Magnificat (Bach) - Knowledge

1702:: 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: 3181: 825: 3066:(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. 3078: 2836: 2976: 3356: 3297: 2578: 2522: 2483: 2402: 2318: 2269: 2183: 2134: 2078: 2035: 1425: 786:. 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 1996: 49: 3348:"). 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. 417: 2881:. 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. 342:, 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 2776:

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".

2850:(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 2772:) 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. 1553:, 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 3423:

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.

3430:. 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. 2659:

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

589:

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

2738: 1079:

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

3161:

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

2761:

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

2655:, 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 1206:

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

3342:, 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 (" 3095: 623:

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

3422:

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

2775:

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

1767:

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

1752:

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

3493:

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

2720: 1514:

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

3473:

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

1188:

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

2779:

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

1780: 3520:

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.

3494:

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.

2967:(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. 1037:, 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). 3240: 790:, 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 6203:"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" 2762:

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

1820:

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.

2823:("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 2708:

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

6370:). 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. 3669:

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

624:

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

3792:

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.

7342: 280:

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

1505:

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

1768:

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

4385: 3094: 2896:(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. 6389:"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" 3222:. 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 586:. 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. 3820:

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.

7006: 3787:

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

3442:

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

2930:(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. 2702:, 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. 3096: 7335: 3045:, 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 3031:(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 3844:

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

2860:

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."

7328: 6388: 6202: 2660:

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.

5047: 3087: 2998:(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 1005:

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

1207:

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.

1029:

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

3533:

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,

6379:

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,

3157:

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

764: 3236: 760: 3611:

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

7351: 6182:

Von Himmel hoch (SATB) / Freut euch und jubiliert (SSAT, continuo) / Gloria (SSATB with colla parte instruments & violino obligato) / Virga Jesse (fragment – S, B, continuo)

7255: 6181: 2669: 296:

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,

3272: 1123:

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 (

2911:(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 7259: 6336: 6299: 6279: 355: 4347: 3777: 7556: 740:. 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. 529: 4187: 7546: 1015:

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.

1024: 6399: 6213: 3994: 3857: 3283:" (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. 601: 5044: 1475:

movement. The four Christmas interpolations are placed after the second, the fifth, the seventh and the ninth movement on the Magnificat text. These four

7571: 7551: 613: 5516: 675: 288:

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.

7279: 2807:

Measure 76–90: after 45 measures of choral singing follow fifteen measures of instrumental postlude, with material condensed from the opening tutti.

7644: 4434: 3393:

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

2790:

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'

3481:

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

1510:. However, there are many differences: the Magnificat contains about twice as many movements as an average cantata, keeping it short by avoiding 635:

choir with more voice parts was however no novelty for Magnificat compositions: for example Johann Pachelbel, the teacher of Johann Sebastian's

7629: 7123: 5907: 689: 700:(1635) contained three Magnificats with interpolations, the first of these (SSWV 299 for SSATTB and basso continuo) with the first stanza of " 400: 7608: 7561: 648: 3622: 1056:

Kuhnau had composed for insertion in his C major Magnificat when it was to be performed at Christmas. These laudes illustrate what the

7268: 5027: 1541: 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 3852:

That the composition ranges among Bach's most popular vocal works is illustrated by its regular appearance in classical music polls like

2984: 636: 2705:

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.

1682:

in most movements. In the 1723 version movement 10 (Suscepit Israel) has a bassett (Ba) part played exclusively by violins and viola in

1572:

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.

285:, for performance reasons of the trumpet parts. This version of Bach's Magnificat is known as BWV 243.2 (previously BWV 243). 3867:. In December 2016, Bach's autograph of the D major version of his Magnificat was among the top three most visited scores at the 3489:

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

7263: 4194: 3998: 3580:, among which were several with an English translation. More recordings of the Magnificat became available, for instance directed by 7061:

BWV 232 in the context of Catholic Mass settings in Dresden, 1729-1733". In Tomita, Yo; Leaver, Robin A.; Smaczny, Jan (eds.).

7396: 6322:

Magnificat in D, in vocal score with an accompaniment for the organ or pianoforte – The adaptation to English words by J. Troutbeck

3764:. Other CD releases with BWV 243.1 that became available before the end of the century include a recording by Rilling and the 6086: 1147: 1116:, mentions that the composer wrote several Magnificats. Apart from the extant copies of the Latin Magnificat BWV 243, of the 359: 7566: 7161:

Die Bach-Rezeption des späten Beethoven: zum Verhältnis von Musikhistoriographie und Rezeptionsgeschichtsschreibung der "Klassik"

3596:. The second half of the 1960s saw the first recordings of the Christmas version of the Magnificat BWV 243.1 including the 7434: 3817: 3450:

Laudes A and B (transposed to fit in a D major composition) were combined with a movement of a cantate by Graun (probably

1080:

of the Magnificat (BWV 243.1) suggests that Bach intended to perform the first version of his Magnificat also without the

368: 2652: 1763:

movements eight and nine (both solo movements), followed by an aria for vocal trio, build up to the final two choral movements

7211: 7173: 7148: 7093: 7072: 6962: 6941: 6885: 6864: 6802: 6757: 6692: 6621: 6593: 6541: 6513: 5817: 4976: 4818: 3214:, with all sopranos singing the 1539 chorale melody attributed to Luther as a cantus firmus, while the lower voices make the 1772:

melody as cantus firmus: soprano voices in the first case ("Vom Himmel hoch, da komm ich her"), instrumental in the second ("

7586: 7406: 6653:[Is there another cantata cycle by Gottfried Heinrich Stölzel that belonged to Bach’s performance repertoire?]. In 520: 266: 782:

The first occasion after the mourning period that re-allowed concerted church music was the feast of Visitation, Thursday

660:. Around the time when the D major version of the Magnificat originated, he composed for the same extended chorus in 489:

The tonus peregrinus variant that is associated with Luther's German Magnificat appears in compositions by, among others,

7411: 3417: 2741: 2723: 4746: 4055: 5373: 4937:[On the identification of the Magnificat BWV Anh. 30 from Johann Sebastian Bach's music library]. In 3004:(He hath filled the hungry with good things), while downward lines and a continuo moving in eighth notes later go with 665: 7320: 6119: 1612:

for BWV 243.1 consists of "due violini, due oboe, tre trombi, tamburi, basson, viola e basso continuo", i.e. two

639:, had composed half a dozen Magnificats for SSATB choir, and one for soli, SSATB double choir and orchestra. Kuhnau's 7047: 6992: 6976: 6433:. Neue Ausgabe sämtlicher Werke, Series 2: Messen, Passionen und oratorische Werke. Vol. 3. Kassel: Bärenreiter. 5498: 4810: 2758:

Measure 31–75: accompanied by the continuo, the chorus enters as a concerto soloist, imitating the opening material.

2647:

The structure of Bach's Magnificat has been compared with that of Kuhnau's, which he probably knew, and with that of

1659:(Fl) and they get separate parts in all four choral movements. In movements three and four the oboes are replaced by 768: 661: 7505: 6038: 7029: 3171: 701: 389: 7512: 6874:

Rimbach, Evangeline (2005). "The Sacred Vocal Music of Johann Kuhnau". In Carl Schalk; Carlos R. Messerli (eds.).

3849:

transposed to fit in that version, now published both by Novello and Bärenreiter, found performers and audiences.

2936:

appears in various voices, but then isolated, in a sequence from the highest voice to the lowest. The conclusion,

1686:. In the 1733 version this continuo line is given to a continuo that includes cello, but not bassoon and violone. 1493: 1398: 1380: 1362: 1344: 1326: 1308: 1290: 1272: 1253: 1233: 7365: 6555: 3203: 1168:

cantata by an unknown librettist for Visitation 1725. Further, Bach copied Latin Magnificats by other composers:

1093: 335: 229: 7165: 4834: 681:(1734). Such compositions with an extended choir are however outside Bach's usual routine for liturgical music. 7540: 7483: 7015: 3701:

include hymns and songs outside the liturgical text in their extended settings, like Bach's Christmas version;

3280:

Freut euch und jubilirt, Zu Bethlehem gefunden wird Das herzeliebe Jesulein, Das soll euer Freud und Wonne sein

321: 6896: 3235:

Quarter of a century later Bach returned to the chorale melody of "Vom Himmel hoch da komm' ich her", writing

3694: 3195: 3162:

D major version of the Magnificat, for instance Novello in 2000 (Neil Jenkins) and Bärenreiter in 2014.

1773: 1645: 1161: 767:(28 June), no concerted music was allowed in the churches. During that period Bach had been composing a 684:

Bach was not the first to include mixed German/Latin Christmas interpolations in a Magnificat sung in Latin:

447: 437: 4909: 4885: 4723: 3339: 2687: 884: 787: 640: 100: 7639: 7478: 7272: 6465: 6312: 5511: 3426:

A new critical edition of both BWV 243.2 and 243.1 was published in 1955 as Series 2, Volume 3 of the

2802:" once again, soprano II beginning with a long note continued by a melisma in measure 73, the others in 74. 1139: 631:

Another characteristic of Bach's Magnificat is that it is set for a five-part chorus. Extending a standard

579: 557: 3978: 3905: 3888: 3650: 3640: 3180: 2690:) is the text used for the opening chorus. The movement consists of 6 blocks of 15 measures, totalling 90 7464: 7389: 6676: 6380: 5749: 4960: 4693: 2961:

violins, presenting material in a 14 measure ritornello. The second thought of the verse, beginning with

2737: 2719: 721: 656: 1757:

movements two and three, both for solo soprano, build up to the Omnes generationes choral movement No. 4

824: 7634: 6251: 6244: 6141: 4833: 4567: 3439: 3199: 829: 752: 596: 425: 309: 4862: 1783:"Vom Himmel hoch da komm' ich her", the melody of the cantus firmus of the "A" Christmas interpolation 1716:

Verse 4 (movement 5, followed by movement B in the Christmas version): major key different from tonic

350:

in Leipzig. When Kuhnau died in 1722, one of the candidates applying for the post of Thomaskantor was

7459: 7384: 7085:

The Liturgy of the Hours in East and West: The Origins of the Divine Office and Its Meaning for Today

6026: 4583: 4571: 3538: 3509: 3382:

Virga Jesse floruit, Emanuel noster apparuit, Induit carnem Hominis, Fit puer delectabilis. Alleluja.

3127:(Glory to the father), performed by the complete ensemble. The first part of the text ends in a long 2877:(all generations), is given to the chorus. The setting has been likened to a turba chorus as used by 2670:

Magnificat in E-flat major, BWV 243a § The twelve movements of the Magnificat canticle

1735:

Verse 8 (movement 9, followed by movement D in the Christmas version): major key different from tonic

1113: 1109: 737: 277: 7001: 6771: 6745:

The Creative Development of Johann Sebastian Bach, Volume II: 1717–1750: Music to Delight the Spirit

6161:

Magnificat à cinque voci, due violini, due oboe, tre trombi, tamburi, basson, viola e basso continuo

5904: 5383: 4781: 1202:

Bach's Magnificat consists of eleven movements for the text of Luke 1:46–55, concluded by a twelfth

347: 265:) related to that feast. This version, including the Christmas interpolations, was given the number 7498: 7491: 7249: 5366: 4164: 4068: 3675: 3616: 3589: 3399: 1117: 6981: 6777: 6351:

1956) Neue Ausgabe sämtlicher Werke, Series 2: Messen, Passionen und oratorische Werke, Volume 3:

6305: 6185: 5430: 5361: 4774: 2856:(from henceforth shall call me blessed) the voice changes to a "simpler, more declamatory style". 1655:

For the 1733 version, Bach used a somewhat more extended orchestra: the recorders are replaced by

7379: 7039: 6749: 6486: 4575: 3826: 3769: 3725: 3706: 3219: 3210:

a cappella in four parts, and, like the two preceding movements, in the tonic key. The form is a

2744: 2726: 6987: 3720:

Before the end of the century CD recordings of the D major version of Bach's Magnificat by

7107: 6837: 5494: 5024: 4800: 3338:, ending on "... bonae voluntatis", is an incorrect rendering of the original Greek version of 3329: 3311: 2648: 1416: 1033:

1723 for a first performance at the Christmas vespers. For that performance Bach composed four

870: 806: 772: 756: 717: 86: 30: 7159: 7083: 6931: 6743: 6527: 6441:"Bach Magnificat in D & E flat BWV 243 & 243a / (Novello edition ed. N. Jenkins)" 6177:

First edition of the Magnificat score, E-flat major version, without the Christmas hymns.

4722: 3825:'s recording of BWV 243.1, with the Balthasar-Neumann-Chor and Ensemble, was released by 3628: 3034: 358:

as an audition piece in January 1723, three weeks before Bach presented his audition cantatas

7356: 7307: 7033: 6952: 6714: 6672: 6650: 6583: 6503: 6460: 6419: 6252:"Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz : D-B Mus. ms. Bach P 39" 6233: 6134: 5973: 5753: 4956: 4689: 3862: 3853: 3840:

Facsimiles of Bach's autographs of both versions of the Magnificat became available on-line.

3805: 3636: 3558: 1713:

Verse 3: starts in relative minor key (movement 3), moving to another minor key (movement 4)

816: 685: 490: 416: 209: 40: 7135: 6786: 6732:

Passion on the Polder: The start of the Netherlands Bach Tradition in the nineteenth century

6607: 5953: 4935:"Zur Identifizierung des Magnificats BWV Anh. 30 aus Johann Sebastian Bachs Notenbibliothek" 4366: 3765: 747:. The D major version of Bach's Magnificat (BWV 243.2) may have been performed on 6651:"Ein weiterer Kantatenjahrgang Gottfried Heinrich Stölzels in Bachs Aufführungsrepertoire?" 6375: 6144:(Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, D-B Mus. ms. Bach P 38, at 4667: 4663: 3753: 3679: 3513: 617: 6658: 6568: 6440: 5362:"Alia pia Cantio de Incarnatione Jesu Christi, à 4. Vocibus cum Basso continuo", pp. 77–83 3714: 3693:

20th century Magnificat composers often refer to Bach's composition in their new setting:

2942:, is marked Adagio and illustrates the text in long chords, with accents by the trumpets. 533: 8: 7315: 7103: 6767: 6739: 6710: 5969: 5501:, Litt.D. Cantab. Harcourt, Brace and Howe, New York, 1920: Introduction (Terry), p. xvii 3801: 3733: 3698: 3687: 3554: 3451: 3370: 1609: 1580:

Bach set the Magnificat for SSATB five-part choir. Five vocal soloists are required: two

1499: 545: 225: 6617: 5311: 4655: 4051: 3568:

published Bach's Magnificat (both BWV 243.1 and BWV 243.2) in 1955, edited by

992: 612:

are cited as possible inspirations for Bach. Around Bach's time there are also examples

7532: 7472: 7350: 7117: 6574: 6469: 6431:

Magnificat: erste Fassung in Es-Dur BWV 243a, zweite Fassung in D-Dur BWV 243

5357: 4641: 4563: 4076: 3822: 3781: 3745: 3534: 3469:

The score of the E-flat major version of Bach's Magnificat was first published by

3394: 3245: 1098: 1025:

Magnificat in E-flat major, BWV 243a § The four Christmas interpolations

670: 591: 517:

of his Latin Magnificat. He uses it again in his "German Magnificat", i.e. the cantata

502: 470:

or Aeolian mode. For the traditional setting of Luther's German Magnificat that is the

351: 6728:

Passie in de polder: Het begin van de Nederlandse Bach-traditie in de negentiende eeuw

6422:. Magnificat in E-flat major and Magnificat in D major (published together) 5690: 3601: 494: 7603: 7207: 7179: 7169: 7144: 7131: 7089: 7068: 7043: 6958: 6937: 6911: 6881: 6860: 6841: 6798: 6753: 6698: 6688: 6589: 6537: 6509: 6184:. Bach-Gesellschaft Ausgabe, Volume 11.1, Appendix. Edited by Wilhelm Rust. Leipzig: 6168: 6091: 5868: 5813: 5789: 5768: 5664: 5631: 5610: 4982: 4972: 4814: 4806: 4705: 3721: 3658: 3585: 3565: 3504:

edition of the D major Magnificat in 1874, using a translation to English which

3490: 3475: 3259:), 700, 701, 738 and 738a are chorale preludes based on the "Vom Himmel hoch" theme. 3158: 1593: 1126: 1052:

Bach had included in his Christmas Magnificat were not a self-contained cantata, but

1006: 609: 6383:

and J. Bradford Robinson. Kassel / New York : Bärenreiter. 11th printing, 2005.

