score was reused in several ensuing publications by
2729:
First motive (as sung by sopranos I in measure 31):
2705:
of music, exactly half of them with choral singing:
1705:
Bach's Magnificat is built symmetrically around the
7179:. Vol. 24. Franz Steiner Verlag. p. 234.
6985:. "Fünftes Buch: Leipziger Jahre von 1723–1734" in
6908:"One Verse, Two Settings, and Three Strange Youths"
6516:
J. S. Bach's Concerted Ensemble Music, the Concerto
5113:
5092:
5068:
4620:
4618:
4616:
4614:
4612:
4610:
4608:
4606:
4604:
4602:
4499:
4006:
Kyrie in F major, BWV 233a (Bach, Johann Sebastian)
3970:
3960:
3958:
3956:
3638:appeared in 1967 with a performance time of 40:06.
3252:
compositions printed during the composer's lifetime
3195:"Vom Himmel hoch", Luther's hymn in a 1541 songbook
1568:instrument, only strings and/or continuo. Movement
754:In Bach's time the feast day of Visitation fell on
639:). Also Graupner's 1722 Magnificat had this split.
516:. Bach uses the melodic formula as an instrumental
397:, performing an ambitious cantata in 14 movements,
349:were composed during his tenure as Thomaskantor in
5996:Bach 1723 (autograph of E-flat major version)
5214:
5212:
5210:
5208:
5195:
5193:
5191:
4809:, Yoshitake Kobayashi (eds.), Kirsten Beißwenger.
4542:
4540:
4538:
4536:
4534:
4532:
4477:
4475:
4473:
4471:
4401:
4363:
4267:
4130:
3356:Friede auf Erden und den Menschen ein Wohlgefallen
254:, Bach set the text of the Magnificat in a twelve
6325:Magnificat (in D-dur) bearbeitet von Robert Franz
5894:
5480:
5335:
601:school of music. Such an example can be found in
7632:
6153:Magnificat E-flat major and Christmas hymns
5720:
5423:
4599:
4222:
3953:
2185:
764:St. Thomas Church (Thomaskirche) in Leipzig
7267:Magnificat in E-flat major (BWV 243a)
6867:Bach's Major Vocal Works: Music, Drama, Liturgy
5845:
5205:
5188:
4529:
4468:
4459:
4457:
2675:The twelve movements of the Magnificat canticle
1809:Verse in minor key (mvt. 6) → two movements in
1149:however, its authenticity was doubted. In 1982
1029:
747:, the feast commemorating that visit is called
551:, the melodic formula is used as a theme: this
6577:
6208:, Taschenpartituren No. 58. Bärenreiter, 1959.
5524:Felix Mendelssohn Bartholdy: Magnificat MWV A2
5297:
5295:
5293:
5291:
5289:
5287:
5285:
5283:
5281:
5279:
5277:
5275:
5273:
5271:
5269:
5267:
5265:
5263:
5261:
5259:
5152:
4866:
4359:Magnificat 5. Toni cum canticis Ecclesiasticis
4216:
3273:
2838:, the hymn "Vom Himmel hoch da komm ich her".
770:. During that mourning period, which ran from
439:, which is a particular German version of the
333:Johann Sebastian Bach § Leipzig (1723–50)
241:liturgical composition on a Latin text by Bach
7620:List of compositions by Johann Sebastian Bach
7347:
6308:(1862) Bach-Gesellschaft Ausgabe, Band 11.1.
5862:
5860:
5500:Johann Sebastian Bach: His Life, Art and Work
5257:
5255:
5253:
5251:
5249:
5247:
5245:
5243:
5241:
5239:
5149:Bach 1733 (autograph of D major version)
3525:Royal Library (later State Library) of Berlin
3164:The hymns added in the Christmas 1723 version
2697:("My spirit gives great praise to the Lord",
1756:Verse 10 and doxology (movements 11 and 12):
1556:orchestra. The chorus also sings in movement
1098:
367:Magnificat he had composed for Christmas 1722
347:Bach's known liturgical compositions in Latin
6398:
6366:(Eduard Müller). Kassel (etc.): Bärenreiter.
6364:Magnificat D-dur BWV 243: Klavierauszug
6305:, edited by Robert Franz. Breslau: Leuckart.
6212:
6009:
6005:
5414:
5412:
4802:
4800:
4775:
4454:
4080:"Jesus nahm zu sich die Zwölfe BWV 22;
3631:
3354:
3337:", is a variant of the opening verse of the
3289:
3234:
3205:", a hymn by Martin Luther paraphrasing the
3200:
1827:key (11, 12) ← "cantus firmus" movement (10)
1529:
1314:Et misericordia ejus a progenie in progenies
1135:
1076:
1021:
718:
529:
423:Traditional setting of the German Magnificat
409:
398:
388:
377:
27:Musical composition by Johann Sebastian Bach
6777:
5775:
5773:
5145:
5143:
4787:Ernst-Schertzhaffte und Satyrische Gedichte
4304:
4058:
4056:
3552:were recorded in the 1940s and appeared on
3391:
3338:
3332:
3155:
3132:
3071:
3062:, with a downward fourth on each syllable.
3057:
3051:
3043:
3036:
3022:
3016:
3010:
3003:
2973:
2962:
2948:
2942:
2935:
2916:
2901:
2882:
2862:
2855:
2828:
2808:
2802:
2796:
2774:
2691:
2576:
2448:
1611:both sopranos sing together with the alto.
1448:Sicut erat in principio, et nunc, et semper
615:. Magnificat composers like Johann Levini,
517:
462:
7363:Masses, magnificat, passions and oratorios
7354:
7340:
7141:
7133:: CS1 maint: location missing publisher (
6540:J.-S. Bach : Passions, messes, motets
5981:"Bach's Magnificat: The Gramophone Choice"
5857:
5671:
5669:
5474:
5442:Kündlich groß ist das gottselige Geheimnis
5236:
4943:
3848:, with five vocal soloists without choir.
3634:Figuralchor der Gedächtniskirche Stuttgart
3467:Kündlich groß ist das gottselige Geheimnis
3363:For SSATB and violins, E-flat major,
2524:
2320:
2080:
1561:
1557:
1483:
1208:
834:
727:the words of the Magnificat are spoken by
457:'s German translation of the Magnificat ("
58:
7275:International Music Score Library Project
7271:Magnificat in D major (BWV 243)
7039:
6795:
6533:
6090:
6020:
5990:
5697:
5695:
5693:
5409:
5230:
5218:
5199:
5022:
4797:
4523:
4316:
4206:International Music Score Library Project
4010:International Music Score Library Project
3947:
3815:'s 2002 recording of BWV 243.1 with
3375:
3229:by imitating sections of the melody line
2990:Opening measures of Esurientes movement (
1751:Verse 9 (movement 10): relative minor key
1105:Melchior Hoffmann (composer) § Style
365:, a former pupil of Kuhnau, who reused a
7291:"Frontispiece of the 1811 first edition"
7067:
6961:
6745:] (in Nepali). Universiteit Utrecht.
6659:
6627:
6592:
6387:Magnificat in D major, BWV 243
6345:
6303:Magnificat in D-Dur : Klavierauszug
5770:
5761:Bach's Magnificat & Vivaldi's Gloria
5609:
5140:
5086:
4665:
4463:
4433:
4418:
4285:
4124:
4112:
4053:
3976:
3316:
3190:
3065:
2985:
2875:
2845:
2486:
1789:
1700:
1675:
1608:
539:composed for Visitation of 1724, in the
525:
426:
327:Bach's tenure as Thomaskantor in Leipzig
7656:Compositions with natural trumpets in D
6905:
6884:
6720:
6449:
6169:
5666:
5406:Bach 1811, 1841, 1862, 1864, 1874, 1895
5356:
5310:
5202:, p. 11, figure 1, and surrounding text
5182:
5134:
5119:
5107:
5074:
4561:
4508:
4331:
4261:
4151:
3130:The work is concluded by the doxology,
2835:
2272:
2221:
1998:
1706:
1569:
1539:
1526:routine of Bach's sacred vocal works".
1278:Quia respexit humilitatem ancillae suae
762:, as part of the church service in the
393:on 30 May 1723, the first Sunday after
14:
7633:
7046:Choral Masterworks: A Listener's Guide
7010:
6940:
6863:
6842:
6736:
6512:
5690:
5597:
5462:
5390:
5221:, p. 15, figure 3 and surrounding text
5010:
4634:
4546:
4493:
4378:Samuel-Scheidt-Werke-Verzeichnis, 2000
4240:
4163:
4139:
4047:
4032:
4020:
3030:
688:Preise dein Glücke, gesegnetes Sachsen
555:may however be the work of Bach pupil
7641:Compositions by Johann Sebastian Bach
7335:
7168:
7113:
6749:
6613:
6354:. Ernst Eulenburg and Edition Peters.
6203:Magnificat Es-dur: Herausgegeben von
5552:
5486:
5418:
5341:
5170:
4346:
4273:
3964:
3176:
3113:Performed by the Tudor Consort (2006)
2929:
2910:
2568:
2037:
1543:
1479:
1334:dispersit superbos mente cordis sui.
1071:describe as the circumstances around
782:which he dedicated to the successor,
661:Der Himmel lacht! Die Erde jubilieret
246:In 1723, after taking up his post as
7092:
7068:Stockigt, Janice B. (2013). "Bach's
6843:Porter, Christopher Michael (2008).
6822:
6726:"Keep it Short: J S Bach Magnificat"
6498:"Magnificat – John Rutter (b. 1945)"
6436:
5903:
5429:
4228:
3496:. In the 1840s a piano reduction by
3422:
3345:. The better known version from the
1946:
1838:Magnificat by Johann Sebastian Bach
1296:Quia fecit mihi magna qui potens est
408:, followed by a comparable cantata,
341:, on a mixed Greek and German text (
6475:
6315:, edited by Wilhelm Rust. Leipzig:
6148:. Magnificat in E-flat major.
6129:
6050:Top 75 van de klassieke muziek 2007
5726:
5534:Carus 40.484, 1996. Foreword, p. VI
5381:. Leipzig: Christoph Klinger. 1682.
5036:Hickox/Collegium Musicum 90 (1992):
4481:
3099:Gloria Patri part of BWV 243.2
3080:
2841:
1803:key → "cantus firmus" movement (A)
1406:Abraham et semini ejus in saecula.
1404:Sicut locutus est ad patres nostros
701:Magnificat with such interpolations
563:Extended settings of the Magnificat
543:BWV 323 and 324, and in the fourth
413:Die Himmel erzählen die Ehre Gottes
337:Apart from an early setting of the
24:
7319:Keep it Short: J S Bach Magnificat
7280:Magnificat (Johann Sebastian Bach)
7263:(video and background information)
7203:
6802:: a Lutheran composer's challenge"
6561:
6495:
6409:. 2014b. p. 3. Archived from
6377:. Urtext of the New Bach Edition (
6223:. 2014a. p. 3. Archived from
6074:and "Jesu bleibet meine Freude" –
5851:
5158:
3087:
2822:
2405:
2136:
1888:
1535:
25:
7667:
7250:
6457:. neiljenkins.info/. pp. 1–6
3199:The text is the first stanza of "
735:, both being pregnant, Mary with
315:) and on the three Marian feasts
7408:Kyrie–Gloria Masses, BWV 233–236
7211:Marshall, Robert Lewis (1989b).
