2110:, the old style of the musical "fathers", as a strict fugue, one voice following the other as one generation follows the other. The theme has four distinctly different measures: the first repeated notes, the second flowing eighth notes, the third quarter notes in leaps, the fourth half notes leaping up a sixth. The countersubject has leaps down and up an octave in the second measure, the flowing eighth notes in the third measure. 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 movements ends with a more homophonic section in which the bass has the theme once more, while soprano I sings long suspended notes covering almost an octave down. Hogwood sees Bach alluding to his musical "forefathers": "He portrays, in a very square fugue, exactly how square he thought the forefathers of German music were. Four bars follows four bars, each voice coming in predictably and on time, all according to the rulebook, unimaginative and extremely dull!"
1776:
of half a measure: A, SII, SI, T, B, SII, SI, A. In a final sequence beginning in measure 21, the voices enter from bottom to top on the same note, only one beat apart. After a "very triumphal, but unfinished, chord" and a general pause, the movement concludes repeating the theme in homophony. Steinberg comments that Bach took the idea of separating the two words from the rest of the verse from earlier models, but filled it with an "exciting sense of drama" by the piled-up entrances in a "tremendous march across key after key", leading to "tense dissonances", finally a "dramatic pause" before the last statement.
1879:(He has shown strength) shares key, scoring and dotted motifs with the first movement. Based on a continuo line of octaves and repeated 16th notes, strength is expressed by irregular coloraturas in one voice and homophonic simultaneous calls of the other voices. The tenor begins the coloraturas of four measures, followed by alto, SII, bass and SI, leading to the climax of the movement, two homophonic calls. The new text,
1948:" (from their thrones), the continuo picks up the rhythm of the second motif, while the violins play a more ornamented downward motion in sixteen continuous 16th. A fourth motif is a sequence of three measures, each a sequence of a figure of a figure of four 16th which is slowly moving upwards. When the singer takes over, the violins accent the end of each motif one to three by a broken downward triad.
1885:(He has scattered), appears in various voices as broken triads, juxtaposed to material from the first section, but then isolated, in a sequence from the highest voice to the lowest and in downward triads. Joes describes: "... the fugue is dispersed ('dispersit') in favour of a highly graphic, dramatic portrayal of the words 'He has scattered ...'". The conclusion,
1597:
1545:
1503:
1423:
1339:
1296:
1212:
1170:
1123:
1074:
1891:(in the thoughts of their hearts), is marked Adagio and illustrates the text in pompous long chords, with accents in the trumpets. Hogwood notes that Bach shows "complete imagination" in "very strange, incomplete yet wonderful harmonies", the trumpet playing their highest available note as an image of "rich people's hearts, who have been misled by worldly promises".
1028:
1747:. Hogwood writes: "Humility is a downwards gesture, and so everything takes a long, s-shaped movement downwards, with a little rise at the end", and comments that the use of limited resources of one wind instrument and the voice have "a subservient feel to it." Steinberg comments that voice and instrument first share the material in a "contemplative duet", but on
1841:
a progenie in progenies, timentibus eum (His mercy is for those who fear Him from generation to generation) begins in great contrast softly with undulating movement in 12/8 time, played by the violins. It is a duet of alto and tenor, beginning in parallels of sixths and staying in homophony for most
376:
for liturgical use. Bach, as some of his contemporaries, devotes individual expression to every verse of the canticle, one even split in two for a dramatic effect. In a carefully designed structure, four choral movements are evenly distributed (1, 4, 7, 11). They frame sets of two or three movements
1775:
which follows the stretto principle from the start and throughout. Beginning in measure 10, the voices enter, again half a measure apart, with the bass beginning. From measure 15, every entrance is one note higher, covering an octave as a symbol of completeness (omnes), again in the fast succession
820:
movement. Each verse of the canticle is assigned to one movement, except verse 48, beginning with a soprano solo in the role of Mary (third movement), then switching to the fourth movement sung by the chorus when "all generations" are mentioned. The structure, alternating choral and solo movements,
723:
interpolations were abandoned. Limited differences in instrumentation include replacing the recorders by flutes and including these in the tutti movements. Changes in musical texture were even smaller, mellowing the harmony near the end of the Omnes generationes movement being the most noticeable.
632:
in 2000. He writes that the "new
Thomaskantor was obviously intending to impress his new employer and the congregation", which makes even more sense at the beginning of Bach's tenure. Not all scholars follow Glöckner's arguments, but Jones agrees with Glöckner: "... may well have received its
3176:
wrote: "Herreweghe's accounts are typically thoughtful, not at all theatrical or dramatically driven, and that slightly laid-back approach takes the edge off the
Magnificat too, though the quality of the solo and choral singing, and the careful shaping of the orchestral lines are all exemplary."
2071:
variant. The strings, as the only other instruments, play repeated notes in every measure, moving one step down or up in the next. The voices imitate each other, also in gentle movement, the first a fifth up in a long upbeat, the second a fifth down one measure later, the third up again, another
1659:
note on the stressed syllable "gni", and relaxing on "ficat". The motif is abbreviated to a "fanfare figure" of just four notes, a low upbeat followed by three same notes, with the first one dotted. The sopranos sing it twice, reaching first E-flat, then G. The interplay of the fanfare and the
1753:(Behold, from henceforth, I will be called blessed ) the voice changes to a "simpler, more declamatory style". "All the phrases turn upwards" in what Hogward describes as "an internalised dialogue", expecting that "nobody in the church would have been expecting the sudden burst of 'omnes'".
43:
4822:
2190:
Jones remarks that Bach observes a pattern of a bipartite structure of firstly contrasting homophonic blocks and "florid triplet rhythms", secondly "a lighter, quicker conclusion in triple time". He remarks that Bach used a similar pattern again the following year in the
4173:"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"
878:, provides a link to the Bach Digital database, for more details such as scoring and the text. The Christmas interpolations are highlighted in colour, as are the choral movements, the movements with trumpets, and those movements of the canticle that are in
522:
Bach had an audience familiar with the text and its background. In
Leipzig, a Latin Magnificat was sung on the high holidays (Christmas, Easter and Pentecost, then performed on two of the three days of celebration) and on the three Marian feasts
4815:
1969:" (the lowly). After a shorter ritornello, the tenor sings the complete text again, the first part in a slightly modified version, but the exaltation considerably expanded. Nonetheless, the ritornello in full length is repeated at the end.
1791:(For the Mighty One has done 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. A
2146:, the voices sing the first syllable as an extended melisma in triplets, as another symbol of the Trinity, beginning in upward moving lines, for three measures in the basses, half a measure less for each following voice. In the third
4808:
3188:
released a recording of the E-flat major version in the context of a reconstructed
Christmas service as it might have been heard in Leipzig in 1723. The recording includes organ music and congregational hymn singing.
628:(Bach yearbook) 89, questioning the Christmas date in favour of Visitation the same year. Older sources naturally still have Christmas as the first performance, for example Neil Jenkins, the editor of an edition for
824:
Choral movements are evenly distributed in the structure, numbers 1, 4, 7, and 11 within the canticle, and the concluding doxology as movement 12. Choral movements 1, 7 and 12 are accompanied by the full orchestra
1936:", begins with a short upbeat and a long note, followed by a straight downward scale and a final leap up, while the continuo presents a broken triad, straight upward one octave. The second motif, later sung on "
2436:
are highlighted. The first recordings in the 1960s combined the version in D major (BWV 243) with transposed
Christmas interpolations. The type of orchestra is shown for an ensemble with period instruments in
1957:" (and lifted up the lowly), is sung without introduction as a melisma of four measures, which includes downward runs but in a steadily rising sequence and ending similarly to the sequence of motif four, on "
1864:" (who fear him) is "full of pathos and built over a partly chromatic, quasi-ostinato bass", while the "divine quality of mercy is expressed in beatific parallel thirds of the violins in the ritornello".
4831:
4172:
1942:", begins with an upbeat of three 16th, followed by a rhythmic pattern which expands both the lowest as the highest note, while the continuo moves in steady steps down. For the third motif, sung on "
1660:
melismas shapes the movement. One measure after the sopranos, alto and tenor begin to imitate the sopranos, another measure later, the bass adds the short motif as an octave up. The text remains
821:
is similar to "contemporary
Italian concerted settings of the Magnificat". The four Christmas hymn movements are placed after the second, fifth, seventh and ninth movement on the Magnificat text.
2090:, because a line drawn from the first to the fourth note crosses one from the second to the third. Jones assumes that the "bassett" of the unison strings symbolizes the divine quality of mercy.
3170:, was reviewed as with "bracing but not rushed tempos, infectiously energetic and technically solid contributions from the chorus, and an intelligently paced flow from movement to movement."
1996:. They often play in parallels of sixths and thirds. The ritornello of eight measures introduces a motif moving up, on a continuo of steady quarter note, for four measures, later sung on
5036:
1985:(He has filled the hungry with good things) is sung by the alto, accompanied by two recorders which may symbolise the need of the hungry. Bach used recorders also in his later cantata
1633:(My soul magnifies the Lord) is performed by all voices and all instruments except the recorders. The instruments present the material with almost continuous runs in the upper parts,
614:
Bach probably first performed the
Magnificat on the feast day, 2 July. Until 2003, most musicologists believed that Bach wrote the Magnificat for his first Christmas in Leipzig. Then
862:
and text sources for the twelve movements for
Visitation and the inserted movements for Christmas. Note that the timpani are no wind instruments but always go with the trumpets. The
5026:
1743:(For He has regarded the lowliness is an aria sung by soprano I with an obbligato oboe. Looking at the humility, the aria contrast to the preceding one in slow movement and the
577:. For the occasion, he presented the Magnificat as his first work on a Latin text and his first five-part choral setting in Leipzig. Otherwise, he used five voices in the funeral
4117:
Von Himmel hoch (SATB) / Freut euch und jubiliert (SSAT, continuo) / Gloria (SSATB with colla parte instruments & violino obligato) / Virga Jesse (fragment – S, B, continuo)
4728:
4116:
5051:
5031:
2183:(as it was in the beginning) repeats material from the beginning of the work but shortened, as a frame. Jones points out that the "wittiness" of it was already used by
4477:
2231:, D). In Bach's autograph, the four movements are grouped at the back of the volume. They are written in older musical styles than most of the Magnificat movements.