1706:

Verse 1 and 2 (movements 1 and 2, followed by movement A in the Christmas version):

7446: 7222: 6996:, Zweiter Band. Dritte unveränderte Auflage, Leipzig: Breitkopf & Härtel, 1921. 6834:

Salzburg W.B. XIV: Historical Context, Liturgical Significance and Critical Edition

6680: 6633: 6523: 5932: 4964: 4868: 4697: 3834: 3830: 3761: 3737: 3666: 3605: 3427: 3211: 1769: 1629: 1487: 729: 594:'s Magnificat a 7 voci, one of two alternative Magnificat settings included in his 498: 453: 244: 6641: 3255: 3228:

chorale would have been sung by the congregation the preceding evening during the

1153:

for tenor solo and composed for Visitation, has also been attributed to Hoffmann.

755:. That year there had been a period of mourning after the death of the sovereign, 7578: 7453: 7424: 7374: 7311: 7201: 7062: 7019: 6875: 6854: 6719: 6340: 6056: 6034: 5911: 5520: 5051: 5031: 4671: 3683: 3612: 3593: 3530: 3497: 3355: 3296: 2878: 2577: 2521: 2482: 2401: 2317: 2268: 2182: 2133: 2077: 2034: 1660: 1569: 1424: 1173: 791: 625: 541: 475: 463: 54: 7007:

Johann Sebastian Bach: his work and influence on the music of Germany, 1685–1750

6813: 4942: 4675: 2957:(He hath put down the mighty) is an aria for tenor, accompanied by continuo and 1479:

movements are usually indicated by the letters A to D, with these text sources:

1463:

There is however no numbering of movements in Bach's autographs, nor is there a

574:, the Magnificat was, already for over a century before Bach's composition, the 224:. It is scored for five vocal parts (two sopranos, alto, tenor and bass), and a 6971: 6559: 4438: 3809: 3773: 3757: 3741: 3729: 3662: 3573: 3550: 3517: 3505: 3149:(as it was in the beginning), repeats material from the beginning of the work. 3132: 2857: 1845: 1641: 1067: 980: 975: 713: 693: 383: 198: 193: 7301: 6845: 6556:"Bach Cantata Translations / BWV 243a – "Magnificat" (E-flat Major)" 6426: 6395: 6367: 6209: 6193: 5810: 5577:

LMU-Publikationen: Geschichts- und Kunstwissenschaften Nr. 27, 2007. pp. 19–20

4872: 4795: 4636: 3841: 3577: 3569: 3512:. In 1880, when Bach's autographs of the composition were already kept in the 2835: 1471:(where the soprano soloist sings their last note) is the first measure of the 7623: 7183: 6915: 6702: 6668: 6585:

Tonus Peregrinus: The History of a Psalm-tone and its use in Polyphonic Music

6551: 5957: 4986: 4952: 4709: 4685: 3671: 3646: 3478:

composed a Magnificat in D major he showed that he knew Bach's version.

3386: 3229: 2109: 1995: 1671: 1652:, Fl) are required for aria No. 9 Esurientes, but are not part of the tutti. 605: 508: 483: 479: 443: 343: 261: 248: 7203:

The Music of Johann Sebastian Bach: The Sources, the Style, the Significance

6508:. Bach perspectives. Vol. 7. University of Illinois Press. p. 53. 6172: 4639:. "An Investigation into the Authenticity of Bach's ‘Kleine Magnificat’" in 3549:

of the early 1950s included live performances of the Magnificat directed by

1795:

Verse in minor key (mvt. 3, 4) → two movements in the same major key (5, B)

1549:, accompanied by an orchestra without trumpets and timpani, and in movement 7287: 6654: 6637: 6603: 4938: 4919: 4914: 4895: 4890: 4848: 4843: 4733: 4728: 3982: 3909: 3892: 3868: 3486: 3289: 3215: 3140: 2146: 1906: 1649: 1507: 1190: 845: 733: 583: 305: 252: 236: 4822: 4805:. Preface in English and German. Wiesbaden: Breitkopf & Härtel, 1998. 1084:, depending on circumstances, for example on other feasts than Christmas. 4934: 4659: 3813: 3749: 3136: 2912: 2781: 2691: 1184: 5869:

Magnificat in D major BWV 243.2, Complete Recordings 1990–1999

5727: 5487: 4803:: Kleine Ausgabe, nach der von Wolfgang Schmieder vorgelegten 2. Ausgabe 1807:

Verse in minor key (mvt. 8) → two movements in the same major key (9, D)

1760:

movements five (solo) and six (duet), build up to the 7th tutti movement

1164:

for performance on 2 July 1728, may have been set by Bach. Similarly, a

1048:. Possibly those settings in C major of the same four texts as the 668:(SSSATB) for Christmas 1724, and compositions for double choir like the 643:

also used a SSATB choir. Bach had already composed for a SSATB choir in

7245: 7109:

The Standard Oratorios: Their Stories, Their Music, And Their Composers

7011: 6877:

Thine the Amen: Essays on Lutheran Church Music in Honor of Carl Schalk

6684: 6622:"Bachs Es-Dur-Magnificat BWV 243a – eine genuine Weihnachtsmusik?" 6164: 5119: 5117: 4968: 4908: 4884: 4701: 4660:"Die Leipziger Neukirchenmusik und das "Kleine Magnificat" BWV Anh. 21" 3702: 3581: 3470: 3438:

In 1749, a year before his father's death, Carl Philipp Emanuel Bach's

3374: 3315: 3268: 3175: 3111: 2699: 1722:

Verse 6 (movement 7, followed by movement C in the Christmas version):

1562: 1176:'s Magnificat in C major, arranging its Suscepit Israel movement ( 471: 467: 459: 429: 221: 6064: 5790:

Magnificat in D major BWV 243, Complete Recordings 1970–1979

5769:

Magnificat in D major BWV 243, Complete Recordings 1980–1989

5665:

Magnificat in D major BWV 243, Complete Recordings 1960–1969

5632:

Magnificat in D major BWV 243, Complete Recordings 1950–1959

5611:

Magnificat in D major BWV 243, Complete Recordings 1900–1949

5445: 3682:'s first recording of the D major version followed in 1984. Also 1776:"). The symmetry of the Christmas version can be pictured as follows: 1044:

had been used in Leipzig in a Christmas cantata by Bach's predecessor

995:

argued that the very first version of Bach's Magnificat, that is the E

3654: 3546: 1554: 1535:

are the cornerstones of the composition: they are in the tonic key (E

654:, an Easter cantata from 1715). He did the same in his funeral motet 301: 256: 75: 5114: 2769: 5822: 5574:

Die Rezeption der Alten Musik in München zwischen ca. 1880 und 1930

4770: 2980: 2698:

Measure 1–30: the orchestra presents itself with what looks like a

1667:

the oboes replace the trumpet for the obbligato instrumental part.

1656: 1467:

between the third and the fourth movement: the 25th measure of the

1203: 1177: 1157: 1133: 1105: 889: 833: 567: 331: 105: 6776:. Part II, Volume 1: Kirchliche Werke (in German) (5th ed.). 5572: 2663: 1156:

Another German libretto paraphrasing the Magnificat, published by

5916: 4864:

Werke zweifelhafter Echtheit, Bearbeitungen fremder Kompositionen

3690:

had by then recorded the D major version of the Magnificat.

3600:, and new recordings of the D major version by von Karajan, 3444: 3335: 3243:. Bach also included three settings of the chorale melody in his 3128: 2425: 2414: 2251: 2237: 2162: 2093: 2058: 2047: 1924: 1679: 1633: 1625: 1621: 1581: 1511: 1464: 922: 575: 563: 421: 339: 282: 240: 65: 7143:. J. S. Bach. Vol. 2. Breitkopf & Härtel. pp. 1–. 4268: 3710: 3678:

in 1978 (L'Oiseau Lyre / Decca), coupled with Vivaldi's Gloria.

3152: 1779: 6533: 5873: 5794: 5773: 5699: 5669: 5636: 5615: 4780:

Leipzig: Joh. Theod. Boetii Tochter (1732; 2nd printing 1737),

4386:

Magnificat (with German interpolations for Christmas), SSWV 299

3760:'s 1995 recording of the E-flat major version appeared on 3542: 2958: 1683: 1613: 1193:. An earlier attribution of the work had been to Antonio Lotti. 1061: 1057: 1045: 1030: 744: 644: 571: 411: 297: 7223:"J.S. Bach: Leipzig Christmas cantatas; Magnificat/Herreweghe" 6120:"Bach: Magnificat – Buxtehude: Magnificat anima mea. (Sleeve)" 6087:"Weihnachtsoratorium beliebteste Bach-Handschrift im Internet" 5937: 4754: 4289: 4287: 4285: 4283: 3833:

performed the D major version of the Magnificat with the

3323:

Gloria in excelsis Deo et in terra pax homínibus bona voluntas

2869:

The continuation of the verse and completion of the sentence,

1146:. A similar cantata on a German paraphrase of the Magnificat, 942: 466:. The tonus peregrinus (or ninth tone) is associated with the 155: 48: 6283: 6269: 6146: 5316: 4867:(Volume 9 of Series II: Masses, Passions, Oratorios from the 3649:

recorded BWV 243.1, with the choir and orchestra of the

3390: 3237:

a set of five canonic variations on that theme (BWV 769)

3010:(and the rich he hath sent away). In Latin, the last word is 2975: 1675: 1637: 1589: 1542: 725: 327: 7246:

Performance of the Magnificat in D major (BWV 243)

5732: 5435: 4418: 4416: 4097: 4095: 4280: 4246: 4244: 4242: 4240: 4238: 3709:

makes musical associations to Bach's D major setting;

3273:

choralwiki:Freut euch und jubiliert (Johann Sebastian Bach)

1617: 1585: 941: 632: 315: 154: 6797:. Vol. 1. Cambridge University Press. pp. 3–17. 6324:. Novello's Original Octavo Edition. Novello, Ewer and Co. 5652:

Bärenreiter 1956 (Müller – Redlich), 1959 (Dürr – Redlich)

5213: 4299: 4199: 3633:

Bach: Magnificat in D (Including Christmas Interpolations)

6466:"Brich dem Hungrigen dein Brot BWV 39; BC A 96 / Cantata" 5457: 4413: 4173: 4092: 3932: 3930: 3928: 3926: 3924: 3922: 3920: 3918: 3816:

recorded the Christmas version of Bach's Magnificat with

2743:

Audio playback is not supported in your browser. You can

2725:

Audio playback is not supported in your browser. You can

1142:

was identified as the composer of this German Magnificat

270: 220: 243, is a musical setting of the biblical canticle 217: 6814:"Magnificats BWV 243 & BWV 243a – Details" 6329:

Magnificat in D dur: Klavierauszug von Salomon Jadassohn

6003: 5580: 5005: 4508: 4506: 4235: 4032: 4030: 894:

Christmas interpolations: traditional German/Latin texts

6988:"Fünftes Buch: Leipziger Jahre von 1723–1734" pp. 3–479 6609:

Mittheilungen über Johann Sebastian Bach's "Magnificat"

6570:

Evensong Explained, with Notes on Matins and the Litany

5341: 5339: 4546: 4544: 4403: 4401: 4371: 4331: 4329: 4316: 4314: 4146: 4052:

Mus.ms 430/29 (Autograph of Graupner's 1722 Magnificat)

600:. In a Lutheran tradition there is for example Schütz' 7435:

Jesus Christus ist um unsrer Missetat willen verwundet

7304:

from impresario.ch, with practice files for choristers

6069: 6043: 5857:

Pärt and Penderecki: Divergent Voices and Common Bonds

5293: 5092: 5090: 5088: 5086: 5084: 5069: 4835:"D-B Mus.ms. 2755, Fascicle 1 (formerly Mus. ms. Bach 4666:

and the "Little Magnificat" BWV Anh. 21]. In

4493: 4491: 4134: 4107: 4003: 3915: 2839:

First measures of Quia respexit (B minor version)

1269:

ecce enim ex hoc beatam me dicent omnes generationes.