7117:(1886). "The Magnificat in D.".
6278:Manuscript of BWV 243.2 at
6026:
5999:
5974:
5958:
5937:
5909:
5873:
5815:
5794:
5753:
5732:
4784:(=Christian Friedrich Henrici).
4067:Technische Universität Darmstadt
3429:Discography of Bach's Magnificat
3365:
3306:
3183:Vom Himmel hoch, da komm ich her
3121:Problems playing this file? See
3103:
2981:
2895:
2685:
2587:
2531:
2492:
2411:
2356:
2327:
2278:
2192:
2143:
2087:
2044:
2005:
1730:Verse 5 (movement 6): minor key
1450:et in saecula saeculorum. Amen.
1434:
1020:. Bach had taken up his post as
6891:. Kirk House. pp. 83–110.
6342:. Leipzig: Breitkopf und Härtel
6032:E.g., in 2007 only preceded by
5965:BACH, J.S. / KUHNAU: Magnificat
5657:
5636:
5615:
5576:
5567:
5558:
5537:
5515:
5508:. With notes and appendices by
5492:
5435:
5400:
5362:
5316:
5048:
5028:
4937:
4913:
4889:
4838:
4751:
4727:
4659:
4640:
4567:
4439:
4390:
4371:
4352:
4192:
4169:
4072:
3807:
3795:playing on period instruments.
3535:
3475:
3444:
3202:Vom Himmel hoch da komm ich her
3154:, the second part of the text,
2926:, flutes doubling the violins.
2795:to the tonic. The text remains
1741:Verse 7 (movement 8): minor key
1681:The continuo part is played by
1676:10th movement (Suscepit Israel)
1388:recordatus misericordiae suae.
1183:in the early 1740s Bach copied
713:Vom Himmel hoch da komm ich her
685:(1727) and the secular cantata
573:Being a quintessential part of
485:for which the last note of the
461:") is a German variant of the
387:. Bach assumed the position of
7517:Wer ist der, so von Edom kömmt
7078:. Cambridge University Press.
7027:John Alexander Fuller Maitland
7021:. Vol. II. Translated by
6375:Magnificat D-Dur, BWV 243
6254:1732–1735) Autograph: Berlin,
6247:. Magnificat in D major.
6165:) Note: Virga Jesse incomplete
5504:Translated from the German of
4577:" of Johann Sebastian Bach by
4200:Meine Seele erhebet den Herren
3999:
3982:
3909:
3892:
3288:The text of this movement is "
2956:
1332:Fecit potentiam in brachio suo
673:his Mass for the Dresden court
381:Du wahrer Gott und Davids Sohn
13:
1:
7075:Exploring Bach's B-minor Mass
6804:. In Don O., Franklin (ed.).
6796:Marshall, Robert L. (1989a).
6578:Lowther Clarke, W.K. (1922).
6370:
6359:
6251:
5870:. University of Georgia, 1997
4921:"Magnificat in C BWV Anh. 30"
4897:"Suscepit Israel, e BWV 1082"
4593:, Volume 4:1. Leipzig, 1754.
4446:Bach-Werke-Verzeichnis (1998)
4178:Meine Seele erhebt den Herren
3885:
3726:his a cappella setting (1989)
3465:) to form a Christmas motet,
1785:Meine Seele erhebt den Herren
1177:Meine Seele erhebet den Herrn
867:
459:Meine Seele erhebt den Herren
449:Meine Seele erhebt den Herren
372:Jesus nahm zu sich die Zwölfe
144:
7284:Choral Public Domain Library
7177:Archiv für Musikwissenschaft
7013:"Book V: Leipzig, 1723–1734"
6784:Führer durch den Konzertsaal
6170:Pölchau, Georg, ed. (1811).
5822:Vaughan Williams: Magnificat
5301:Autograph at bach-digital.de
4760:Meine Seele rühmt und preist
4656:XXXVI (3), 1955, pp. 233–236
3418:For S B, F major, 12/8.
2751:
2733:
2693:Magnificat anima mea Dominum
1614:
1511:Fragment of a Christmas hymn
1160:Meine Seele rühmt und preist
1155:Meine Seel erhebt den Herren
1030:The Christmas interpolations
780:Kyrie-Gloria mass in B minor
569:List of Magnificat composers
533:Meine Seel erhebt den Herren
7:
7522:includes BWV 1088 and
6962:Schröder, Dorothea (2012).
6947:. Oxford University Press.
6688:Evangelische Verlagsanstalt
6682:(in German). Vol. 95.
6599:. Ashgate Publishing, Ltd.
4972:Evangelische Verlagsanstalt
4966:(in German). Vol. 98.
4705:Evangelische Verlagsanstalt
4699:(in German). Vol. 68.
3274:B. Freut euch und jubiliert
2186:B. Freut euch und jubiliert
1386:Suscepit Israel puerum suum
1370:et divites dimisit inanes.
1224:Traditional verse division
776:fourth Sunday after Trinity
731:when she visits her cousin
677:Sanctus for six vocal parts
453:The traditional setting of
10:
7672:
7123:. Chicago. pp. 49–50.
6660:Glöckner, Andreas (2009).
6593:Lundberg, Mattias (2012).
6256:Staatsbibliothek zu Berlin
6122:
6062:; in 2014 also 5th, after
4579:Carl Philipp Emmanuel Bach
3718:extended setting (1973–74)
3451:Magnificat in D major
3426:
3379:
3320:
3277:
3211:adoration of the shepherds
3180:
2830:Et exultavit spiritus meus
2678:
1258:Et exultavit spiritus meus
1102:
1099:Other Magnificats by Bach?
1033:
841:Adoration of the Shepherds
799:Gottfried Heinrich Stölzel
774:(15 February) to the
715:" as first interpolation.
608:Vespro della Beata Vergine
566:
547:BWV 648. Also in BWV 733,
446:
437:Luther's German Magnificat
330:
302:
7610:
7535:
7434:
7375:
6906:Rizzuti, Alberto (2013).
6870:. Yale University Press.
6798:"On the origin of Bach's
6038:Jesu bleibet meine Freude
5706:BWV 243a, Recordings
4944:Thielemann, Arne (2012).
4872:Kirsten Beißwenger (ed.)
4758:Georg Melchior Hoffmann:
4583:Johann Friedrich Agricola
3662:Südwestdeutscher Rundfunk
3652:Süddeutscher Madrigalchor
3550:Boston Symphony Orchestra
3521:The Book of Common Prayer
3012:Esurientes implevit bonis
2857:Quia respexit humilitatem
2481:
2351:
2216:
2031:
1880:
1877:
1874:
1869:
1866:
1863:
1860:
1855:
1852:
1845:
1840:
1837:
1586:
1530:Scoring and key signature
1426:
1368:Esurientes implevit bonis
1350:Deposuit potentes de sede
1229:
1226:
1223:
1173:his 1728–29 cantata cycle
1121:Johann Friedrich Agricola
1083:(rocking of the cradle).
961:
948:
940:
929:
912:
888:
877:
862:
852:
833:
825:
815:
810:
719:The Visitation version(s)
613:Latin Magnificat, SWV 468
530:
410:
399:
378:
282:catalogue of Bach's works
280:(previously 243a) in the
174:
161:
153:
139:
125:
104:
93:
82:
72:
57:
49:
39:
34:
7261:Netherlands Bach Society
7093:Taft, Robert F. (1986).
7011:Spitta, Philipp (1884).
6513:Butler, Gregory (2008).
6106:(in German). 9 June 2010
6076:Klara Top 100 – De stand
5916:Magnificat BWV 243a
5378:Neu Leipziger Gesangbuch
3687:Academy of Ancient Music
3628:Bach-Collegium Stuttgart
3411:Neu Leipziger Gesangbuch
1848:Visitation 1733 version
1799:Two movements (1, 2) in
1494:A: Hymn by Martin Luther
549:Fuga sopra il Magnificat
497:below its opening note.
402:Die Elenden sollen essen
287:Likely for the feast of
270:he inserted four hymns (
7599:Ascension Oratorio
7545:Christmas Oratorio
7148:The Magnificat and the
7051:Oxford University Press
6761:Oxford University Press
6584:. S.P.C.K. – via
6151:(1720–1739) Autograph:
5465:, p. 376, footnote 373.
4673:[The music for the
4591:Musikalische Bibliothek
3838:Deutsche Harmonia Mundi
3781:Regensburger Domspatzen
3724:uses na SSATB choir in
3706:Vaughan Williams (1932)
3654:appeared in the 1970s.
3217:. Bach sets this first
3157:Sicut erat in principio
2864:ecce enim ex hoc beatam
2756:download the audio file
2738:download the audio file
2578:Sicut erat in principio
1843:Christmas 1723 version
1497:B: Verse attributed to
1298:et sanctum nomen ejus.
1209:Structure and movements
1123:and the composer's son
709:Geistliche Konzerte III
469:, a rather exceptional
266:. For a performance at
7451:includes BWV 1084
7169:Zenck, Martin (1986).
6993:Breitkopf & Härtel
6915:Gli Spazi della Musica
6849:Doctor of Musical Arts
6789:Breitkopf & Härtel
6737:Jansen, Frans (2006).
6649:10.13141/bjb.v20031781
6472:Bach, Johann Sebastian
6450:Jenkins, Neil (2000).
6431:Bach, Johann Sebastian
6317:Breitkopf & Härtel
6245:Bach, Johann Sebastian
6197:Breitkopf & Härtel
6174:(1st ed.). Bonn:
6146:Bach, Johann Sebastian
5521:Pietro Zappalà (ed.)
5506:Johann Nikolaus Forkel
4812:Bach Werke Verzeichnis
4065:at the website of the
3789:Motettenchor Pforzheim
3632:
3626:'s recording with the
3392:
3376:D. Virga Jesse floruit
3355:
3339:
3333:
3323:Gloria in excelsis Deo
3290:
3235:
3201:
3196:
3156:
3133:
3092:
3072:
3058:
3052:
3044:
3037:
3023:
3017:
3011:
3004:
2999:
2974:
2963:
2949:
2943:
2936:
2917:
2902:
2883:
2863:
2856:
2851:
2829:
2809:
2803:
2797:
2775:
2692:
2660:Johann Philipp Krieger
2577:
2449:D. Virga Jesse floruit
1795:
1562:11 (Sicut locutus est)
1558:4 (Omnes generationes)
1422:Gloria Patri, et Filio
1352:et exaltavit humiles.
