Magnificat (Bach) - Knowledge (XXG)

1713:: Between the first and the 7th movement there are four verses of the Magnificat, between the 7th and the last there are also four. First, seventh and last movement are in the tonic key, with full orchestra and choir. The second and 11th movement are in the same major key, the third and the 10th movement are in the relative minor key. The movement preceding, and the one following, the central 7th movement are also in a minor key. The fifth and the ninth are in a major key, different from the tonic. The Christmas additions are separated by two Magnificat verses, the first addition being after the second verse. The Christmas hymns are always in the same key as the preceding movement. By verse, this is what the harmonic structure looks like: 3192: 836: 3077:(As he spake ), the last line of the Magnificat has a theme in four distinct measures: the first repeated notes, the second flowing eighth notes, the third quarter notes in leaps, the fourth half notes leaping up a sixth. When the theme is developed the first time, four voices enter from bottom to top. In the second development, soprano I begins, followed by alto, tenor and bass. The movement ends with a more homophonic section in which the bass has the theme once more, while soprano I sings long suspended notes in a descending scale covering almost an octave. 3089: 2847: 797:. It is possible that Bach produced his new version of the Magnificat for this occasion, although Christmas of the same year as first performance date for the new version is possible too: it can not be determined with certainty on which day around 1732–1735 the D major version of the Magnificat was first performed, and until when Bach amended the score to its final state. Around 1733 Bach filed two cantatas by 3359:"). Lutheran theologians thus rejected the Vulgate version (they would have the verse end on "... bonae voluntes" in Latin), while composers were attached to the classic formula for its melodious rhythm. This Magnificat interpolation is the only place where Bach uses a version of the Gloria text that differs from the Vulgate, more or less catching the spirit of the theologian-approved version. 2987: 2892:. Some commentators see an atmosphere close to aggression, others rather an evocation of multitude. The sound in the E-flat major version is somewhat harsher than in the D major version, for example the bass line in measure three, and in measure 24 where the first version has a dissonant dominant ninth which was changed to a less dissonant harmony in the later version. 3367: 3308: 2589: 2533: 2494: 2413: 2329: 2280: 2194: 2145: 2089: 2046: 1436: 2007: 353:, from 1723 until his death in 1750. Compared to Lutheran practice elsewhere, an uncharacteristic amount of Latin was used in church services in Leipzig. An early account of Bach showing interest in liturgical practices in Leipzig dates from 1714, when he noted down the order of the service on the first Sunday in Advent during a visit to the town. At the time 60: 2787:

chorus takes a leading role, limited groups of instruments accompanying with short ideas taken from the opening tutti, until in the last two measures all instruments join, ending with the second main motive played by trumpet I in measure 60. In this second of three blocks for the singers, the only text they sing is a repetition of the word "magnificat".

2861:(Because he has looked upon the humility) is an aria sung by soprano I with an obbligato oboe (oboe d'amore in the D major version). It is the only movement for which Bach marked the tempo at the beginning: Adagio (only the D major version). Steinberg notes that voice and instrument first share the material in a "contemplative duet", but on 428: 2783:) once, all of them with the last syllable of that word on the first beat of the 45th measure, after which the orchestra, apart from the continuo, is silent till the beginning of measure 47: the singers bridge the central barline between measures 45 and 46 with the first main motive sung by altos, sopranos I and sopranos II consecutively. 1564:, there only accompanied by the continuo. The first three choral movements are, in the version without the Christmas hymns, followed by two movements for a vocal soloist, the second one often with richer scoring. In the movements for vocal soloists the instrumentation is as usual in Bach's cantata's: the soloists are accompanied by an 3434:

instrumental scores adapted to contemporary performance practice for the D major version. By the end of that century "The Magnificat in D (was) considered one of the grandest illustrations of Bach's genius." Generally it was also the D major version without the Christmas hymns that was chosen for performance.

3441:. Although the D major version remained the standard for life performance and studio recordings, half a century later also the E-flat major version had been published in new editions adapted to performance, it had been recorded several times, and its composition history had been further unravelled. 2670:

for a Christmas performance. Kuhnau's Magnificat has standard SATB soloists, but like Bach's, a SSATB choir. All three Magnificats set verses 1, 6, 10 and 12 of the Magnificat text for chorus. Kuhnau's has five choral movements, like Bach's, but his second is verse 4 (instead of 3b for Bach), and his

600:

Extended settings of the Magnificat, also indicated as settings in a concertato sectional construction, that is in several movements with chorus, orchestra and vocal soloists, and a non-linear treatment of the text (parts of the text repeated multiple times by the singers), go back to the old Italian

2749: 1090:

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

3172:

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

2772:

Measure 31–45: The sopranos enter first, with the first main motive, and from measure 32 alto and tenor imitate the same. The basses enter from measure 33 while the full orchestra plays a short intervention for two measures. In measures 35–36 the chorus sings the second main motive from the opening

2666:, which Kuhnau probably knew. Kuhnau's Magnificat, his largest extant vocal work, has a similar orchestration as the first version of Bach's Magnificat (differences: Kuhnau's has a second viola, Bach's has two recorders in one movement), and it has the same "expandability" with settings of the same 1217:

movement. Each verse of the canticle is assigned to one movement, except verse 48 (the third verse of the Magnificat) which begins with a soprano solo in the third movement and is concluded by the chorus in the fourth movement. The traditional division of the Magnificat, as used by composers since

3353:, there said by angels in the Christmas night. The Vulgate version translates as "Glory to God in the highest, and on earth peace to people of good will", while the end of the Greek version is rendered more correctly as "Peace on earth, and good will towards men", as it was understood by Luther (" 634:

In many of these settings a single verse of the Magnificat can be sung by one or more soloists alternating with choral singing, as Bach does in his treatment of the third Magnificat verse: the soprano sings the first words of the verse, while the chorus concludes it. This particular split of the

3433:

After the composer's death the autographs of both the E-flat major and the D major version of the Magnificat were owned by his son Carl Philipp Emanuel. Publication followed in the 19th century, including the Christmas hymns of the E-flat major version, and a variety of vocal and

2786:

Measure 46–60: after the sopranos recapitulate the start of the movement with their voices, and a brief intervention by the orchestra in measures 47–48, the second main motive is sung again, first by the highest voices in measure 49, followed by the lower voices in measure 50. In this block the

1778:

The last aria in each of these sets of arias is first a solo, then a duet, then a terzet (trio). When inserting the Christmas hymns, building up to the seventh movement alternates arias with choral movements, while in the second half of the composition the choral movements at the outer ends are

1763:

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

3504:

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

2731: 1525:

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

3484:

in 1811, edited by Georg Pölchau, however with printing errors, and without the Christmas hymns. It was the first composition of Bach for vocal soloists, chorus and orchestra that was printed in orchestral score, but at the time this publication had little success in sales. When in 1822 young

1199:

is a Magnificat in C major for double SATB choir and orchestra, copied by Bach around 1742. The manuscript score indicates no composer, but in 2012 it was discovered that it is Bach's arrangement (by adding parts for timpani and for a third trumpet) of a late 17th-century composition by

2790:

Measure 61–75: in the first measure of this block the altos sing the first main motive while all instruments halt for at least a few beats. The singers keep the leading role, while groups of instruments play additional motives. Later the orchestral writing thickens, returning from the

3531:

devoted many pages to the Magnificat in his Bach-biography, considering it recognized as one of the greatest achievements of the composer's genius. Bach's Magnificat was performed several times in the last quarter of the 19th century, for instance in Germany and the Netherlands.

3505:

version of the Magnificat with an orchestral score in line with 19th century performance practice, for example expanding the "organ and continuo" single stave with annotated bass from the autograph and the Bach-edition into several separate staves for organ, bassoon and celli.

2978:(and exalted the humble), is sung without introduction. After a shorter ritornello, the tenor sings the complete text again, the first part in a slightly modified version, but the exaltation is considerably expanded after which the ritornello is repeated at the end in full. 7353: 1048:, songs of praise partly in German, partly in Latin to be inserted at certain points in the E-flat major version of the Magnificat. The E-flat major version of the Magnificat including these interpolations is known as BWV 243.1 (previously BWV 243a). 801:, for the fifth and the sixth Sunday after Trinity (5 and 12 July in 1733): Bach may have relied on church music by other composers for the services in Leipzig in July 1733, while composing and copying out the performance parts of the extensive first part of the 6214:"Magnificat Es-Dur BWV 243a (mit den vier Einlagesätzen: Vom Himmel hoch / Freut euch und jubilieret / Gloria in excelsis / Virga Jesse floruit). Für Soli (SSATB), Chor (SSATB), Orchester und Orgel (lat). Nach dem Urtext der Neuen Bach-Ausgabe. Ed. A. Dürr" 2773:

tutti. After that the orchestra dominates again, with the chorus following or giving contrasting melodies. From the end of measure 37 voices one after another start singing "anima mea", until in the last three measures of this block all singers take the text

7017: 1831:

This is also 5 times two verses of the Magnificat followed by a movement with a text that comes from elsewhere, the only bible quote of these other texts (movement C, also a doxology like the last movement) being coupled with the central 7th movement.