1131:) was rediscovered in the 20th century, and listed as 1064:'s birth, and were embedded in an old tradition named 551: 228:

including trumpets and timpani. It is the first major

4503: 4124: 4122: 4027: 2736:

Second motive (as sung by the tenors in measure 35):

664:. Other extended choral settings by Bach include his 6247:– Preußischer Kulturbesitz, D-B Mus. ms. Bach P 39: 5933:

Bach Johann Sebastian – Leipziger Weihnachtskantaten

5888: 5886: 5592: 5535: 5336: 5165: 5153: 4993: 4724:"Meine Seele rühmt und preist BWV 189 / Anh. II 23→" 4619: 4617: 4615: 4613: 4611: 4541: 4476: 4398: 4326: 4311: 4223: 4015: 3576:

score was reused in several ensuing publications by

2718:

First motive (as sung by sopranos I in measure 31):

2694:

of music, exactly half of them with choral singing:

1694:

Bach's Magnificat is built symmetrically around the

7168:. Vol. 24. Franz Steiner Verlag. p. 234. 6974:. "Fünftes Buch: Leipziger Jahre von 1723–1734" in 6897:"One Verse, Two Settings, and Three Strange Youths" 6505:

J. S. Bach's Concerted Ensemble Music, the Concerto

5102: 5081: 5057: 4609: 4607: 4605: 4603: 4601: 4599: 4597: 4595: 4593: 4591: 4488: 3995:

Kyrie in F major, BWV 233a (Bach, Johann Sebastian)

3959: 3949: 3947: 3945: 3627:appeared in 1967 with a performance time of 40:06. 3241:

compositions printed during the composer's lifetime

3184:"Vom Himmel hoch", Luther's hymn in a 1541 songbook 1557:instrument, only strings and/or continuo. Movement 743:In Bach's time the feast day of Visitation fell on 628:). Also Graupner's 1722 Magnificat had this split. 505:. Bach uses the melodic formula as an instrumental 386:, performing an ambitious cantata in 14 movements, 338:were composed during his tenure as Thomaskantor in 5985:Bach 1723 (autograph of E-flat major version) 5203: 5201: 5199: 5197: 5184: 5182: 5180: 4798:, Yoshitake Kobayashi (eds.), Kirsten Beißwenger. 4531: 4529: 4527: 4525: 4523: 4521: 4466: 4464: 4462: 4460: 4390: 4352: 4256: 4119: 3345:Friede auf Erden und den Menschen ein Wohlgefallen 243:, Bach set the text of the Magnificat in a twelve 6314:Magnificat (in D-dur) bearbeitet von Robert Franz 5883: 5469: 5324: 590:school of music. Such an example can be found in 7621: 6142:Magnificat E-flat major and Christmas hymns 5709: 5412: 4588: 4211: 3942: 2174: 753:St. Thomas Church (Thomaskirche) in Leipzig 7256:Magnificat in E-flat major (BWV 243a) 6856:Bach's Major Vocal Works: Music, Drama, Liturgy 5834: 5194: 5177: 4518: 4457: 4448: 4446: 2664:The twelve movements of the Magnificat canticle 1798:Verse in minor key (mvt. 6) → two movements in 1138:however, its authenticity was doubted. In 1982 1018: 736:, the feast commemorating that visit is called 540:, the melodic formula is used as a theme: this 6566: 6197:, Taschenpartituren No. 58. Bärenreiter, 1959. 5513:Felix Mendelssohn Bartholdy: Magnificat MWV A2 5286: 5284: 5282: 5280: 5278: 5276: 5274: 5272: 5270: 5268: 5266: 5264: 5262: 5260: 5258: 5256: 5254: 5252: 5250: 5248: 5141: 4855: 4348:Magnificat 5. Toni cum canticis Ecclesiasticis 4205: 3262: 2827:, the hymn "Vom Himmel hoch da komm ich her". 759:. During that mourning period, which ran from 428:, which is a particular German version of the 322:Johann Sebastian Bach § Leipzig (1723–50) 230:liturgical composition on a Latin text by Bach 7609:List of compositions by Johann Sebastian Bach 7336: 6297:(1862) Bach-Gesellschaft Ausgabe, Band 11.1. 5851: 5849: 5489:Johann Sebastian Bach: His Life, Art and Work 5246: 5244: 5242: 5240: 5238: 5236: 5234: 5232: 5230: 5228: 5138:Bach 1733 (autograph of D major version) 3514:Royal Library (later State Library) of Berlin 3153:The hymns added in the Christmas 1723 version 2686:("My spirit gives great praise to the Lord", 1745:Verse 10 and doxology (movements 11 and 12): 1545:orchestra. The chorus also sings in movement 1087: 356:Magnificat he had composed for Christmas 1722 336:Bach's known liturgical compositions in Latin 6387: 6355:(Eduard Müller). Kassel (etc.): Bärenreiter. 6353:Magnificat D-dur BWV 243: Klavierauszug 6294:, edited by Robert Franz. Breslau: Leuckart. 6201: 5998: 5994: 5403: 5401: 4791: 4789: 4764: 4443: 4069:"Jesus nahm zu sich die Zwölfe BWV 22; 3620: 3343: 3326:", is a variant of the opening verse of the 3278: 3223: 3194:", a hymn by Martin Luther paraphrasing the 3189: 1816:key (11, 12) ← "cantus firmus" movement (10) 1518: 1303:Et misericordia ejus a progenie in progenies 1124: 1065: 1010: 707: 518: 412:Traditional setting of the German Magnificat 398: 387: 377: 366: 16:Musical composition by Johann Sebastian Bach 6766: 5764: 5762: 5134: 5132: 4776:Ernst-Schertzhaffte und Satyrische Gedichte 4293: 4047: 4045: 3541:were recorded in the 1940s and appeared on 3380: 3327: 3321: 3144: 3121: 3060: 3051:, with a downward fourth on each syllable. 3046: 3040: 3032: 3025: 3011: 3005: 2999: 2992: 2962: 2951: 2937: 2931: 2924: 2905: 2890: 2871: 2851: 2844: 2817: 2797: 2791: 2785: 2763: 2680: 2565: 2437: 1600:both sopranos sing together with the alto. 1437:Sicut erat in principio, et nunc, et semper 604:. Magnificat composers like Johann Levini, 506: 451: 7352:Masses, magnificat, passions and oratorios 7343: 7329: 7130: 7122:: CS1 maint: location missing publisher ( 6529:J.-S. Bach : Passions, messes, motets 5970:"Bach's Magnificat: The Gramophone Choice" 5846: 5660: 5658: 5463: 5431:Kündlich groß ist das gottselige Geheimnis 5225: 4932: 3837:, with five vocal soloists without choir. 3623:Figuralchor der Gedächtniskirche Stuttgart 3456:Kündlich groß ist das gottselige Geheimnis 3352:For SSATB and violins, E-flat major, 2513: 2309: 2069: 1550: 1546: 1472: 1197: 823: 716:the words of the Magnificat are spoken by 446:'s German translation of the Magnificat (" 47: 7264:International Music Score Library Project 7260:Magnificat in D major (BWV 243) 7028: 6784: 6522: 6079: 6009: 5979: 5686: 5684: 5682: 5398: 5219: 5207: 5188: 5011: 4786: 4512: 4305: 4195:International Music Score Library Project 3999:International Music Score Library Project 3936: 3804:'s 2002 recording of BWV 243.1 with 3364: 3218:by imitating sections of the melody line 2979:Opening measures of Esurientes movement ( 1740:Verse 9 (movement 10): relative minor key 1094:Melchior Hoffmann (composer) § Style 354:, a former pupil of Kuhnau, who reused a 7280:"Frontispiece of the 1811 first edition" 7056: 6950: 6734:] (in Nepali). Universiteit Utrecht. 6648: 6616: 6581: 6376:Magnificat in D major, BWV 243 6334: 6292:Magnificat in D-Dur : Klavierauszug 5759: 5750:Bach's Magnificat & Vivaldi's Gloria 5598: 5129: 5075: 4654: 4452: 4422: 4407: 4274: 4113: 4101: 4042: 3965: 3305: 3179: 3054: 2974: 2864: 2834: 2475: 1778: 1689: 1664: 1597: 528:composed for Visitation of 1724, in the 514: 415: 316:Bach's tenure as Thomaskantor in Leipzig 7645:Compositions with natural trumpets in D 6894: 6873: 6709: 6438: 6158: 5655: 5395:Bach 1811, 1841, 1862, 1864, 1874, 1895 5345: 5299: 5191:, p. 11, figure 1, and surrounding text 5171: 5123: 5108: 5096: 5063: 4550: 4497: 4320: 4250: 4140: 3119:The work is concluded by the doxology, 2824: 2261: 2210: 1987: 1695: 1558: 1528: 1515:routine of Bach's sacred vocal works". 1267:Quia respexit humilitatem ancillae suae 751:, as part of the church service in the 382:on 30 May 1723, the first Sunday after 7622: 7035:Choral Masterworks: A Listener's Guide 6999: 6929: 6852: 6831: 6725: 6501: 5679: 5586: 5451: 5379: 5210:, p. 15, figure 3 and surrounding text 4999: 4623: 4535: 4482: 4367:Samuel-Scheidt-Werke-Verzeichnis, 2000 4229: 4152: 4128: 4036: 4021: 4009: 3019: 677:Preise dein Glücke, gesegnetes Sachsen 544:may however be the work of Bach pupil 7630:Compositions by Johann Sebastian Bach 7324: 7157: 7102: 6738: 6602: 6343:. Ernst Eulenburg and Edition Peters. 6192:Magnificat Es-dur: Herausgegeben von 5541: 5475: 5407: 5330: 5159: 4335: 4262: 3953: 3165: 3102:Performed by the Tudor Consort (2006) 2918: 2899: 2557: 2026: 1532: 1468: 1323:dispersit superbos mente cordis sui. 1060:describe as the circumstances around 771:which he dedicated to the successor, 650:Der Himmel lacht! Die Erde jubilieret 235:In 1723, after taking up his post as 7081: 7057:Stockigt, Janice B. (2013). "Bach's 6832:Porter, Christopher Michael (2008). 6811: 6715:"Keep it Short: J S Bach Magnificat" 6487:"Magnificat – John Rutter (b. 1945)" 6425: 5892: 5418: 4217: 3485:. In the 1840s a piano reduction by 3411: 3334:. The better known version from the 1935: 1827:Magnificat by Johann Sebastian Bach 1285:Quia fecit mihi magna qui potens est 397:, followed by a comparable cantata, 330:, on a mixed Greek and German text ( 6464: 6304:, edited by Wilhelm Rust. Leipzig: 6137:. Magnificat in E-flat major. 6118: 6039:Top 75 van de klassieke muziek 2007 5715: 5523:Carus 40.484, 1996. Foreword, p. VI 5370:. Leipzig: Christoph Klinger. 1682. 5025:Hickox/Collegium Musicum 90 (1992): 4470: 3088:Gloria Patri part of BWV 243.2 3069: 2830: 1792:key → "cantus firmus" movement (A) 1395:Abraham et semini ejus in saecula. 1393:Sicut locutus est ad patres nostros 690:Magnificat with such interpolations 552:Extended settings of the Magnificat 532:BWV 323 and 324, and in the fourth 402:Die Himmel erzählen die Ehre Gottes 326:Apart from an early setting of the 13: 7308:Keep it Short: J S Bach Magnificat 7269:Magnificat (Johann Sebastian Bach) 7252:(video and background information) 7192: 6791:: a Lutheran composer's challenge" 6550: 6484: 6398:. 2014b. p. 3. Archived from 6366:. Urtext of the New Bach Edition ( 6212:. 2014a. p. 3. Archived from 6063:and "Jesu bleibet meine Freude" – 5840: 5147: 3076: 2811: 2394: 2125: 1877: 1524: 14: 7656: 7239: 6446:. neiljenkins.info/. pp. 1–6 3188:The text is the first stanza of " 724:, both being pregnant, Mary with 304:) and on the three Marian feasts 7397:Kyrie–Gloria Masses, BWV 233–236 7200:Marshall, Robert Lewis (1989b). 7106:(1886). "The Magnificat in D.". 6267:Manuscript of BWV 243.2 at 6015: 5988: 5963: 5947: 5926: 5898: 5862: 5804: 5783: 5742: 5721: 4773:(=Christian Friedrich Henrici). 4056:Technische Universität Darmstadt 3418:Discography of Bach's Magnificat 3354: 3295: 3172:Vom Himmel hoch, da komm ich her 3110:Problems playing this file? See 3092: 2970: 2884: 2674: 2576: 2520: 2481: 2400: 2345: 2316: 2267: 2181: 2132: 2076: 2033: 1994: 1719:Verse 5 (movement 6): minor key 1439:et in saecula saeculorum. Amen. 1423: 1009:. Bach had taken up his post as 6880:. Kirk House. pp. 83–110. 6331:. Leipzig: Breitkopf und Härtel 6021:E.g., in 2007 only preceded by 5954:BACH, J.S. / KUHNAU: Magnificat 5646: 5625: 5604: 5565: 5556: 5547: 5526: 5504: 5497:. With notes and appendices by 5481: 5424: 5389: 5351: 5305: 5037: 5017: 4926: 4902: 4878: 4827: 4740: 4716: 4648: 4629: 4556: 4428: 4379: 4360: 4341: 4181: 4158: 4061: 3796: 3784:playing on period instruments. 3524: 3464: 3433: 3191:Vom Himmel hoch da komm ich her 3143:, the second part of the text, 2915:, flutes doubling the violins. 2784:to the tonic. The text remains 1730:Verse 7 (movement 8): minor key 1670:The continuo part is played by 1665:10th movement (Suscepit Israel) 1377:recordatus misericordiae suae. 1172:in the early 1740s Bach copied 702:Vom Himmel hoch da komm ich her 674:(1727) and the secular cantata 562:Being a quintessential part of 474:for which the last note of the 450:") is a German variant of the 376:. Bach assumed the position of 7506:Wer ist der, so von Edom kömmt 7067:. Cambridge University Press. 7016:John Alexander Fuller Maitland 7010:. Vol. II. Translated by 6364:Magnificat D-Dur, BWV 243 6243:1732–1735) Autograph: Berlin, 6236:. Magnificat in D major. 6154:) Note: Virga Jesse incomplete 5493:Translated from the German of 4566:" of Johann Sebastian Bach by 4189:Meine Seele erhebet den Herren 3988: 3971: 3898: 3881: 3277:The text of this movement is " 2945: 1321:Fecit potentiam in brachio suo 662:his Mass for the Dresden court 370:Du wahrer Gott und Davids Sohn 1: 7064:Exploring Bach's B-minor Mass 6793:. In Don O., Franklin (ed.). 6785:Marshall, Robert L. (1989a). 6567:Lowther Clarke, W.K. (1922). 6359: 6348: 6240: 5859:. University of Georgia, 1997 4910:"Magnificat in C BWV Anh. 30" 4886:"Suscepit Israel, e BWV 1082" 4582:, Volume 4:1. Leipzig, 1754. 4435:Bach-Werke-Verzeichnis (1998) 4167:Meine Seele erhebt den Herren 3874: 3715:his a cappella setting (1989) 3454:) to form a Christmas motet, 1774:Meine Seele erhebt den Herren 1166:Meine Seele erhebet den Herrn 856: 448:Meine Seele erhebt den Herren 438:Meine Seele erhebt den Herren 361:Jesus nahm zu sich die Zwölfe 133: 7273:Choral Public Domain Library 7166:Archiv für Musikwissenschaft 7002:"Book V: Leipzig, 1723–1734" 6773:Führer durch den Konzertsaal 6159:Pölchau, Georg, ed. (1811). 5811:Vaughan Williams: Magnificat 5290:Autograph at bach-digital.de 4749:Meine Seele rühmt und preist 4645:XXXVI (3), 1955, pp. 233–236 3407:For S B, F major, 12/8. 2740: 2722: 2682:Magnificat anima mea Dominum 1603: 1500:Fragment of a Christmas hymn 1149:Meine Seele rühmt und preist 1144:Meine Seel erhebt den Herren 1019:The Christmas interpolations 769:Kyrie-Gloria mass in B minor 558:List of Magnificat composers 522:Meine Seel erhebt den Herren 7: 7511:includes BWV 1088 and 6951:Schröder, Dorothea (2012). 6936:. Oxford University Press. 6677:Evangelische Verlagsanstalt 6671:(in German). Vol. 95. 6588:. Ashgate Publishing, Ltd. 4961:Evangelische Verlagsanstalt 4955:(in German). Vol. 98. 4694:Evangelische Verlagsanstalt 4688:(in German). Vol. 68. 3263:B. Freut euch und jubiliert 2175:B. Freut euch und jubiliert 1375:Suscepit Israel puerum suum 1359:et divites dimisit inanes. 1213:Traditional verse division 765:fourth Sunday after Trinity 720:when she visits her cousin 666:Sanctus for six vocal parts 442:The traditional setting of 10: 7661: 7112:. Chicago. pp. 49–50. 