1136:
1077:
1022:
944:12 (+ 4 for Christmas)
541:chorale harmonisations
518:
463:
444:
389:
18:Bach's Magnificat
7368:Johann Sebastian Bach
7282:: Free scores at the
7004:Johann Sebastian Bach
6988:Johann Sebastian Bach
6965:Johann Sebastian Bach
6684:Neue Bachgesellschaft
6291:Composer's Manuscript
5510:Charles Sanford Terry
4968:Neue Bachgesellschaft
4701:Neue Bachgesellschaft
4679:Schulze, Hans-Joachim
4675:New Church in Leipzig
4646:Frederick Hudson and
3817:Collegium Vocale Gent
3648:Deutsche Bachsolisten
3570:Elisabeth Schwarzkopf
3519:based on the text in
3400:hath flourished, Our
3317:C. Gloria in excelsis
3194:
3142:. After changing the
3091:
3066:11. Sicut locutus est
2989:
2903:Quia fecit mihi magna
2876:4. Omnes generationes
2849:
2525:11. Sicut locutus est
2321:C. Gloria in excelsis
2081:4. Omnes generationes
1793:
1701:Symmetrical structure
1260:in Deo salutari meo.
1002:In 2003 Bach scholar
786:, in a letter signed
784:Frederick Augustus II
697:Hieronymus Praetorius
502:Johann Hermann Schein
430:
221:Johann Sebastian Bach
64:First page of Bach's
7591:Easter Oratorio
7099:. Liturgical Press.
6823:Oron, Aryeh (2012).
6779:Kretzschmar, Hermann
6763:. pp. 131–136.
6751:Jones, Richard D. P.
6722:Hogwood, Christopher
5137:, Introduction p. 5.
4974:. pp. 217–224.
4933:; et al. 2019-02-14.
4909:; et al. 2019-09-20.
4862:; et al. 2020-07-21.
4747:; et al. 2019-03-11.
3765:Bach Collegium Japan
3691:Nicolaus Harnoncourt
3568:, the last one with
2975:et exaltavit humiles
2890:Bach in his Passions
2357:8. Deposuit potentes
1609:10 (Suscepit Israel)
1424:et Spiritui Sancto.
1125:Carl Philipp Emanuel
1012: major version
896:Luke 1:46–55
803:Mass in B minor
526:10 (Suscepit Israel)
112:Luke 1:46–55
7651:Magnificat settings
7327:Christopher Hogwood
7236:. classicstoday.com
7033:. pp. 181–648.
6941:Shrock, D. (2009).
6921:(2). ojs.unito.it.
6864:Rathey, M. (2016).
6690:. pp. 95–115.
6328:. Leipzig: Leuckart
5759:Nicholas Anderson.
4707:. pp. 97–102.
4653:Music & Letters
4217:Lowther Clarke 1922
3813:Philippe Herreweghe
3767:had been released.
3745:Philippe Herreweghe
3699:John Eliot Gardiner
3640:Wolfgang Gönnenwein
3566:Herbert von Karajan
3463:Carl Heinrich Graun
3382:Virga Jesse floruit
3215:Luke 2:8–18
3031:10. Suscepit Israel
2836:first interpolation
2487:10. Suscepit Israel
1570:A (Vom Himmel hoch)
1540:7 (Fecit potentiam)
1240:anima mea Dominum.
768:Augustus the Strong
739:and Elizabeth with
589:text that was most
557:Johann Ludwig Krebs
443:or tonus peregrinus
258:composition in the
7484:St Matthew Passion
7377:Latin church music
7217:. Schirmer Books.
7143:Schweitzer, Albert
7053:. pp. 31–34.
7041:Steinberg, Michael
6696:10.13141/bjb.v2009
6676:Bach Yearbook 2009
6671:Bach-Jahrbuch 2009
6586:Project Canterbury
6481:Leipzig University
6416:on 15 October 2014
6230:on 15 October 2014
6072:Christmas Oratorio
6064:St Matthew Passion
6042:Christmas Oratorio
6034:St Matthew Passion
5921:2015-07-21 at the
5600:, pp. 81, 87.
5530:2015-01-07 at the
5369:Gottfried Vopelius
5061:2018-01-26 at the
5041:2021-03-06 at the
4980:10.13141/bjb.v2012
4960:Bach Yearbook 2012
4955:Bach-Jahrbuch 2012
4713:10.13141/bjb.v1982
4693:Bach Yearbook 1982
4688:Bach-Jahrbuch 1982
4176:Choralbearbeitung
4088:Leipzig University
3834:Thomas Hengelbrock
3777:Gächinger Kantorei
3757:Harry Christophers
3546:Serge Koussevitzky
3494:St Matthew Passion
3406:Gottfried Vopelius
3386:BWV 243.1 § D
3327:BWV 243.1 § C
3280:BWV 243.1 § B
3257:Christmas Oratorio
3231:in diminished time
3197:
3187:BWV 243.1 § A
3177:A. Vom Himmel hoch
3093:
3018:et divites dimisit
3000:
2930:7. Fecit potentiam
2911:6. Et misericordia
2884:Omnes generationes
2852:
2807:. All parts sing "
2664:Magnificat of 1685
2575:
2447:
2319:
2273:7. Fecit potentiam
2222:6. Et misericordia
2184:
1999:A. Vom Himmel hoch
1997:
1796:
1484:Omnes generationes
1230:Bach's Magnificat
1051:The text of these
682:St Matthew Passion
668:Jesu, meine Freude
652:Magnificat setting
603:Claudio Monteverdi
591:often set to music
514:Dietrich Buxtehude
445:
363:Christoph Graupner
7646:1733 compositions
7628:
7627:
7313:Magnificat (MIDI)
7295:Auction catalogue
7224:978-0-02-871781-4
7186:978-3-515-03312-1
7161:978-0-486-21632-4
7106:978-0-8146-1405-1
7085:978-1-107-00790-1
6975:978-0-19-969628-4
6954:978-0-19-971662-3
6944:Choral Repertoire
6898:978-1-932688-11-5
6877:978-0-300-21951-7
6815:978-0-521-34105-9
6770:978-0-19-969628-4
6705:978-3-374-02749-1
6629:Glöckner, Andreas
6606:978-1-4094-5507-3
6554:978-2-213-66547-4
6535:Cantagrel, Gilles
6526:978-0-252-03165-6
6103:Neue Musikzeitung
6010:Bärenreiter 2014b
6006:Bärenreiter 2014a
5829:978-0-19-339154-3
4989:978-3-374-02668-5
4830:978-3-7651-0249-3
4667:Glöckner, Andreas
4436:, pp. 39–53.
4319:, pp. 12–13.
4264:, pp. 102ff.
4166:, pp. 283ff.
4115:, pp. 10–11.
4023:, pp. 263ff.
3840:in 2008. In 2009
3829:Amsterdam Baroque
3823:in 2003. In 2003
3733:Sigiswald Kuijken
3670:Hildegard Laurich
3597:Leonard Bernstein
3577:Neue Bach Ausgabe
3502:Bach-Gesellschaft
3487:Felix Mendelssohn
3423:Reception history
3351:Luke 2:14
3170:Bach Gesellschaft
3108:
3073:Sicut locutus est
2964:Deposuit potentes
2760:
2742:
2699:Luke 1:46
2656:
2655:
1823:Two movements in
1621:Baroque orchestra
1607:(b). In movement
1544:12 (Gloria patri)
1505:Luke 2:14
1472:
1471:
1410:Luke 1:55
1392:Luke 1:54
1374:Luke 1:53
1356:Luke 1:52
1338:Luke 1:51
1320:Luke 1:50
1302:Luke 1:49
1288:movement 3 and 4
1284:Luke 1:48
1265:Luke 1:47
1245:Luke 1:46
1151:Melchior Hoffmann
1138:Kleine Magnificat
1130:German Magnificat
1000:
999:
772:Sexagesima Sunday
621:Francesco Durante
419:the next Sunday.
319:, Visitation and
264:E-flat major
237:Baroque orchestra
218:
217:
16:(Redirected from
7663:
7458:Weimarer Passion
7370:
7356:
7349:
7342:
7333:
7332:
7309:
7307:
7305:
7273:: Scores at the
7245:
7243:
7241:
7232:Vernier, David.
7228:
7198:
7165:
7150:St. John Passion
7138:
7132:
7124:
7115:Upton, George P.
7110:
7089:
7064:
7034:
7031:Novello & Co
6991:, Zweiter Band.
6979:
6958:
6937:
6935:
6933:
6912:
6902:
6881:
6860:
6839:
6837:
6835:
6819:
6792:
6774:
6746:
6729:
6717:
6656:
6651:. Archived from
6624:
6610:
6589:
6574:
6558:
6530:
6509:
6507:
6505:
6492:
6490:
6488:
6466:
6464:
6462:
6456:
6445:
6425:
6423:
6421:
6415:
6404:
6372:
6361:
6355:
6313:und vier Sanctus
6311:Magnificat D dur
6287:
6284:
6282:
6277:
6275:
6273:
6253:
6239:
6237:
6235:
6229:
6218:
6187:
6164:
6161:
6159:
6142:
6140:
6138:
6116:
6115:
6113:
6111:
6094:
6088:
6087:
6084:
6082:
6061:
6058:
6056:
6030:
6024:
6018:
6012:
6003:
5997:
5994:
5988:
5978:
5972:
5962:
5956:
5955:
5952:
5950:
5941:
5935:
5934:
5931:
5929:
5913:
5907:
5901:
5892:
5891:
5888:
5886:
5877:
5871:
5866:David G. Dover.
5864:
5855:
5849:
5843:
5842:
5839:
5837:
5836:.prestoclassical
5835:
5819:
5813:
5812:
5809:
5807:
5798:
5792:
5791:
5788:
5786:
5777:
5768:
5757:
5751:
5750:
5747:
5745:
5736:
5730:
5724:
5718:
5717:
5714:
5712:
5705:
5699:
5688:
5687:
5684:
5682:
5673:
5664:
5661:
5655:
5654:
5651:
5649:
5640:
5634:
5633:
5630:
5628:
5619:
5613:
5607:
5601:
5595:
5589:
5580:
5574:
5571:
5565:
5562:
5556:
5550:
5544:
5541:
5535:
5519:
5513:
5496:
5490:
5484:
5478:
5472:
5466:
5460:
5454:
5453:
5450:
5448:
5439:
5433:
5427:
5421:
5416:
5407:
5404:
5398:
5388:
5382:
5366:
5360:
5354:
5345:
5339:
5333:
5332:
5329:
5323:JS Bach; Vivaldi
5320:
5314:
5308:
5302:
5299:
5234:
5233:, p. 31–32.