2834:("And my spirit has rejoiced ") is an aria sung by soprano II, accompanied by the strings. The aria continues the feelings of joy from the first movement, but in a less extroverted way. In the Christmas 1723 version, this movement is followed by the 2719:

Measure 16–30: in measure 16, almost imperceptible in the whirling movement of other instruments, violin I presents a new motive: it is the second main motive. The last measures before the entrance of the choir that motive is repeated by multiple

6381:). Foreword by the editor in German. English translation by Hans Ferdinand Redlich. For solo voices (SSATB), chorus (SSATB) and orchestra. Parts for: fl1, fl2, ob1, ob2, bsn1, tpt1, tpt2, tpt3, timp. – organ – strings (3,3,2,2). Duration: 30 min. 3680:

as vocal soloists, in 1971. Its CD-release as volume 8 of the Maderna Edition by Arkadia was in 1991. The first recording on period instruments of Bach's Magnificat, with the four choral Christmas interpolations (BWV 243.1), was released by

635:

third verse, leaving only the last two words (omnes generationes) to the chorus, had been practised before by Ruggiero Fedeli, and in a Magnificat in G minor from 1720 which Bach probably knew (that Magnificat in G minor used to be attributed to

7346: 3803:

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.

3106: 1791: 291:

of 1733, or another feast in or around that year, Bach produced a new version of his Latin Magnificat, without the Christmas hymns: instrumentation of some movements was altered or expanded, and the key changed from E-flat major to

1516:

Performance time of the Magnificat lies typically between 25 and 30 minutes, with an additional five minutes for the Christmas interpolations. The duration of the version without Christmas hymns is comparable with that of an average

7339: 1779:

separated by a set of four arias: solo → solo → duet → trio. In such sixteen-movement performance there is however another symmetry: the third section (movement A), and the third counting down from the last (movement 10) both use a

4396: 3251: 3098: 2907:(Because he did great things for me) is an aria sung by the bass, accompanied only by the continuo. The motif, again beginning with repeated notes, is introduced by four measures of the continuo, then repeated by the voice. 6400:"Magnificat D-Dur BWV 243 (mit den vier Einlagesätzen aus der Es-Dur-Fassung BWV 243a, transponiert) für Soli (SSATB), Chor (SSATB), Orchester und Orgel (lat). Nach dem Urtext der Neuen Bach-Ausgabe. Ed. A. Dürr" 3233:. Where the Latin of the preceding movements may have been largely incomprehensible for the congregation in Bach's time, here is a first movement that was not only recognizable for the words, but also for the melody: the 597:. In Protestantism there was no Latin text more often set to music than the Magnificat. Also settings of the German text of the Magnificat were current from the early 17th century, without one form suppressing the other. 3831:

in the St. Thomas church in Leipzig. A DVD of the recording, which included a performance of Kuhnau's Magnificat with his four Christmas interpolations, and of Bach's German Magnificat BWV 10, was released in 2004.

3798:

Novello published both the E-flat major and the D major version of the Magnificat in a single publication in 2000, edited by Neil Jenkins. This edition also offered a transposed version of the Christmas 1723

3453:

had been performed in Leipzig, like his father's an extended setting. When Johann Sebastian had died, Carl Philipp Emanuel owned the autograph of both versions of his father's Magnificat, and staged the composition in

2941:(He shows strength) shares its key and scoring with the first movement. The tenor is the first voice to enter, followed by alto, SII, bass and SI, leading to two calls without melismas near the middle of the movement. 2713:, but is in fact rather a concerto tutti. The movement has the form of an Italian aria, modelled after the concerto style Bach had developed in Köthen: in that style the material is presented in an instrumental tutti. 3056:, on a continuo line that most of the time only changes every measure, moving one step down or up. The voices imitate each other, in gentle movement. Almost the only leaps in the whole measure occur on the word 3042:(He hath holpen his servant Israel) is scored for an unusual combination of the three highest voices and two oboes in unison (a single trumpet in the E-flat major version). The wind instrument(s) cite the 3855:

published a critical edition of all score versions, based on Dürr's 1955 edition, again in 2014/15. The "synthetic" D major version, that is the D major version of the Magnificat with the Christmas

2871:

notes: "Scarcely ever has the idea of virgin purity, simplicity, and humble happiness found more perfect expression than in this German picture of the Madonna, translated, as it were, into musical language."

3247: 7362: 6399: 6213: 2671:

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.

5058: 3009:(The hungry) is sung by the alto, accompanied by two flutes. The ritornello of eight measures introduces a motiv moving up, on a continuo of steady quarter notes, for four measures, later sung on 1016:

the four Christmas interpolations were added to the autograph, was first performed on 2 July 1723. That would have been exactly ten years before the transposed version, and composed for the same

1218:

the late Middle Ages, was in 12 verses: it differs from Bach's 12 movements in that Luke's verse 48 is one verse in the traditional division, while the doxology is divided into two verses.

1040:

Before Glöckner's 2003 article on the origin of the Magnificat, and for some authors still after that, it was generally assumed that Bach had composed his Magnificat in the quiet time of

3544:

edited the full orchestral score of the D major version of Bach's Magnificat for publication by Ernst Eulenburg and Edition Peters. Performances of the Magnificat by, among others,

7567: 6390:

Urtext edition taken from: J.S. Bach, Neue Ausgabe sämtlicher Werke, Series II, Vol. 3: Magnificat (Alfred Dürr). Preface in German with English translation by Hans Ferdinand Redlich,

3168:

The first time the Christmas hymns of the E-flat major version of Bach's Magnificat were printed was in the same volume as the D major version of the Magnificat, in the 1862

3107: 540: 7557: 3622:

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

6193:

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

7266: 6192: 7582: 7562: 686: 307:

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,

7655: 3283: 1134:

and of the chorale harmonisation BWV 324, a Magnificat for soprano solo was considered lost in the 19th century. The score of that so-called "little" Magnificat (

2922:(And mercy), a duet for alto and tenor, begins with an undulating movement in 12/8 time, played by violins and violas. In the D major version these strings play 7270: 6347: 6310: 6290: 366: 4358: 7640: 7134: 775: 771: 751:. It is a chosen opportunity to give more than ordinary attention to the Magnificat canticle in liturgy, while the feast celebrates the event tied to its origin. 624: 411: 7619: 7572: 4445: 4198: 659: 3633: 1026:

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.

6410: 6224: 4005: 3294:" (Rejoice with pious mind, To Bethlehem go now and find The fair and holy new-born Boy, Who is your comfort peace, and joy), a verse by Sethus Calvisius. 647: 612: 5055: 1486:

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

7407: 7274: 5527: 4205: 4009: 299:

After publication of both versions in the 19th century, the second became the standard for performance. It is one of Bach's most popular vocal works.

7290: 2818:

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

1158: 370: 3404:

hath appeared, And hath put on human flesh, And become a lovely child, Alleluja!) and is a fragment of a longer Christmas hymn that was printed in

2801:

for most of this block, the conclusion "anima mea" (my soul) is heard by the alto for the first time, in measure 67, embedded in the other voices'

7577: 3492:

The D major version of Bach's Magnificat did not appear in print before the Bach-revival that followed Mendelssohn's 1829 performance of the

1521:. However, there are many differences: the Magnificat contains about twice as many movements as an average cantata, keeping it short by avoiding 646:

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

7445: 5918: 3828: 700: 379: 711:(1635) contained three Magnificats with interpolations, the first of these (SSWV 299 for SSATTB and basso continuo) with the first stanza of " 7222: 7184: 7159: 7104: 7083: 6973: 6952: 6896: 6875: 6813: 6768: 6703: 6604: 6552: 6524: 5828: 4987: 4829: 1067:

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

7597: 7417: 7279: 2680: 1035: 531: 277: 5038: 1552: major for BWV 243.1, D major for BWV 243.2), and are the only movements that feature a five-part chorus as well as a 3863:

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

7422: 4066: 3428: 2716:

Measure 1–15: the motive played by oboe I in the first measure sets the jubilant tone of the tutti. It is the first of two main motives.

1693:

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

1583:

were usually tuned in D in Saxony, this is given as a reason why Bach transposed the initial E-flat major version to D major.