385:
of the beginning on the text "as it was in the beginning". In Bach's
Leipzig period, Magnificat is the first major work on a Latin text and for five vocal parts.
5109:
708:, BWV 10, based on the German Magnificat. The musicologist Alberto Rizzuti compared the two settings which were possibly performed in one service on 2 July 1724.
574:
512:
458:
5088:
5041:
2487:
1687:(And my spirit rejoices in God my Saviour) is an aria, as an image of personal celebration, sung by soprano II, accompanied by the strings. The major-mode and
748:
Bach scored the work festively. The autograph reads: "J.J. Magnificat Ă 3 Trombe
Tamburi 2 Hautb. Basson. 2 Violini. Viola 5 Voci è Continuo", translating to:
2014:(empty), which Bach sometimes separates by rests. The continuo is plucked in "the emptiest sound", even on the last note, on which the recorders are silent.
666:
4183:
4586:
4509:
4876:
1767:(by all generations) is given to the chorus, expressing the fullness of the praise. Hogwood compares the "crowd effect" to Bach's the crowds in Bach's
831:), with the exceptions of the recorders which add specific colour only in movement 9. The movements for one to three solo voices are accompanied by an
4732:
4444:
Die Bach-Rezeption des späten Beethoven: zum Verhältnis von Musikhistoriographie und Rezeptionsgeschichtsschreibung der 'Klassik' (supplement to the
3139:
The first recording by Rilling, of the D major version with Christmas interpolations, with a performance time of 40:06, was reissued under the title
2347:(The branch of Jesse flowered) is an "operatic" duet for soprano and bass in F major in 12/8 time. The text is part of a longer hymn, beginning like
839:. In two consecutive solo movements, the second one is often in richer scoring. The work contains, other than typical cantatas on Baroque poetry, no
511:). However, the Latin text was also permitted in Lutheran worship. The canticle was often set to music. Contemporary extended settings include works
4778:
752:("Jesus, help!") / Magnificat for three trumpets, timpani, two oboes, bassoon, two violins, viola, five voices, continuo). The five voices are two
5046:
772:
are listed in the first publication by Simrock in 1811 as "due violini, due oboe, tre trombi, tamburi, basson, viola e basso continuo", i.e. two
4914:
3915:
2994:
1795:
is repeated throughout the movement, with a downward leap of a sixth and a downward scale of an octave which appears in the voice on the word "
5124:
4460:
4424:
4324:
4303:
4267:
4256:
1988:
649:
5066:
2395:
in 1811, edited by Georg Pölchau, however without the Christmas hymns. These were published in 1862, in the appendix of Volume 11/1 of the
2355:
505:
4891:
4074:"Magnificat in E flat major [first version] BWV 243.1; BWV 243a; BC E 13 / Magnificat (The Visitation of Mary [2 July])"
2423:
347:
on feast days, and, as suggested by recent research, Bach's setting may have been written for a performance on 2 July, celebrating the
2213:
The four hymns Bach inserted in the Magnificat for the Christmas vespers had a tradition in Leipzig. A setting by Bach's predecessor
4400:
4348:
4228:
2438:
2433:
2384:
The earliest sources are autographs for the performances on 2 July and 25 December 1723, including the Christmas parts, kept by the
4985:
4992:
4376:
2251:
449:
2428:
Bach composed the work for five soloists: two sopranos, alto, tenor and bass. The soloists are listed in the table in the order
4845:
595:
552:
5020:
4963:
4489:
2049:(He has helped His servant Israel) is scored for an unusual combination of the three highest voices, violins and violas in
1926:(He has brought down the powerful) is an aria for tenor, accompanied by only the violins (and continuo) united in powerful
2313:
2257:
2222:
1040:
801:
501:
5119:
4958:
4220:
2633:
2559:
2555:
2351:. Only the first 30 measures of this movement are extant. Bach used the music again in 1725 on a different text in his
373:
356:
316:
of trumpets, timpani, oboes, strings and basso continuo including bassoon. Bach revised the work some ten years later,
4944:
4869:
4800:
4690:
2312:(Glory to God in the highest) is set for SSATB and violins in E-flat major, on the text from the Christmas story, the
2170:(and to the Holy Spirit), in again similar pattern the voices follow each other from top to bottom, ending in a long
997:
583:
1434:
633:
first performance at the Feast of the Visitation on 2 July 1723, only five weeks after he took up his Leipzig post."
2134:
is first presented as the major chord repeated three times, with a dotted note on the first syllable. In the second
1086:
5114:
3077:
2385:
1224:
732:
532:
466:, again in 14 movements. The feast of the Visitation, celebrated always on 2 July, was a few weeks later the first
4706:
1350:
866:
is not listed, playing almost throughout. The first Christmas chorale is a four-part setting with no continuo. In
4939:
4864:
4019:
2200:
2158:(to the Son), in a similar pattern soprano I begins, followed by alto, soprano II, tenor and bass. In the fourth
2081:
728:
604:
528:
352:
182:
53:
48:
4593:
1181:
4978:
4971:
2708:
2490:
2432:. For some recordings, only one soprano soloist is listed. Recordings with orchestras on period instruments in
2067:
played by the trumpet is the melody of the traditional setting of Luther's German version of the Magnificat, a
1470:
4613:
4513:
4121:
4650:
2106:(According to the promise He made to our ancestors), the last line of the Magnificat canticle, is written in
1556:
1389:
1135:
4859:
4388:
4295:
3111:
2841:
2808:
2777:
2650:
2317:
1551:
1509:
1429:
1384:
1345:
1302:
1258:
1176:
1129:
1080:
991:
952:
589:
129:
4670:
4073:
3017:
1514:
3144:
3074:
2627:
2125:
1605:
1307:
1263:
700:
643:
544:
493:
382:
344:
115:
2399:, a publication that contained the D major version of the Magnificat (and not the E-flat major version).
4836:
3163:
2912:
2636:
1610:
836:
433:
317:
297:
289:
58:
34:
4758:
4065:
2705:
4452:
3181:
3007:
2503:
2087:
1847:
958:
816:
Bach structured the text in eleven movements for the canticle (Luke 1:46–55), concluded by a twelfth
516:
4291:
The Creative Development of Johann Sebastian Bach, Volume II: 1717–1750: Music to Delight the Spirit
4095:
Magnificat Ă cinque voci, due violini, due oboe, tre trombi, tamburi, basson, viola e basso continuo
3912:
2793:
2078:, is on a "disjunct theme". Bach repeats the figure, with a downward quart on each syllable, in the
1930:. The instrumental ritornello of 14 measures presents the material. The first motif, later sung on "
611:
notes: "Without exception these works lie outside the normal routine of Bach's sacred vocal works".
377:
sung by one to three voices, with individual instrumental colour. The work is concluded by a choral
4529:
3167:
3100:
2906:
2860:
2744:
2348:
1465:
863:
769:
615:
608:
313:
4273:
5012:
4952:
3068:
2798:
2184:
1851:
540:
2844:
2291:
on an independent basso continuo, with pairs of voices in parallels, it resembles a setting by
2264:
motet, with the soprano singing the melody in long notes, the lower voices in imitation of the
5083:
4881:
4456:
4442:
4420:
4396:
4362:
4344:
4320:
4299:
4289:
4252:
4242:
4224:
4133:
4125:
4102:
3095:
2771:
2656:
2572:
2403:
2396:
2374:
2352:
2321:
2218:
765:
712:
536:
329:
101:
4759:"Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz : D-B Mus. ms. Bach P 39"
4533:
4414:
4392:
4314:
4210:
4038:
4926:
4565:
4335:
4238:
3090:
2803:
2788:
2582:
2292:
2221:
is extant. They can be connected to scenic display of the Christmas story, representing the
2124:(Glory to the Father), performed by the ensemble in two parts. The first part addresses the
2068:
2017:
A note in the autograph requests the insertion of the fourth Christmas interpolation here: "
1814:
A note in the autograph requests the insertion of the second Christmas interpolation here: "
1707:(my spirit) is a sequence of 16th notes, two for every syllable. Longer melismas illustrate
1219:
445:
309:
1894:
A note in the autograph requests the insertion of the third Christmas interpolation here: "
1716:
A note in the autograph requests the insertion of the first Christmas interpolation here: "
1596:
1544:
1502:
1422:
1338:
1295:
1211:
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42:
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4410:
4152:
3919:
3185:
3085:
2942:
2927:
2921:
2699:
2498:
2481:
1768:
424:(director of music) in 1714. From 1717 to 1723 he held a secular position at the court of
4368:
4153:"Bach Magnificat in D & E flat BWV 243 & 243a / (Novello edition ed. N. Jenkins)"
629:
4358:
4179:
3151:. Gönnenwein's D major recording with Christmas interpolations appeared on a CD titled
3105:
2950:
2855:
2838:
2736:
2731:
2716:
2666:
2661:
2577:
2411:
2407:
2362:
2325:
2227:
2072:
measure later, described as "scale themes". In contrast, the second idea of the verse,
1027:
797:
592:, composed in 1733 for the court of Dresden, from which he derived the derived cantata
548:
500:
kept the Magnificat in the liturgy. He provided a German translation of the canticle, "
441:
305:
4546:
5103:
4485:
4381:
3801:
3030:
3022:
3012:
2932:
2865:
2780:
2726:
2721:
2548:
2265:
2245:
2107:
2062:
1772:
1688:
1652:
1641:
in the bass. The sopranos enter first, in third parallels: they sing the first word "
1638:
1035:
684:
624:
497:
485:
413:
440:. In April he was accepted for the post, which he assumed on the first Sunday after
4674:
4630:
4077:
4024:
3940:
3172:
3002:
2937:
2644:
2508:
2283:
1850:
in D minor, BWV 812. Hogwood compares the music to the pastoral sinfonia beginning
1808:
1161:
942:
855:
805:
675:
524:
467:
429:
348:
340:
321:
271:
70:
4786:
2391:
The score of the E-flat major version of Bach's Magnificat was first published by
622:(Bach's Magnificat in E-flat major, BWV 243a – a genuine Christmas music?) in the
2128:. Glory is given three times. Bach shapes the movement again as a "crowd" scene.