5228:
5222:
5216:
5203:
5197:
5186:
5180:
5174:
5168:
5162:
5156:
5150:
5147:
5138:
5132:
5123:
5117:
5111:
5105:
5090:
5084:
5078:
5072:
5066:
5056:Dudamel/LA Phil:
5052:
5046:
5032:
5026:
5020:
5014:
5008:
5002:
5001:
4941:
4935:
4934:
4917:
4911:
4910:
4893:
4887:
4880:New Bach Edition
4870:
4864:
4863:
4842:
4836:
4804:
4795:
4779:
4773:
4772:
4769:
4767:
4755:
4749:
4748:
4731:
4725:
4724:
4683:Wolff, Christoph
4663:
4657:
4644:
4638:
4637:, pp. 374ff
4632:
4597:
4571:
4565:
4559:
4550:
4549:, pp. 369ff
4544:
4527:
4521:
4512:
4506:
4497:
4491:
4485:
4479:
4466:
4461:
4452:
4443:
4437:
4431:
4422:
4416:
4407:
4406:
4403:
4394:
4388:
4387:
4384:
4375:
4369:
4368:
4365:
4356:
4350:
4344:
4335:
4329:
4320:
4314:
4308:
4305:Kretzschmar 1921
4302:
4289:
4283:
4277:
4271:
4265:
4259:
4244:
4238:
4232:
4226:
4220:
4214:
4208:
4204:: Scores at the
4196:
4190:
4189:
4186:
4173:
4167:
4161:
4155:
4149:
4143:
4137:
4128:
4122:
4116:
4110:
4101:
4099:
4097:
4095:
4083:
4076:
4070:
4060:
4051:
4045:
4036:
4030:
4024:
4018:
4012:
4008:: Scores at the
4003:
3997:
3986:
3980:
3974:
3968:
3962:
3951:
3945:
3924:
3913:
3907:
3896:
3877:
3846:Ricercar Consort
3842:Philippe Pierlot
3819:was released by
3749:Neville Marriner
3678:Michael Schopper
3637:
3617:Daniel Barenboim
3472:
3439:New Bach Edition
3395:
3370:
3369:
3358:
3344:
3336:
3311:
3310:
3303:
3293:
3263:
3238:
3223:chorale fantasia
3204:
3159:
3136:
3110:
3109:
3090:
3081:12. Gloria patri
3075:
3061:
3055:
3049:
3046:tonus peregrinus
3040:
3027:(empty-handed).
3026:
3020:
3014:
3007:
2977:
2966:
2952:
2950:mente cordis sui
2946:
2939:
2920:
2905:
2886:
2866:
2859:
2842:3. Quia respexit
2832:
2812:
2806:
2800:
2778:
2695:
2626:
2625:
2609:
2608:
2607:
2606:
2592:
2591:
2581:
2580:
2569:12. Gloria Patri
2550:
2549:
2536:
2535:
2527:
2497:
2496:
2467:
2466:
2465:
2464:
2451:
2416:
2415:
2397:
2396:
2374:
2373:
2372:
2371:
2346:
2345:
2332:
2331:
2323:
2299:
2298:
2283:
2282:
2259:
2239:
2238:
2237:
2236:
2211:
2210:
2197:
2196:
2188:
2163:
2162:
2148:
2147:
2139:
2126:
2125:
2117:
2114:
2101:
2092:
2091:
2083:
2049:
2048:
2040:
2038:3. Quia respexit
2026:
2025:
2010:
2009:
2001:
1979:
1978:
1965:
1964:
1963:
1962:
1949:
1923:
1922:
1906:
1905:
1904:
1903:
1841:BWV 243.1 (243a)
1835:
1834:
1781:Lutheran chorale
1581:natural trumpets
1551:
1550:
1499:Sethus Calvisius
1467:
1466:
1465:
1464:
1439:
1438:
1316:timentibus eum.
1267:
1247:
1221:
1220:
1198:
1148:
1141:
1082:
1025:
1011:
1010:
1004:Andreas Glöckner
983:
978:
970:
955:
882:Lutheran vespers
872:
869:
866:BWV 243.2 (
838:
808:
807:
796:
789:
761:
741:John the Baptist
545:Schübler Chorale
538:
537:
523:
510:Johann Pachelbel
468:
465:tonus peregrinus
418:
417:
407:
406:
392:
386:
385:
201:
196:
191:
183:
168:
149:
146:
98:Lutheran vespers
62:
32:
31:
21:
7671:
7670:
7666:
7665:
7664:
7662:
7661:
7660:
7631:
7630:
7629:
7624:
7606:
7605:
7531:
7530:
7510:St Mark Passion
7503:St Luke Passion
7465:St John Passion
7430:
7429:
7386:Mass in B minor
7371:
7366:
7360:
7323:Gresham College
7303:
7301:
7289:
7253:
7248:
7239:
7237:
7231:
7225:
7210:
7206:
7204:Further reading
7201:
7187:
7162:
7126:
7125:
7107:
7086:
7061:
6983:Spitta, Philipp
6976:
6955:
6931:
6929:
6910:
6899:
6878:
6833:
6831:
6816:
6771:
6731:Gresham College
6706:
6607:
6555:
6547:. p. 260.
6527:
6503:
6501:
6500:. choirs.org.uk
6486:
6484:
6460:
6458:
6454:
6419:
6417:
6413:
6402:
6352:Arnold Schering
6279:
6271:
6269:
6261:
6233:
6231:
6227:
6216:
6156:
6136:
6134:
6125:
6120:
6119:
6109:
6107:
6096:
6095:
6091:
6079:
6068:Bist du bei mir
6053:
6046:Mass in B minor
6031:
6027:
6019:
6015:
6004:
6000:
5995:
5991:
5979:
5975:
5963:
5959:
5947:
5942:
5938:
5926:
5923:Wayback Machine
5914:
5910:
5902:
5895:
5883:
5878:
5874:
5865:
5858:
5850:
5846:
5832:
5820:
5816:
5804:
5799:
5795:
5783:
5778:
5771:
5758:
5754:
5742:
5737:
5733:
5725:
5721:
5709:
5703:
5700:
5691:
5679:
5674:
5667:
5662:
5658:
5646:
5641:
5637:
5625:
5620:
5616:
5608:
5604:
5596:
5592:
5581:
5577:
5572:
5568:
5564:Bach/Franz 1864
5563:
5559:
5555:, pp. 3–5.
5551:
5547:
5543:Bach/Rust 1862.
5542:
5538:
5532:Wayback Machine
5520:
5516:
5497:
5493:
5485:
5481:
5475:Schweitzer 1966
5473:
5469:
5461:
5457:
5445:
5440:
5436:
5428:
5424:
5417:
5410:
5405:
5401:
5389:
5385:
5367:
5363:
5355:
5348:
5340:
5336:
5328:classical-music
5326:
5321:
5317:
5309:
5305:
5300:
5237:
5229:
5225:
5217:
5206:
5198:
5189:
5181:
5177:
5169:
5165:
5157:
5153:
5148:
5141:
5133:
5126:
5118:
5114:
5106:
5093:
5085:
5081:
5073:
5069:
5063:Wayback Machine
5053:
5049:
5043:Wayback Machine
5033:
5029:
5025:, pp. 8ff.
5021:
5017:
5009:
5005:
4990:
4942:
4938:
4918:
4914:
4894:
4890:
4871:
4867:
4843:
4839:
4805:
4798:
4780:
4776:
4764:
4756:
4752:
4732:
4728:
4664:
4660:
4645:
4641:
4633:
4600:
4572:
4568:
4560:
4553:
4545:
4530:
4522:
4515:
4507:
4500:
4492:
4488:
4480:
4469:
4462:
4455:
4444:
4440:
4432:
4425:
4417:
4410:
4400:
4395:
4391:
4381:
4376:
4372:
4362:
4357:
4353:
4345:
4338:
4330:
4323:
4315:
4311:
4307:, p. 394f.
4303:
4292:
4288:, introduction.
4284:
4280:
4272:
4268:
4260:
4247:
4239:
4235:
4227:
4223:
4215:
4211:
4197:
4193:
4183:
4174:
4170:
4162:
4158:
4154:, pp. 2–4.
4150:
4146:
4138:
4131:
4123:
4119:
4111:
4104:
4093:
4091:
4081:
4078:
4077:
4073:
4061:
4054:
4046:
4039:
4031:
4027:
4019:
4015:
4004:
4000:
3987:
3983:
3975:
3971:
3963:
3954:
3946:
3927:
3914:
3910:
3897:
3893:
3888:
3871:
3810:
3793:L'arpa festante
3783:, and one with
3779:, one with the
3695:Helmuth Rilling
3624:Helmuth Rilling
3613:Karl Münchinger
3605:Karl Ristenpart
3542:Arnold Schering
3538:
3478:
3470:
3447:
3431:
3425:
3388:
3378:
3364:
3329:
3319:
3305:
3299:
3286:
3276:
3261:
3250:, one of a few
3236:Vom Himmel hoch
3207:annunciation to
3189:
3179:
3166:
3128:
3127:
3119:
3117:
3116:
3115:
3114:
3111:
3104:
3101:
3094:
3088:
3083:
3068:
3038:Suscepit Israel
3033:
2994:source code by
2984:
2959:
2937:Fecit potentiam
2932:
2918:Et misericordia
2913:
2898:
2878:
2844:
2825:
2823:2. Et exultavit
2762:
2761:
2759:
2744:
2743:
2741:
2688:
2683:
2677:
2649:
2632:
2623:
2622:
2605:
2600:
2599:
2598:
2597:
2596:
2594:
2586:
2574:
2572:
2547:
2546:
2530:
2523:
2491:
2463:
2458:
2457:
2456:
2455:
2454:
2446:
2410:
2394:
2393:
2370:
2365:
2364:
2363:
2362:
2361:
2343:
2342:
2326:
2318:
2296:
2295:
2277:
2257:
2235:
2230:
2229:
2228:
2227:
2226:
2208:
2207:
2191:
2183:
2160:
2159:
2142:
2135:
2123:
2122:
2115:
2112:
2099:
2086:
2079:
2043:
2036:
2023:
2022:
2004:
1996:
1976:
1975:
1961:
1956:
1955:
1954:
1953:
1952:
1947:2. Et exultavit
1945:
1920:
1919:
1902:
1897:
1896:
1895:
1894:
1893:
1882:
1871:
1847:
1846:BWV 243.2 (243)
1842:
1709:Fecit potentiam
1703:
1639:(Ti, tonic and
1617:
1589:
1548:
1547:
1532:
1463:
1458:
1457:
1456:
1455:
1454:
1449:
1433:
1423:
1405:
1387:
1369:
1351:
1333:
1315:
1297:
1279:
1263:
1259:
1243:
1239:
1211:
1194:
1185:Antonio Caldara
1143:
1107:
1101:
1038:
1032:
1008:
1007:
996:
981:
976:
968:
925:
908:
870:
848:
821:
794:
787:
759:
721:
637:Tomaso Albinoni
593:apart from the
571:
565:
553:chorale prelude
506:Heinrich Schütz
487:melodic formula
475:Gregorian chant
451:
425:
335:
329:
305:
214:
200:2 oboes d'amore
199:
194:
189:
181:
147:
135:
121:
68:
66:autograph score
45:
28:
23:
22:
15:
12:
11:
5:
7669:
7659:
7658:
7653:
7648:
7643:
7626:
7625:
7623:
7622:
7617:
7611:
7608:
7607:
7604:
7603:
7595:
7593:, BWV 249
7587:
7586:
7585:
7580:
7575:
7570:
7565:
7560:
7554:
7547:, BWV 248
7540:
7539:
7537:
7533:
7532:
7529:
7528:
7527:
7526:
7513:
7506:
7499:
7498:
7497:
7492:
7480:
7479:
7478:
7473:
7461:
7454:
7453:
7452:
7441:
7440:
7438:
7432:
7431:
7428:
7427:
7426:
7425:
7420:
7410:
7405:
7404:
7403:
7398:
7393:
7382:
7381:
7379:
7373:
7372:
7359:
7358:
7351:
7344:
7336:
7330:
7329:
7316:
7310:
7287:
7277:
7264:
7252:
7251:External links
7249:
7247:
7246:
7229:
7223:
7207:
7205:
7202:
7200:
7199:
7185:
7166:
7160:
7139:
7111:
7105:
7090:
7084:
7065:
7059:
7037:
7036:
7035:
7008:
6980:
6974:
6959:
6953:
6938:
6903:
6897:
6882:
6876:
6861:
6840:
6820:
6814:
6793:
6775:
6769:
6747:
6734:
6718:
6704:
6657:
6655:on 2014-10-16.