6649:Glöckner, Andreas (2009). 6582:Lundberg, Mattias (2012). 6245:Staatsbibliothek zu Berlin 6111: 6051:; in 2014 also 5th, after 4568:Carl Philipp Emmanuel Bach 3707:extended setting (1973–74) 3440:Magnificat in D major 3415: 3368: 3309: 3266: 3200:adoration of the shepherds 3169: 2819:Et exultavit spiritus meus 2667: 1247:Et exultavit spiritus meus 1091: 1088:Other Magnificats by Bach? 1022: 830:Adoration of the Shepherds 788:Gottfried Heinrich Stölzel 763:(15 February) to the 704:" as first interpolation. 597:Vespro della Beata Vergine 555: 536:BWV 648. Also in BWV 733, 435: 426:Luther's German Magnificat 319: 291: 7599: 7524: 7423: 7364: 6895:Rizzuti, Alberto (2013). 6859:. Yale University Press. 6787:"On the origin of Bach's 6027:Jesu bleibet meine Freude 5695:BWV 243a, Recordings 4933:Thielemann, Arne (2012). 4861:Kirsten Beißwenger (ed.) 4747:Georg Melchior Hoffmann: 4572:Johann Friedrich Agricola 3651:Südwestdeutscher Rundfunk 3641:Süddeutscher Madrigalchor 3539:Boston Symphony Orchestra 3510:The Book of Common Prayer 3001:Esurientes implevit bonis 2846:Quia respexit humilitatem 2470: 2340: 2205: 2020: 1869: 1866: 1863: 1858: 1855: 1852: 1849: 1844: 1841: 1834: 1829: 1826: 1575: 1519:Scoring and key signature 1415: 1357:Esurientes implevit bonis 1339:Deposuit potentes de sede 1218: 1215: 1212: 1162:his 1728–29 cantata cycle 1110:Johann Friedrich Agricola 1072:(rocking of the cradle). 950: 937: 929: 918: 901: 877: 866: 851: 841: 822: 814: 804: 799: 708:The Visitation version(s) 602:Latin Magnificat, SWV 468 519: 399: 388: 367: 271:catalogue of Bach's works 269:(previously 243a) in the 163: 150: 142: 128: 114: 93: 82: 71: 61: 46: 38: 28: 23: 7250:Netherlands Bach Society 7082:Taft, Robert F. (1986). 7000:Spitta, Philipp (1884). 6502:Butler, Gregory (2008). 6095:(in German). 9 June 2010 6065:Klara Top 100 – De stand 5905:Magnificat BWV 243a 5367:Neu Leipziger Gesangbuch 3676:Academy of Ancient Music 3617:Bach-Collegium Stuttgart 3400:Neu Leipziger Gesangbuch 1837:Visitation 1733 version 1788:Two movements (1, 2) in 1483:A: Hymn by Martin Luther 538:Fuga sopra il Magnificat 486:below its opening note. 391:Die Elenden sollen essen 276:Likely for the feast of 259:he inserted four hymns ( 7588:Ascension Oratorio 7534:Christmas Oratorio 7137:The Magnificat and the 7040:Oxford University Press 6750:Oxford University Press 6573:. S.P.C.K. – via 6140:(1720–1739) Autograph: 5454:, p. 376, footnote 373. 4662:[The music for the 4580:Musikalische Bibliothek 3827:Deutsche Harmonia Mundi 3770:Regensburger Domspatzen 3713:uses na SSATB choir in 3695:Vaughan Williams (1932) 3643:appeared in the 1970s. 3206:. Bach sets this first 3146:Sicut erat in principio 2853:ecce enim ex hoc beatam 2745:download the audio file 2727:download the audio file 2567:Sicut erat in principio 1832:Christmas 1723 version 1486:B: Verse attributed to 1287:et sanctum nomen ejus. 1198:Structure and movements 1112:and the composer's son 698:Geistliche Konzerte III 458:, a rather exceptional 255:. For a performance at 7440:includes BWV 1084 7158:Zenck, Martin (1986). 6982:Breitkopf & Härtel 6904:Gli Spazi della Musica 6838:Doctor of Musical Arts 6778:Breitkopf & Härtel 6726:Jansen, Frans (2006). 6638:10.13141/bjb.v20031781 6461:Bach, Johann Sebastian 6439:Jenkins, Neil (2000). 6420:Bach, Johann Sebastian 6306:Breitkopf & Härtel 6234:Bach, Johann Sebastian 6186:Breitkopf & Härtel 6163:(1st ed.). Bonn: 6135:Bach, Johann Sebastian 5510:Pietro Zappalà (ed.) 5495:Johann Nikolaus Forkel 4801:Bach Werke Verzeichnis 4054:at the website of the 3778:Motettenchor Pforzheim 3621: 3615:'s recording with the 3381: 3365:D. Virga Jesse floruit 3344: 3328: 3322: 3312:Gloria in excelsis Deo 3279: 3224: 3190: 3185: 3145: 3122: 3081: 3061: 3047: 3041: 3033: 3026: 3012: 3006: 3000: 2993: 2988: 2963: 2952: 2938: 2932: 2925: 2906: 2891: 2872: 2852: 2845: 2840: 2818: 2798: 2792: 2786: 2764: 2681: 2649:Johann Philipp Krieger 2566: 2438:D. Virga Jesse floruit 1784: 1551:11 (Sicut locutus est) 1547:4 (Omnes generationes) 1411:Gloria Patri, et Filio 1341:et exaltavit humiles. 1125: 1066: 1011: 933:12 (+ 4 for Christmas) 530:chorale harmonisations 507: 452: 433: 378: 7357:Johann Sebastian Bach 7271:: Free scores at the 6993:Johann Sebastian Bach 6977:Johann Sebastian Bach 6954:Johann Sebastian Bach 6673:Neue Bachgesellschaft 6280:Composer's Manuscript 5499:Charles Sanford Terry 4957:Neue Bachgesellschaft 4690:Neue Bachgesellschaft 4668:Schulze, Hans-Joachim 4664:New Church in Leipzig 4635:Frederick Hudson and 3806:Collegium Vocale Gent 3637:Deutsche Bachsolisten 3559:Elisabeth Schwarzkopf 3508:based on the text in 3389:hath flourished, Our 3306:C. Gloria in excelsis 3183: 3131:. After changing the 3080: 3055:11. Sicut locutus est 2978: 2892:Quia fecit mihi magna 2865:4. Omnes generationes 2838: 2514:11. Sicut locutus est 2310:C. Gloria in excelsis 2070:4. Omnes generationes 1782: 1690:Symmetrical structure 1249:in Deo salutari meo. 991:In 2003 Bach scholar 775:, in a letter signed 773:Frederick Augustus II 686:Hieronymus Praetorius 491:Johann Hermann Schein 419: 210:Johann Sebastian Bach 53:First page of Bach's 7580:Easter Oratorio 7088:. Liturgical Press. 6812:Oron, Aryeh (2012). 6768:Kretzschmar, Hermann 6752:. pp. 131–136. 6740:Jones, Richard D. P. 6711:Hogwood, Christopher 5126:, Introduction p. 5. 4963:. pp. 217–224. 4922:; et al. 2019-02-14. 4898:; et al. 2019-09-20. 4851:; et al. 2020-07-21. 4736:; et al. 2019-03-11. 3754:Bach Collegium Japan 3680:Nicolaus Harnoncourt 3557:, the last one with 2964:et exaltavit humiles 2879:Bach in his Passions 2346:8. Deposuit potentes 1598:10 (Suscepit Israel) 1413:et Spiritui Sancto. 1114:Carl Philipp Emanuel 1001: major version 885:Luke 1:46–55 792:Mass in B minor 515:10 (Suscepit Israel) 101:Luke 1:46–55 7640:Magnificat settings 7316:Christopher Hogwood 7225:. classicstoday.com 7022:. pp. 181–648. 6930:Shrock, D. (2009). 6910:(2). ojs.unito.it. 6853:Rathey, M. (2016). 6679:. pp. 95–115. 6317:. Leipzig: Leuckart 5748:Nicholas Anderson. 4696:. pp. 97–102. 4642:Music & Letters 4206:Lowther Clarke 1922 3802:Philippe Herreweghe 3756:had been released. 3734:Philippe Herreweghe 3688:John Eliot Gardiner 3629:Wolfgang Gönnenwein 3555:Herbert von Karajan 3452:Carl Heinrich Graun 3371:Virga Jesse floruit 3204:Luke 2:8–18 3020:10. Suscepit Israel 2825:first interpolation 2476:10. Suscepit Israel 1559:A (Vom Himmel hoch) 1529:7 (Fecit potentiam) 1229:anima mea Dominum. 757:Augustus the Strong 728:and Elizabeth with 578:text that was most 546:Johann Ludwig Krebs 432:or tonus peregrinus 247:composition in the 7473:St Matthew Passion 7366:Latin church music 7206:. Schirmer Books. 7132:Schweitzer, Albert 7042:. pp. 31–34. 7030:Steinberg, Michael 6685:10.13141/bjb.v2009 6665:Bach Yearbook 2009 6660:Bach-Jahrbuch 2009 6575:Project Canterbury 6470:Leipzig University 6405:on 15 October 2014 6219:on 15 October 2014 6061:Christmas Oratorio 6053:St Matthew Passion 6031:Christmas Oratorio 6023:St Matthew Passion 5910:2015-07-21 at the 5589:, pp. 81, 87. 5519:2015-01-07 at the 5358:Gottfried Vopelius 5050:2018-01-26 at the 5030:2021-03-06 at the 4969:10.13141/bjb.v2012 4949:Bach Yearbook 2012 4944:Bach-Jahrbuch 2012 4702:10.13141/bjb.v1982 4682:Bach Yearbook 1982 4677:Bach-Jahrbuch 1982 4165:Choralbearbeitung 4077:Leipzig University 3823:Thomas Hengelbrock 3766:Gächinger Kantorei 3746:Harry Christophers 3535:Serge Koussevitzky 3483:St Matthew Passion 3395:Gottfried Vopelius 3375:BWV 243.1 § D 3316:BWV 243.1 § C 3269:BWV 243.1 § B 3246:Christmas Oratorio 3220:in diminished time 3186: 3176:BWV 243.1 § A 3166:A. Vom Himmel hoch 3082: 3007:et divites dimisit 2989: 2919:7. Fecit potentiam 2900:6. Et misericordia 2873:Omnes generationes 2841: 2796:. All parts sing " 2653:Magnificat of 1685 2564: 2436: 2308: 2262:7. Fecit potentiam 2211:6. Et misericordia 2173: 1988:A. Vom Himmel hoch 1986: 1785: 1473:Omnes generationes 1219:Bach's Magnificat 1040:The text of these 671:St Matthew Passion 657:Jesu, meine Freude 641:Magnificat setting 592:Claudio Monteverdi 580:often set to music 503:Dietrich Buxtehude 434: 352:Christoph Graupner 7635:1733 compositions 7617: 7616: 7302:Magnificat (MIDI) 7284:Auction catalogue 7213:978-0-02-871781-4 7175:978-3-515-03312-1 7150:978-0-486-21632-4 7095:978-0-8146-1405-1 7074:978-1-107-00790-1 6964:978-0-19-969628-4 6943:978-0-19-971662-3 6933:Choral Repertoire 6887:978-1-932688-11-5 6866:978-0-300-21951-7 6804:978-0-521-34105-9 6759:978-0-19-969628-4 6694:978-3-374-02749-1 6618:Glöckner, Andreas 6595:978-1-4094-5507-3 6543:978-2-213-66547-4 6524:Cantagrel, Gilles 6515:978-0-252-03165-6 6092:Neue Musikzeitung 5999:Bärenreiter 2014b 5995:Bärenreiter 2014a 5818:978-0-19-339154-3 4978:978-3-374-02668-5 4819:978-3-7651-0249-3 4656:Glöckner, Andreas 4425:, pp. 39–53. 4308:, pp. 12–13. 4253:, pp. 102ff. 4155:, pp. 283ff. 4104:, pp. 10–11. 4012:, pp. 263ff. 3829:in 2008. In 2009 3818:Amsterdam Baroque 3812:in 2003. In 2003 3722:Sigiswald Kuijken 3659:Hildegard Laurich 3586:Leonard Bernstein 3566:Neue Bach Ausgabe 3491:Bach-Gesellschaft 3476:Felix Mendelssohn 3412:Reception history 3340:Luke 2:14 3159:Bach Gesellschaft 3097: 3062:Sicut locutus est 2953:Deposuit potentes 2749: 2731: 2688:Luke 1:46 2645: 2644: 1812:Two movements in 1610:Baroque orchestra 1596:(b). In movement 1533:12 (Gloria patri) 1494:Luke 2:14 1461: 1460: 1399:Luke 1:55 1381:Luke 1:54 1363:Luke 1:53 1345:Luke 1:52 1327:Luke 1:51 1309:Luke 1:50 1291:Luke 1:49 1277:movement 3 and 4 1273:Luke 1:48 1254:Luke 1:47 1234:Luke 1:46 1140:Melchior Hoffmann 1127:Kleine Magnificat 1119:German Magnificat 989: 988: 761:Sexagesima Sunday 610:Francesco Durante 408:the next Sunday. 308:, Visitation and 253:E-flat major 226:Baroque orchestra 207: 206: 7652: 7447:Weimarer Passion 7359: 7345: 7338: 7331: 7322: 7321: 7298: 7296: 7294: 7262:: Scores at the 7234: 7232: 7230: 7221:Vernier, David. 7217: 7187: 7154: 7139:St. John Passion 7127: 7121: 7113: 7104:Upton, George P. 7099: 7078: 7053: 7023: 7020:Novello & Co 6980:, Zweiter Band. 6968: 6947: 6926: 6924: 6922: 6901: 6891: 6870: 6849: 6828: 6826: 6824: 6808: 6781: 6763: 6735: 6718: 6706: 6645: 6640:. Archived from 6613: 6599: 6578: 6563: 6547: 6519: 6498: 6496: 6494: 6481: 6479: 6477: 6455: 6453: 6451: 6445: 6434: 6414: 6412: 6410: 6404: 6393: 6361: 6350: 6344: 6302:und vier Sanctus 6300:Magnificat D dur 6276: 6273: 6271: 6266: 6264: 6262: 6242: 6228: 6226: 6224: 6218: 6207: 6176: 6153: 6150: 6148: 6131: 6129: 6127: 6105: 6104: 6102: 6100: 6083: 6077: 6076: 6073: 6071: 6050: 6047: 6045: 6019: 6013: 6007: 6001: 5992: 5986: 5983: 5977: 5967: 5961: 5951: 5945: 5944: 5941: 5939: 5930: 5924: 5923: 5920: 5918: 5902: 5896: 5890: 5881: 5880: 5877: 5875: 5866: 5860: 5855:David G. Dover. 5853: 5844: 5838: 5832: 5831: 5828: 5826: 5825:.prestoclassical 5824: 5808: 5802: 5801: 5798: 5796: 5787: 5781: 5780: 5777: 5775: 5766: 5757: 5746: 5740: 5739: 5736: 5734: 5725: 5719: 5713: 5707: 5706: 5703: 5701: 5694: 5688: 5677: 5676: 5673: 5671: 5662: 5653: 5650: 5644: 5643: 5640: 5638: 5629: 5623: 5622: 5619: 5617: 5608: 5602: 5596: 5590: 5584: 5578: 5569: 5563: 5560: 5554: 5551: 5545: 5539: 5533: 5530: 5524: 5508: 5502: 5485: 5479: 5473: 5467: 5461: 5455: 5449: 5443: 5442: 5439: 5437: 5428: 5422: 5416: 5410: 5405: 5396: 5393: 5387: 5377: 5371: 5355: 5349: 5343: 5334: 5328: 5322: 5321: 5318: 5312:JS Bach; Vivaldi 5309: 5303: 5297: 5291: 5288: 5223: 5222:, p. 31–32. 5217: 5211: 5205: 5192: 5186: 5175: 5169: 5163: 5157: 5151: 5145: 5139: 5136: 5127: 5121: 5112: 5106: 5100: 5094: 5079: 5073: 5067: 5061: 5055: 5045:Dudamel/LA Phil: 5041: 5035: 5021: 5015: 5009: 5003: 4997: 4991: 4990: 4930: 4924: 4923: 4906: 4900: 4899: 4882: 4876: 4869:New Bach Edition 4859: 4853: 4852: 4831: 4825: 4793: 4784: 4768: 4762: 4761: 4758: 4756: 4744: 4738: 4737: 4720: 4714: 4713: 4672:Wolff, Christoph 4652: 4646: 4633: 4627: 4626:, pp. 374ff 4621: 4586: 4560: 4554: 4548: 4539: 4538:, pp. 369ff 4533: 4516: 4510: 4501: 4495: 4486: 4480: 4474: 4468: 4455: 4450: 4441: 4432: 4426: 4420: 4411: 4405: 4396: 4395: 4392: 4383: 4377: 4376: 4373: 4364: 4358: 4357: 4354: 4345: 4339: 4333: 4324: 4318: 4309: 4303: 4297: 4294:Kretzschmar 1921 4291: 4278: 4272: 4266: 4260: 4254: 4248: 4233: 4227: 4221: 4215: 4209: 4203: 4197: 4193:: Scores at the 4185: 4179: 4178: 4175: 4162: 4156: 4150: 4144: 4138: 4132: 4126: 4117: 4111: 4105: 4099: 4090: 4088: 4086: 4084: 4072: 4065: 4059: 4049: 4040: 4034: 4025: 4019: 4013: 4007: 4001: 3997:: Scores at the 3992: 3986: 3975: 3969: 3963: 3957: 3951: 3940: 3934: 3913: 3902: 3896: 3885: 3866: 3835:Ricercar Consort 3831:Philippe Pierlot 3808:was released by 3738:Neville Marriner 3667:Michael Schopper 3626: 3606:Daniel Barenboim 3461: 3428:New Bach Edition 3384: 3359: 3358: 3347: 3333: 3325: 3300: 3299: 3292: 3282: 3252: 3227: 3212:chorale fantasia 3193: 3148: 3125: 3099: 3098: 3079: 3070:12. Gloria patri 3064: 3050: 3044: 3038: 3035:tonus peregrinus 3029: 3016:(empty-handed). 