1858:, "creating a romantic, soft-edged, almost comforting sound". Jones remarks that
4739:
4364:
Johann Sebastian Bach: his work and influence on the music of Germany, 1685–1750
2988:
2521:
1697:(And exults) begins with a broken upward triad followed by a rest, suggesting a
1656:
859:
642:, songs of praise related to Christmas, partly in German, partly in Latin. In a
405:
343:
and embarked on an ambitious series of compositions. The Magnificat was sung at
2225:, first by one angel (A, B), then by the multitude (C), finally a cradle song (
355:. For a Christmas celebration the same or a later year, he performed it at the
4098:
2513:
2392:
2261:
1792:
1744:
879:
636:
For Christmas the same year, Bach performed his Magnificat with four inserted
556:
293:
276:
4138:
Magnificat: erste Fassung in Es-Dur BWV 243a, zweite Fassung in D-Dur BWV 243
4106:
2567:
2414:
published a critical edition based on DĂĽrr's 1955 edition again in 2014/15.
2288:
1843:
874:
has been described as a bassett and an "unusual continuo". The last column,
832:
749:
197:
2002:, while downward lines and a continuo moving in eighth notes later go with
425:
4651:"From konzertmeister to thomaskantor: Bach's cantata production 1713–1723"
4020:
Bach: "Christmas Cantatas from Leipzig; Magnificat, Collegium Vocale Gent"
4587:"Johann Sebastian und Carl Philipp Emanuel Bach / Magnificat-Vertonungen"
4043:
3143:, and also issued in comparison to a recording of the Magnificat in D by
817:
409:
378:
312:, scored for five vocal parts (two sopranos, alto, tenor and bass) and a
301:
4707:"Bach: Magnificat, Kurt Thomas vs. Helmuth Rilling (Compare 2 Versions)"
4272:(in German). Vol. 89. Bach-Jahrbuch. pp. 37–45. Archived from
3985:
2475:
Magnificats / (D major version, BWV 243, with Christmas interpolations)
428:. He applied for the post in Leipzig on 7 February 1723, performing two
2541:
Maderna Volume 8 - Desprez, J. S. Bach, G. Gabrieli-Maderna, Stravinkij
2171:
1648:
1415:
1250:
1114:
1066:
840:
789:
785:
781:
753:
716:
489:
363:
336:
325:
176:
4068:. Berlin: Staatsbibliothek zu Berlin – Preußischer Kulturbesitz. 1723.
4478:"Carl Philipp Emanuel Bach / Magnificat / BR-CPEB E 4 (Wq 215), 1749"
4248:
2214:
2050:
1927:
1698:
1634:
871:
848:
844:
773:
693:
associated with Luther's German version of the Magnificat canticle, "
417:
2621:(Magnificat in D, BWV 243, with Christmas Interpolations, BWV 243a)
1807:(and holy is His name). God's might shows in the bass voice and the
2244:(From heaven on high I come here) is the first stanza of a hymn by
2086:
of his Mass in B minor. It has been interpreted as a symbol of the
1672:", the instruments close in a shortened version of their opening.
793:
761:
711:
For Visitation of 1733, Bach revised his Magnificat, creating the
699:". A year later Bach composed for the feast of the Visitation the
690:
578:
3924:
2365:
who noticed the similarity of the continuo parts of both pieces.
408:
churches in the city. He had worked previously as an organist in
4269:
Bachs Es-Dur-Magnificat BWV 243a – eine genuine Weihnachtsmusik?
2764:
J. S. Bach: Magnificat BWV in E flat major 243a - Cantata BWV 10
2429:
2410:. Novello published an edition in 2000, edited by Neil Jenkins.
2260:. It is set for four parts in E-flat major and alla-breve as an
777:
757:
620:
Bachs Es-Dur-Magnificat BWV 243a – eine genuine Weihnachtsmusik?
488:
canticles, has long been a regular part of the liturgy in daily
437:
219:
4804:
4631:"J. S. Bach: Leipzig Christmas cantatas; Magnificat/Herreweghe"
4136:, Series 2: Messen, Passionen und oratorische Werke, Volume 3:
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instrument or only strings or even only continuo, as in Bach's
4691:"Bach: Magnificat - Buxtehude: Magnificat anima mea. (Sleeve)"
3945:
1761:
The continuation of the verse and completion of the sentence,
220:
854:
The following table shows the title, voices and instruments,
3990:
3061:
A. Lotti: Missa Sapientiae / J. S. Bach: Magnificat BWV 243a
735:
in nine movements in 1749, at the end of his father's life.
2008:(and sent the rich away empty). In Latin, the last word is
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for most of the movement. After the voices conclude with "
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Bach: Magnificat in D (Including Christmas Interpolations)
886:
Movements of Bach's Magnificat in E-flat major (BWV 243a)
535:. According to some scholars, further feast days included
4671:"Brich dem Hungrigen dein Brot BWV 39; BC A 96 / Cantata"
1719:
Alhier folget der Choral: Vom Himmel hoch, da kom ich her
4212:
J. S. Bach's Concerted Ensemble Music, the Concerto (in
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2900:(2CD-set also containing cantatas BWV 91, 121, and 133)
2320:). It is written in "chordal fashion", a style found in
504:" (which Bach used as the basis for his chorale cantata
398:
Bach composed the Magnificat in 1723, his first year as
4566:"Magnificat BWV 243a / Conducted by Thomas Hengelbrock"
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851:, it is a complex structure of rather short movements.
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followed the example of an extended setting, composing
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in 1723. In May that year Bach assumed his position as
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Jesus Christus ist um unsrer Missetat willen verwundet
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published the E-flat major version in 1955, edited by
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of joy in the instruments illustrate the exultation.
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Bach Johann Sebastian - Leipziger Weihnachtskantaten
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4614:"One Verse, Two Settings, and Three Strange Youths"
4140:, edited by Alfred Dürr. Kassel, Bärenreiter, 1955.
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2197:for Christmas 1724 which later was included as the
328:, and creating the version mostly performed today,
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158:
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23:
4547:"Magnificat in E flat major BWV 243a / Recordings"
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843:arias. Similar to the first two Leipzig cantatas,
567:Bach composed the work in 1723, his first year as
4337:The Magnificat and the St. John, Chapter XXVI of
1651:on the first syllable, ending in a figure like a
1187:
870:, the lowest line played by violins and viola in
455:, on 30 May. A week later he led the new cantata
4343:. Breitkopf & Härtel, Reprint: Dover, 1966.
4145:Magnificat Es-dur: Herausgegeben von Alfred DĂĽrr
1618:The twelve movements of the Magnificat canticle
359:with the insertion of four seasonal movements.
4740:"Magnificats BWV 243 & BWV 243a – Details"
4147:, Taschenpartituren No. 58. Bärenreiter, 1959.
646:on 25 December 1723, he performed the cantata
292:is a musical setting of the Latin text of the
5089:List of compositions by Johann Sebastian Bach
4816:
4066:"Magnificat E-flat major and Christmas hymns"
3153:J. S. Bach: Cantatas 142, 65 & Magnificat
134:for Christmas: additional four interpolations
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308:. It was composed in 1723 and is in twelve
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4832:Masses, magnificat, passions and oratorios
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4244:J.-S. Bach : Passions, messes, motets
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2488:Figuralchor der Gedächtniskirche Stuttgart
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2375:Magnificat (Bach) § Reception history
808:) are required for aria No. 9 Esurientes.
41:
20:
4733:International Music Score Library Project
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3700:
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1842:of the movement. The theme resembles the
559:, and the vespers before the feast days.
436:or Quinquagesima, the last Sunday before
4779:"Frontispiece of the 1811 first edition"
4490:"BWV 243a – "Magnificat" (E-flat Major)"
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2834:Magnificat zur Weihnachtsvesper BWV 243a
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2447:Magnificat with Christmas interpolations
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4510:"BWV 243a, Magnificat Es-Dur / BC E 13"
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2995:Amsterdam Baroque Orchestra & Choir
2118:The work is concluded by the doxology,
404:in Leipzig, music director of the main
4512:(in German). s-line.de. Archived from
4383:Choral Masterworks: A Listener's Guide
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5110:Compositions by Johann Sebastian Bach
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1817:Hierauf folget Freut euch u. jubilirt
7:
4534:"Keep it Short: J S Bach Magnificat"
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1787:Quia fecit mihi magna qui potens est
668:Darzu ist erschienen der Sohn Gottes
393:
16:Composition by Johann Sebastian Bach
4006:
3877:
2059:(in remembrance of His mercy). The
1466:fragment of a longer Christmas hymn
460:Die Himmel erzählen die Ehre Gottes
4416:Bach: Essays on His Life and Music
3973:
3802:"Virga Jesse floruit - ChoralWiki"
3724:
2434:historically informed performances
1963:", but a modest downward line on "
1951:The second thought of the verse, "
1647:" (literally: makes great) with a
52:, occasion of the song of praise,
14:
4182:. 2014. p. 3. Archived from
4158:. neiljenkins.info/. pp. 1–6
2439:historically informed performance
2209:The four Christmas interpolations
715:. In that version, transposed to
444:, presenting a new cantata in 14
4877:Kyrie–Gloria masses, BWV 233–236
2424:Discography of Bach's Magnificat
2252:Vom Himmel hoch, da komm ich her
2241:Vom Himmel hoch, da komm ich her
2053:and trumpet. The text continues
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335:The work was first performed in
1726:Vom Himmel hoch, da kom ich her
4986:Wer ist der, so von Edom kömmt
4089:(Note: Virga Jesse incomplete)
2456:Conductor / Choir / Orchestra
470:day of his tenure in Leipzig.