296:, for performance reasons of the trumpet parts. This version of Bach's Magnificat is known as BWV 243.2 (previously BWV 243). 3878:. In December 2016, Bach's autograph of the D major version of his Magnificat was among the top three most visited scores at the 3500:

of Bach's D major version of the Magnificat appeared. In 1862 the orchestral and vocal score was published in Volume 11/1 of the

676: 3591:, among which were several with an English translation. More recordings of the Magnificat became available, for instance directed by 7072:

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

7058: 5509: 4821: 779: 672: 7516: 7003: 6987: 6333:

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

3775:. Other CD releases with BWV 243.1 that became available before the end of the century include a recording by Rilling and the 3191: 6097: 1127:, mentions that the composer wrote several Magnificats. Apart from the extant copies of the Latin Magnificat BWV 243, of the 7523: 7172:

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

7040: 3182: 712: 400: 3607:. The second half of the 1960s saw the first recordings of the Christmas version of the Magnificat BWV 243.1 including the 835: 7376: 7176: 3461:

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

1091:

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

346: 240: 2663: 1774:

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

7551: 7494: 7026: 6632: 3225:, with all sopranos singing the 1539 chorale melody attributed to Luther as a cantus firmus, while the lower voices make the 1783:

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

1172: 6664:[Is there another cantata cycle by Gottfried Heinrich Stölzel that belonged to Bach’s performance repertoire?]. In 3705: 3206: 1784: 1656: 798: 793:

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

671:. Around the time when the D major version of the Magnificat originated, he composed for the same extended chorus in 500:

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

458: 448: 2752: 2734: 7650: 7489: 7283: 4757: 3661: 3651: 1150: 1104: 590: 568: 4948:[On the identification of the Magnificat BWV Anh. 30 from Johann Sebastian Bach's music library]. In 3015:(He hath filled the hungry with good things), while downward lines and a continuo moving in eighth notes later go with 7475: 7400: 7331: 6687: 6391: 6130: 4971: 4704: 1623:

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

732: 667: 650:, had composed half a dozen Magnificats for SSATB choir, and one for soli, SSATB double choir and orchestra. Kuhnau's 6444:. Neue Ausgabe sämtlicher Werke, Series 2: Messen, Passionen und oratorische Werke. Vol. 3. Kassel: Bärenreiter. 2769:

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

2658:

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

1670:(Fl) and they get separate parts in all four choral movements. In movements three and four the oboes are replaced by 6049: 7645: 6255: 4578: 3450: 3210: 840: 763: 607: 436: 320: 6885:

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

3860:

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

2947:

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

1697:. In the 1733 version this continuo line is given to a continuo that includes cello, but not bassoon and violone. 1504: 1409: 1391: 1373: 1355: 1337: 1319: 1301: 1283: 1264: 1244: 427: 7470: 7395: 6566: 6037: 4582: 3549: 3520: 3214: 1179:

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

1124: 1120: 748: 288: 4845: 692:(1734). Such compositions with an extended choir are however outside Bach's usual routine for liturgical music. 7509: 7502: 7260: 5377: 3712:

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

3686: 3627: 3600: 3410: 3291:

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

1128: 6992: 6907: 6788: 6316: 6196: 3246:

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

3173:

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

778:(28 June), no concerted music was allowed in the churches. During that period Bach had been composing a 695:

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

7390: 7050: 6760: 4920: 4896: 4734: 4586: 3837: 3788: 3780: 3736: 3717: 3350: 2698: 895: 651: 111: 6476: 6323: 5522: 3437:

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

2813:" once again, soprano II beginning with a long note continued by a melisma in measure 73, the others in 74. 642:

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

6848: 5505: 4811: 3989: 3916: 3899: 3639: 3340: 3322: 2701:) is the text used for the opening chorus. The movement consists of 6 blocks of 15 measures, totalling 90 2659: 1427: 881: 817: 783: 767: 728: 97: 41: 5760: 3868: 2972:

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

7367: 6683: 6471: 6430: 6244: 6145: 5984: 5764: 4967: 4700: 3864: 3816: 3647: 3569: 1768:

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

827: 696: 501: 332: 220: 51: 6262: 6152: 3776: 4873: 1794:"Vom Himmel hoch da komm' ich her", the melody of the cantus firmus of the "A" Christmas interpolation 1727:

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

361:

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

7096:

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

4678: 4674: 4594: 3764: 3725: 3690: 3524: 3393:

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

3138:(Glory to the father), performed by the complete ensemble. The first part of the text ends in a long 2888:(all generations), is given to the chorus. The setting has been likened to a turba chorus as used by 2681:

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

1746:

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

628: 544: 7012: 6782: 6756:

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

6172:

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

5915: 5394: 4792: 1213:

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

276:) related to that feast. This version, including the Christmas interpolations, was given the number 7326: 7114: 6778: 6750: 6721: 6628: 4666: 4175: 4079: 3812: 3744: 3709: 3698: 3565: 3462: 3381: 1620: 1510: 1003: 556: 236: 6362:

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

5441: 5372: 4785: 2867:(from henceforth shall call me blessed) the voice changes to a "simpler, more declamatory style". 1666:

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

7543: 7483: 7128: 6585: 6497: 6480: 5368: 4087: 3833: 3756: 3545: 3405: 3256: 3221:

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

2755: 2737: 681: 602: 513: 362: 6998: 4652: 4574: 3792: 3731:

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

3612: 1109: 505: 7118: 5035: 3349:, ending on "... bonae voluntatis", is an incorrect rendering of the original Greek version of 2995: 1044:

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

7614: 7218: 7190: 7180: 7170: 7155: 7142: 7100: 7094: 7079: 7054: 6969: 6948: 6942: 6922: 6892: 6871: 6852: 6809: 6764: 6754: 6709: 6699: 6600: 6548: 6538: 6520: 6452:"Bach Magnificat in D & E flat BWV 243 & 243a / (Novello edition ed. N. Jenkins)" 6188:

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

6179: 6102: 5824: 4993: 4983: 4825: 4817: 4716: 3836:'s recording of BWV 243.1, with the Balthasar-Neumann-Chor and Ensemble, was released by 3732: 3669: 3596: 3576: 3501: 3486: 3169: 2846: 1604: 1137: 1017: 620: 369:

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

7318: 7044: 6963: 6725: 6661: 6594: 6514: 6263:"Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz : D-B Mus. ms. Bach P 39" 3873: 3851:

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

1724:

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

7457: 7146: 6797: 6743:

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

6691: 6644: 6618: 6534: 5964: 4975: 4946:"Zur Identifizierung des Magnificats BWV Anh. 30 aus Johann Sebastian Bachs Notenbibliothek" 4879: 4708: 4377: 3845: 3841: 3772: 3748: 3677: 3616: 3438: 3266: 3222: 1780: 1640: 1498: 758:. The D major version of Bach's Magnificat (BWV 243.2) may have been performed on 740: 509: 464: 255: 6662:"Ein weiterer Kantatenjahrgang Gottfried Heinrich Stölzels in Bachs Aufführungsrepertoire?" 6386: 6155:(Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, D-B Mus. ms. Bach P 38, at 3366: 3307: 2588: 2532: 2493: 2412: 2328: 2279: 2193: 2144: 2088: 2045: 1435: 7589: 7464: 7435: 7385: 7322: 6730: 6669: 6579: 6451: 6351: 6067: 6045: 5922: 5531: 5373:"Alia pia Cantio de Incarnatione Jesu Christi, à 4. Vocibus cum Basso continuo", pp. 77–83 5062: 5042: 4682: 3704:

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

3694: 3623: 3604: 3541: 2953:, is marked Adagio and illustrates the text in long chords, with accents by the trumpets. 2889: 1580: 1184: 802: 636: 552: 486: 474: 358: 65: 7030: 5980: 5512:, Litt.D. Cantab. Harcourt, Brace and Howe, New York, 1920: Introduction (Terry), p. xvii 3508: 1671: 1591:

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

5322: 4062: 3579:

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

623:

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

6982: 6570: 6442:

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

6437: 6406: 6378: 6220: 6204: 4883: 4806: 4647: 3852: 3820: 3784: 3768: 3752: 3740: 3673: 3588: 3584: 3580: 3561: 3528: 3516: 3480:

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

3143: 2868: 2006: 1856: 1652: 1078: 1036:

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

991: 986: 724: 704: 528:

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

481:

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

394: 209: 204: 6739:

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

6433:. Magnificat in E-flat major and Magnificat in D major (published together) 5701: 7634: 6679: 6562: 6195:. Bach-Gesellschaft Ausgabe, Volume 11.1, Appendix. Edited by Wilhelm Rust. Leipzig: 5968: 5879: 5800: 5779: 5675: 5642: 5621: 4963: 4696: 3682: 3657: 3515:

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

3397: 3270:), 700, 701, 738 and 738a are chorale preludes based on the "Vom Himmel hoch" theme. 3240: 3045: 2120: 1682: 1063:

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

616: 519: 494: 490: 454: 354: 272: 259: 6394:

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

1717:

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

7233: 7007:, Zweiter Band. Dritte unveränderte Auflage, Leipzig: Breitkopf & Härtel, 1921. 6845:

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

6665: 6614: 5943: 4949: 4930: 4925: 4906: 4901: 4859: 4854: 4744: 4739: 3993: 3920: 3903: 3879: 3497: 3300: 3226: 3151: 2157: 1917: 1660: 1518: 1201: 856: 744: 605:'s Magnificat a 7 voci, one of two alternative Magnificat settings included in his 594: 316: 263: 247: 7298: 6652: 3239:

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

1164:

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

766:. That year there had been a period of mourning after the death of the sovereign, 7212: 7073: 6886: 6865: 3105: 7018:

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

6824: 4953: 4686: 3824: 3760: 3147: 2968:(He hath put down the mighty) is an aria for tenor, accompanied by continuo and 2923: 2792: 2702: 1490:

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

1474:

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

1195: 585:, the Magnificat was, already for over a century before Bach's composition, the 235:. It is scored for five vocal parts (two sopranos, alto, tenor and bass), and a 4449: 3160:(as it was in the beginning), repeats material from the beginning of the work. 7312: 7022: 6856: 6567:"Bach Cantata Translations / BWV 243a – "Magnificat" (E-flat Major)" 6175: 5821: 5588:

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

3713: 3592: 3523:. In 1880, when Bach's autographs of the composition were already kept in the 3481: 3230: 3122: 2710: 1573: 1482:(where the soprano soloist sings their last note) is the first measure of the 482: 478: 470: 440: 232: 7194: 6926: 6713: 6596:

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

4997: 4720: 3489:

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

1663:, Fl) are required for aria No. 9 Esurientes, but are not part of the tutti. 7214:

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

6519:. Bach perspectives. Vol. 7. University of Illinois Press. p. 53. 6183: 4650:. "An Investigation into the Authenticity of Bach's ‘Kleine Magnificat’" in 3665: 3560:

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

3557: 3385: 3326: 3279: 3186: 1806:

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

1565: 1560:, accompanied by an orchestra without trumpets and timpani, and in movement 312: 267: 86: 6648: 1790: 4833: 4816:. Preface in English and German. Wiesbaden: Breitkopf & Härtel, 1998. 1095:, depending on circumstances, for example on other feasts than Christmas. 4945: 4781: 4670: 2991: 1667: 1214: 1188: 1168: 1144: 1116: 900: 844: 578: 342: 116: 17: 5880:

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

5738: 5498: 4814:: Kleine Ausgabe, nach der von Wolfgang Schmieder vorgelegten 2. Ausgabe 1818:

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

1771:

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

1175:

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

1059:. Possibly those settings in C major of the same four texts as the 679:(SSSATB) for Christmas 1724, and compositions for double choir like the 654:

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

59: 7256: 7120:

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

6888:

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

6695: 6633:"Bachs Es-Dur-Magnificat BWV 243a – eine genuine Weihnachtsmusik?" 5130: 5128: 4979: 4712: 4671:"Die Leipziger Neukirchenmusik und das "Kleine Magnificat" BWV Anh. 21" 3721: 3455: 3449:

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

3346: 3139: 2986: 2436: 2425: 2262: 2248: 2173: 2104: 2069: 2058: 1935: 1733:

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

1690: 1644: 1636: 1632: 1592: 1522: 1475: 1187:'s Magnificat in C major, arranging its Suscepit Israel movement ( 933: 586: 574: 432: 350: 293: 251: 76: 6075: 5801:

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

5780:

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

5676:

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

5643:

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

5622:

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

3693:'s first recording of the D major version followed in 1984. Also 1787:"). The symmetry of the Christmas version can be pictured as follows: 1055:

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

1006:

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

6544: 3553: 2969: 1694: 1624: 1546:

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

1072: 1068: 1056: 1041: 755: 665:, an Easter cantata from 1715). He did the same in his funeral motet 655: 582: 308: 5833: 5585:

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

2709:

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

1678:

the oboes replace the trumpet for the obbligato instrumental part.

1478:

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

6787:. Part II, Volume 1: Kirchliche Werke (in German) (5th ed.). 6294: 5583: 3401: 3190: 2985: 1789: 1686: 1648: 1600: 1553: 1167:

Another German libretto paraphrasing the Magnificat, published by

736: 338: 5927: 4875:

Werke zweifelhafter Echtheit, Bearbeitungen fremder Kompositionen

3701:

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

3611:, and new recordings of the D major version by von Karajan, 3254:. Bach also included three settings of the chorale melody in his 7154:. J. S. Bach. Vol. 2. Breitkopf & Härtel. pp. 1–. 3689:

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

2780: 1628: 1596: 952: 643: 165: 7335: 5884: 5805: 5784: 5710: 5680: 5647: 5626: 4791:

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

4397:

Magnificat (with German interpolations for Christmas), SSWV 299

3771:'s 1995 recording of the E-flat major version appeared on 1204:. An earlier attribution of the work had been to Antonio Lotti. 7234:"J.S. Bach: Leipzig Christmas cantatas; Magnificat/Herreweghe" 6131:"Bach: Magnificat – Buxtehude: Magnificat anima mea. (Sleeve)" 6098:"Weihnachtsoratorium beliebteste Bach-Handschrift im Internet" 5948: 4765: 4300: 4298: 4296: 4294: 3844:

performed the D major version of the Magnificat with the

3334:

Gloria in excelsis Deo et in terra pax homínibus bona voluntas

2880:

The continuation of the verse and completion of the sentence,

1157:. A similar cantata on a German paraphrase of the Magnificat, 953: 477:. The tonus peregrinus (or ninth tone) is associated with the 281: 228: 166: 6280: 6157: 5327: 4878:(Volume 9 of Series II: Masses, Passions, Oratorios from the 3660:

recorded BWV 243.1, with the choir and orchestra of the

3248:

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

3021:(and the rich he hath sent away). In Latin, the last word is 7257:

Performance of the Magnificat in D major (BWV 243)

5743: 5446: 4429: 4427: 4108: 4106: 3087: 4257: 4255: 4253: 4251: 4249: 3720:

makes musical associations to Bach's D major setting;

3284:

choralwiki:Freut euch und jubiliert (Johann Sebastian Bach)

6808:. Vol. 1. Cambridge University Press. pp. 3–17. 6335:. Novello's Original Octavo Edition. Novello, Ewer and Co. 5663:

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

3644:

Bach: Magnificat in D (Including Christmas Interpolations)

6477:"Brich dem Hungrigen dein Brot BWV 39; BC A 96 / Cantata" 4184: 3943: 3941: 3939: 3937: 3935: 3933: 3931: 3929: 3827:

recorded the Christmas version of Bach's Magnificat with

2754:

Audio playback is not supported in your browser. You can

2736:

Audio playback is not supported in your browser. You can

1153:

was identified as the composer of this German Magnificat

231: 243, is a musical setting of the biblical canticle 6825:"Magnificats BWV 243 & BWV 243a – Details" 6340:

Magnificat in D dur: Klavierauszug von Salomon Jadassohn

4519: 4517: 4043: 4041: 905:

Christmas interpolations: traditional German/Latin texts

6999:"Fünftes Buch: Leipziger Jahre von 1723–1734" pp. 3–479 6620:

Mittheilungen über Johann Sebastian Bach's "Magnificat"

6581:

Evensong Explained, with Notes on Matins and the Litany

5352: 5350: 4557: 4555: 4414: 4412: 4382: 4342: 4340: 4327: 4325: 4063:

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

611:. In a Lutheran tradition there is for example Schütz' 7446:

Jesus Christus ist um unsrer Missetat willen verwundet

7315:

from impresario.ch, with practice files for choristers

6080: 6054: 5868:

Pärt and Penderecki: Divergent Voices and Common Bonds

5103: 5101: 5099: 5097: 5095: 4846:"D-B Mus.ms. 2755, Fascicle 1 (formerly Mus. ms. Bach 4677:

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

4504: 4502: 2850:

First measures of Quia respexit (B minor version)

1280:

ecce enim ex hoc beatam me dicent omnes generationes.