3015: 3009: 3003: 2996: 2966: 2955: 2941: 2939:mente cordis sui 2935: 2928: 2909: 2894: 2875: 2855: 2848: 2831:3. Quia respexit 2821: 2801: 2795: 2789: 2767: 2684: 2615: 2614: 2598: 2597: 2596: 2595: 2581: 2580: 2570: 2569: 2558:12. Gloria Patri 2539: 2538: 2525: 2524: 2516: 2486: 2485: 2456: 2455: 2454: 2453: 2440: 2405: 2404: 2386: 2385: 2363: 2362: 2361: 2360: 2335: 2334: 2321: 2320: 2312: 2288: 2287: 2272: 2271: 2248: 2228: 2227: 2226: 2225: 2200: 2199: 2186: 2185: 2177: 2152: 2151: 2137: 2136: 2128: 2115: 2114: 2106: 2103: 2090: 2081: 2080: 2072: 2038: 2037: 2029: 2027:3. Quia respexit 2015: 2014: 1999: 1998: 1990: 1968: 1967: 1954: 1953: 1952: 1951: 1938: 1912: 1911: 1895: 1894: 1893: 1892: 1830:BWV 243.1 (243a) 1824: 1823: 1770:Lutheran chorale 1570:natural trumpets 1540: 1539: 1488:Sethus Calvisius 1456: 1455: 1454: 1453: 1428: 1427: 1305:timentibus eum. 1256: 1236: 1210: 1209: 1187: 1137: 1130: 1071: 1014: 1000: 999: 993:Andreas Glöckner 972: 967: 959: 944: 871:Lutheran vespers 861: 858: 855:BWV 243.2 ( 827: 797: 796: 785: 778: 750: 730:John the Baptist 534:Schübler Chorale 527: 526: 512: 499:Johann Pachelbel 457: 454:tonus peregrinus 407: 406: 396: 395: 381: 375: 374: 190: 185: 180: 172: 157: 138: 135: 87:Lutheran vespers 51: 21: 20: 7660: 7659: 7655: 7654: 7653: 7651: 7650: 7649: 7620: 7619: 7618: 7613: 7595: 7594: 7520: 7519: 7499:St Mark Passion 7492:St Luke Passion 7454:St John Passion 7419: 7418: 7375:Mass in B minor 7360: 7355: 7349: 7312:Gresham College 7292: 7290: 7278: 7242: 7237: 7228: 7226: 7220: 7214: 7199: 7195: 7193:Further reading 7190: 7176: 7151: 7115: 7114: 7096: 7075: 7050: 6972:Spitta, Philipp 6965: 6944: 6920: 6918: 6899: 6888: 6867: 6822: 6820: 6805: 6760: 6720:Gresham College 6695: 6596: 6544: 6536:. p. 260. 6516: 6492: 6490: 6489:. choirs.org.uk 6475: 6473: 6449: 6447: 6443: 6408: 6406: 6402: 6391: 6341:Arnold Schering 6268: 6260: 6258: 6250: 6222: 6220: 6216: 6205: 6145: 6125: 6123: 6114: 6109: 6108: 6098: 6096: 6085: 6084: 6080: 6068: 6057:Bist du bei mir 6042: 6035:Mass in B minor 6020: 6016: 6008: 6004: 5993: 5989: 5984: 5980: 5968: 5964: 5952: 5948: 5936: 5931: 5927: 5915: 5912:Wayback Machine 5903: 5899: 5891: 5884: 5872: 5867: 5863: 5854: 5847: 5839: 5835: 5821: 5809: 5805: 5793: 5788: 5784: 5772: 5767: 5760: 5747: 5743: 5731: 5726: 5722: 5714: 5710: 5698: 5692: 5689: 5680: 5668: 5663: 5656: 5651: 5647: 5635: 5630: 5626: 5614: 5609: 5605: 5597: 5593: 5585: 5581: 5570: 5566: 5561: 5557: 5553:Bach/Franz 1864 5552: 5548: 5544:, pp. 3–5. 5540: 5536: 5532:Bach/Rust 1862. 5531: 5527: 5521:Wayback Machine 5509: 5505: 5486: 5482: 5474: 5470: 5464:Schweitzer 1966 5462: 5458: 5450: 5446: 5434: 5429: 5425: 5417: 5413: 5406: 5399: 5394: 5390: 5378: 5374: 5356: 5352: 5344: 5337: 5329: 5325: 5317:classical-music 5315: 5310: 5306: 5298: 5294: 5289: 5226: 5218: 5214: 5206: 5195: 5187: 5178: 5170: 5166: 5158: 5154: 5146: 5142: 5137: 5130: 5122: 5115: 5107: 5103: 5095: 5082: 5074: 5070: 5062: 5058: 5052:Wayback Machine 5042: 5038: 5032:Wayback Machine 5022: 5018: 5014:, pp. 8ff. 5010: 5006: 4998: 4994: 4979: 4931: 4927: 4907: 4903: 4883: 4879: 4860: 4856: 4832: 4828: 4794: 4787: 4769: 4765: 4753: 4745: 4741: 4721: 4717: 4653: 4649: 4634: 4630: 4622: 4589: 4561: 4557: 4549: 4542: 4534: 4519: 4511: 4504: 4496: 4489: 4481: 4477: 4469: 4458: 4451: 4444: 4433: 4429: 4421: 4414: 4406: 4399: 4389: 4384: 4380: 4370: 4365: 4361: 4351: 4346: 4342: 4334: 4327: 4319: 4312: 4304: 4300: 4296:, p. 394f. 4292: 4281: 4277:, introduction. 4273: 4269: 4261: 4257: 4249: 4236: 4228: 4224: 4216: 4212: 4204: 4200: 4186: 4182: 4172: 4163: 4159: 4151: 4147: 4143:, pp. 2–4. 4139: 4135: 4127: 4120: 4112: 4108: 4100: 4093: 4082: 4080: 4070: 4067: 4066: 4062: 4050: 4043: 4035: 4028: 4020: 4016: 4008: 4004: 3993: 3989: 3976: 3972: 3964: 3960: 3952: 3943: 3935: 3916: 3903: 3899: 3886: 3882: 3877: 3860: 3799: 3782:L'arpa festante 3772:, and one with 3768:, one with the 3684:Helmuth Rilling 3613:Helmuth Rilling 3602:Karl Münchinger 3594:Karl Ristenpart 3531:Arnold Schering 3527: 3467: 3459: 3436: 3420: 3414: 3377: 3367: 3353: 3318: 3308: 3294: 3288: 3275: 3265: 3250: 3239:, one of a few 3225:Vom Himmel hoch 3196:annunciation to 3178: 3168: 3155: 3117: 3116: 3108: 3106: 3105: 3104: 3103: 3100: 3093: 3090: 3083: 3077: 3072: 3057: 3027:Suscepit Israel 3022: 2983:source code by 2973: 2948: 2926:Fecit potentiam 2921: 2907:Et misericordia 2902: 2887: 2867: 2833: 2814: 2812:2. Et exultavit 2751: 2750: 2748: 2733: 2732: 2730: 2677: 2672: 2666: 2638: 2621: 2612: 2611: 2594: 2589: 2588: 2587: 2586: 2585: 2583: 2575: 2563: 2561: 2536: 2535: 2519: 2512: 2480: 2452: 2447: 2446: 2445: 2444: 2443: 2435: 2399: 2383: 2382: 2359: 2354: 2353: 2352: 2351: 2350: 2332: 2331: 2315: 2307: 2285: 2284: 2266: 2246: 2224: 2219: 2218: 2217: 2216: 2215: 2197: 2196: 2180: 2172: 2149: 2148: 2131: 2124: 2112: 2111: 2104: 2101: 2088: 2075: 2068: 2032: 2025: 2012: 2011: 1993: 1985: 1965: 1964: 1950: 1945: 1944: 1943: 1942: 1941: 1936:2. Et exultavit 1934: 1909: 1908: 1891: 1886: 1885: 1884: 1883: 1882: 1871: 1860: 1836: 1835:BWV 243.2 (243) 1831: 1698:Fecit potentiam 1692: 1628:(Ti, tonic and 1606: 1578: 1537: 1536: 1521: 1452: 1447: 1446: 1445: 1444: 1443: 1438: 1422: 1412: 1394: 1376: 1358: 1340: 1322: 1304: 1286: 1268: 1252: 1248: 1232: 1228: 1200: 1183: 1174:Antonio Caldara 1132: 1096: 1090: 1027: 1021: 997: 996: 985: 970: 965: 957: 914: 897: 859: 837: 810: 783: 776: 748: 710: 626:Tomaso Albinoni 582:apart from the 560: 554: 542:chorale prelude 495:Heinrich Schütz 476:melodic formula 464:Gregorian chant 440: 414: 324: 318: 294: 203: 189:2 oboes d'amore 188: 183: 178: 170: 136: 124: 110: 57: 55:autograph score 34: 17: 12: 11: 5: 7658: 7648: 7647: 7642: 7637: 7632: 7615: 7614: 7612: 7611: 7606: 7600: 7597: 7596: 7593: 7592: 7584: 7582:, BWV 249 7576: 7575: 7574: 7569: 7564: 7559: 7554: 7549: 7543: 7536:, BWV 248 7529: 7528: 7526: 7522: 7521: 7518: 7517: 7516: 7515: 7502: 7495: 7488: 7487: 7486: 7481: 7469: 7468: 7467: 7462: 7450: 7443: 7442: 7441: 7430: 7429: 7427: 7421: 7420: 7417: 7416: 7415: 7414: 7409: 7399: 7394: 7393: 7392: 7387: 7382: 7371: 7370: 7368: 7362: 7361: 7348: 7347: 7340: 7333: 7325: 7319: 7318: 7305: 7299: 7276: 7266: 7253: 7241: 7240:External links 7238: 7236: 7235: 7218: 7212: 7196: 7194: 7191: 7189: 7188: 7174: 7155: 7149: 7128: 7100: 7094: 7079: 7073: 7054: 7048: 7026: 7025: 7024: 6997: 6969: 6963: 6948: 6942: 6927: 6892: 6886: 6871: 6865: 6850: 6829: 6809: 6803: 6782: 6764: 6758: 6736: 6723: 6707: 6693: 6646: 6644:on 2014-10-16. 6614: 6612:. H. Karmrodt. 6600: 6594: 6579: 6564: 6560:Emmanuel Music 6552:Dellal, Pamela 6548: 6542: 6520: 6514: 6499: 6485:Bawden, John. 6482: 6458: 6457: 6456: 6435: 6429:, ed. (1955). 6417: 6416: 6415: 6384: 6371: 6356: 6345: 6332: 6325: 6318: 6309: 6295: 6288: 6287: 6286: 6277: 6231: 6230: 6229: 6198: 6188: 6178: 6155: 6132: 6115: 6113: 6110: 6107: 6106: 6078: 6014: 6010:Steinberg 2005 6002: 5987: 5978: 5962: 5946: 5940:.muziekcentrum 5925: 5919:.harmoniamundi 5897: 5882: 5876:.bach-cantatas 5861: 5845: 5833: 5803: 5797:.bach-cantatas 5782: 5776:.bach-cantatas 5758: 5741: 5720: 5708: 5702:.bach-cantatas 5691:Magnificat in 5678: 5672:.bach-cantatas 5654: 5645: 5639:.bach-cantatas 5624: 5618:.bach-cantatas 5603: 5591: 5579: 5571:Tobias Grill. 5564: 5555: 5546: 5534: 5525: 5503: 5480: 5468: 5466:, p. 166. 5456: 5444: 5423: 5411: 5397: 5388: 5372: 5350: 5335: 5323: 5304: 5302:, p. 105. 5292: 5224: 5220:Steinberg 2005 5212: 5208:Marshall 1989a 5193: 5189:Marshall 1989a 5176: 5164: 5162:, p. 135. 5152: 5140: 5128: 5113: 5101: 5080: 5068: 5056: 5036: 5016: 5012:Marshall 1989a 5004: 4992: 4977: 4925: 4901: 4877: 4854: 4826: 4785: 4763: 4739: 4715: 4647: 4628: 4587: 4555: 4540: 4517: 4513:Cantagrel 2011 4502: 4487: 4475: 4456: 4442: 4427: 4412: 4397: 4378: 4359: 4340: 4338:, p. 133. 4325: 4310: 4306:Marshall 1989a 4298: 4279: 4267: 4255: 4234: 4222: 4210: 4198: 4180: 4169:(Fuge) BWV 733 4157: 4145: 4133: 4118: 4106: 4091: 4060: 4041: 4039:, p. 279. 4026: 4024:, p. 265. 4014: 4002: 3987: 3970: 3958: 3941: 3937:Steinberg 2005 3914: 3897: 3879: 3878: 3876: 3873: 3858:Top 75/Top 100 3810:Harmonia Mundi 3798: 3795: 3774:Rolf Schweizer 3758:Philip Pickett 3742:Peter Schreier 3730:Andrew Parrott 3663:Adalbert Kraus 3551:Otto Klemperer 3526: 3523: 3518:Philipp Spitta 3506:John Troutbeck 3466: 3463: 3435: 3432: 3413: 3410: 3409: 3408: 3366: 3363: 3362: 3361: 3307: 3304: 3303: 3302: 3264: 3261: 3167: 3164: 3154: 3151: 3133:time signature 3107: 3101: 3091: 3086: 3085: 3084: 3075: 3074: 3073: 3071: 3068: 3056: 3053: 3021: 3018: 2972: 2969: 2947: 2944: 2920: 2917: 2901: 2898: 2886: 2883: 2866: 2863: 2832: 2829: 2813: 2810: 2809: 2808: 2805: 2804: 2803: 2777: 2773: 2755: 2754: 2753: 2752: 2742: 2739: 2734: 2724: 2721: 2713: 2712: 2711: 2710: 2706: 2676: 2673: 2665: 2662: 2643: 2642: 2633: 2630: 2625: 2616: 2608: 2603: 2600: 2590: 2572: 2553: 2552: 2549: 2546: 2543: 2540: 2532: 2529: 2526: 2517: 2509: 2508: 2505: 2502: 2499: 2496: 2493: 2490: 2487: 2478: 2472: 2471: 2469: 2466: 2463: 2460: 2457: 2448: 2441: 2432: 2431: 2428: 2423: 2420: 2417: 2412: 2409: 2406: 2397: 2391: 2390: 2387: 2379: 2376: 2373: 2370: 2367: 2364: 2355: 2348: 2342: 2341: 2339: 2336: 2328: 2325: 2322: 2313: 2304: 2303: 2300: 2297: 2292: 2289: 2281: 2276: 2273: 2264: 2258: 2257: 2254: 2249: 2243: 2240: 2235: 2232: 2229: 2220: 2213: 2207: 2206: 2204: 2201: 2193: 2190: 2187: 2178: 2169: 2168: 2165: 2160: 2157: 2154: 2144: 2141: 2138: 2129: 2121: 2120: 2117: 2107: 2099: 2096: 2091: 2085: 2082: 2073: 2065: 2064: 2061: 2056: 2053: 2050: 2045: 2042: 2039: 2030: 2022: 2021: 2019: 2016: 2008: 2006: 2000: 1991: 1982: 1981: 1978: 1975: 1972: 1969: 1961: 1958: 1955: 1946: 1939: 1931: 1930: 1927: 1922: 1917: 1914: 1904: 1899: 1896: 1887: 1880: 1874: 1873: 1868: 1865: 1862: 1857: 1854: 1851: 1848: 1843: 1842:No. and title 1839: 1838: 1833: 1828: 1818: 1817: 1810: 1809: 1808: 1805: 1804: 1803: 1765: 1764: 1761: 1758: 1750: 1749: 1743: 1742: 1741: 1738: 1737: 1736: 1733: 1732: 1731: 1728: 1727: 1726: 1696:7th movement ( 1691: 1688: 1642:basso continuo 1605: 1602: 1577: 1574: 1525:1 (Magnificat) 1523:The movements 1520: 1517: 1503: 1502: 1496: 1490: 1484: 1459: 1458: 1448: 1440: 1435: 1431: 1430: 1419: 1414: 1409: 1405: 1404: 1401: 1396: 1391: 1387: 1386: 1383: 1378: 1373: 1369: 1368: 1365: 1360: 1355: 1351: 1350: 1347: 1342: 1337: 1333: 1332: 1329: 1324: 1319: 1315: 1314: 1311: 1306: 1301: 1297: 1296: 1293: 1288: 1283: 1279: 1278: 1275: 1270: 1265: 1261: 1260: 1257: 1250: 1245: 1241: 1240: 1237: 1230: 1225: 1221: 1220: 1217: 1214: 1199: 1196: 1195: 1194: 1181: 1151:, BWV 189 1089: 1086: 1068:Kindleinwiegen 1020: 1017: 987: 986: 984: 983: 978: 973: 968: 963: 960: 954: 952: 948: 947: 946:choir and solo 939: 935: 934: 931: 927: 926: 920: 916: 915: 913: 912: 909: 905: 903: 899: 898: 896: 895: 892: 887: 881: 879: 875: 874: 868: 864: 863: 853: 849: 848: 843: 839: 838: 828: 820: 819: 812: 811: 805: 802: 801: 714:Gospel of Luke 709: 706: 694:Samuel Scheidt 679:, BWV 215 637:eldest brother 553: 550: 413: 410: 317: 314: 293: 290: 205: 204: 202: 201: 196: 191: 186: 181: 176: 173: 167: 165: 161: 160: 159:choir and solo 152: 148: 147: 144: 140: 139: 130: 126: 125: 123: 122: 118: 116: 112: 111: 109: 108: 103: 97: 95: 91: 90: 84: 80: 79: 73: 69: 68: 63: 59: 58: 52: 44: 43: 36: 35: 29: 26: 25: 15: 9: 6: 4: 3: 2: 7657: 7646: 7643: 7641: 7638: 7636: 7633: 7631: 7628: 7627: 7625: 7610: 7607: 7605: 7602: 7601: 7598: 7591: 7590:, BWV 11 7589: 7585: 7583: 7581: 7577: 7573: 7570: 7568: 7565: 7563: 7560: 7558: 7555: 7553: 7550: 7548: 7544: 7542: 7539: 7538: 7537: 7535: 7531: 7530: 7527: 7523: 7514: 7510: 7509: 7508: 7507: 7503: 7501: 7500: 7496: 7494: 7493: 7489: 7485: 7482: 7480: 7477: 7476: 7475: 7474: 7470: 7466: 7463: 7461: 7458: 7457: 7456: 7455: 7451: 7449: 7448: 7444: 7439: 7438: 7437: 7436: 7432: 7431: 7428: 7426: 7422: 7413: 7410: 7408: 7407:early version 7405: 7404: 7403: 7400: 7398: 7395: 7391: 7388: 7386: 7383: 7381: 7380:early version 7378: 7377: 7376: 7373: 7372: 7369: 7367: 7363: 7358: 7353: 7346: 7341: 7339: 7334: 7332: 7327: 7326: 7323: 7317: 7313: 7309: 7306: 7303: 7300: 7289: 7285: 7281: 7277: 7274: 7270: 7267: 7265: 7261: 7257: 7254: 7251: 7247: 7244: 7243: 7224: 7219: 7215: 7209: 7205: 7204: 7198: 7197: 7185: 7181: 7177: 7171: 7167: 7163: 7162: 7156: 7152: 7146: 7142: 7141: 7138: 7133: 7129: 7125: 7119: 7111: 7110: 7105: 7101: 7097: 7091: 7087: 7086: 7080: 7076: 7070: 7066: 7065: 7060: 7055: 7051: 7049:0-19-802921-7 7045: 7041: 7037: 7036: 7031: 7027: 7021: 7017: 7013: 7009: 7008: 7003: 6998: 6995: 6994: 6989: 6986: 6985: 6983: 6979: 6978: 6973: 6970: 6966: 6960: 6957:. C.H. Beck. 6956: 6955: 6949: 6945: 6939: 6935: 6934: 6928: 6917: 6913: 6909: 6905: 6898: 6893: 6889: 6883: 6879: 6878: 6872: 6868: 6862: 6858: 6857: 6851: 6847: 6843: 6839: 6835: 6830: 6819: 6818:Bach Cantatas 6815: 6810: 6806: 6800: 6796: 6792: 6790: 6783: 6779: 6775: 6774: 6769: 6765: 6761: 6755: 6751: 6747: 6746: 6741: 6737: 6733: 6729: 6724: 6721: 6716: 6712: 6708: 6704: 6700: 6696: 6690: 6686: 6682: 6678: 6674: 6670: 6669:Bach-Jahrbuch 6666: 6662: 6661: 6656: 6655:Wollny, Peter 6652: 6647: 6643: 6639: 6635: 6631: 6627: 6626:Bach-Jahrbuch 6623: 6619: 6615: 6611: 6610: 6605: 6604:Franz, Robert 6601: 6597: 6591: 6587: 6586: 6580: 6576: 6572: 6571: 6565: 6561: 6557: 6553: 6549: 6545: 6539: 6535: 6532:(in French). 