6625:
6623:. H. Karmrodt.
6611:
6605:
6590:
6575:
6571:Emmanuel Music
6563:Dellal, Pamela
6559:
6553:
6531:
6525:
6510:
6496:Bawden, John.
6493:
6469:
6468:
6467:
6446:
6440:, ed. (1955).
6428:
6427:
6426:
6395:
6382:
6367:
6356:
6343:
6336:
6329:
6320:
6306:
6299:
6298:
6297:
6288:
6242:
6241:
6240:
6209:
6199:
6189:
6166:
6143:
6126:
6124:
6121:
6118:
6117:
6089:
6025:
6021:Steinberg 2005
6013:
5998:
5989:
5973:
5957:
5951:.muziekcentrum
5936:
5930:.harmoniamundi
5908:
5893:
5887:.bach-cantatas
5872:
5856:
5844:
5814:
5808:.bach-cantatas
5793:
5787:.bach-cantatas
5769:
5752:
5731:
5719:
5713:.bach-cantatas
5702:Magnificat in
5689:
5683:.bach-cantatas
5665:
5656:
5650:.bach-cantatas
5635:
5629:.bach-cantatas
5614:
5602:
5590:
5582:Tobias Grill.
5575:
5566:
5557:
5545:
5536:
5514:
5491:
5479:
5477:, p. 166.
5467:
5455:
5434:
5422:
5408:
5399:
5383:
5361:
5346:
5334:
5315:
5313:, p. 105.
5303:
5235:
5231:Steinberg 2005
5223:
5219:Marshall 1989a
5204:
5200:Marshall 1989a
5187:
5175:
5173:, p. 135.
5163:
5151:
5139:
5124:
5112:
5091:
5079:
5067:
5047:
5027:
5023:Marshall 1989a
5015:
5003:
4988:
4936:
4912:
4888:
4865:
4837:
4796:
4774:
4750:
4726:
4658:
4639:
4598:
4566:
4551:
4528:
4524:Cantagrel 2011
4513:
4498:
4486:
4467:
4453:
4438:
4423:
4408:
4389:
4370:
4351:
4349:, p. 133.
4336:
4321:
4317:Marshall 1989a
4309:
4290:
4278:
4266:
4245:
4233:
4221:
4209:
4191:
4180:(Fuge) BWV 733
4168:
4156:
4144:
4129:
4117:
4102:
4071:
4052:
4050:, p. 279.
4037:
4035:, p. 265.
4025:
4013:
3998:
3981:
3969:
3952:
3948:Steinberg 2005
3925:
3908:
3890:
3889:
3887:
3884:
3869:Top 75/Top 100
3821:Harmonia Mundi
3809:
3806:
3785:Rolf Schweizer
3769:Philip Pickett
3753:Peter Schreier
3741:Andrew Parrott
3674:Adalbert Kraus
3562:Otto Klemperer
3537:
3534:
3529:Philipp Spitta
3517:John Troutbeck
3477:
3474:
3446:
3443:
3424:
3421:
3420:
3419:
3377:
3374:
3373:
3372:
3318:
3315:
3314:
3313:
3275:
3272:
3178:
3175:
3165:
3162:
3144:time signature
3118:
3112:
3102:
3097:
3096:
3095:
3086:
3085:
3084:
3082:
3079:
3067:
3064:
3032:
3029:
2983:
2980:
2958:
2955:
2931:
2928:
2912:
2909:
2897:
2894:
2877:
2874:
2843:
2840:
2824:
2821:
2820:
2819:
2816:
2815:
2814:
2788:
2784:
2766:
2765:
2764:
2763:
2753:
2750:
2745:
2735:
2732:
2724:
2723:
2722:
2721:
2717:
2687:
2684:
2676:
2673:
2654:
2653:
2644:
2641:
2636:
2627:
2619:
2614:
2611:
2601:
2583:
2564:
2563:
2560:
2557:
2554:
2551:
2543:
2540:
2537:
2528:
2520:
2519:
2516:
2513:
2510:
2507:
2504:
2501:
2498:
2489:
2483:
2482:
2480:
2477:
2474:
2471:
2468:
2459:
2452:
2443:
2442:
2439:
2434:
2431:
2428:
2423:
2420:
2417:
2408:
2402:
2401:
2398:
2390:
2387:
2384:
2381:
2378:
2375:
2366:
2359:
2353:
2352:
2350:
2347:
2339:
2336:
2333:
2324:
2315:
2314:
2311:
2308:
2303:
2300:
2292:
2287:
2284:
2275:
2269:
2268:
2265:
2260:
2254:
2251:
2246:
2243:
2240:
2231:
2224:
2218:
2217:
2215:
2212:
2204:
2201:
2198:
2189:
2180:
2179:
2176:
2171:
2168:
2165:
2155:
2152:
2149:
2140:
2132:
2131:
2128:
2118:
2110:
2107:
2102:
2096:
2093:
2084:
2076:
2075:
2072:
2067:
2064:
2061:
2056:
2053:
2050:
2041:
2033:
2032:
2030:
2027:
2019:
2017:
2011:
2002:
1993:
1992:
1989:
1986:
1983:
1980:
1972:
1969:
1966:
1957:
1950:
1942:
1941:
1938:
1933:
1928:
1925:
1915:
1910:
1907:
1898:
1891:
1885:
1884:
1879:
1876:
1873:
1868:
1865:
1862:
1859:
1854:
1853:No. and title
1850:
1849:
1844:
1839:
1829:
1828:
1821:
1820:
1819:
1816:
1815:
1814:
1776:
1775:
1772:
1769:
1761:
1760:
1754:
1753:
1752:
1749:
1748:
1747:
1744:
1743:
1742:
1739:
1738:
1737:
1707:7th movement (
1702:
1699:
1653:basso continuo
1616:
1613:
1588:
1585:
1536:1 (Magnificat)
1534:The movements
1531:
1528:
1514:
1513:
1507:
1501:
1495:
1470:
1469:
1459:
1451:
1446:
1442:
1441:
1430:
1425:
1420:
1416:
1415:
1412:
1407:
1402:
1398:
1397:
1394:
1389:
1384:
1380:
1379:
1376:
1371:
1366:
1362:
1361:
1358:
1353:
1348:
1344:
1343:
1340:
1335:
1330:
1326:
1325:
1322:
1317:
1312:
1308:
1307:
1304:
1299:
1294:
1290:
1289:
1286:
1281:
1276:
1272:
1271:
1268:
1261:
1256:
1252:
1251:
1248:
1241:
1236:
1232:
1231:
1228:
1225:
1210:
1207:
1206:
1205:
1192:
1162:, BWV 189
1100:
1097:
1079:Kindleinwiegen
1031:
1028:
998:
997:
995:
994:
989:
984:
979:
974:
971:
965:
963:
959:
958:
957:choir and solo
950:
946:
945:
942:
938:
937:
931:
927:
926:
924:
923:
920:
916:
914:
910:
909:
907:
906:
903:
898:
892:
890:
886:
885:
879:
875:
874:
864:
860:
859:
854:
850:
849:
839:
831:
830:
823:
822:
816:
813:
812:
725:Gospel of Luke
720:
717:
705:Samuel Scheidt
690:, BWV 215
648:eldest brother
564:
561:
424:
421:
328:
325:
304:
301:
216:
215:
213:
212:
207:
202:
197:
192:
187:
184:
178:
176:
172:
171:
170:choir and solo
163:
159:
158:
155:
151:
150:
141:
137:
136:
134:
133:
129:
127:
123:
122:
120:
119:
114:
108:
106:
102:
101:
95:
91:
90:
84:
80:
79:
74:
70:
69:
63:
55:
54:
47:
46:
40:
37:
36:
26:
9:
6:
4:
3:
2:
7668:
7657:
7654:
7652:
7649:
7647:
7644:
7642:
7639:
7638:
7636:
7621:
7618:
7616:
7613:
7612:
7609:
7602:
7601:, BWV 11
7600:
7596:
7594:
7592:
7588:
7584:
7581:
7579:
7576:
7574:
7571:
7569:
7566:
7564:
7561:
7559:
7555:
7553:
7550:
7549:
7548:
7546:
7542:
7541:
7538:
7534:
7525:
7521:
7520:
7519:
7518:
7514:
7512:
7511:
7507:
7505:
7504:
7500:
7496:
7493:
7491:
7488:
7487:
7486:
7485:
7481:
7477:
7474:
7472:
7469:
7468:
7467:
7466:
7462:
7460:
7459:
7455:
7450:
7449:
7448:
7447:
7443:
7442:
7439:
7437:
7433:
7424:
7421:
7419:
7418:early version
7416:
7415:
7414:
7411:
7409:
7406:
7402:
7399:
7397:
7394:
7392:
7391:early version
7389:
7388:
7387:
7384:
7383:
7380:
7378:
7374:
7369:
7364:
7357:
7352:
7350:
7345:
7343:
7338:
7337:
7334:
7328:
7324:
7320:
7317:
7314:
7311:
7300:
7296:
7292:
7288:
7285:
7281:
7278:
7276:
7272:
7268:
7265:
7262:
7258:
7255:
7254:
7235:
7230:
7226:
7220:
7216:
7215:
7209:
7208:
7196:
7192:
7188:
7182:
7178:
7174:
7173:
7167:
7163:
7157:
7153:
7152:
7149:
7144:
7140:
7136:
7130:
7122:
7121:
7116:
7112:
7108:
7102:
7098:
7097:
7091:
7087:
7081:
7077:
7076:
7071:
7066:
7062:
7060:0-19-802921-7
7056:
7052:
7048:
7047:
7042:
7038:
7032:
7028:
7024:
7020:
7019:
7014:
7009:
7006:
7005:
7000:
6997:
6996:
6994:
6990:
6989:
6984:
6981:
6977:
6971:
6968:. C.H. Beck.
6967:
6966:
6960:
6956:
6950:
6946:
6945:
6939:
6928:
6924:
6920:
6916:
6909:
6904:
6900:
6894:
6890:
6889:
6883:
6879:
6873:
6869:
6868:
6862:
6858:
6854:
6850:
6846:
6841:
6830:
6829:Bach Cantatas
6826:
6821:
6817:
6811:
6807:
6803:
6801:
6794:
6790:
6786:
6785:
6780:
6776:
6772:
6766:
6762:
6758:
6757:
6752:
6748:
6744:
6740:
6735:
6732:
6727:
6723:
6719:
6715:
6711:
6707:
6701:
6697:
6693:
6689:
6685:
6681:
6680:Bach-Jahrbuch
6677:
6673:
6672:
6667:
6666:Wollny, Peter
6663:
6658:
6654:
6650:
6646:
6642:
6638:
6637:Bach-Jahrbuch
6634:
6630:
6626:
6622:
6621:
6616:
6615:Franz, Robert
6612:
6608:
6602:
6598:
6597:
6591:
6587:
6583:
6582:
6576:
6572:
6568:
6564:
6560:
6556:
6550:
6546:
6543:(in French).