1142:) was rediscovered in the 20th century, and listed as 1075:'s birth, and were embedded in an old tradition named 239:

including trumpets and timpani. It is the first major

4135: 4133: 2747:

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

675:. Other extended choral settings by Bach include his 6258:– Preußischer Kulturbesitz, D-B Mus. ms. Bach P 39: 5944:

Bach Johann Sebastian – Leipziger Weihnachtskantaten

5899: 5897: 4735:"Meine Seele rühmt und preist BWV 189 / Anh. II 23→" 4630: 4628: 4626: 4624: 4622: 3587:

score was reused in several ensuing publications by

2729:

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

2705:

of music, exactly half of them with choral singing:

1705:

Bach's Magnificat is built symmetrically around the

7535: 7434: 7375: 7179:. Vol. 24. Franz Steiner Verlag. p. 234. 6985:. "Fünftes Buch: Leipziger Jahre von 1723–1734" in 6908:"One Verse, Two Settings, and Three Strange Youths" 6516:

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

4620: 4618: 4616: 4614: 4612: 4610: 4608: 4606: 4604: 4602: 4006:

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

3960: 3958: 3956: 3638:appeared in 1967 with a performance time of 40:06. 3252:

compositions printed during the composer's lifetime

3195:"Vom Himmel hoch", Luther's hymn in a 1541 songbook 1568:instrument, only strings and/or continuo. Movement 961: 948: 940: 929: 912: 888: 877: 862: 852: 810: 754:In Bach's time the feast day of Visitation fell on 639:). Also Graupner's 1722 Magnificat had this split. 516:. Bach uses the melodic formula as an instrumental 397:, performing an ambitious cantata in 14 movements, 349:were composed during his tenure as Thomaskantor in 174: 161: 153: 139: 125: 104: 93: 82: 72: 34: 5996:Bach 1723 (autograph of E-flat major version) 5214: 5212: 5210: 5208: 5195: 5193: 5191: 4809:, Yoshitake Kobayashi (eds.), Kirsten Beißwenger. 4542: 4540: 4538: 4536: 4534: 4532: 4477: 4475: 4473: 4471: 4401: 4363: 3356:Friede auf Erden und den Menschen ein Wohlgefallen 254:, Bach set the text of the Magnificat in a twelve 6325:Magnificat (in D-dur) bearbeitet von Robert Franz 601:school of music. Such an example can be found in 326: 6153:Magnificat E-flat major and Christmas hymns 2185: 764:St. Thomas Church (Thomaskirche) in Leipzig 7267:Magnificat in E-flat major (BWV 243a) 6867:Bach's Major Vocal Works: Music, Drama, Liturgy 4459: 4457: 2675:The twelve movements of the Magnificat canticle 1809:Verse in minor key (mvt. 6) → two movements in 1149:however, its authenticity was doubted. In 1982 747:, the feast commemorating that visit is called 551:, the melodic formula is used as a theme: this 6208:, Taschenpartituren No. 58. Bärenreiter, 1959. 5524:Felix Mendelssohn Bartholdy: Magnificat MWV A2 5297: 5295: 5293: 5291: 5289: 5287: 5285: 5283: 5281: 5279: 5277: 5275: 5273: 5271: 5269: 5267: 5265: 5263: 5261: 5259: 4359:Magnificat 5. Toni cum canticis Ecclesiasticis 4216: 2838:, the hymn "Vom Himmel hoch da komm ich her". 770:. During that mourning period, which ran from 439:, which is a particular German version of the 333:Johann Sebastian Bach § Leipzig (1723–50) 241:liturgical composition on a Latin text by Bach 7620:List of compositions by Johann Sebastian Bach 7347: 6308:(1862) Bach-Gesellschaft Ausgabe, Band 11.1. 5862: 5860: 5500:Johann Sebastian Bach: His Life, Art and Work 5257: 5255: 5253: 5251: 5249: 5247: 5245: 5243: 5241: 5239: 5149:Bach 1733 (autograph of D major version) 3525:Royal Library (later State Library) of Berlin 3164:The hymns added in the Christmas 1723 version 2697:("My spirit gives great praise to the Lord", 1756:Verse 10 and doxology (movements 11 and 12): 1556:orchestra. The chorus also sings in movement 367:Magnificat he had composed for Christmas 1722 347:Bach's known liturgical compositions in Latin 8: 6366:(Eduard Müller). Kassel (etc.): Bärenreiter. 6364:Magnificat D-dur BWV 243: Klavierauszug 6305:, edited by Robert Franz. Breslau: Leuckart. 6009: 6005: 5414: 5412: 4802: 4800: 4080:"Jesus nahm zu sich die Zwölfe BWV 22; 3631: 3354: 3337:", is a variant of the opening verse of the 3289: 3234: 3205:", a hymn by Martin Luther paraphrasing the 3200: 1827:key (11, 12) ← "cantus firmus" movement (10) 1314:Et misericordia ejus a progenie in progenies 1135: 1076: 1021: 529: 423:Traditional setting of the German Magnificat 409: 398: 388: 377: 27:Musical composition by Johann Sebastian Bach 5775: 5773: 5145: 5143: 4787:Ernst-Schertzhaffte und Satyrische Gedichte 4304: 4058: 4056: 3552:were recorded in the 1940s and appeared on 3391: 3338: 3332: 3155: 3132: 3071: 3062:, with a downward fourth on each syllable. 3057: 3051: 3043: 3036: 3022: 3016: 3010: 3003: 2973: 2962: 2948: 2942: 2935: 2916: 2901: 2882: 2862: 2855: 2828: 2808: 2802: 2796: 2774: 2691: 2576: 2448: 1611:both sopranos sing together with the alto. 1448:Sicut erat in principio, et nunc, et semper 615:. Magnificat composers like Johann Levini, 517: 462: 7363:Masses, magnificat, passions and oratorios 7354: 7340: 7332: 7133:: CS1 maint: location missing publisher ( 6540:J.-S. Bach : Passions, messes, motets 5981:"Bach's Magnificat: The Gramophone Choice" 5671: 5669: 5474: 5442:Kündlich groß ist das gottselige Geheimnis 3848:, with five vocal soloists without choir. 3634:Figuralchor der Gedächtniskirche Stuttgart 3467:Kündlich groß ist das gottselige Geheimnis 3363:For SSATB and violins, E-flat major, 2524: 2320: 2080: 1561: 1557: 1483: 834: 807: 727:the words of the Magnificat are spoken by 457:'s German translation of the Magnificat (" 58: 31: 7275:International Music Score Library Project 7271:Magnificat in D major (BWV 243) 6020: 5697: 5695: 5693: 5230: 5218: 5199: 5022: 4523: 4316: 4206:International Music Score Library Project 4010:International Music Score Library Project 3947: 3815:'s 2002 recording of BWV 243.1 with 3229:by imitating sections of the melody line 2990:Opening measures of Esurientes movement ( 1751:Verse 9 (movement 10): relative minor key 1105:Melchior Hoffmann (composer) § Style 365:, a former pupil of Kuhnau, who reused a 7291:"Frontispiece of the 1811 first edition" 6745:] (in Nepali). Universiteit Utrecht. 6387:Magnificat in D major, BWV 243 6303:Magnificat in D-Dur : Klavierauszug 5761:Bach's Magnificat & Vivaldi's Gloria 5609: 5086: 4463: 4433: 4418: 4285: 4124: 4112: 3976: 2845: 2486: 1834: 1675: 1608: 1220: 539:composed for Visitation of 1724, in the 525: 426: 327:Bach's tenure as Thomaskantor in Leipzig 7656:Compositions with natural trumpets in D 5406:Bach 1811, 1841, 1862, 1864, 1874, 1895 5356: 5310: 5202:, p. 11, figure 1, and surrounding text 5182: 5134: 5119: 5107: 5074: 4561: 4508: 4331: 4261: 4151: 3891: 3130:The work is concluded by the doxology, 2835: 2272: 2221: 1998: 1706: 1569: 1539: 1526:routine of Bach's sacred vocal works". 