6531: 6530: 6525: 6521: 6517: 6511: 6507: 6506: 6500: 6488: 6483: 6471: 6467: 6462: 6459: 6442: 6436: 6432: 6428: 6424: 6423: 6421: 6418: 6401: 6397: 6394:(in German). 6390: 6385: 6382: 6378: 6377: 6372: 6369: 6365: 6357: 6354: 6346: 6342: 6338: 6333: 6330: 6326: 6323: 6319: 6316: 6315: 6310: 6307: 6303: 6301: 6296: 6293: 6289: 6285: 6281: 6278: 6275: 6272:.bach-digital 6257: 6253: 6249: 6248: 6246: 6238: 6237: 6235: 6232: 6215: 6211: 6208:(in German). 6204: 6199: 6196: 6195: 6189: 6187: 6183: 6179: 6174: 6170: 6166: 6162: 6156: 6152: 6149:.bach-digital 6143: 6139: 6138: 6136: 6133: 6121: 6117: 6116: 6094: 6093: 6088: 6082: 6075: 6066: 6062: 6058: 6054: 6049: 6040: 6036: 6032: 6028: 6024: 6018: 6012:, p. 31. 6011: 6006: 6000: 5996: 5991: 5982: 5975: 5971: 5966: 5959: 5955: 5950: 5943: 5934: 5929: 5922: 5913: 5909: 5906: 5901: 5894: 5889: 5887: 5879: 5870: 5865: 5858: 5852: 5850: 5842: 5837: 5830: 5819: 5815: 5812: 5807: 5800: 5791: 5786: 5779: 5770: 5765: 5763: 5755: 5751: 5745: 5738: 5729: 5724: 5717: 5712: 5705: 5696: 5687: 5685: 5683: 5675: 5666: 5661: 5659: 5649: 5642: 5633: 5628: 5621: 5612: 5607: 5600: 5599:Schering 1924 5595: 5588: 5583: 5576: 5575: 5568: 5559: 5550: 5543: 5538: 5529: 5522: 5518: 5515: 5514: 5507: 5500: 5496: 5492: 5490: 5484: 5477: 5472: 5465: 5460: 5453: 5448: 5441: 5432: 5427: 5420: 5415: 5409: 5404: 5402: 5392: 5385: 5381: 5376: 5369: 5368: 5363: 5359: 5354: 5347: 5342: 5340: 5332: 5327: 5320: 5313: 5308: 5301: 5296: 5287: 5285: 5283: 5281: 5279: 5277: 5275: 5273: 5271: 5269: 5267: 5265: 5263: 5261: 5259: 5257: 5255: 5253: 5251: 5249: 5247: 5245: 5243: 5241: 5239: 5237: 5235: 5233: 5231: 5229: 5221: 5216: 5209: 5204: 5202: 5200: 5198: 5190: 5185: 5183: 5181: 5173: 5168: 5161: 5156: 5149: 5144: 5135: 5133: 5125: 5120: 5118: 5110: 5105: 5098: 5093: 5091: 5089: 5087: 5085: 5078:, p. 46. 5077: 5076:Stockigt 2013 5072: 5065: 5060: 5053: 5049: 5046: 5040: 5033: 5029: 5026: 5020: 5013: 5008: 5002:, p. 65. 5001: 4996: 4988: 4984: 4980: 4974: 4970: 4966: 4962: 4958: 4954: 4953:Bach-Jahrbuch 4950: 4946: 4945: 4940: 4939:Wollny, Peter 4936: 4929: 4921: 4917: 4916: 4911: 4905: 4897: 4893: 4892: 4887: 4881: 4874: 4870: 4866: 4865: 4858: 4850: 4846: 4845: 4840: 4838: 4830: 4824: 4820: 4816: 4812: 4811:3-7651-0249-0 4808: 4804: 4802: 4797: 4792: 4790: 4783: 4779: 4778:, Volume III. 4777: 4772: 4767: 4760: 4757:.carus-verlag 4751: 4750: 4743: 4735: 4731: 4730: 4725: 4719: 4711: 4707: 4703: 4699: 4695: 4691: 4687: 4686:Bach-Jahrbuch 4683: 4679: 4678: 4673: 4669: 4665: 4661: 4657: 4651: 4644: 4643: 4638: 4632: 4625: 4620: 4618: 4616: 4614: 4612: 4610: 4608: 4606: 4604: 4602: 4600: 4598: 4596: 4594: 4592: 4585: 4581: 4577: 4573: 4569: 4565: 4559: 4552: 4547: 4545: 4537: 4532: 4530: 4528: 4526: 4524: 4522: 4514: 4509: 4507: 4499: 4494: 4492: 4485:, p. 53. 4484: 4479: 4472: 4467: 4465: 4463: 4461: 4454: 4453:Glöckner 2003 4449: 4447: 4440: 4436: 4431: 4424: 4423:Stockigt 2013 4419: 4417: 4409: 4408:Glöckner 2009 4404: 4402: 4394: 4387: 4382: 4375: 4368: 4363: 4356: 4349: 4344: 4337: 4332: 4330: 4322: 4317: 4315: 4307: 4302: 4295: 4290: 4288: 4286: 4284: 4276: 4275:Schering 1924 4271: 4264: 4259: 4252: 4247: 4245: 4243: 4241: 4239: 4232:, p. 63. 4231: 4226: 4219: 4214: 4207: 4202: 4196: 4192: 4190: 4184: 4177: 4170: 4168: 4161: 4154: 4149: 4142: 4137: 4130: 4125: 4123: 4116:, p. 45. 4115: 4114:Lundberg 2012 4110: 4103: 4102:Lundberg 2012 4098: 4096: 4078: 4074: 4064: 4057: 4053: 4048: 4046: 4038: 4033: 4031: 4023: 4018: 4011: 4006: 4000: 3996: 3991: 3984: 3980: 3974: 3967: 3966:Schröder 2012 3962: 3955: 3950: 3948: 3946: 3939:, p. 32. 3938: 3933: 3931: 3929: 3927: 3925: 3923: 3921: 3919: 3911: 3907: 3901: 3894: 3890: 3884: 3880: 3872: 3870: 3864: 3859: 3855: 3850: 3848: 3843: 3838: 3836: 3832: 3828: 3824: 3819: 3815: 3811: 3807: 3803: 3794: 3791: 3785: 3783: 3779: 3775: 3771: 3767: 3763: 3762:L'Oiseau Lyre 3759: 3755: 3752:, and by the 3751: 3747: 3743: 3739: 3735: 3731: 3727: 3723: 3718: 3716: 3712: 3708: 3704: 3700: 3696: 3691: 3689: 3685: 3681: 3677: 3673: 3672:Simon Preston 3668: 3664: 3660: 3656: 3652: 3648: 3647:Bruno Maderna 3644: 3642: 3638: 3634: 3630: 3625: 3624: 3618: 3614: 3609: 3607: 3603: 3599: 3595: 3591: 3587: 3583: 3579: 3575: 3571: 3567: 3562: 3560: 3556: 3552: 3548: 3547:LP recordings 3544: 3540: 3536: 3532: 3522: 3519: 3515: 3511: 3507: 3503: 3499: 3495: 3492: 3488: 3484: 3479: 3477: 3472: 3462: 3460:BWV Anh. 161. 3457: 3453: 3448: 3446: 3441: 3431: 3429: 3424: 3419: 3406: 3405: 3404: 3402: 3401: 3396: 3392: 3388: 3387:stem of Jesse 3383: 3379:The text is " 3376: 3372: 3357: 3351: 3350: 3349: 3346: 3341: 3337: 3332: 3331: 3324: 3317: 3313: 3298: 3291: 3286: 3285: 3284: 3281: 3274: 3270: 3260: 3258: 3257: 3256:Orgelbüchlein 3248: 3247: 3242: 3238: 3233: 3231: 3230:Christmas Eve 3226: 3221: 3217: 3213: 3209: 3205: 3201: 3197: 3192: 3182: 3177: 3173: 3163: 3160: 3150: 3147: 3142: 3138: 3134: 3130: 3126: 3124: 3115: 3113: 3089: 3067: 3065: 3063: 3052: 3049: 3043: 3042:cantus firmus 3037: 3036: 3030: 3028: 3017: 3014: 3008: 3002: 2997: 2995: 2987:.net project) 2986: 2982: 2977: 2971:9. Esurientes 2968: 2965: 2960: 2956: 2954: 2943: 2940: 2934: 2929: 2927: 2916: 2914: 2910: 2908: 2897: 2895: 2893: 2885:5. Quia fecit 2882: 2880: 2876: 2874: 2862: 2859: 2854: 2849: 2847: 2837: 2828: 2826: 2822: 2820: 2806: 2800: 2794: 2788: 2783: 2778: 2774: 2771: 2766: 2760: 2759: 2757: 2756: 2746: 2735: 2728: 2717: 2716: 2715: 2714: 2707: 2704: 2703: 2701: 2697: 2696: 2695: 2693: 2689: 2685: 2683: 2675:1. Magnificat 2671: 2661: 2658: 2654: 2650: 2641: 2637: 2634: 2631: 2629: 2626: 2624: 2620: 2617: 2609: 2607: 2604: 2601: 2599: 2593: 2582: 2579: 2573: 2571: 2568: 2560: 2559: 2555: 2554: 2550: 2547: 2544: 2541: 2533: 2530: 2527: 2523: 2518: 2515: 2511: 2510: 2506: 2503: 2500: 2497: 2494: 2491: 2488: 2484: 2479: 2477: 2474: 2473: 2467: 2464: 2461: 2458: 2451: 2442: 2439: 2434: 2433: 2429: 2427: 2424: 2421: 2418: 2416: 2413: 2410: 2407: 2403: 2398: 2396: 2395:9. Esurientes 2393: 2392: 2388: 2380: 2377: 2374: 2371: 2368: 2365: 2358: 2349: 2347: 2344: 2343: 2337: 2329: 2326: 2323: 2319: 2314: 2311: 2306: 2305: 2301: 2298: 2296: 2293: 2290: 2282: 2280: 2277: 2274: 2270: 2265: 2263: 2260: 2259: 2255: 2253: 2250: 2244: 2241: 2239: 2236: 2233: 2230: 2223: 2214: 2212: 2209: 2208: 2202: 2194: 2191: 2188: 2184: 2179: 2176: 2171: 2170: 2166: 2164: 2161: 2158: 2155: 2153: 2145: 2142: 2139: 2135: 2130: 2127: 2126:5. Quia fecit 2123: 2122: 2118: 2116: 2108: 2100: 2097: 2095: 2092: 2086: 2083: 2079: 2074: 2071: 2067: 2066: 2062: 2060: 2057: 2054: 2051: 2049: 2046: 2043: 2040: 2036: 2031: 2028: 2024: 2023: 2017: 2009: 2007: 2004: 2001: 1997: 1992: 1989: 1984: 1983: 1979: 1976: 1973: 1970: 1962: 1959: 1956: 1949: 1940: 1937: 1933: 1932: 1928: 1926: 1923: 1921: 1918: 1915: 1913: 1905: 1903: 1900: 1897: 1890: 1881: 1879: 1878:1. Magnificat 1876: 1875: 1847: 1840: 1825: 1822: 1815: 1811: 1806: 1801: 1797: 1796: 1794: 1793: 1791: 1787: 1786: 1781: 1777: 1775: 1771: 1762: 1759: 1756: 1755: 1754: 1748: 1744: 1739: 1734: 1729: 1725: 1721: 1720: 1718: 1717: 1715: 1714: 1712: 1711: 1709: 1705: 1704: 1703: 1701: 1699: 1687: 1685: 1681: 1677: 1673: 1668: 1666: 1663:(Oa). In the 1662: 1661:oboes d'amore 1658: 1653: 1651: 1647: 1643: 1639: 1635: 1631: 1627: 1624:(Tr, tonic), 1623: 1619: 1615: 1611: 1601: 1599: 1595: 1591: 1587: 1583: 1573: 1571: 1566: 1564: 1560: 1556: 1552: 1548: 1544: 1534: 1530: 1526: 1516: 1513: 1509: 1501: 1497: 1495: 1491: 1489: 1485: 1482: 1481: 1480: 1478: 1474: 1470: 1469:Quia respexit 1466: 1451: 1442:movement 12, 1441: 1436: 1433: 1432: 1426: 1421:movement 12, 1420: 1418: 1410: 1407: 1406: 1402: 1400: 1397: 1392: 1389: 1388: 1384: 1382: 1379: 1374: 1371: 1370: 1366: 1364: 1361: 1356: 1353: 1352: 1348: 1346: 1343: 1338: 1335: 1334: 1330: 1328: 1325: 1320: 1317: 1316: 1312: 1310: 1307: 1302: 1299: 1298: 1294: 1292: 1289: 1284: 1281: 1280: 1276: 1274: 1271: 1266: 1263: 1262: 1258: 1255: 1251: 1246: 1243: 1242: 1238: 1235: 1231: 1226: 1223: 1222: 1211: 1208: 1205: 1192: 1186: 1182: 1179: 1178:BWV 1082 1175: 1171: 1170: 1169: 1167: 1163: 1159: 1154: 1152: 1150: 1145: 1141: 1135: 1129: 1128: 1122: 1120: 1115: 1111: 1107: 1103: 1102: 1095: 1085: 1083: 1078: 1073: 1070: 1069: 1063: 1059: 1055: 1051: 1047: 1043: 1038: 1036: 1032: 1026: 1016: 1013: 1008: 1004: 994: 982: 979: 977: 974: 969: 964: 961: 956: 955: 953: 949: 945: 940: 936: 932: 928: 924: 921: 917: 910: 907: 906: 904: 900: 893: 891: 888: 886: 883: 882: 880: 876: 872: 869: 865: 854: 850: 847: 844: 840: 836:, around 1730 835: 831: 826: 821: 818: 813: 808: 803: 798: 795: 793: 789: 780: 774: 770: 766: 762: 758: 754: 746: 741: 739: 735: 731: 727: 723: 719: 715: 705: 703: 699: 695: 691: 687: 682: 680: 678: 673: 672: 667: 663: 659: 658: 653: 651: 646: 642: 638: 634: 629: 627: 621: 619: 615: 611: 607: 606:Antonio Lotti 603: 599: 598: 593: 587: 585: 584:Mass ordinary 581: 577: 573: 569: 565: 559: 549: 547: 543: 539: 535: 531: 525: 523: 516: 511: 510: 509:cantus firmus 504: 500: 496: 492: 487: 485: 481: 477: 473: 469: 465: 461: 456: 455: 449: 445: 439: 431: 427: 423: 418: 409: 405: 403: 394: 392: 385: 380: 373: 372:, BWV 23 371: 364: 363:, BWV 22 362: 357: 353: 349: 345: 344:Johann Kuhnau 341: 337: 333: 329: 323: 313: 311: 307: 303: 299: 289: 286: 284: 279: 274: 272: 268: 264: 263: 258: 254: 250: 246: 242: 238: 233: 231: 227: 223: 219: 215: 211: 200: 197: 195: 192: 187: 182: 177: 174: 169: 168: 166: 162: 158: 153: 149: 145: 141: 131: 127: 120: 119: 117: 113: 107: 104: 102: 99: 98: 96: 92: 88: 85: 81: 77: 74: 70: 67: 64: 60: 56: 50: 45: 42: 37: 32: 27: 22: 19: 7587: 7579: 7533: 7504: 7497: 7490: 7471: 7452: 7445: 7433: 7401: 7291:. Retrieved 7283: 7275:(ChoralWiki) 7229:23 September 7227:. Retrieved 7202: 7160: 7140: 7136: 7108: 7084: 7063: 7058: 7034: 7005: 6991: 6975: 6953: 6932: 6921:23 September 6919:. Retrieved 6907: 6903: 6876: 6855: 6833: 6821:. Retrieved 6817: 6795:Bach Studies 6794: 6788: 6772: 6744: 6731: 6727: 6664: 6659: 6642:the original 6629: 6625: 6608: 6584: 6569: 6528: 6504: 6491:. Retrieved 6474:. Retrieved 6450:23 September 6448:. Retrieved 6430: 6409:22 September 6407:. Retrieved 6400:the original 6381:Jeremy Noble 6374: 6363: 6352: 6339:, edited by 6328: 6321: 6313: 6298: 6291: 6259:. Retrieved 6256:Bach digital 6255: 6223:22 September 6221:. Retrieved 6214:the original 6191: 6160: 6124:. Retrieved 6097:. Retrieved 6090: 6081: 6060: 6052: 6030: 6022: 6017: 6005: 5990: 5981: 5965: 5949: 5928: 5900: 5864: 5856: 5836: 5806: 5785: 5744: 5723: 5711: 5693:E flat major 5648: 5627: 5606: 5594: 5582: 5573: 5567: 5562:Novello 1874 5558: 5549: 5537: 5528: 5512: 5506: 5488: 5483: 5471: 5459: 5447: 5438:.bachdigital 5426: 5414: 5391: 5375: 5365: 5353: 5348:, p. 3. 5346:Jenkins 2000 5326: 5307: 5300:Rimbach 2005 5295: 5215: 5174:, p. 4. 5172:Rizzuti 2013 5167: 5155: 5143: 5124:Jenkins 2000 5109:Simrock 1811 5104: 5097:Jenkins 2000 5071: 5064:Hogwood 2011 5059: 5039: 5019: 5007: 4995: 4948: 4943: 4928: 4920:Bach Archive 4915:Bach Digital 4913: 4904: 4896:Bach Archive 4891:Bach Digital 4889: 4880: 4863: 4857: 4849:Bach Archive 4844:Bach Digital 4842: 4836: 4829: 4799: 4775: 4766: 4748: 4742: 4734:Bach Archive 4729:Bach Digital 4727: 4718: 4681: 4676: 4650: 4640: 4631: 4579: 4558: 4553:, p. 5. 