1:
4288:Jones, Richard D. P. (2013).
4134:Neue Ausgabe sämtlicher Werke
2692:Edition Bachakademie Vol. 140
2314:Annunciation to the Shepherds
2258:Annunciation to the shepherds
2223:annunciation to the shepherds
2056:recordatus misericordiae suae
1990:Brich dem Hungrigen dein Brot
1722:" (Here follows the chorale:
768:(B)). The instruments of the
696:Meine Seele erhebt den Herren
663:, on 26 December the cantata
573:in Leipzig, probably for the
502:Meine Seele erhebt den Herren
5125:Compositions in E-flat major
4446:Archiv fĂĽr Musikwissenschaft
4419:. Harvard University Press.
4221:University of Illinois Press
4093:Pölchau, Georg, ed. (1811).
3160:Leipziger Weihnachtskantaten
2898:Leipziger Weihnachtskantaten
2332:) and Kuhnau, among others.
705:Meine Seel erhebt den Herren
657:, and the Magnificat at the
507:Meine Seel erhebt den Herren
432:written for the audition on
253:continuo (including bassoon)
4991:includes BWV 1088 and
4334:Schweitzer, Albert (1911).
4313:Schröder, Dorothea (2012).
4114:Rust, Wilhelm, ed. (1862).
2357:Unser Mund sei voll Lachens
2046:Suscepit Israel puerum suum
420:, where he was promoted to
394:Bach's beginning in Leipzig
5141:
4729:Magnificat in E-flat major
4266:Glöckner, Andreas (2003).
3078:Balthasar-Neumann-Ensemble
2816:Pure Classics – Glissando
2421:
2386:Staatsbibliothek zu Berlin
2372:
1683:Et exultavit spiritus meus
971:Et exultavit spiritus meus
713:version better known today
651:Christen, ätzet diesen Tag
188:25 December 1723
5079:
4612:Rizzuti, Alberto (2013).
2981:Bach - Kuhnau: Magnificat
2634:SĂĽddeutscher Madrigalchor
2560:SĂĽdwestdeutscher Rundfunk
2556:SĂĽdwestdeutscher Rundfunk
2467:
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2397:Bach-Gesellschaft Ausgabe
2278:Freut euch und jubilieret
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1999:Esurientes implevit bonis
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1740:Quia respexit humilitatem
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1194:Freut euch und jubilieret
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729:Carl Philipp Emanuel Bach
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40:
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25:
4668:Bach, Johann Sebastian.
4209:Butler, Gregory (2008).
3120:Deutsche Harmonia Mundi
2709:Bach-Collegium Stuttgart
2491:Bach-Collegium Stuttgart
2205:of the Mass in B minor.
1053:Quia respexit humiltatem
451:Die Elenden sollen essen
5068:Ascension Oratorio
5014:Christmas Oratorio
4656:. Bach Cantatas Website
4389:Oxford University Press
4296:Oxford University Press
3112:Wolf Matthias Friedrich
2922:Dorothée Blotzky-Mields
2778:Regensburger Domspatzen
2256:", a paraphrase of the
2180:Sicut erat in principio
1750:ecce enim ex hoc beatam
1576:Sicut erat in principio
1562:
1520:
1476:
575:feast of the Visitation
4920:includes BWV 1084
4774:Manuscript of BWV 243.
4441:Zenck, Martin (1986).
4151:Jenkins, Neil (2000).
4122:Breitkopf & Härtel
4039:Bach Magnificat Review
3075:Balthasar-Neumann-Chor
2892:J. S. Bach: Magnificat
2842:Motettenchor Pforzheim
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2309:Gloria in excelsis Deo
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1902:Gloria in excelsis Deo
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1824:Freut euch u. jubilirt
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597:Gloria in excelsis Deo
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545:Feast of the Ascension
480:
400:
381:(12), which ends in a
4837:Johann Sebastian Bach
4744:Bach Cantatas Website
4570:Bach Cantatas Website
4551:Bach Cantatas Website
4508:Grob, Jochen (2014).
4316:Johann Sebastian Bach
3164:Collegium Vocale Gent
3141:Christmas Magnificats
2913:Collegium Vocale Gent
2894:(with cantata BWV 63)
2637:Deutsche Bachsolisten
2441:by green background.
2373:Further information:
1804:et sanctum nomen eius
1627:The opening movement
1148:Quia fecit mihi magna
788:(E-flat and B-flat),
744:Scoring and structure
362:As a regular part of
290:Johann Sebastian Bach
211:12 (16 for Christmas)
166:2 July 1723
59:Unionskirche, Idstein
5060:Easter Oratorio
4738:Oron, Aryeh (2012).
4545:Oron, Aryeh (2013).
4530:Hogwood, Christopher
4453:Franz Steiner Verlag
3008:Orlanda Velez Isidro
2651:Gundula BernĂ t-Klein
2287:and common time. In
1954:et exaltavit humiles
1905:" (Here belongs the
1771:. The movement is a
1630:Magnificat anima mea
927:Magnificat anima mea
130:Luke 1:46–55
5120:Magnificat settings
4633:. classicstoday.com
4599:on 10 December 2014
4371:. pp. 369–371.
3913:Magnificat BWV 243a
3168:Philippe Herreweghe
2907:Philippe Herreweghe
2628:Wolfgang Gönnenwein
2449:
2349:Virga Jesse floruit
2343:Virga Jesse floruit
2032:Virga Jesse floruit
2025:Virga Jesse floruit
1897:Hierher gehöret das
1447:Virga Jesse floruit
887:
689:in movement 10 the
609:Richard D. P. Jones
563:Composition history
4953:St Matthew Passion
4846:Latin church music
4377:Steinberg, Michael
4189:on 15 October 2014
3918:2015-07-21 at the
3069:Thomas Hengelbrock
2706:Gächinger Kantorei
2444:
2167:et Spiritui sancto
2028:" (Hereon follows
2005:et divites dimisit
1856:Christmas Oratorio
1820:" (Hereon follows
1764:Omnes generationes
1655:, then a stressed
1099:Omnes generationes
885:
584:Jesu, meine Freude
374:often set to music
5115:1723 compositions
5097:
5096:
4783:Auction catalogue
4462:978-3-515-03312-1
4426:978-0-674-05926-9
4326:978-0-19-969628-4
4305:978-0-19-969628-4
4258:978-2-213-66547-4
4239:Cantagrel, Gilles
4214:Bach perspectives
4126:Bach-Gesellschaft
4028:, 3 October 2003.
4018:Andrew Clements.
3162:recording by the
3137:
3136:
3096:Bernhard Landauer
2852:Susanna Cornelius
2573:Hildegard Laurich
2504:Hildegard RĂĽtgers
2404:Neue Bach Ausgabe
2369:Reception history
2353:Christmas cantata
2322:Giacomo Carissimi
2318:Luke 2:14
2219:Christmas cantata
2177:The second part,
2103:ad patres nostros
2101:Sicut locutus est
2082:Et incarnatus est
1923:Deposuit potentes
1811:of B-flat major.
1615:
1614:
1552:Luke 1:55
1527:Sicut locutus est
1510:Luke 1:54
1430:Luke 1:53
1385:Luke 1:52
1363:Deposuit potentes
1346:Luke 2:14
1303:Luke 1:51
1259:Luke 1:50
1177:Luke 1:49
1130:Luke 1:48
1081:Luke 1:48
992:Luke 1:47
953:Luke 1:46
770:Baroque orchestra
557:St. Michael's Day
314:Baroque orchestra
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4927:Weimarer Passion
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4731:: Scores at the
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4629:Vernier, David.