1278:Quia respexit humilitatem ancillae suae 762:, as part of the church service in the 393:on 30 May 1723, the first Sunday after 7126: 7046:Choral Masterworks: A Listener's Guide 5597: 5462: 5390: 5221:, p. 15, figure 3 and surrounding text 5010: 4634: 4546: 4493: 4378:Samuel-Scheidt-Werke-Verzeichnis, 2000 4240: 4163: 4139: 4047: 4032: 4020: 3120: 688:Preise dein Glücke, gesegnetes Sachsen 555:may however be the work of Bach pupil 7641:Compositions by Johann Sebastian Bach 6354:. Ernst Eulenburg and Edition Peters. 6203:Magnificat Es-dur: Herausgegeben von 5552: 5486: 5418: 5341: 5170: 4346: 4273: 3964: 3113:Performed by the Tudor Consort (2006) 2568: 2037: 1543: 1479: 1334:dispersit superbos mente cordis sui. 1071:describe as the circumstances around 782:which he dedicated to the successor, 661:Der Himmel lacht! Die Erde jubilieret 246:In 1723, after taking up his post as 7: 7068:Stockigt, Janice B. (2013). "Bach's 6843:Porter, Christopher Michael (2008). 6726:"Keep it Short: J S Bach Magnificat" 6498:"Magnificat – John Rutter (b. 1945)" 5903: 5429: 4228: 3496:. In the 1840s a piano reduction by 3345:. The better known version from the 1946: 1838:Magnificat by Johann Sebastian Bach 1296:Quia fecit mihi magna qui potens est 408:, followed by a comparable cantata, 341:, on a mixed Greek and German text ( 6315:, edited by Wilhelm Rust. Leipzig: 6148:. Magnificat in E-flat major. 6050:Top 75 van de klassieke muziek 2007 5726: 5534:Carus 40.484, 1996. Foreword, p. VI 5381:. Leipzig: Christoph Klinger. 1682. 5036:Hickox/Collegium Musicum 90 (1992): 4481: 3099:Gloria Patri part of BWV 243.2 1803:key → "cantus firmus" movement (A) 1406:Abraham et semini ejus in saecula. 1404:Sicut locutus est ad patres nostros 701:Magnificat with such interpolations 563:Extended settings of the Magnificat 543:BWV 323 and 324, and in the fourth 413:Die Himmel erzählen die Ehre Gottes 337:Apart from an early setting of the 7319:Keep it Short: J S Bach Magnificat 7280:Magnificat (Johann Sebastian Bach) 7263:(video and background information) 6802:: a Lutheran composer's challenge" 6409:. 2014b. p. 3. Archived from 6377:. Urtext of the New Bach Edition ( 6223:. 2014a. p. 3. Archived from 6074:and "Jesu bleibet meine Freude" – 5851: 5158: 2405: 2136: 1888: 1535: 25: 6457:. neiljenkins.info/. pp. 1–6 3199:The text is the first stanza of " 735:, both being pregnant, Mary with 315:) and on the three Marian feasts 7408:Kyrie–Gloria masses, BWV 233–236 7211:Marshall, Robert Lewis (1989b). 7117:(1886). "The Magnificat in D.". 6278:Manuscript of BWV 243.2 at 4784:(=Christian Friedrich Henrici). 4067:Technische Universität Darmstadt 3429:Discography of Bach's Magnificat 3365: 3306: 3183:Vom Himmel hoch, da komm ich her 3121:Problems playing this file? See 3103: 2587: 2531: 2492: 2411: 2356: 2327: 2278: 2192: 2143: 2087: 2044: 2005: 1730:Verse 5 (movement 6): minor key 1450:et in saecula saeculorum. Amen. 1434: 1020:. Bach had taken up his post as 6891:. Kirk House. pp. 83–110. 6342:. Leipzig: Breitkopf und Härtel 6032:E.g., in 2007 only preceded by 5965:BACH, J.S. / KUHNAU: Magnificat 5508:. With notes and appendices by 3795:playing on period instruments. 3202:Vom Himmel hoch da komm ich her 3154:, the second part of the text, 2926:, flutes doubling the violins. 2795:to the tonic. The text remains 1741:Verse 7 (movement 8): minor key 1681:The continuo part is played by 1676:10th movement (Suscepit Israel) 1388:recordatus misericordiae suae. 1183:in the early 1740s Bach copied 713:Vom Himmel hoch da komm ich her 685:(1727) and the secular cantata 573:Being a quintessential part of 485:for which the last note of the 461:") is a German variant of the 387:. Bach assumed the position of 7517:Wer ist der, so von Edom kömmt 7078:. Cambridge University Press. 7027:John Alexander Fuller Maitland 7021:. Vol. II. Translated by 6375:Magnificat D-Dur, BWV 243 6254:1732–1735) Autograph: Berlin, 6247:. Magnificat in D major. 6165:) Note: Virga Jesse incomplete 5504:Translated from the German of 4577:" of Johann Sebastian Bach by 4200:Meine Seele erhebet den Herren 3288:The text of this movement is " 1332:Fecit potentiam in brachio suo 673:his Mass for the Dresden court 381:Du wahrer Gott und Davids Sohn 1: 7075:Exploring Bach's B-minor Mass 6804:. In Don O., Franklin (ed.). 6796:Marshall, Robert L. (1989a). 6578:Lowther Clarke, W.K. (1922). 6370: 6359: 6251: 5870:. University of Georgia, 1997 4921:"Magnificat in C BWV Anh. 30" 4897:"Suscepit Israel, e BWV 1082" 4593:, Volume 4:1. Leipzig, 1754. 4446:Bach-Werke-Verzeichnis (1998) 4178:Meine Seele erhebt den Herren 3726:his a cappella setting (1989) 3465:) to form a Christmas motet, 1785:Meine Seele erhebt den Herren 1177:Meine Seele erhebet den Herrn 867: 459:Meine Seele erhebt den Herren 449:Meine Seele erhebt den Herren 372:Jesus nahm zu sich die Zwölfe 144: 7284:Choral Public Domain Library 7177:Archiv für Musikwissenschaft 7013:"Book V: Leipzig, 1723–1734" 6784:Führer durch den Konzertsaal 6170:Pölchau, Georg, ed. (1811). 5822:Vaughan Williams: Magnificat 5301:Autograph at bach-digital.de 4760:Meine Seele rühmt und preist 4656:XXXVI (3), 1955, pp. 233–236 3418:For S B, F major, 12/8. 2751: 2733: 2693:Magnificat anima mea Dominum 1511:Fragment of a Christmas hymn 1160:Meine Seele rühmt und preist 1155:Meine Seel erhebt den Herren 1030:The Christmas interpolations 780:Kyrie-Gloria mass in B minor 569:List of Magnificat composers 533:Meine Seel erhebt den Herren 7522:includes BWV 1088 and 6962:Schröder, Dorothea (2012). 6947:. Oxford University Press. 6688:Evangelische Verlagsanstalt 6682:(in German). Vol. 95. 6599:. Ashgate Publishing, Ltd. 4972:Evangelische Verlagsanstalt 4966:(in German). Vol. 98. 4705:Evangelische Verlagsanstalt 4699:(in German). Vol. 68. 3274:B. Freut euch und jubiliert 2186:B. Freut euch und jubiliert 1386:Suscepit Israel puerum suum 1370:et divites dimisit inanes. 1224:Traditional verse division 776:fourth Sunday after Trinity 731:when she visits her cousin 677:Sanctus for six vocal parts 453:The traditional setting of 7672: 7123:. Chicago. pp. 49–50. 6660:Glöckner, Andreas (2009). 6593:Lundberg, Mattias (2012). 6256:Staatsbibliothek zu Berlin 6062:; in 2014 also 5th, after 4579:Carl Philipp Emmanuel Bach 3718:extended setting (1973–74) 3451:Magnificat in D major 3426: 3379: 3320: 3277: 3211:adoration of the shepherds 3180: 2830:Et exultavit spiritus meus 2678: 1258:Et exultavit spiritus meus 1102: 1099:Other Magnificats by Bach? 1033: 841:Adoration of the Shepherds 799:Gottfried Heinrich Stölzel 774:(15 February) to the 715:" as first interpolation. 608:Vespro della Beata Vergine 566: 547:BWV 648. Also in BWV 733, 446: 437:Luther's German Magnificat 330: 7610: 6906:Rizzuti, Alberto (2013). 6870:. Yale University Press. 