4551:Jenkins 2000 4498:Rizzuti 2013 4478: 4430: 4381: 4362: 4343: 4323:, p. 1. 4321:Jenkins 2000 4301: 4270: 4265:, p. 6. 4258: 4251:Rimbach 2005 4225: 4213: 4201: 4188: 4183: 4174:bach-digital 4166: 4160: 4148: 4141:Rizzuti 2013 4136: 4109: 4081:. Retrieved 4063: 4017: 4005: 3990: 3983:Bach Digital 3973: 3961: 3910:Bach Digital 3900: 3893:Bach Digital 3883: 3869:Bach Digital 3851: 3846: 3839: 3800: 3797:21st century 3789: 3786: 3719: 3699:Rutter(1990) 3692: 3645: 3632: 3610: 3597: 3590:Karl Richter 3563: 3561:as soprano. 3528: 3525:20th century 3501: 3496: 3487:Robert Franz 3482: 3480: 3468: 3465:19th century 3455: 3449: 3437: 3434:18th century 3425: 3421: 3398: 3378: 3319: 3290:B-flat major 3276: 3254: 3244: 3234: 3216:counterpoint 3207: 3187: 3156: 3141:triple metre 3123:Gloria Patri 3120: 3118: 3109: 3059: 3058: 3024: 3023: 2991: 2990: 2950: 2949: 2923: 2922: 2904: 2903: 2889: 2888: 2870: 2868: 2843: 2842: 2816: 2815: 2709:instruments. 2679: 2678: 2656: 2646: 2639: 2635: 2627: 2622: 2618: 2605: 2591: 2584: 2574: 2562: 2556: 2449: 2356: 2294: 2278: 2221: 2002: 1947: 1919: 1901: 1888: 1864:Instruments 1853:Instruments 1819: 1813: 1799: 1789: 1766: 1751: 1746: 1723: 1707: 1697: 1693: 1669: 1654: 1650:flauto dolce 1620:(Ob), three 1607: 1579: 1567: 1561:is the only 1522: 1508:Bach cantata 1504: 1476: 1462: 1449: 1403:movement 11 1385:movement 10 1216:Text source 1201: 1191:Pietro Torri 1165: 1155: 1148: 1143: 1118: 1100: 1097: 1081: 1076: 1074: 1053: 1049: 1041: 1039: 1034: 1028: 1012:Thomaskantor 1007:Marian feast 1002: 990: 951:Instrumental 873:on feast day 846:E-flat major 781: 777:27 July 1733 742: 734:Christianity 711: 697: 688:published a 683: 676: 669: 655: 649: 630: 622: 614:by Heinichen 595: 588: 561: 537: 521: 513:in movement 488: 441: 420:Traditional 401: 390: 379:Thomaskantor 369: 360: 325: 310:Purification 306:Annunciation 295: 287: 283:D major 275: 260: 237:Thomaskantor 234: 213: 208: 164:Instrumental 89:on feast day 18: 7541:discography 7484:discography 7465:discography 7412:discography 7390:discography 7314:lecture by 7293:18 November 6823:18 November 6675:. Leipzig: 6493:7 September 6427:Alfred Dürr 6396:Bärenreiter 6368:Alfred Dürr 6261:18 November 6210:Bärenreiter 6194:Alfred Dürr 6099:19 November 5735:.baroquecds 5587:Jansen 2006 5452:Spitta 1884 5380:Spitta 1884 5000:Porter 2008 4959:. Leipzig: 4918:. Leipzig: 4894:. Leipzig: 4873:Bärenreiter 4847:. Leipzig: 4796:Alfred Dürr 4782:pp. 153–155 4732:. Leipzig: 4637:Alfred Dürr 4624:Spitta 1884 4536:Spitta 1884 4483:Butler 2008 4439:p. 246 4230:Porter 2008 4153:Spitta 1884 4129:Rathey 2016 4037:Shrock 2009 4022:Spitta 1884 4010:Spitta 1884 3861: [ 3842:Bärenreiter 3814:Ton Koopman 3750:Ton Koopman 3726:Robert Shaw 3635:, with the 3578:Bärenreiter 3570:Alfred Dürr 3500:printed an 3320:The text, " 3137:common time 2946:8. Deposuit 2913:con sordino 2782:subdominant 1674:, bassoon, 1584:(sI, sII), 1367:movement 9 1349:movement 8 1331:movement 7 1313:movement 6 1295:movement 5 1259:movement 2 1239:movement 1 1185:BWV Anh. 30 1121:BWV 10 1108:written by 1104:, the 1754 966:2 recorders 860: 1733 784:2 July 1733 749:2 July 1733 745:2 July 424:setting of 179:2 traversos 137: 1733 7624:Categories 7604:Evangelist 7402:Magnificat 7018:. London: 7012:Clara Bell 6846:1194734574 6789:Magnificat 6337:Magnificat 6165:N. Simrock 5974:Gramophone 5754:Gramophone 5542:Franz 1863 5476:Zenck 1986 5408:Upton 1886 5382:, p. 5331:Franz 1863 5160:Jones 2013 5054:32 minutes 4692:. Berlin: 4336:Jones 2013 4263:Franz 1863 3954:Jones 2013 3875:References 3703:Penderecki 3582:Kurt Redel 3416:See also: 3369:See also: 3310:See also: 3287:For SSAT, 3267:See also: 3170:See also: 3112:media help 3048:recordatus 2994:Esurientes 2793:Magnificat 2787:magnificat 2700:ritornello 2668:See also: 2369:2Vl Va Bc 2234:2Vl Va Bc 2018:23, 25–27 1974:2Vl Va Bc 1960:2Vl Va Bc 1802:key (7, C) 1753:movement: 1644:(Bc). Two 1616:(Vl), two 1565:movement. 1563:a cappella 1457:time part 1429:time part 1227:Magnificat 1092:See also: 1023:See also: 958:3 trumpets 817:J. S. Bach 800:Magnificat 738:Visitation 618:by Vivaldi 576:liturgical 556:See also: 472:minor mode 468:ninth mode 460:psalm tone 436:See also: 430:ninth tone 334:), all of 320:See also: 278:Visitation 222:Magnificat 214:Magnificat 171:3 trumpets 41:J. S. Bach 24:Magnificat 7525:Oratorios 7479:structure 7460:structure 7385:structure 7310:, a 2011 7288:Sotheby's 7184:0570-6769 7134:(1966) . 7118:cite book 6916:2240-7944 6840:thesis). 6703:0084-7682 6632:: 37–45. 5893:Oron 2012 5419:Bach 1955 4987:0084-7682 4710:0084-7682 4218:Taft 1986 4191:, BWV 733 4058:, p. 1, 8 3871:website. 3655:Hedy Graf 3545:records. 3447:in 1786. 3232:service. 2985:Libre art 2933:Dispersit 2489:sI sII a 2247:2Vl Va Bc 2105:2Vl Va Bc 2089:2Vl Va Bc 1747:tonic key 1724:tonic key 1708:tonic key 1657:traversos 1646:recorders 1640:(Va) and 1604:Orchestra 1555:obbligato 1075:As these 930:Movements 919:Performed 722:Elizabeth 692:in 1622. 302:Pentecost 257:Christmas 143:Movements 132:Leipzig, 129:Performed 76:BWV 243.1 7425:Passions 7032:(2005). 6984:, 1880. 6770:(1921). 6742:(2013). 6722:lecture. 6713:(2011). 6620:(2003). 6606:(1863). 6526:(2011). 6386:(2014b) 6200:(2014a) 6173:68145446 6122:. Amazon 5908:Archived 5728:BACH 721 5517:Archived 5048:Archived 5028:Archived 4771:Picander 4674:(eds.). 4658:(1983). 4564:Nekrolog 4372:klassica 3912:website. 3895:website. 3674:and the 3639:and the 3619:and the 3537:and the 3529:In 1924 3253:(in the 2981:LilyPond 2770:the Lord 2613:♭ 2537:♭ 2384:♯ 2333:♭ 2286:♭ 2198:♭ 2150:♭ 2113:♯ 2013:♭ 1966:♭ 1910:♭ 1710:(major) 1630:dominant 1622:trumpets 1592:(t) and 1582:sopranos 1538:♭ 1512:da capos 1417:Doxology 1204:doxology 1158:Picander 1134:BWV Anh. 1106:obituary 1101:Nekrolog 998:♭ 981:continuo 902:Language 890:doxology 867:Occasion 834:Augsburg 652:, BWV 31 568:evensong 404:, BWV 76 393:, BWV 75 346:was the 332:BWV 233a 245:movement 199:continuo 115:Language 106:doxology 83:Occasion 7545:Parts: 7248:by the 6667:]. 6657:(ed.). 6476:16 June 6437:(2000) 6373:(1959) 6335:(1924) 6327:(1895) 6320:(1874) 6311:(1864) 6290:(1841) 6190:(1959) 6180:(1862) 6157:(1811) 6126:17 July 6112:Sources 5976:website 5960:website 5756:website 5716:Rilling 4951:]. 4941:(ed.). 4875:, 2000. 4684:]. 4471:Digital 4071:BC A 48 3985:website 3572:. This 3553:and by 3498:Novello 3471:Simrock 3445:Hamburg 3391:Emanuel 3385:" (The 3336:Vulgate 3251:BWV 606 3129:cadenza 2959:unisono 2799:Dominum 2765:Dominum 2492:TrI Ba 2422:2Fl Bc 2411:2Fl Bc 2378:2Vl Bc 2102:2Fl 2Oa 2055:OaI Bc 1870:Autogr. 1859:Autogr. 1850:Voices 1684:unisono 1680:violone 1634:bassoon 1626:timpani 1614:violins 1465:caesura 1099:Bach's 1058:Gospels 976:strings 971:2 oboes 962:timpani 923:Leipzig 852:Related 712:In the 564:vespers 478:is the 422:D minor 384:Trinity 340:Leipzig 292:History 241:Leipzig 194:strings 184:2 oboes 175:timpani 72:Related 66:D major 7210: 7182: 7172: 7147: 7092: 7071: 7046: 6961: 6940: 6914: 6884: 6863: 6844: 6801: 6756: 6701: 6691: 6592: 6540: 6534:Fayard 6512: 6472:. 1967 6362:1956) 6171: 6072:.klara 6046:.klara 6033:, and 5841:Bawden 5816: 5148:Dellal 5034:27'14" 4985: 4975: 4823:p. 458 4817: 4809: 4708: 4584:p. 168 4576:Mizler 4089:p. 219 4083:30 May 4079:. 1992 3847:laudes 3790:laudes 3776:, the 3653:, and 3598:laudes 3574:Urtext 3543:78 rpm 3502:Octavo 3330:Gloria 3271:, and 3208:laudes 3013:inanes 2858:Spitta 2657:laudes 2640:45–48 2636:42–45 2623:27–29 2619:24–27 2602:SSATB 2551:40–42 2542:23–24 2528:SSATB 2507:38–40 2501:Ob Bc 2430:36–38 2419:20–21 2389:34–36 2375:17–20 2338:30–31 2327:Vl Bc 2324:SSATB 2302:28–34 2291:15–19 2275:SSATB 2256:24–28 2242:13–15 2203:28–30 2167:20–23 2156:12–13 2119:20–25 2098:10–12 2084:SSATB 2063:18–19 2044:Ob Bc 1980:16–18 1898:SSATB 1576:Voices 1477:laudes 1082:laudes 1077:laudes 1062:Christ 1054:laudes 1050:laudes 1046:Kuhnau 1042:laudes 1035:laudes 1031:Advent 1003:before 925:, 1723 911:German 645:Weimar 572:matins 524:BWV 10 444:Luther 348:Cantor 298:Easter 262:laudes 78:(1723) 7059:Missa 6900:(PDF) 6730:[ 6663:[ 6444:(PDF) 6403:(PDF) 6392:(PDF) 6284:IMSLP 6217:(PDF) 6206:(PDF) 5958:Naxos 5917:store 5043:E.g. 5023:E.g. 4947:[ 4837:P 977 4680:[ 4574:, in 4374:.info 3979:00292 3977:Work 3906:00302 3904:Work 3889:00303 3887:Work 3865:] 3854:Klara 3202:from 3135:from 3039:as a 2628:tutti 2606:tutti 2459:sI b 2295:tutti 2279:tutti 2189:SSAT 1929:1–15 1920:tutti 1902:tutti 1814:tonic 1800:tonic 1790:tonic 1676:cello 1672:organ 1638:viola 1618:oboes 1590:tenor 1588:(a), 1543:tutti 943:SSATB 938:Vocal 908:Latin 809:243.1 732:. In 726:Jesus 484:fifth 480:tonic 328:Kyrie 267:243.1 156:SSATB 151:Vocal 121:Latin 33:243.2 7513:1149 7295:2014 7231:2014 7208:ISBN 7180:ISSN 7170:ISBN 7145:ISBN 7124:link 7090:ISBN 7069:ISBN 7044:ISBN 6959:ISBN 6938:ISBN 6923:2014 6912:ISSN 6882:ISBN 6861:ISBN 6842:OCLC 6825:2014 6799:ISBN 6754:ISBN 6699:ISSN 6689:ISBN 6590:ISBN 6538:ISBN 6510:ISBN 6495:2014 6478:2014 6452:2014 6411:2014 6263:2014 6225:2014 6169:OCLC 6128:2014 6101:2017 5921:.com 5878:.com 5814:ISBN 5799:.com 5778:.com 5737:.com 5704:.com 5674:.com 5641:.com 5620:.com 5319:.com 4983:ISSN 4973:ISBN 4815:ISBN 4807:ISBN 4759:.com 4706:ISSN 4570:and 4393:.org 4391:cpdl 4355:.org 4353:cpdl 4085:2014 3780:and 3711:Pärt 3697:and 3686:and 3665:and 3604:and 3592:and 3564:The 3373:and 3314:and 3198:and 3174:and 2692:bars 2245:2Fl 2231:a t 2087:2Ob 2052:8–9 2005:ATB 1971:3–7 1957:sII 1916:1–9 1867:Key 1856:Key 1846:Time 1678:and 1608:The 1594:bass 1586:alto 1531:and 1434:12. 1408:11. 1390:10. 878:Text 718:Mary 633:SATB 616:and 608:and 501:and 482:, a 365:and 300:and 94:Text 7557:III 7354:by 6990:in 6681:doi 6634:doi 6282:at 6274:.de 6270:www 6151:.de 6147:www 6074:.be 6070:www 6067:at 6059:", 6055:, " 6048:.be 6044:www 6041:at 6029:", 6025:, " 5972:at 5956:at 5942:.be 5938:www 5935:at 5914:at 5874:www 5871:at 5829:.uk 5827:.co 5823:www 5820:at 5795:www 5792:at 5774:www 5771:at 5752:at 5733:www 5730:at 5700:www 5697:at 5670:www 5667:at 5637:www 5634:at 5616:www 5613:at 5440:.de 5436:www 5433:at 5384:371 5364:in 5314:at 4965:doi 4871:). 4755:www 4752:at 4698:doi 4578:'s 4388:at 4369:at 4350:at 4176:.de 4171:at 3981:at 3908:at 3891:at 3856:'s 3705:'s 3631:'s 3139:to 2651:'s 2545:Bc 2531:Bc 2498:22 2468:32 2462:Bc 2192:Bc 2159:Bc 2143:Bc 2041:sI 1872:p. 1861:p. 1632:), 1568:As 1498:D: 1492:C: 1372:9. 1354:8. 1336:7. 1318:6. 1300:5. 1282:4. 1264:3. 1244:2. 1224:1. 1160:in 1136:21; 842:Key 815:by 807:BWV 696:'s 570:or 462:in 251:of 249:key 239:in 218:BWV 212:'s 62:Key 39:by 31:BWV 7626:: 7572:VI 7562:IV 7552:II 7286:. 7282:. 7258:, 7178:. 7164:. 7120:}} 7116:{{ 7038:. 7014:; 7004:. 6906:. 6902:. 6816:. 6748:. 6697:. 6687:. 6630:89 6628:. 6624:. 6558:. 6554:. 6468:. 6463:. 6360:c. 6349:c. 6254:. 6241:c. 6167:. 6089:. 6037:– 5997:; 5885:^ 5848:^ 5761:^ 5681:^ 5657:^ 5400:^ 5360:. 5338:^ 5227:^ 5196:^ 5179:^ 5131:^ 5116:^ 5083:^ 4981:. 4971:. 4912:. 4888:. 4841:. 4839:)" 4821:, 4813:– 4788:^ 4726:. 4704:. 4670:; 4590:^ 4543:^ 4520:^ 4505:^ 4490:^ 4459:^ 4445:^ 4437:, 4415:^ 4400:^ 4328:^ 4313:^ 4282:^ 4237:^ 4121:^ 4094:^ 4075:. 4044:^ 4029:^ 3944:^ 3917:^ 3863:nl 3748:, 3744:, 3740:, 3736:, 3732:, 3728:, 3724:, 3717:. 3661:, 3657:, 3608:. 3588:, 3584:, 3516:, 3458:, 3403:. 3397:' 3293:, 3249:. 2632:D 2548:D 2504:b 2495:c 2465:F 2408:a 2372:g 2366:t 2299:D 2140:b 1977:D 1636:, 1527:, 1180:). 857:c. 832:, 794:. 779:. 620:. 566:, 548:. 497:, 493:, 312:. 273:. 232:. 216:, 146:12 134:c. 7567:V 7547:I 7344:e 7337:t 7330:v 7297:. 7233:. 7216:. 7186:. 7153:. 7126:) 7098:. 7077:. 7052:. 6967:. 6946:. 6925:. 6908:2 6890:. 6869:. 6848:. 6836:( 6827:. 6807:. 6780:. 6762:. 6717:. 6705:. 6683:: 6636:: 6598:. 6577:. 6562:. 6546:. 6518:. 6497:. 6480:. 6454:. 6413:. 6358:( 6347:( 6308:. 6265:. 6239:( 6227:. 6175:. 6130:. 6103:. 5895:. 5843:. 5718:. 5601:. 5491:. 5478:. 5421:. 5386:. 5333:. 5150:. 5111:. 5099:. 5066:. 4989:. 4967:: 4712:. 4700:: 4562:" 4515:. 4500:. 4473:. 4410:. 4220:. 4208:. 4131:. 4087:. 4073:" 3968:. 3956:. 3360:. 3301:. 3114:. 2768:( 2747:. 2729:. 2610:E 2592:4 2534:E 2450:8 2426:E 2415:F 2381:f 2357:4 2330:E 2283:E 2252:e 2238:f 2222:8 2195:B 2163:A 2147:B 2110:f 2094:g 2059:b 2048:c 2010:E 2003:S 1963:E 1948:8 1925:D 1907:E 1889:4 1700:) 1648:( 1450:4 862:) 647:(

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index