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4592:. Archived from
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4494:pameladellal.com
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3962:Hengelbrock 2000
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3147:under the title
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3101:JĂĽrgen Banholzer
3091:Constanze Backes
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2804:Markus Brutscher
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2583:Michael Schopper
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2293:Sethus Calvisius
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2069:ninth psalm tone
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1995:
1994:
1984:
1968:
1962:
1956:
1947:
1946:
1941:
1940:
1935:
1934:
1925:
1912:
1904:
1903:
1899:
1890:
1888:mente cordis sui
1884:
1877:
1863:
1846:of Bach's first
1840:
1827:
1819:
1818:
1806:
1805:
1800:
1799:
1789:
1766:
1752:
1742:
1729:
1721:
1712:
1706:
1696:
1685:
1671:
1670:
1665:
1664:
1646:
1645:
1632:
1600:
1599:
1579:
1578:
1571:
1548:
1547:
1529:
1506:
1505:
1485:
1449:
1426:
1425:
1404:
1378:
1365:
1342:
1341:
1322:
1299:
1298:
1278:
1239:
1220:Sethus Calvisius
1215:
1214:
1196:
1173:
1172:
1164:
1150:
1126:
1125:
1117:
1101:
1077:
1076:
1055:
1031:
1030:
1012:
994:
973:
955:
945:
929:
888:
830:
707:
698:
697:
688:
673:
672:
662:
661:
656:
655:
641:
616:Andreas Glöckner
602:
601:
590:Missa in B minor
587:
572:
483:
465:
464:
403:
371:
370:
287:
281:
278:
268:
267:
222:
195:
193:
180:
179:
173:
171:
105:
61:
45:
28:
27:
21:
5140:
5139:
5135:
5134:
5133:
5131:
5130:
5129:
5100:
5099:
5098:
5093:
5075:
5074:
5000:
4999:
4979:St Mark Passion
4972:St Luke Passion
4934:St John Passion
4899:
4898:
4855:Mass in B minor
4840:
4835:
4829:
4791:
4789:
4777:
4767:
4765:
4757:
4748:
4746:
4737:
4725:
4712:
4710:
4705:
4696:
4694:
4689:
4680:
4678:
4669:
4659:
4657:
4653:
4645:
4636:
4634:
4628:
4619:
4617:
4611:
4602:
4600:
4596:
4589:
4584:
4575:
4573:
4564:
4555:
4553:
4544:
4538:Gresham College
4528:
4519:
4517:
4516:on 21 July 2015
4507:
4498:
4496:
4484:
4480:. Carus-Verlag.
4476:
4463:
4455:. p. 234.
4440:
4431:
4429:
4427:
4409:
4403:
4375:
4367:. Vol. 2.
4359:Spitta, Philipp
4357:
4351:
4333:
4327:
4312:
4306:
4287:
4279:
4277:
4265:
4259:
4251:. p. 260.
4237:
4231:
4219:. Vol. 7.
4208:
4192:
4190:
4186:
4175:
4171:
4161:
4159:
4155:
4150:
4113:
4092:
4082:
4080:
4072:
4064:
4056:
4051:
4037:James Manheim.
4036:
4032:
4017:
4013:
4005:
4001:
3989:
3984:
3980:
3972:
3968:
3960:
3956:
3944:
3939:
3935:
3923:
3920:Wayback Machine
3911:
3907:
3899:
3884:
3876:
3869:
3861:
3857:
3849:
3845:
3837:
3833:
3827:Schweitzer 1911
3825:
3821:
3813:
3809:
3800:
3799:
3795:
3787:
3783:
3775:
3760:
3752:
3748:
3740:
3731:
3723:
3719:
3711:
3707:
3699:
3686:
3678:
3641:
3633:
3578:
3570:
3563:
3555:
3551:
3543:
3530:
3522:
3495:
3487:
3480:
3472:
3468:
3460:
3443:
3435:
3428:
3420:
3416:
3408:
3397:
3389:
3385:
3377:
3373:
3365:
3358:
3350:
3343:
3335:
3324:
3316:
3309:
3301:
3292:
3284:
3280:
3272:
3268:
3260:
3256:
3248:
3241:
3233:
3226:
3218:
3199:
3195:
3186:Dunedin Consort
3166:, conducted by
3126:
3124:
3117:
3110:
3086:Dorothee Mields
3067:
3066:
3065:
3052:
3041:
3039:
3027:
2987:
2986:
2985:
2972:
2961:
2959:
2947:
2943:Sebastian Noack
2928:Carolyn Sampson
2920:
2905:
2904:
2903:
2896:
2895:
2879:
2877:
2870:
2845:L'arpa festante
2822:
2820:
2813:
2770:
2769:
2768:
2752:
2750:
2741:
2700:Helmuth Rilling
2698:
2697:
2696:
2680:
2678:
2671:
2649:
2626:
2625:
2624:
2620:
2610:
2599:
2597:
2587:
2547:
2546:
2545:
2529:
2527:
2518:
2499:Romy Gundermann
2482:Helmuth Rilling
2480:
2479:
2478:
2426:
2420:
2382:
2377:
2371:
2338:
2305:
2282:
2274:
2237:
2211:
2116:
2096:
2042:
1975:
1919:
1875:Fecit potentiam
1870:
1838:Et misericordia
1834:
1782:
1759:
1736:
1678:
1625:
1620:
1601:
1594:
1573:
1572:
1542:
1500:
1483:Suscepit Israel
1420:
1376:
1336:
1293:
1276:Fecit potentiam
1237:Et misericordia
1209:
1167:
1160:
1120:
1113:
1071:
1025:
1010:Vom Himmel hoch
990:
951:
941:
868:Suscepit Israel
837:church cantatas
814:
746:
741:
701:chorale cantata
681:Bach used as a
644:vespers service
605:Mass in B minor
565:
490:vesper services
484:, one of three
476:
396:
391:
366:, the canticle
345:vesper services
285:
279:
256:
203:
191:
189:
175:
169:
167:
165:
154:
137:
103:
92:
62:
57:
17:
12:
11:
5:
5138:
5136:
5128:
5127:
5122:
5117:
5112:
5102:
5101:
5095:
5094:
5092:
5091:
5086:
5080:
5077:
5076:
5073:
5072:
5064:
5062:, BWV 249
5056:
5055:
5054:
5049:
5044:
5039:
5034:
5029:
5023:
5016:, BWV 248
5009:
5008:
5006:
5002:
5001:
4998:
4997:
4996:
4995:
4982:
4975:
4968:
4967:
4966:
4961:
4949:
4948:
4947:
4942:
4930:
4923:
4922:
4921:
4910:
4909:
4907:
4901:
4900:
4897:
4896:
4895:
4894:
4889:
4879:
4874:
4873:
4872:
4867:
4862:
4851:
4850:
4848:
4842:
4841:
4830:
4828:
4827:
4820:
4813:
4805:
4799:
4798:
4775:
4755:
4735:
4724:
4723:External links
4721:
4720:
4719:
4703:
4687:
4666:
4643:
4626:
4616:. ojs.unito.it
4609:
4585:Prinz (2013).
4582:
4562:
4542:
4526:
4505:
4486:Dellal, Pamela
4482:
4471:Online sources
4468:
4467:
4461:
4438:
4425:
4407:
4401:
4373:
4355:
4349:
4331:
4325:
4310:
4304:
4285:
4263:
4257:
4235:
4229:
4223:. p. 53.
4200:
4199:
4168:
4148:
4141:
4130:
4111:
4090:
4070:
4055:
4052:
4050:
4049:
4030:
4011:
3999:
3978:
3966:
3954:
3948:.muziekcentrum
3933:
3927:.harmoniamundi
3905:
3882:
3867:
3855:
3843:
3841:, p. 234.
3831:
3829:, p. 166.
3819:
3807:
3793:
3781:
3758:
3756:, p. 136.
3746:
3742:Steinberg 2005
3729:
3717:
3705:
3701:Steinberg 2005
3684:
3639:
3576:
3572:Cantagrel 2011
3561:
3549:
3547:, p. 135.
3528:
3526:, p. 134.
3493:
3478:
3466:
3441:
3426:
3414:
3395:
3383:
3371:
3356:
3341:
3339:, p. 133.