6798:"On the origin of Bach's 6038:Jesu bleibet meine Freude 5706:BWV 243a, Recordings 4944:Thielemann, Arne (2012). 4872:Kirsten Beißwenger (ed.) 4758:Georg Melchior Hoffmann: 4583:Johann Friedrich Agricola 3662:Südwestdeutscher Rundfunk 3652:Süddeutscher Madrigalchor 3550:Boston Symphony Orchestra 3521:The Book of Common Prayer 3012:Esurientes implevit bonis 2857:Quia respexit humilitatem 2481: 2351: 2216: 2031: 1880: 1877: 1874: 1869: 1866: 1863: 1860: 1855: 1852: 1845: 1840: 1837: 1530:Scoring and key signature 1426: 1368:Esurientes implevit bonis 1350:Deposuit potentes de sede 1229: 1226: 1223: 1173:his 1728–29 cantata cycle 1121:Johann Friedrich Agricola 1083:(rocking of the cradle). 833: 825: 815: 719:The Visitation version(s) 613:Latin Magnificat, SWV 468 530: 410: 399: 378: 282:catalogue of Bach's works 280:(previously 243a) in the 57: 49: 39: 7261:Netherlands Bach Society 7093:Taft, Robert F. (1986). 7011:Spitta, Philipp (1884). 6513:Butler, Gregory (2008). 6106:(in German). 9 June 2010 6076:Klara Top 100 – De stand 5916:Magnificat BWV 243a 5378:Neu Leipziger Gesangbuch 3687:Academy of Ancient Music 3628:Bach-Collegium Stuttgart 3411:Neu Leipziger Gesangbuch 1848:Visitation 1733 version 1799:Two movements (1, 2) in 1494:A: Hymn by Martin Luther 549:Fuga sopra il Magnificat 497:below its opening note. 402:Die Elenden sollen essen 287:Likely for the feast of 270:he inserted four hymns ( 7599:Ascension Oratorio 7545:Christmas Oratorio 7148:The Magnificat and the 7051:Oxford University Press 6761:Oxford University Press 6584:. S.P.C.K. – via 6151:(1720–1739) Autograph: 5465:, p. 376, footnote 373. 4673:[The music for the 4591:Musikalische Bibliothek 3838:Deutsche Harmonia Mundi 3781:Regensburger Domspatzen 3724:uses na SSATB choir in 3706:Vaughan Williams (1932) 3654:appeared in the 1970s. 3217:. Bach sets this first 3157:Sicut erat in principio 2864:ecce enim ex hoc beatam 2756:download the audio file 2738:download the audio file 2578:Sicut erat in principio 1843:Christmas 1723 version 1497:B: Verse attributed to 1298:et sanctum nomen ejus. 1209:Structure and movements 1123:and the composer's son 709:Geistliche Konzerte III 469:, a rather exceptional 266:. For a performance at 7451:includes BWV 1084 7169:Zenck, Martin (1986). 6993:Breitkopf & Härtel 6915:Gli Spazi della Musica 6849:Doctor of Musical Arts 6789:Breitkopf & Härtel 6737:Jansen, Frans (2006). 6649:10.13141/bjb.v20031781 6472:Bach, Johann Sebastian 6450:Jenkins, Neil (2000). 6431:Bach, Johann Sebastian 6317:Breitkopf & Härtel 6245:Bach, Johann Sebastian 6197:Breitkopf & Härtel 6174:(1st ed.). Bonn: 6146:Bach, Johann Sebastian 5521:Pietro Zappalà (ed.) 5506:Johann Nikolaus Forkel 4812:Bach Werke Verzeichnis 4065:at the website of the 3789:Motettenchor Pforzheim 3632: 3626:'s recording with the 3392: 3376:D. Virga Jesse floruit 3355: 3339: 3333: 3323:Gloria in excelsis Deo 3290: 3235: 3201: 3196: 3156: 3133: 3092: 3072: 3058: 3052: 3044: 3037: 3023: 3017: 3011: 3004: 2999: 2974: 2963: 2949: 2943: 2936: 2917: 2902: 2883: 2863: 2856: 2851: 2829: 2809: 2803: 2797: 2775: 2692: 2660:Johann Philipp Krieger 2577: 2449:D. Virga Jesse floruit 1795: 1562:11 (Sicut locutus est) 1558:4 (Omnes generationes) 1422:Gloria Patri, et Filio 1352:et exaltavit humiles. 1136: 1077: 1022: 944:12 (+ 4 for Christmas) 541:chorale harmonisations 518: 463: 444: 389: 7368:Johann Sebastian Bach 7282:: Free scores at the 7004:Johann Sebastian Bach 6988:Johann Sebastian Bach 6965:Johann Sebastian Bach 6684:Neue Bachgesellschaft 6291:Composer's Manuscript 5510:Charles Sanford Terry 4968:Neue Bachgesellschaft 4701:Neue Bachgesellschaft 4679:Schulze, Hans-Joachim 4675:New Church in Leipzig 4646:Frederick Hudson and 3817:Collegium Vocale Gent 3648:Deutsche Bachsolisten 3570:Elisabeth Schwarzkopf 3519:based on the text in 3400:hath flourished, Our 3317:C. Gloria in excelsis 3194: 3142:. After changing the 3091: 3066:11. Sicut locutus est 2989: 2903:Quia fecit mihi magna 2876:4. Omnes generationes 2849: 2525:11. Sicut locutus est 2321:C. Gloria in excelsis 2081:4. Omnes generationes 1793: 1701:Symmetrical structure 1260:in Deo salutari meo. 1002:In 2003 Bach scholar 786:, in a letter signed 784:Frederick Augustus II 697:Hieronymus Praetorius 502:Johann Hermann Schein 430: 221:Johann Sebastian Bach 64:First page of Bach's 7591:Easter Oratorio 7099:. Liturgical Press. 6823:Oron, Aryeh (2012). 6779:Kretzschmar, Hermann 6763:. pp. 131–136. 6751:Jones, Richard D. P. 6722:Hogwood, Christopher 5137:, Introduction p. 5. 4974:. pp. 217–224. 4933:; et al. 2019-02-14. 4909:; et al. 2019-09-20. 4862:; et al. 2020-07-21. 4747:; et al. 2019-03-11. 3765:Bach Collegium Japan 3691:Nicolaus Harnoncourt 3568:, the last one with 2975:et exaltavit humiles 2890:Bach in his Passions 2357:8. Deposuit potentes 1609:10 (Suscepit Israel) 1424:et Spiritui Sancto. 1125:Carl Philipp Emanuel 1012: major version 896:Luke 1:46–55 803:Mass in B minor 526:10 (Suscepit Israel) 112:Luke 1:46–55 7651:Magnificat settings 7327:Christopher Hogwood 7236:. classicstoday.com 7033:. pp. 181–648. 6941:Shrock, D. (2009). 6921:(2). ojs.unito.it. 6864:Rathey, M. (2016). 6690:. pp. 95–115. 6328:. Leipzig: Leuckart 5759:Nicholas Anderson. 4707:. pp. 97–102. 4653:Music & Letters 4217:Lowther Clarke 1922 3813:Philippe Herreweghe 3767:had been released. 3745:Philippe Herreweghe 3699:John Eliot Gardiner 3640:Wolfgang Gönnenwein 3566:Herbert von Karajan 3463:Carl Heinrich Graun 3382:Virga Jesse floruit 3215:Luke 2:8–18 3031:10. Suscepit Israel 2836:first interpolation 2487:10. Suscepit Israel 1570:A (Vom Himmel hoch) 1540:7 (Fecit potentiam) 1240:anima mea Dominum. 768:Augustus the Strong 739:and Elizabeth with 589:text that was most 557:Johann Ludwig Krebs 443:or tonus peregrinus 258:composition in the 7484:St Matthew Passion 7377:Latin church music 7217:. Schirmer Books. 7143:Schweitzer, Albert 7053:. pp. 31–34. 7041:Steinberg, Michael 6696:10.13141/bjb.v2009 6676:Bach Yearbook 2009 6671:Bach-Jahrbuch 2009 6586:Project Canterbury 6481:Leipzig University 6416:on 15 October 2014 6230:on 15 October 2014 6072:Christmas Oratorio 6064:St Matthew Passion 6042:Christmas Oratorio 6034:St Matthew Passion 5921:2015-07-21 at the 5600:, pp. 81, 87. 