6542:
6541:
6536:
6532:
6528:
6522:
6518:
6517:
6511:
6499:
6494:
6482:
6478:
6473:
6470:
6453:
6447:
6443:
6439:
6435:
6434:
6432:
6429:
6412:
6408:
6405:(in German).
6401:
6396:
6393:
6389:
6388:
6383:
6380:
6376:
6368:
6365:
6357:
6353:
6349:
6344:
6341:
6337:
6334:
6330:
6327:
6326:
6321:
6318:
6314:
6312:
6307:
6304:
6300:
6296:
6292:
6289:
6286:
6283:.bach-digital
6268:
6264:
6260:
6259:
6257:
6249:
6248:
6246:
6243:
6226:
6222:
6219:(in German).
6215:
6210:
6207:
6206:
6200:
6198:
6194:
6190:
6185:
6181:
6177:
6173:
6167:
6163:
6160:.bach-digital
6154:
6150:
6149:
6147:
6144:
6132:
6128:
6127:
6105:
6104:
6099:
6093:
6086:
6077:
6073:
6069:
6065:
6060:
6051:
6047:
6043:
6039:
6035:
6029:
6023:, p. 31.
6022:
6017:
6011:
6007:
6002:
5993:
5986:
5982:
5977:
5970:
5966:
5961:
5954:
5945:
5940:
5933:
5924:
5920:
5917:
5912:
5905:
5900:
5898:
5890:
5881:
5876:
5869:
5863:
5861:
5853:
5848:
5841:
5830:
5826:
5823:
5818:
5811:
5802:
5797:
5790:
5781:
5776:
5774:
5766:
5762:
5756:
5749:
5740:
5735:
5728:
5723:
5716:
5707:
5698:
5696:
5694:
5686:
5677:
5672:
5670:
5660:
5653:
5644:
5639:
5632:
5623:
5618:
5611:
5610:Schering 1924
5606:
5599:
5594:
5587:
5586:
5579:
5570:
5561:
5554:
5549:
5540:
5533:
5529:
5526:
5525:
5518:
5511:
5507:
5503:
5501:
5495:
5488:
5483:
5476:
5471:
5464:
5459:
5452:
5443:
5438:
5431:
5426:
5420:
5415:
5413:
5403:
5396:
5392:
5387:
5380:
5379:
5374:
5370:
5365:
5358:
5353:
5351:
5343:
5338:
5331:
5324:
5319:
5312:
5307:
5298:
5296:
5294:
5292:
5290:
5288:
5286:
5284:
5282:
5280:
5278:
5276:
5274:
5272:
5270:
5268:
5266:
5264:
5262:
5260:
5258:
5256:
5254:
5252:
5250:
5248:
5246:
5244:
5242:
5240:
5232:
5227:
5220:
5215:
5213:
5211:
5209:
5201:
5196:
5194:
5192:
5184:
5179:
5172:
5167:
5160:
5155:
5146:
5144:
5136:
5131:
5129:
5121:
5116:
5109:
5104:
5102:
5100:
5098:
5096:
5089:, p. 46.
5088:
5087:Stockigt 2013
5083:
5076:
5071:
5064:
5060:
5057:
5051:
5044:
5040:
5037:
5031:
5024:
5019:
5013:, p. 65.
5012:
5007:
4999:
4995:
4991:
4985:
4981:
4977:
4973:
4969:
4965:
4964:Bach-Jahrbuch
4961:
4957:
4956:
4951:
4950:Wollny, Peter
4947:
4940:
4932:
4928:
4927:
4922:
4916:
4908:
4904:
4903:
4898:
4892:
4885:
4881:
4877:
4876:
4869:
4861:
4857:
4856:
4851:
4849:
4841:
4835:
4831:
4827:
4823:
4822:3-7651-0249-0
4819:
4815:
4813:
4808:
4803:
4801:
4794:
4790:
4789:, Volume III.
4788:
4783:
4778:
4771:
4768:.carus-verlag
4762:
4761:
4754:
4746:
4742:
4741:
4736:
4730:
4722:
4718:
4714:
4710:
4706:
4702:
4698:
4697:Bach-Jahrbuch
4694:
4690:
4689:
4684:
4680:
4676:
4672:
4668:
4662:
4655:
4654:
4649:
4643:
4636:
4631:
4629:
4627:
4625:
4623:
4621:
4619:
4617:
4615:
4613:
4611:
4609:
4607:
4605:
4603:
4596:
4592:
4588:
4584:
4580:
4576:
4570:
4563:
4558:
4556:
4548:
4543:
4541:
4539:
4537:
4535:
4533:
4525:
4520:
4518:
4510:
4505:
4503:
4496:, p. 53.
4495:
4490:
4483:
4478:
4476:
4474:
4472:
4465:
4464:Glöckner 2003
4460:
4458:
4451:
4447:
4442:
4435:
4434:Stockigt 2013
4430:
4428:
4420:
4419:Glöckner 2009
4415:
4413:
4405:
4398:
4393:
4386:
4379:
4374:
4367:
4360:
4355:
4348:
4343:
4341:
4333:
4328:
4326:
4318:
4313:
4306:
4301:
4299:
4297:
4295:
4287:
4286:Schering 1924
4282:
4275:
4270:
4263:
4258:
4256:
4254:
4252:
4250:
4243:, p. 63.
4242:
4237:
4230:
4225:
4218:
4213:
4207:
4203:
4201:
4195:
4188:
4181:
4179:
4172:
4165:
4160:
4153:
4148:
4141:
4136:
4134:
4127:, p. 45.
4126:
4125:Lundberg 2012
4121:
4114:
4113:Lundberg 2012
4109:
4107:
4089:
4085:
4075:
4068:
4064:
4059:
4057:
4049:
4044:
4042:
4034:
4029:
4022:
4017:
4011:
4007:
4002:
3995:
3991:
3985:
3978:
3977:Schröder 2012
3973:
3966:
3961:
3959:
3957:
3950:, p. 32.
3949:
3944:
3942:
3940:
3938:
3936:
3934:
3932:
3930:
3922:
3918:
3912:
3905:
3901:
3895:
3891:
3883:
3881:
3875:
3870:
3866:
3861:
3859:
3854:
3849:
3847:
3843:
3839:
3835:
3830:
3826:
3822:
3818:
3814:
3805:
3802:
3796:
3794:
3790:
3786:
3782:
3778:
3774:
3773:L'Oiseau Lyre
3770:
3766:
3763:, and by the
3762:
3758:
3754:
3750:
3746:
3742:
3738:
3734:
3729:
3727:
3723:
3719:
3715:
3711:
3707:
3702:
3700:
3696:
3692:
3688:
3684:
3683:Simon Preston
3679:
3675:
3671:
3667:
3663:
3659:
3658:Bruno Maderna
3655:
3653:
3649:
3645:
3641:
3636:
3635:
3629:
3625:
3620:
3618:
3614:
3610:
3606:
3602:
3598:
3594:
3590:
3586:
3582:
3578:
3573:
3571:
3567:
3563:
3559:
3558:LP recordings
3555:
3551:
3547:
3543:
3533:
3530:
3526:
3522:
3518:
3514:
3510:
3506:
3503:
3499:
3495:
3490:
3488:
3483:
3473:
3471:BWV Anh. 161.
3468:
3464:
3459:
3457:
3452:
3442:
3440:
3435:
3430:
3417:
3416:
3415:
3413:
3412:
3407:
3403:
3399:
3398:stem of Jesse
3394:
3390:The text is "
3387:
3383:
3368:
3362:
3361:
3360:
3357:
3352:
3348:
3343:
3342:
3335:
3328:
3324:
3309:
3302:
3297:
3296:
3295:
3292:
3285:
3281:
3271:
3269:
3268:
3267:Orgelbüchlein
3259:
3258:
3253:
3249:
3244:
3242:
3241:Christmas Eve
3237:
3232:
3228:
3224:
3220:
3216:
3212:
3208:
3203:
3193:
3188:
3184:
3174:
3171:
3161:
3158:
3153:
3149:
3145:
3141:
3137:
3135:
3126:
3124:
3100:
3078:
3076:
3074:
3063:
3060:
3054:
3053:cantus firmus
3048:
3047:
3041:
3039:
3028:
3025:
3019:
3013:
3008:
3006:
2998:.net project)
2997:
2993:
2988:
2982:9. Esurientes
2979:
2976:
2971:
2967:
2965:
2954:
2951:
2945:
2940:
2938:
2927:
2925:
2921:
2919:
2908:
2906:
2904:
2896:5. Quia fecit
2893:
2891:
2887:
2885:
2873:
2870:
2865:
2860:
2858:
2848:
2839:
2837:
2833:
2831:
2817:
2811:
2805:
2799:
2794:
2789:
2785:
2782:
2777:
2771:
2770:
2768:
2767:
2757:
2746:
2739:
2728:
2727:
2726:
2725:
2718:
2715:
2714:
2712:
2708:
2707:
2706:
2704:
2700:
2696:
2694:
2686:1. Magnificat
2682:
2672:
2669:
2665:
2661:
2652:
2648:
2645:
2642:
2640:
2637:
2635:
2631:
2628:
2620:
2618:
2615:
2612:
2610:
2604:
2593:
2590:
2584:
2582:
2579:
2571:
2570:
2566:
2565:
2561:
2558:
2555:
2552:
2544:
2541:
2538:
2534:
2529:
2526:
2522:
2521:
2517:
2514:
2511:
2508:
2505:
2502:
2499:
2495:
2490:
2488:
2485:
2484:
2478:
2475:
2472:
2469:
2462:
2453:
2450:
2445:
2444:
2440:
2438:
2435:
2432:
2429:
2427:
2424:
2421:
2418:
2414:
2409:
2407:
2406:9. Esurientes
2404:
2403:
2399:
2391:
2388:
2385:
2382:
2379:
2376:
2369:
2360:
2358:
2355:
2354:
2348:
2340:
2337:
2334:
2330:
2325:
2322:
2317:
2316:
2312:
2309:
2307:
2304:
2301:
2293:
2291:
2288:
2285:
2281:
2276:
2274:
2271:
2270:
2266:
2264:
2261:
2255:
2252:
2250:
2247:
2244:
2241:
2234:
2225:
2223:
2220:
2219:
2213:
2205:
2202:
2199:
2195:
2190:
2187:
2182:
2181:
2177:
2175:
2172:
2169:
2166:
2164:
2156:
2153:
2150:
2146:
2141:
2138:
2137:5. Quia fecit
2134:
2133:
2129:
2127:
2119:
2111:
2108:
2106:
2103:
2097:
2094:
2090:
2085:
2082:
2078:
2077:
2073:
2071:
2068:
2065:
2062:
2060:
2057:
2054:
2051:
2047:
2042:
2039:
2035:
2034:
2028:
2020:
2018:
2015:
2012:
2008:
2003:
2000:
1995:
1994:
1990:
1987:
1984:
1981:
1973:
1970:
1967:
1960:
1951:
1948:
1944:
1943:
1939:
1937:
1934:
1932:
1929:
1926:
1924:
1916:
1914:
1911:
1908:
1901:
1892:
1890:
1889:1. Magnificat
1887:
1886:
1858:
1851:
1836:
1833:
1826:
1822:
1817:
1812:
1808:
1807:
1805:
1804:
1802:
1798:
1797:
1792:
1788:
1786:
1782:
1773:
1770:
1767:
1766:
1765:
1759:
1755:
1750:
1745:
1740:
1736:
1732:
1731:
1729:
1728:
1726:
1725:
1723:
1722:
1720:
1716:
1715:
1714:
1712:
1710:
1698:
1696:
1692:
1688:
1684:
1679:
1677:
1674:(Oa). In the
1673:
1672:oboes d'amore
1669:
1664:
1662:
1658:
1654:
1650:
1646:
1642:
1638:
1635:(Tr, tonic),
1634:
1630:
1626:
1622:
1612:
1610:
1606:
1602:
1598:
1594:
1584:
1582:
1577:
1575:
1571:
1567:
1563:
1559:
1555:
1545:
1541:
1537:
1527:
1524:
1520:
1512:
1508:
1506:
1502:
1500:
1496:
1493:
1492:
1491:
1489:
1485:
1481:
1480:Quia respexit
1477:
1462:
1453:movement 12,
1452:
1447:
1444:
1443:
1437:
1432:movement 12,
1431:
1429:
1421:
1418:
1417:
1413:
1411:
1408:
1403:
1400:
1399:
1395:
1393:
1390:
1385:
1382:
1381:
1377:
1375:
1372:
1367:
1364:
1363:
1359:
1357:
1354:
1349:
1346:
1345:
1341:
1339:
1336:
1331:
1328:
1327:
1323:
1321:
1318:
1313:
1310:
1309:
1305:
1303:
1300:
1295:
1292:
1291:
1287:
1285:
1282:
1277:
1274:
1273:
1269:
1266:
1262:
1257:
1254:
1253:
1249:
1246:
1242:
1237:
1234:
1233:
1222:
1219:
1216:
1203:
1197:
1193:
1190:
1189:BWV 1082
1186:
1182:
1181:
1180:
1178:
1174:
1170:
1165:
1163:
1161:
1156:
1152:
1146:
1140:
1139:
1133:
1131:
1126:
1122:
1118:
1114:
1113:
1106:
1096:
1094:
1089:
1084:
1081:
1080:
1074:
1070:
1066:
1062:
1058:
1054:
1049:
1047:
1043:
1037:
1027:
1024:
1019:
1015:
1005:
993:
990:
988:
985:
980:
975:
972:
967:
966:
964:
960:
956:
951:
947:
943:
939:
935:
932:
928:
921:
918:
917:
915:
911:
904:
902:
899:
897:
894:
893:
891:
887:
883:
880:
876:
865:
861:
858:
855:
851:
847:, around 1730
846:
842:
837:
832:
829:
824:
819:
814:
809:
806:
804:
800:
791:
785:
781:
777:
773:
769:
765:
757:
752:
750:
746:
742:
738:
734:
730:
726:
716:
714:
710:
706:
702:
698:
693:
691:
689:
684:
683:
678:
674:
670:
669:
664:
662:
657:
653:
649:
645:
640:
638:
632:
630:
626:
622:
618:
617:Antonio Lotti
614:
610:
609:
604:
598:
596:
595:Mass ordinary
592:
588:
584:
580:
576:
570:
560:
558:
554:
550:
546:
542:
536:
534:
527:
522:
521:
520:cantus firmus
515:
511:
507:
503:
498:
496:
492:
488:
484:
480:
476:
472:
467:
466:
460:
456:
450:
442:
438:
434:
429:
420:
416:
414:
405:
403:
396:
391:
384:
383:, BWV 23
382:
375:
374:, BWV 22
373:
368:
364:
360:
356:
355:Johann Kuhnau
352:
348:
344:
340:
334:
324:
322:
318:
314:
310:
300:
297:
295:
290:
285:
283:
279:
275:
274:
269:
265:
261:
257:
253:
249:
244:
242:
238:
234:
230:
226:
222:
211:
208:
206:
203:
198:
193:
188:
185:
180:
179:
177:
173:
169:
164:
160:
156:
152:
142:
138:
131:
130:
128:
124:
118:
115:
113:
110:
109:
107:
103:
99:
96:
92:
88:
85:
81:
78:
75:
71:
67:
61:
56:
53:
48:
43:
38:
33:
30:
19:
7598:
7590:
7544:
7515:
7508:
7501:
7482:
7463:
7456:
7444:
7412:
7302:. Retrieved
7294:
7286:(ChoralWiki)
7240:23 September
7238:. Retrieved
7213:
7171:
7151:
7147:
7119:
7095:
7074:
7069:
7045:
7016:
7002:
6986:
6964:
6943:
6932:23 September
6930:. Retrieved
6918:
6914:
6887:
6866:
6844:
6832:. Retrieved
6828:
6806:Bach Studies
6805:
6799:
6783:
6755:
6742:
6738:
6675:
6670:
6653:the original
6640:
6636:
6619:
6595:
6580:
6539:
6515:
6502:. Retrieved
6485:. Retrieved
6461:23 September
6459:. Retrieved
6441:
6420:22 September
6418:. Retrieved
6411:the original
6392:Jeremy Noble
6385:
6374:
6363:
6350:, edited by
6339:
6332:
6324:
6309:
6302:
6270:. Retrieved
6267:Bach digital
6266:
6234:22 September
6232:. Retrieved
6225:the original
6202:
6171:
6135:. Retrieved
6108:. Retrieved
6101:
6092:
6071:
6063:
6041:
6033:
6028:
6016:
6001:
5992:
5976:
5960:
5939:
5911:
5875:
5867:
5847:
5817:
5796:
5755:
5734:
5722:
5704:E flat major
5659:
5638:
5617:
5605:
5593:
5584:
5578:
5573:Novello 1874
5569:
5560:
5548:
5539:
5523:
5517:
5499:
5494:
5482:
5470:
5458:
5449:.bachdigital
5437:
5425:
5402:
5386:
5376:
5364:
5359:, p. 3.
5357:Jenkins 2000
5337:
5318:
5311:Rimbach 2005
5306:
5226:
5185:, p. 4.
5183:Rizzuti 2013
5178:
5166:
5154:
5135:Jenkins 2000
5120:Simrock 1811
5115:
5108:Jenkins 2000
5082:
5075:Hogwood 2011
5070:
5050:
5030:
5018:
5006:
4959:
4954:
4939:
4931:Bach Archive
4926:Bach Digital
4924:
4915:
4907:Bach Archive
4902:Bach Digital
4900:
4891:
4874:
4868:
4860:Bach Archive
4855:Bach Digital
4853:
4847:
4840:
4810:
4786:
4777:
4759:
4753:
4745:Bach Archive
4740:Bach Digital
4738:
4729:
4692:
4687:
4661:
4651:
4642:
4590:
4569:
4564:, p. 5.
4562:Jenkins 2000
4509:Rizzuti 2013
4489:
4441:
4392:
4373:
4354:
4334:, p. 1.
4332:Jenkins 2000
4312:
4281:
4276:, p. 6.
4269:
4262:Rimbach 2005
4236:
4224:
4212:
4199:
4194:
4185:bach-digital
4177:
4171:
4159:
4152:Rizzuti 2013
4147:
4120:
4092:. Retrieved
4074:
4028:
4016:
4001:
3994:Bach Digital
3984:
3972:
3921:Bach Digital
3911:
3904:Bach Digital
3894:
3880:Bach Digital
3862:
3857:
3850:
3811:
3808:21st century
3800:
3797:
3730:
3710:Rutter(1990)
3703:
3656:
3643:
3621:
3608:
3601:Karl Richter
3574:
3572:as soprano.
3539:
3536:20th century
3512:
3507:
3498:Robert Franz
3493:
3491:
3479:
3476:19th century
3466:
3460:
3448:
3445:18th century
3436:
3432:
3409:
3389:
3330:
3301:B-flat major
3287:
3265:
3255:
3245:
3227:counterpoint
3218:
3198:
3167:
3152:triple metre
3134:Gloria Patri
3131:
3129:
3120:
3070:
3069:
3035:
3034:
3002:
3001:
2961:
2960:
2934:
2933:
2915:
2914:
2900:
2899:
2881:
2879:
2854:
2853:
2827:
2826:
2720:instruments.
2690:
2689:
2667:
2657:
2650:
2646:
2638:
2633:
2629:
2616:
2602:
2595:
2585:
2573:
2567:
2460:
2367:
2305:
2289:
2232:
2013:
1958:
1930:
1912:
1899:
1875:Instruments
1864:Instruments
1830:
1824:
1810:
1800:
1777:
1762:
1757:
1734:
1718:
1708:
1704:
1680:
1665:
1661:flauto dolce
1631:(Ob), three
1618:
1590:
1578:
1572:is the only
1533:
1519:Bach cantata
1515:
1487:
1473:
1460:
1414:movement 11
1396:movement 10
1227:Text source
1212:
1202:Pietro Torri
1176:
1166:
1159:
1154:
1129:
1111:
1108:
1092:
1087:
1085:
1064:
1060:
1052:
1050:
1045:
1039:
1023:Thomaskantor
1018:Marian feast
1013:
1001:
962:Instrumental
884:on feast day
857:E-flat major
792:
788:27 July 1733
753:
745:Christianity
722:
708:
699:published a
694:
687:
680:
666:
660:
641:
633:
625:by Heinichen
606:
599:
572:
548:
532:
524:in movement
499:
452:
431:Traditional
412:
401:
390:Thomaskantor
380:
371:
336:
321:Purification
317:Annunciation
306:
298:
294:D major
286:
271:
248:Thomaskantor
245:
224:
219:
175:Instrumental
100:on feast day
29:
7552:discography
7495:discography
7476:discography
7423:discography
7401:discography
7325:lecture by
7304:18 November
6834:18 November
6686:. Leipzig:
6504:7 September
6438:Alfred Dürr
6407:Bärenreiter
6379:Alfred Dürr
6272:18 November
6221:Bärenreiter
6205:Alfred Dürr
6110:19 November
5746:.baroquecds
5598:Jansen 2006
5463:Spitta 1884
5391:Spitta 1884
5011:Porter 2008
4970:. Leipzig:
4929:. Leipzig:
4905:. Leipzig:
4884:Bärenreiter
4858:. Leipzig:
4807:Alfred Dürr
4793:pp. 153–155
4743:. Leipzig:
4648:Alfred Dürr
4635:Spitta 1884
4547:Spitta 1884
4494:Butler 2008
4450:p. 246
4241:Porter 2008
4164:Spitta 1884
4140:Rathey 2016
4048:Shrock 2009
4033:Spitta 1884
4021:Spitta 1884
3872: [
3853:Bärenreiter
3825:Ton Koopman
3761:Ton Koopman
3737:Robert Shaw
3646:, with the
3589:Bärenreiter
3581:Alfred Dürr
3511:printed an
3331:The text, "
3148:common time
2957:8. Deposuit
2924:con sordino
2793:subdominant
1685:, bassoon,
1595:(sI, sII),
1378:movement 9
1360:movement 8
1342:movement 7
1324:movement 6
1306:movement 5
1270:movement 2
1250:movement 1
1196:BWV Anh. 30
1132:BWV 10
1119:written by
1115:, the 1754
977:2 recorders
871: 1733
795:2 July 1733
760:2 July 1733
756:2 July
435:setting of
190:2 traversos
148: 1733
7635:Categories
7615:Evangelist
7413:Magnificat
7029:. London:
7023:Clara Bell
6857:1194734574
6800:Magnificat
6348:Magnificat
6176:N. Simrock
5985:Gramophone
5765:Gramophone
5553:Franz 1863
5487:Zenck 1986
5419:Upton 1886
5393:, p.