3322:
3307:
3290:
3278:
3266:
3254:
3239:
3224:
3196:
3194:
3191:
3135:
3134:
3131:
3121:
3118:
3116:
3115:
3108:
3106:Hermann Oswald
3103:
3098:
3093:
3088:
3082:
3080:
3063:
3057:
3056:
3053:
3051:
3050:
3047:
3035:
3033:
3028:
3026:
3025:
3020:
3018:Jörg Dürmüller
3015:
3010:
3005:
2999:
2997:
2983:
2977:
2976:
2973:
2971:
2970:
2967:
2955:
2953:
2951:Harmonia Mundi
2948:
2946:
2945:
2940:
2935:
2930:
2925:
2917:
2915:
2901:
2888:
2887:
2884:
2874:
2871:
2869:
2868:
2863:
2858:
2856:Claudia Darius
2853:
2849:
2847:
2839:Rolf Schweizer
2836:
2830:
2829:
2827:
2817:
2814:
2812:
2811:
2806:
2801:
2796:
2794:Heidrun Kordes
2791:
2785:
2783:
2772:Roland BĂĽchner
2766:
2760:
2759:
2757:
2747:
2742:
2740:
2739:
2734:
2732:Marcus Ullmann
2729:
2724:
2719:
2717:Sibylla Rubens
2713:
2711:
2694:
2688:
2687:
2685:
2675:
2672:
2670:
2669:
2667:Barry McDaniel
2664:
2662:Peter Schreier
2659:
2657:Birgit Finnilä
2654:
2647:
2641:
2639:
2622:
2614:
2613:
2611:
2609:
2608:
2605:
2593:
2591:
2588:
2586:
2585:
2580:
2578:Adalbert Kraus
2575:
2570:
2564:
2562:
2543:
2537:
2536:
2534:
2524:
2519:
2517:
2516:
2511:
2506:
2501:
2495:
2493:
2476:
2472:
2471:
2466:
2463:
2460:
2457:
2454:
2445:Recordings of
2419:
2416:
2381:
2378:
2370:
2367:
2337:
2334:
2326:Johann Schelle
2304:
2301:
2273:
2270:
2236:
2233:
2228:Kindleinwiegen
2210:
2207:
2115:
2112:
2095:
2092:
2041:
2038:
2020:Hierauf folget
1982:implevit bonis
1974:
1971:
1918:
1915:
1869:
1866:
1861:timentibus eum
1833:
1830:
1781:
1778:
1758:
1755:
1735:
1732:
1677:
1674:
1624:
1621:
1619:
1616:
1613:
1612:
1608:
1603:
1592:
1589:
1586:
1583:
1580:
1565:
1559:
1558:
1554:
1549:
1540:
1537:
1535:
1533:
1530:
1523:
1517:
1516:
1512:
1507:
1498:
1495:
1492:
1489:
1486:
1479:
1473:
1472:
1468:
1463:
1460:
1457:
1455:
1453:
1450:
1443:
1437:
1436:
1432:
1427:
1418:
1413:
1411:
1408:
1405:
1398:
1392:
1391:
1387:
1382:
1379:
1374:
1371:
1369:
1366:
1359:
1353:
1352:
1348:
1343:
1334:
1331:
1328:
1326:
1323:
1316:
1310:
1309:
1305:
1300:
1291:
1288:
1285:
1282:
1279:
1272:
1266:
1265:
1261:
1256:
1253:
1248:
1245:
1243:
1240:
1233:
1227:
1226:
1222:
1216:
1207:
1204:
1202:
1200:
1197:
1190:
1184:
1183:
1179:
1174:
1165:
1158:
1156:
1154:
1151:
1144:
1138:
1137:
1133:
1127:
1118:
1111:
1108:
1105:
1102:
1095:
1089:
1088:
1084:
1078:
1069:
1064:
1062:
1059:
1056:
1049:
1043:
1042:
1038:
1032:
1023:
1020:
1018:
1016:
1013:
1006:
1000:
999:
995:
988:
985:
982:
979:
977:
974:
967:
961:
960:
956:
949:
946:
939:
936:
933:
930:
923:
917:
916:
913:
910:
907:
904:
901:
898:
895:
892:
864:basso continuo
813:
810:
798:basso continuo
745:
742:
740:
737:
564:
561:
553:St. John's Day
549:Trinity Sunday
537:New Year's Day
475:
472:
422:Konzertmeister
395:
392:
390:
387:
383:recapitulation
306:Gospel of Luke
258:
257:
255:
254:
251:
248:
245:
242:
239:
236:
232:
230:
226:
225:
224:choir and solo
217:
213:
212:
209:
205:
204:
202:
201:
186:
162:
160:
156:
155:
153:
152:
149:
145:
143:
139:
138:
136:
135:
132:
126:
124:
120:
119:
113:
109:
108:
102:Magnificat in
98:
94:
93:
91:
90:
87:
80:
78:
74:
73:
68:
64:
63:
46:
38:
37:
30:
29:
15:
13:
10:
9:
6:
4:
3:
2:
5137:
5126:
5123:
5121:
5118:
5116:
5113:
5111:
5108:
5107:
5105:
5090:
5087:
5085:
5082:
5081:
5078:
5071:
5070:, BWV 11
5069:
5065:
5063:
5061:
5057:
5053:
5050:
5048:
5045:
5043:
5040:
5038:
5035:
5033:
5030:
5028:
5024:
5022:
5019:
5018:
5017:
5015:
5011:
5010:
5007:
5003:
4994:
4990:
4989:
4988:
4987:
4983:
4981:
4980:
4976:
4974:
4973:
4969:
4965:
4962:
4960:
4957:
4956:
4955:
4954:
4950:
4946:
4943:
4941:
4938:
4937:
4936:
4935:
4931:
4929:
4928:
4924:
4919:
4918:
4917:
4916:
4912:
4911:
4908:
4906:
4902:
4893:
4890:
4888:
4887:early version
4885:
4884:
4883:
4880:
4878:
4875:
4871:
4868:
4866:
4863:
4861:
4860:early version
4858:
4857:
4856:
4853:
4852:
4849:
4847:
4843:
4838:
4833:
4826:
4821:
4819:
4814:
4812:
4807:
4806:
4803:
4788:
4784:
4780:
4776:
4764:
4760:
4756:
4745:
4741:
4736:
4734:
4730:
4727:
4726:
4722:
4708:
4704:
4692:
4688:
4676:
4672:
4667:
4652:
4648:
4644:
4632:
4627:
4615:
4610:
4595:
4588:
4583:
4571:
4567:
4563:
4552:
4548:
4543:
4539:
4535:
4531:
4527:
4515:
4511:
4506:
4495:
4491:
4487:
4483:
4479:
4475:
4474:
4473:
4472:
4464:
4458:
4454:
4451:(in German).
4450:
4449:
4445:
4439:
4428:
4422:
4418:
4417:
4412:
4408:
4404:
4402:0-19-802921-7
4398:
4394:
4390:
4385:
4384:
4378:
4374:
4370:
4366:
4365:
4360:
4356:
4352:
4350:0-486-21632-2
4346:
4342:
4341:
4338:
4332:
4328:
4322:
4319:. C.H. Beck.
4318:
4317:
4311:
4307:
4301:
4297:
4293:
4292:
4286:
4276:on 2019-06-02
4275:
4271:
4270:
4264:
4260:
4254:
4250:
4247:(in French).
4246:
4245:
4240:
4236:
4232:
4230:0-252-03165-2
4226:
4222:
4218:
4217:
4213:
4207:
4206:
4205:
4204:
4185:
4181:
4178:(in German).
4174:
4169:
4154:
4149:
4146:
4142:
4139:
4135:
4131:
4127:
4123:
4119:
4118:
4112:
4108:
4104:
4100:
4096:
4091:
4079:
4075:
4071:
4067:
4063:
4062:
4061:
4060:
4053:
4046:
4045:
4040:
4034:
4031:
4027:
4026:
4021:
4015:
4012:
4008:
4003:
4000:
3996:
3987:
3982:
3979:
3975:
3970:
3967:
3963:
3958:
3955:
3951:
3942:
3937:
3934:
3930:
3921:
3917:
3914:
3909:
3906:
3902:
3897:
3895:
3893:
3891:
3889:
3887:
3883:
3879:
3874:
3872:
3868:
3864:
3859:
3856:
3852:
3847:
3844:
3840:
3835:
3832:
3828:
3823:
3820:
3816:
3811:
3808:
3803:
3797:
3794:
3790:
3785:
3782:
3778:
3773:
3771:
3769:
3767:
3765:
3763:
3759:
3755:
3750:
3747:
3744:, p. 33.
3743:
3738:
3736:
3734:
3730:
3726:
3721:
3718:
3715:, p. 44.
3714:
3709:
3706:
3703:, p. 32.
3702:
3697:
3695:
3693:
3691:
3689:
3685:
3681:
3676:
3674:
3672:
3670:
3668:
3666:
3664:
3662:
3660:
3658:
3656:
3654:
3652:
3650:
3648:
3646:
3644:
3640:
3636:
3631:
3629:
3627:
3625:
3623:
3621:
3619:
3617:
3615:
3613:
3611:
3609:
3607:
3605:
3603:
3601:
3599:
3597:
3595:
3593:
3591:
3589:
3587:
3585:
3583:
3581:
3577:
3573:
3568:
3566:
3562:
3558:
3553:
3550:
3546:
3541:
3539:
3537:
3535:
3533:
3529:
3525:
3520:
3518:
3516:
3514:
3512:
3510:
3508:
3506:
3504:
3502:
3500:
3498:
3494:
3490:
3485:
3483:
3479:
3475:
3470:
3467:
3463:
3458:
3456:
3454:
3452:
3450:
3448:
3446:
3442:
3438:
3433:
3431:
3427:
3423:
3418:
3415:
3411:
3406:
3404:
3402:
3400:
3396:
3392:
3387:
3384:
3380:
3375:
3372:
3368:
3363:
3361:
3357:
3353:
3352:Schröder 2012
3348:
3346:
3342:
3338:
3333:
3331:
3329:
3327:
3323:
3319:
3314:
3312:
3308:
3304:
3299:
3297:
3295:
3291:
3288:, p. 30.
3287:
3282:
3279:
3276:, p. 19.
3275:
3270:
3267:
3264:, p. 17.
3263:
3258:
3255:
3252:, p. 53.
3251:
3246:
3244:
3240:
3236:
3235:Glöckner 2003
3231:
3229:
3225:
3221:
3216:
3214:
3212:
3210:
3208:
3206:
3204:
3202:
3198:
3192:
3190:
3187:
3183:
3178:
3175:
3174:
3169:
3165:
3161:
3156:
3154:
3150:
3146:
3142:
3132:
3122:
3119:
3113:
3109:
3107:
3104:
3102:
3099:
3097:
3094:
3092:
3089:
3087:
3084:
3083:
3081:
3079:
3076:
3070:
3064:
3062:
3058:
3054:
3048:
3037:
3036:
3034:
3032:
3029:
3024:
3023:Klaus Mertens
3021:
3019:
3016:
3014:
3013:Bogna Bartosz
3011:
3009:
3006:
3004:
3001:
3000:
2998:
2996:
2990:
2984:
2982:
2978:
2974:
2968:
2957:
2956:
2954:
2952:
2949:
2944:
2941:
2939:
2936:
2934:
2933:Ingeborg Danz
2931:
2929:
2926:
2923:
2919:
2918:
2916:
2914:
2908:
2902:
2899:
2893:
2889:
2885:
2875:
2872:
2867:
2866:Matthias Horn
2864:
2862:
2859:
2857:
2854:
2851:
2850:
2848:
2846:
2843:
2840:
2837:
2835:
2831:
2828:
2818:
2815:
2810:
2807:
2805:
2802:
2800:
2797:
2795:
2792:
2790:
2789:Susanne Rydén
2787:
2786:
2784:
2782:
2781:Musica Florea
2779:
2773:
2767:
2765:
2761:
2758:
2748:
2746:
2743:
2738:
2735:
2733:
2730:
2728:
2727:Ingeborg Danz
2725:
2723:
2722:Ruth Sandhoff
2720:
2718:
2715:
2714:
2712:
2710:
2707:
2701:
2695:
2693:
2689:
2686:
2676:
2674:Sine Qua Non
2673:
2668:
2665:
2663:
2660:
2658:
2655:
2652:
2648:
2646:
2643:
2642:
2640:
2638:
2635:
2629:
2623:
2619:
2615:
2612:
2606:
2595:
2594:
2592:
2589:
2584:
2581:
2579:
2576:
2574:
2571:
2569:
2566:
2565:
2563:
2561:
2558:orchestra of
2557:
2550:
2549:Bruno Maderna
2544:
2542:
2538:
2535:
2525:
2523:
2522:Turnabout Vox
2520:
2515:
2512:
2510:
2507:
2505:
2502:
2500:
2497:
2496:
2494:
2492:
2489:
2483:
2477:
2473:
2451:
2448:
2442:
2440:
2435:
2431:
2425:
2417:
2415:
2413:
2409:
2405:
2400:
2398:
2394:
2389:
2387:
2379:
2376:
2368:
2366:
2364:
2360:
2358:
2354:
2350:
2346:
2344:
2335:
2333:
2331:
2327:
2323:
2319:
2315:
2310:
2302:
2300:
2298:
2294:
2290:
2285:
2279:
2271:
2269:
2267:
2263:
2259:
2253:
2247:
2246:Martin Luther
2242:
2234:
2232:
2230:
2229:
2224:
2220:
2216:
2208:
2206:
2203:
2202:
2195:
2188:
2186:
2181:
2175:
2173:
2164:, leading to
2152:, leading to
2140:, leading to
2127:
2122:
2113:
2111:
2109:
2104:
2102:
2093:
2091:
2089:
2084:
2083:
2076:
2070:
2065:
2064:
2063:cantus firmus
2057:
2052:
2047:
2039:
2037:
2034:
2033:
2021:
2015:
2012:
2006:
2000:
1993:
1991:
1983:
1981:
1972:
1970:
1967:
1961:
1955:
1949:
1929:
1924:
1916:
1914:
1911:
1910:
1898:
1892:
1889:
1883:
1878:
1876:
1867:
1865:
1862:
1857:
1853:
1849:
1845:
1839:
1831:
1829:
1826:
1825:
1812:
1810:
1801:" (holy), in
1794:
1790:
1788:
1779:
1777:
1774:
1770:
1765:
1756:
1754:
1751:
1746:
1741:
1733:
1731:
1728:
1727:
1720:
1714:
1713:(salvation).
1711:
1705:
1704:spiritus meus
1700:
1695:
1690:
1686:
1684:
1675:
1673:
1658:
1654:
1650:
1640:
1636:
1631:
1622:
1617:
1611:
1609:
1607:
1604:
1598:
1593:
1590:
1587:
1584:
1581:
1577:
1570:
1566:
1564:
1561:
1560:
1557:
1555:
1553:
1550:
1546:
1541:
1538:
1536:
1534:
1531:
1528:
1524:
1522:
1519:
1518:
1515:
1513:
1511:
1508:
1504:
1499:
1496:
1493:
1490:
1487:
1484:
1480:
1478:
1475:
1474:
1471:
1469:
1467:
1464:
1461:
1458:
1456:
1454:
1451:
1448:
1444:
1442:
1439:
1438:
1435:
1433:
1431:
1428:
1424:
1419:
1417:
1414:
1412:
1409:
1406:
1403:
1399:
1397:
1394:
1393:
1390:
1388:
1386:
1383:
1380:
1375:
1372:
1370:
1367:
1364:
1360:
1358:
1355:
1354:
1351:
1349:
1347:
1344:
1340:
1335:
1332:
1329:
1327:
1324:
1321:
1317:
1315:
1312:
1311:
1308:
1306:
1304:
1301:
1297:
1292:
1289:
1286:
1283:
1280:
1277:
1273:
1271:
1268:
1267:
1264:
1262:
1260:
1257:
1254:
1252:
1249:
1246:
1244:
1241:
1238:
1234:
1232:
1229:
1228:
1225:
1223:
1221:
1217:
1213:
1208:
1205:
1203:
1201:
1198:
1195:
1191:
1189:
1186:
1185:
1182:
1180:
1178:
1175:
1171:
1166:
1163:
1159:
1157:
1155:
1152:
1149:
1145:
1143:
1140:
1139:
1136:
1134:
1131:
1128:
1124:
1119:
1116:
1112:
1109:
1106:
1103:
1100:
1096:
1094:
1091:
1090:
1087:
1085:
1082:
1079:
1075:
1070:
1068:
1065:
1063:
1060:
1057:
1054:
1050:
1048:
1045:
1044:
1041:
1039:
1037:
1036:Martin Luther
1033:
1029:
1024:
1021:
1019:
1017:
1014:
1011:
1007:
1005:
1002:
1001:
998:
996:
993:
989:
986:
983:
980:
978:
975:
972:
968:
966:
963:
962:
959:
957:
954:
950:
947:
944:
940:
937:
934:
931:
928:
924:
922:
919:
918:
889:
883:
881:
877:
873:
869:
865:
861:
857:
852:
850:
846:
842:
838:
834:
829:
822:
819:
811:
809:
807:
803:
799:
795:
791:
787:
784:(in E-flat),
783:
779:
775:
771:
767:
763:
759:
755:
751:
743:
738:
736:
734:
730:
725:
722:
718:
714:
709:
706:
702:
692:
687:
686:
685:cantus firmus
679:
677:
671:
669:
660:Nikolaikirche
654:
652:
645:
640:
634:
631:
627:
626:
625:Bach-Jahrbuch
621:
617:
612:
610:
606:
603:, and in the
600:
598:
591:
586:
585:
580:
576:
571:
562:
560:
558:
554:
550:
546:
542:
538:
534:
530:
526:
520:
518:
514:
510:
508:
503:
499:
498:Martin Luther
495:
491:
487:
486:New Testament
482:
478:The canticle
473:
471:
469:
463:
461:
454:
452:
447:
443:
439:
435:
431:
427:
423:
419:
415:
411:
407:
402:
388:
386:
384:
380:
375:
365:
360:
358:
357:Nikolaikirche
354:
350:
346:
342:
338:
333:
331:
327:
323:
319:
315:
311:
307:
303:
299:
295:
291:
283:
273:
269:
252:
249:
246:
243:
240:
237:
234:
233:
231:
227:
223:
218:
214:
210:
206:
199:
187:
184:
178:
164:
163:
161:
157:
150:
147:
146:
144:
140:
133:
131:
128:
127:
125:
121:
118:on feast days
117:
114:
110:
107:
99:
95:
88:
86:
82:
81:
79:
75:
72:
69:
65:
60:
55:
54:Rubens school
51:
50:
44:
39:
36:
31:
22:
19:
5067:
5059:
5013:
4984:
4977:
4970:
4951:
4932:
4925:
4913:
4886:
4790:. Retrieved
4782:
4766:. Retrieved
4763:Bach digital
4762:
4747:. Retrieved
4743:
4711:. Retrieved
4695:. Retrieved
4679:. Retrieved
4675:Bach Digital
4658:. Retrieved
4637:23 September
4635:. Retrieved
4620:23 September
4618:. Retrieved
4601:. Retrieved
4594:the original
4574:. Retrieved
4569:
4554:. Retrieved
4550:
4518:. Retrieved
4514:the original
4497:. Retrieved
4493:
4470:
4469:
4447:
4443:
4430:. Retrieved
4415:
4382:
4363:
4340:
4336:
4315:
4290:
4278:. Retrieved
4274:the original
4268:
4243:
4215:
4211:
4202:
4201:
4193:22 September
4191:. Retrieved
4184:the original
4162:23 September
4160:. Retrieved
4144:
4137:
4115:
4094:
4081:. Retrieved
4078:Bach Digital
4058:
4057:
4042:
4033:
4025:The Guardian
4023:
4014:
4002:
3981:
3969:
3957:
3936:
3908:
3858:
3846:
3834:
3822:
3817:, p. 4.
3815:Jenkins 2000
3810:
3796:
3791:, p. 4.
3784:
3779:, p. 2.
3777:Jenkins 2000
3749:
3720:
3708:
3680:Hogwood 2011
3557:Rizzuti 2013
3552:
3491:, p. 5.
3489:Jenkins 2000
3474:Simrock 1811
3469:
3422:Carus-Verlag
3417:
3393:, p. 3.
3391:Jenkins 2000
3386:
3381:, p. 2.
3379:Rizzuti 2013
3374:
3369:, p. 1.
3367:Jenkins 2000
3320:, p. 3.
3318:Rizzuti 2013
3305:, p. 1.
3303:Rizzuti 2013
3281:
3269:
3257:
3220:BDW 303 2018
3179:
3173:The Guardian
3171:
3159:
3157:
3152:
3148:
3140:
3138:
3060:
3003:Deborah York
2980:
2938:Mark Padmore
2897:
2891:
2833:
2809:Peter Harvey
2763:
2691:
2645:Helen Donath
2617:
2540:
2509:Kurt Equiluz
2446:
2427:
2401:
2390:
2383:
2356:
2340:
2339:
2330:Thomaskantor
2329:
2306:
2297:Thomaskantor
2296:
2284:B-flat major
2275:
2238:
2226:
2212:
2189:
2176:
2121:Gloria Patri
2117:
2108:stile antico
2100:
2097:
2043:
2016:
1989:
1979:
1976:
1950:
1920:
1893:
1872:
1871:
1855:
1848:French Suite
1835:
1813:
1809:dominant key
1784:
1783:
1760:
1737:
1715:
1694:Et exultavit
1680:
1679:
1626:
1591:E-flat major
1569:Gloria Patri
1539:E-flat major
1333:E-flat major
1290:E-flat major
1206:B-flat major
1162:B-flat major
1022:E-flat major
984:E-flat major
943:E-flat major
912:Text source
875:
867:
853:
823:
815:
806:flauto dolce
747:
733:a Magnificat
726:
720:
710:
680:
676:Thomaskirche
667:
650:
635:
623:
619:
613:
596:
570:Thomaskantor
566:
533:Purification
525:Annunciation
521:
513:by Heinichen
506:
492:. After the
477:
468:Marian feast
459:
450:
421:
401:Thomaskantor
397:
361:
349:Marian feast
341:Thomaskantor
334:
322:E-flat major
275:
272:E-flat major
263:
261:
229:Instrumental
84:
71:E-flat major
47:
18:
5021:discography
4964:discography
4945:discography
4892:discography
4870:discography
4792:18 November
4768:18 November
4749:18 November
4499:23 December
4432:23 December
4391:. pp.