5342:Franz 1863
5171:Jones 2013
5065:32 minutes
4703:. Berlin:
4347:Jones 2013
4274:Franz 1863
3965:Jones 2013
3886:References
3714:Penderecki
3593:Kurt Redel
3427:See also:
3380:See also:
3321:See also:
3298:For SSAT,
3278:See also:
3181:See also:
3123:media help
3059:recordatus
3005:Esurientes
2804:Magnificat
2798:magnificat
2711:ritornello
2679:See also:
2380:2Vl Va Bc
2245:2Vl Va Bc
2029:23, 25–27
1985:2Vl Va Bc
1971:2Vl Va Bc
1813:key (7, C)
1764:movement:
1655:(Bc). Two
1627:(Vl), two
1576:movement.
1574:a cappella
1468:time part
1440:time part
1238:Magnificat
1103:See also:
1034:See also:
969:3 trumpets
828:J. S. Bach
811:Magnificat
749:Visitation
629:by Vivaldi
587:liturgical
567:See also:
483:minor mode
479:ninth mode
471:psalm tone
447:See also:
441:ninth tone
345:), all of
331:See also:
289:Visitation
233:Magnificat
225:Magnificat
182:3 trumpets
52:J. S. Bach
35:Magnificat
7536:Oratorios
7490:structure
7471:structure
7396:structure
7321:, a 2011
7299:Sotheby's
7195:0570-6769
7145:(1966) .
7129:cite book
6927:2240-7944
6851:thesis).
6714:0084-7682
6643:: 37–45.
5904:Oron 2012
5430:Bach 1955
4998:0084-7682
4721:0084-7682
4229:Taft 1986
4202:, BWV 733
4069:, p. 1, 8
3882:website.
3666:Hedy Graf
3556:records.
3458:in 1786.
3243:service.
2996:Libre art
2944:Dispersit
2500:sI sII a
2258:2Vl Va Bc
2116:2Vl Va Bc
2100:2Vl Va Bc
1758:tonic key
1735:tonic key
1719:tonic key
1668:traversos
1657:recorders
1651:(Va) and
1615:Orchestra
1566:obbligato
1086:As these
941:Movements
930:Performed
733:Elizabeth
703:in 1622.
313:Pentecost
268:Christmas
154:Movements
143:Leipzig,
140:Performed
87:BWV 243.1
7436:Passions
7043:(2005).
6995:, 1880.
6781:(1921).
6753:(2013).
6733:lecture.
6724:(2011).
6631:(2003).
6617:(1863).
6537:(2011).
6397:(2014b)
6211:(2014a)
6184:68145446
6133:. Amazon
5919:Archived
5739:BACH 721
5528:Archived
5059:Archived
5039:Archived
4782:Picander
4685:(eds.).
4669:(1983).
4575:Nekrolog
4383:klassica
3923:website.
3906:website.
3685:and the
3650:and the
3630:and the
3548:and the
3540:In 1924
3264:(in the
2992:LilyPond
2781:the Lord
2624:♭
2548:♭
2395:♯
2344:♭
2297:♭
2209:♭
2161:♭
2124:♯
2024:♭
1977:♭
1921:♭
1721:(major)
1641:dominant
1633:trumpets
1603:(t) and
1593:sopranos
1549:♭
1523:da capos
1428:Doxology
1215:doxology
1169:Picander
1145:BWV Anh.
1117:obituary
1112:Nekrolog
1009:♭
992:continuo
913:Language
901:doxology
878:Occasion
845:Augsburg
663:, BWV 31
579:evensong
415:, BWV 76
404:, BWV 75
357:was the
343:BWV 233a
256:movement
210:continuo
126:Language
117:doxology
94:Occasion
7556:Parts:
7259:by the
6678:].
6668:(ed.).
6487:16 June
6448:(2000)
6384:(1959)
6346:(1924)
6338:(1895)
6331:(1874)
6322:(1864)
6301:(1841)
6201:(1959)
6191:(1862)
6168:(1811)
6137:17 July
6123:Sources
5987:website
5971:website
5767:website
5727:Rilling
4962:].
4952:(ed.).
4886:, 2000.
4695:].
4482:Digital
4082:BC A 48
3996:website
3583:. This
3564:and by
3509:Novello
3482:Simrock
3456:Hamburg
3402:Emanuel
3396:" (The
3347:Vulgate
3262:BWV 606
3140:cadenza
2970:unisono
2810:Dominum
2776:Dominum
2503:TrI Ba
2433:2Fl Bc
2422:2Fl Bc
2389:2Vl Bc
2113:2Fl 2Oa
2066:OaI Bc
1881:Autogr.
1870:Autogr.
1861:Voices
1695:unisono
1691:violone
1645:bassoon
1637:timpani
1625:violins
1476:caesura
1110:Bach's
1069:Gospels
987:strings
982:2 oboes
973:timpani
934:Leipzig
863:Related
723:In the
575:vespers
489:is the
433:D minor
395:Trinity
351:Leipzig
303:History
252:Leipzig
205:strings
195:2 oboes
186:timpani
83:Related
77:D major
7221:
7193:
7183:
7158:
7103:
7082:
7057:
6972:
6951:
6925:
6895:
6874:
6855:
6812:
6767:
6712:
6702:
6603:
6551:
6545:Fayard
6523:
6483:. 1967
6373:1956)
6182:
6083:.klara
6057:.klara
6044:, and
5852:Bawden
5827:
5159:Dellal
5045:27'14"
4996:
4986:
4834:p. 458
4828:
4820:
4719:
4595:p. 168
4587:Mizler
4100:p. 219
4094:30 May
4090:. 1992
3858:laudes
3801:laudes
3787:, the
3664:, and
3609:laudes
3585:Urtext
3554:78 rpm
3513:Octavo
3341:Gloria
3282:, and
3219:laudes
3024:inanes
2869:Spitta
2668:laudes
2651:45–48
2647:42–45
2634:27–29
2630:24–27
2613:SSATB
2562:40–42
2553:23–24
2539:SSATB
2518:38–40
2512:Ob Bc
2441:36–38
2430:20–21
2400:34–36
2386:17–20
2349:30–31
2338:Vl Bc
2335:SSATB
2313:28–34
2302:15–19
2286:SSATB
2267:24–28
2253:13–15
2214:28–30
2178:20–23
2167:12–13
2130:20–25
2109:10–12
2095:SSATB
2074:18–19
2055:Ob Bc
1991:16–18
1909:SSATB
1587:Voices
1488:laudes
1093:laudes
1088:laudes
1073:Christ
1065:laudes
1061:laudes
1057:Kuhnau
1053:laudes
1046:laudes
1042:Advent
1014:before
936:, 1723
922:German
656:Weimar
583:matins
535:BWV 10
455:Luther
359:Cantor
309:Easter
273:laudes
89:(1723)
7070:Missa
6911:(PDF)
6741:[
6674:[
6455:(PDF)
6414:(PDF)
6403:(PDF)
6295:IMSLP
6228:(PDF)
6217:(PDF)
5969:Naxos
5928:store
5054:E.g.
5034:E.g.
4958:[
4848:P 977
4691:[
4585:, in
4385:.info
3990:00292
3988:Work
3917:00302
3915:Work
3900:00303
3898:Work
3876:]
3865:Klara
3213:from
3146:from
3050:as a
2639:tutti
2617:tutti
2470:sI b
2306:tutti
2290:tutti
2200:SSAT
1940:1–15
1931:tutti
1913:tutti
1825:tonic
1811:tonic
1801:tonic
1687:cello
1683:organ
1649:viola
1629:oboes
1601:tenor
1599:(a),
1554:tutti
954:SSATB
949:Vocal
919:Latin
820:243.1
743:. In
737:Jesus
495:fifth
491:tonic
339:Kyrie
278:243.1
167:SSATB
162:Vocal
132:Latin
44:243.2
7524:1149
7306:2014
7242:2014
7219:ISBN
7191:ISSN
7181:ISBN
7156:ISBN
7135:link
7101:ISBN
7080:ISBN
7055:ISBN
6970:ISBN
6949:ISBN
6934:2014
6923:ISSN
6893:ISBN
6872:ISBN
6853:OCLC
6836:2014
6810:ISBN
6765:ISBN
6710:ISSN
6700:ISBN
6601:ISBN
6549:ISBN
6521:ISBN
6506:2014
6489:2014
6463:2014
6422:2014
6274:2014
6236:2014
6180:OCLC
6139:2014
6112:2017
5932:.com
5889:.com
5825:ISBN
5810:.com
5789:.com
5748:.com
5715:.com
5685:.com
5652:.com
5631:.com
5330:.com
4994:ISSN
4984:ISBN
4826:ISBN
4818:ISBN
4770:.com
4717:ISSN
4581:and
4404:.org
4402:cpdl
4366:.org
4364:cpdl
4096:2014
3791:and
3722:Pärt
3708:and
3697:and
3676:and
3615:and
3603:and
3575:The
3384:and
3325:and
3209:and
3185:and
2703:bars
2256:2Fl
2242:a t
2098:2Ob
2063:8–9
2016:ATB
1982:3–7
1968:sII
1927:1–9
1878:Key
1867:Key
1857:Time
1689:and
1619:The
1605:bass
1597:alto
1542:and
1445:12.
1419:11.
1401:10.
889:Text
729:Mary
644:SATB
627:and
619:and
512:and
493:, a
376:and
311:and
105:Text
7568:III
7365:by
7001:in
6692:doi
6645:doi
6293:at
6285:.de
6281:www
6162:.de
6158:www
6085:.be
6081:www
6078:at
6070:",
6066:, "
6059:.be
6055:www
6052:at
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6036:, "
5983:at
5967:at
5953:.be
5949:www
5946:at
5925:at
5885:www
5882:at
5840:.uk
5838:.co
5834:www
5831:at
5806:www
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5785:www
5782:at
5763:at
5744:www
5741:at
5711:www
5708:at
5681:www
5678:at
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5375:in
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3642:'s
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2662:'s
2556:Bc
2542:Bc
2509:22
2479:32
2473:Bc
2203:Bc
2170:Bc
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2052:sI
1883:p.
1872:p.
1643:),
1579:As
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1365:8.
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1329:6.
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1293:4.
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1171:in
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853:Key
826:by
818:BWV
707:'s
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473:in
262:of
260:key
250:in
229:BWV
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7583:VI
7573:IV
7563:II
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1936:D
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1900:4
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