4180:Bärenreiter
4120:. Leipzig:
3993:.baroquecds
3863:Bärenreiter
3635:Dellal 2021
3410:Spitta 1899
3250:Butler 2008
3145:Kurt Thomas
2989:Ton Koopman
2799:Drew Minter
2737:Klaus Häger
2412:Bärenreiter
2408:Alfred DĂĽrr
2380:Publication
2363:Alfred DĂĽrr
2295:, a former
1637:and broken
756:(SI, SII),
727:Bach's son
494:Reformation
318:transposing
241:2 recorders
49:Heimsuchung
5104:Categories
5084:Evangelist
4882:Magnificat
4660:4 February
4603:5 December
4576:8 December
4556:8 December
4520:2 December
4339:J. S. Bach
4280:2019-06-06
4099:N. Simrock
3839:Zenck 1986
3789:Prinz 2013
3754:Jones 2013
3713:Jones 2013
3545:Jones 2013
3524:Jones 2013
3337:Jones 2013
3286:Wolff 1991
3274:Wolff 1998
3262:Wolff 1998
3193:References
3049:2004 (DVD)
2514:Erich Wenk
2469:Orch. type
2422:See also:
2418:Recordings
2262:a cappella
2185:Monteverdi
2075:recordatus
1980:Esurientes
1854:of Bach's
1793:ritornello
1745:minor mode
1663:Magnificat
1644:Magnificat
1585:3Tr Ti 2Ob
1402:Esurientes
1284:3Tr Ti 2Ob
935:3Tr Ti 2Ob
880:major mode
618:published
529:Visitation
517:by Vivaldi
481:Magnificat
474:Magnificat
414:MĂĽhlhausen
389:Background
369:Magnificat
353:Visitation
294:Magnificat
288:243.1, by
284:, also BWV
266:Magnificat
235:3 trumpets
192:1723-12-25
183:Visitation
170:1723-07-02
100:basis for
35:J. S. Bach
26:Magnificat
5005:Oratorios
4959:structure
4940:structure
4865:structure
4787:Sotheby's
3901:Oron 2013
3851:Rust 1862
3462:Grob 2014
3437:Autograph
3182:John Butt
2969:2003 (CD)
2607:1991 (CD)
2568:Hedy Graf
2554:choir of
2459:Soloists
2359:, BWV 110
2289:polyphony
1960:exaltavit
1882:dispersit
1844:sarabande
1218:Verse by
1083:beginning
833:obbligato
812:Movements
802:recorders
750:Jesu Juva
674:, in the
599:, BWV 191
310:movements
304:from the
247:2 violins
208:Movements
198:Christmas
159:Performed
89:BWV 243.1
77:Catalogue
4905:Passions
4709:. Amazon
4693:. Amazon
4649:(1998).
4532:(2011).
4488:(2021).
4413:(1991).
4379:(2005).
4361:(1899).
4241:(2011).
4107:68145446
4097:. Bonn:
4044:AllMusic
3986:BACH 721
3916:Archived
3184:and the
3180:In 2015
2745:Hänssler
2590:Arkadia
2328:(also a
1992:, BWV 39
1939:potentes
1933:Deposuit
1769:Passions
1710:salutari
1606:Doxology
1034:Hymn by
903:Strings
818:doxology
782:trumpets
780:, three
764:(T) and
754:sopranos
670:, BWV 40
653:, BWV 63
541:Epiphany
509:, BWV 10
462:, BWV 76
453:, BWV 75
446:movement
434:Estomihi
430:cantatas
410:Arnstadt
406:Lutheran
379:doxology
320:it from
302:canticle
142:Language
112:Occasion
5025:Parts:
4713:17 July
4697:17 July
4681:16 June
4369:Novello
4170:(2014)
4143:(1959)
4132:(1955)
4083:28 July
4054:Sources
4007:Vernier
3878:Rilling
3149:Compare
3133:Period
3125: (
3055:Period
3040: (
2975:Period
2960: (
2886:Period
2878: (
2821: (
2751: (
2679: (
2598: (
2528: (
2393:Simrock
2201:Sanctus
2194:Sanctus
2172:cadenza
2126:Trinity
1966:humiles
1945:de sede
1852:Part II
1798:sanctum
1669:Dominum
1649:melisma
1635:octaves
1497:C minor
1459:F major
1416:F major
1377:G minor
1251:F minor
1115:G minor
1067:C minor
897:Voices
841:da capo
790:bassoon
786:timpani
774:violins
717:D major
630:Novello
442:Trinity
364:vespers
351:of the
337:Leipzig
330:BWV 243
326:D major
244:2 oboes
238:timpani
190: (
177:Leipzig
168: (
116:Vespers
104:D major
97:Related
4677:. 1967
4572:. 2000
4459:
4423:
4399:
4347:
4323:
4302:
4255:
4249:Fayard
4227:
4105:
4059:Scores
3974:Thomas
3725:BWV 39
3046:(rec.)
2966:(rec.)
2873:Amati
2604:(rec.)
2462:Label
2453:Title
2266:motifs
2215:Kuhnau
2161:Gloria
2149:Gloria
2137:Gloria
2131:Gloria
2051:unison
2011:inanes
1928:unison
1699:minuet
1689:motifs
1657:dotted
1639:triads
1588:2Vl Va
1494:2Vl Va
1373:2Vl Va
1287:2Vl Va
1247:2Vl Va
1110:2Vl Va
981:2Vl Va
938:2Vl Va
900:Winds
894:Title
872:unison
849:BWV 76
845:BWV 75
800:. Two
776:, two
721:laudes
719:, the
639:laudes
588:, the
426:Köthen
418:Weimar
286:
280:
151:German
106:(1733)
4654:(PDF)
4597:(PDF)
4590:(PDF)
4395:–34.
4203:Books
4187:(PDF)
4176:(PDF)
4156:(PDF)
3925:store
3031:Naxos
2465:Year
2217:in a
2155:Filio
2143:Patri
2088:cross
1773:fugue
1653:trill
1582:SSATB
1532:SSATB
1325:SSATB
1281:SSATB
1104:SSATB
932:SSATB
909:Time
828:tutti
794:viola
778:oboes
762:tenor
760:(A),
739:Music
691:chant
579:motet
250:viola
221:SSATB
216:Vocal
148:Latin
4993:1149
4794:2014
4770:2014
4751:2014
4715:2014
4699:2014
4683:2014
4662:2013
4639:2014
4622:2014
4605:2014
4578:2014
4558:2014
4522:2014
4501:2021
4457:ISBN
4434:2014
4421:ISBN
4397:ISBN
4345:ISBN
4321:ISBN
4300:ISBN
4253:ISBN
4225:ISBN
4195:2014
4164:2014
4103:OCLC
4085:2018
3995:.com
3929:.com
3158:The
3127:2008
3123:2008
3042:2003
3038:2003
2962:2002
2958:2002
2880:2000
2876:2000
2823:2000
2819:2000
2753:2000
2749:2000
2681:1975
2677:1975
2600:1971
2596:1971
2530:1967
2526:1967
2430:SATB
2402:The
1462:12/8
1255:12/8
1199:SSAT
1015:SATB
915:Dig
906:Key
891:No.
856:time
847:and
796:and
766:bass
758:alto
555:and
531:and
515:and
438:Lent
416:and
372:was
298:Mary
282:243a
262:The
123:Text
85:234a
83:BWV
5037:III
4834:by
4041:in
4022:in
3991:www
3988:at
3950:.be
3946:www
3943:at
3922:at
2248:, "
2036:).
1913:).
1828:).
1730:).
1602:3/4
1488:SSA
1452:S B
1410:2Fl
1381:3/4
1242:A T
1132:end
1107:2Ob
987:3/8
976:SII
948:3/4
876:Dig
860:key
324:to
300:'s
277:BWV
270:in
67:Key
33:by
5106::
5052:VI
5042:IV
5032:II
4785:.
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4101:.
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3642:^
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3531:^
3496:^
3481:^
3444:^
3429:^
3398:^
3359:^
3344:^
3325:^
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3293:^
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3227:^
3200:^
3155:.
2388:.
2324:,
2299:.
2268:.
2187:.
2174:.
2114:12
2094:11
2040:10
1701:.
1563:12
1521:11
1491:Tr
1477:10
1330:Vl
1061:Ob
1058:SI
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792:,
678:.
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551:,
547:,
543:,
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519:.
496:,
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296:,
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3354:.
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3222:.
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2532:)
2336:D
2316:(
2303:C
2272:B
2235:A
1973:9
1917:8
1868:7
1832:6
1780:5
1757:4
1734:3
1676:2
1623:1
1441:D
1407:A
1396:9
1368:T
1357:8
1314:C
1270:7
1231:6
1188:B
1153:B
1142:5
1093:4
1047:3
1004:A
965:2
921:1
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