5530:2015-01-07 at the 5369:Gottfried Vopelius 5061:2018-01-26 at the 5041:2021-03-06 at the 4980:10.13141/bjb.v2012 4960:Bach Yearbook 2012 4955:Bach-Jahrbuch 2012 4713:10.13141/bjb.v1982 4693:Bach Yearbook 1982 4688:Bach-Jahrbuch 1982 4176:Choralbearbeitung 4088:Leipzig University 3834:Thomas Hengelbrock 3777:Gächinger Kantorei 3757:Harry Christophers 3546:Serge Koussevitzky 3494:St Matthew Passion 3406:Gottfried Vopelius 3386:BWV 243.1 § D 3327:BWV 243.1 § C 3280:BWV 243.1 § B 3257:Christmas Oratorio 3231:in diminished time 3197: 3187:BWV 243.1 § A 3177:A. Vom Himmel hoch 3093: 3018:et divites dimisit 3000: 2930:7. Fecit potentiam 2911:6. Et misericordia 2884:Omnes generationes 2852: 2807:. All parts sing " 2664:Magnificat of 1685 2575: 2447: 2319: 2273:7. Fecit potentiam 2222:6. Et misericordia 2184: 1999:A. Vom Himmel hoch 1997: 1796: 1484:Omnes generationes 1230:Bach's Magnificat 1051:The text of these 682:St Matthew Passion 668:Jesu, meine Freude 652:Magnificat setting 603:Claudio Monteverdi 591:often set to music 514:Dietrich Buxtehude 445: 363:Christoph Graupner 7646:1733 compositions 7628: 7627: 7313:Magnificat (MIDI) 7295:Auction catalogue 7224:978-0-02-871781-4 7186:978-3-515-03312-1 7161:978-0-486-21632-4 7106:978-0-8146-1405-1 7085:978-1-107-00790-1 6975:978-0-19-969628-4 6954:978-0-19-971662-3 6944:Choral Repertoire 6898:978-1-932688-11-5 6877:978-0-300-21951-7 6815:978-0-521-34105-9 6770:978-0-19-969628-4 6705:978-3-374-02749-1 6629:Glöckner, Andreas 6606:978-1-4094-5507-3 6554:978-2-213-66547-4 6535:Cantagrel, Gilles 6526:978-0-252-03165-6 6103:Neue Musikzeitung 6010:Bärenreiter 2014b 6006:Bärenreiter 2014a 5829:978-0-19-339154-3 4989:978-3-374-02668-5 4830:978-3-7651-0249-3 4667:Glöckner, Andreas 4436:, pp. 39–53. 4319:, pp. 12–13. 4264:, pp. 102ff. 4166:, pp. 283ff. 4115:, pp. 10–11. 4023:, pp. 263ff. 3840:in 2008. In 2009 3829:Amsterdam Baroque 3823:in 2003. In 2003 3733:Sigiswald Kuijken 3670:Hildegard Laurich 3597:Leonard Bernstein 3577:Neue Bach Ausgabe 3502:Bach-Gesellschaft 3487:Felix Mendelssohn 3423:Reception history 3351:Luke 2:14 3170:Bach Gesellschaft 3108: 3073:Sicut locutus est 2964:Deposuit potentes 2760: 2742: 2699:Luke 1:46 2656: 2655: 1823:Two movements in 1621:Baroque orchestra 1607:(b). In movement 1544:12 (Gloria patri) 1505:Luke 2:14 1472: 1471: 1410:Luke 1:55 1392:Luke 1:54 1374:Luke 1:53 1356:Luke 1:52 1338:Luke 1:51 1320:Luke 1:50 1302:Luke 1:49 1288:movement 3 and 4 1284:Luke 1:48 1265:Luke 1:47 1245:Luke 1:46 1151:Melchior Hoffmann 1138:Kleine Magnificat 1130:German Magnificat 1000: 999: 772:Sexagesima Sunday 621:Francesco Durante 419:the next Sunday. 319:, Visitation and 264:E-flat major 237:Baroque orchestra 218: 217: 16:(Redirected from 7663: 7458:Weimarer Passion 7370: 7356: 7349: 7342: 7333: 7309: 7307: 7305: 7273:: Scores at the 7245: 7243: 7241: 7232:Vernier, David. 7228: 7198: 7165: 7150:St. John Passion 7138: 7132: 7124: 7115:Upton, George P. 7110: 7089: 7064: 7034: 7031:Novello & Co 6991:, Zweiter Band. 6979: 6958: 6937: 6935: 6933: 6912: 6902: 6881: 6860: 6839: 6837: 6835: 6819: 6792: 6774: 6746: 6729: 6717: 6656: 6651:. Archived from 6624: 6610: 6589: 6574: 6558: 6530: 6509: 6507: 6505: 6492: 6490: 6488: 6466: 6464: 6462: 6456: 6445: 6425: 6423: 6421: 6415: 6404: 6372: 6361: 6355: 6313:und vier Sanctus 6311:Magnificat D dur 6287: 6284: 6282: 6277: 6275: 6273: 6253: 6239: 6237: 6235: 6229: 6218: 6187: 6164: 6161: 6159: 6142: 6140: 6138: 6116: 6115: 6113: 6111: 6094: 6088: 6087: 6084: 6082: 6061: 6058: 6056: 6030: 6024: 6018: 6012: 6003: 5997: 5994: 5988: 5978: 5972: 5962: 5956: 5955: 5952: 5950: 5941: 5935: 5934: 5931: 5929: 5913: 5907: 5901: 5892: 5891: 5888: 5886: 5877: 5871: 5866:David G. Dover. 5864: 5855: 5849: 5843: 5842: 5839: 5837: 5836:.prestoclassical 5835: 5819: 5813: 5812: 5809: 5807: 5798: 5792: 5791: 5788: 5786: 5777: 5768: 5757: 5751: 5750: 5747: 5745: 5736: 5730: 5724: 5718: 5717: 5714: 5712: 5705: 5699: 5688: 5687: 5684: 5682: 5673: 5664: 5661: 5655: 5654: 5651: 5649: 5640: 5634: 5633: 5630: 5628: 5619: 5613: 5607: 5601: 5595: 5589: 5580: 5574: 5571: 5565: 5562: 5556: 5550: 5544: 5541: 5535: 5519: 5513: 5496: 5490: 5484: 5478: 5472: 5466: 5460: 5454: 5453: 5450: 5448: 5439: 5433: 5427: 5421: 5416: 5407: 5404: 5398: 5388: 5382: 5366: 5360: 5354: 5345: 5339: 5333: 5332: 5329: 5323:JS Bach; Vivaldi 5320: 5314: 5308: 5302: 5299: 5234: 5233:, p. 31–32. 5228: 5222: 5216: 5203: 5197: 5186: 5180: 5174: 5168: 5162: 5156: 5150: 5147: 5138: 5132: 5123: 5117: 5111: 5105: 5090: 5084: 5078: 5072: 5066: 5056:Dudamel/LA Phil: 5052: 5046: 5032: 5026: 5020: 5014: 5008: 5002: 5001: 4941: 4935: 4934: 4917: 4911: 4910: 4893: 4887: 4880:New Bach Edition 4870: 4864: 4863: 4842: 4836: 4804: 4795: 4779: 4773: 4772: 4769: 4767: 4755: 4749: 4748: 4731: 4725: 4724: 4683:Wolff, Christoph 4663: 4657: 4644: 4638: 4637:, pp. 374ff 4632: 4597: 4571: 4565: 4559: 4550: 4549:, pp. 369ff 4544: 4527: 4521: 4512: 4506: 4497: 4491: 4485: 4479: 4466: 4461: 4452: 4443: 4437: 4431: 4422: 4416: 4407: 4406: 4403: 4394: 4388: 4387: 4384: 4375: 4369: 4368: 4365: 4356: 4350: 4344: 4335: 4329: 4320: 4314: 4308: 4305:Kretzschmar 1921 4302: 4289: 4283: 4277: 4271: 4265: 4259: 4244: 4238: 4232: 4226: 4220: 4214: 4208: 4204:: Scores at the 4196: 4190: 4189: 4186: 4173: 4167: 4161: 4155: 4149: 4143: 4137: 4128: 4122: 4116: 4110: 4101: 4099: 4097: 4095: 4083: 4076: 4070: 4060: 4051: 4045: 4036: 4030: 4024: 4018: 4012: 4008:: Scores at the 4003: 3997: 3986: 3980: 3974: 3968: 3962: 3951: 3945: 3924: 3913: 3907: 3896: 3877: 3846:Ricercar Consort 3842:Philippe Pierlot 3819:was released by 3749:Neville Marriner 3678:Michael Schopper 3637: 3617:Daniel Barenboim 3472: 3439:New Bach Edition 3395: 3370: 3369: 3358: 3344: 3336: 3311: 3310: 3303: 3293: 3263: 3238: 3223:chorale fantasia 3204: 3159: 3136: 3110: 3109: 3090: 3081:12. Gloria patri 3075: 3061: 3055: 3049: 3046:tonus peregrinus 3040: 3027:(empty-handed). 3026: 3020: 3014: 3007: 2977: 2966: 2952: 2950:mente cordis sui 2946: 2939: 2920: 2905: 2886: 2866: 2859: 2842:3. Quia respexit 2832: 2812: 2806: 2800: 2778: 2695: 2626: 2625: 2609: 2608: 2607: 2606: 2592: 2591: 2581: 2580: 2569:12. Gloria Patri 2550: 2549: 2536: 2535: 2527: 2497: 2496: 2467: 2466: 2465: 2464: 2451: 2416: 2415: 2397: 2396: 2374: 2373: 2372: 2371: 2346: 2345: 2332: 2331: 2323: 2299: 2298: 2283: 2282: 2259: 2239: 2238: 2237: 2236: 2211: 2210: 2197: 2196: 2188: 2163: 2162: 2148: 2147: 2139: 2126: 2125: 2117: 2114: 2101: 2092: 2091: 2083: 2049: 2048: 2040: 2038:3. Quia respexit 2026: 2025: 2010: 2009: 2001: 1979: 1978: 1965: 1964: 1963: 1962: 1949: 1923: 1922: 1906: 1905: 1904: 1903: 1841:BWV 243.1 (243a) 1835: 1781:Lutheran chorale 1581:natural trumpets 1551: 1550: 1499:Sethus Calvisius 1467: 1466: 1465: 1464: 1439: 1438: 1316:timentibus eum. 1267: 1247: 1221: 1198: 1148: 1141: 1082: 1025: 1011: 1010: 1004:Andreas Glöckner 983: 978: 970: 955: 882:Lutheran vespers 872: 869: 866:BWV 243.2 ( 838: 808: 796: 789: 761: 741:John the Baptist 545:Schübler Chorale 538: 537: 523: 510:Johann Pachelbel 468: 465:tonus peregrinus 418: 417: 407: 406: 392: 386: 385: 201: 196: 191: 183: 168: 149: 146: 98:Lutheran vespers 62: 32: 21: 7671: 7670: 7666: 7665: 7664: 7662: 7661: 7660: 7631: 7630: 7629: 7624: 7606: 7605: 7531: 7530: 7510:St Mark Passion 7503:St Luke Passion 7465:St John Passion 7430: 7429: 7386:Mass in B minor 7371: 7366: 7360: 7323:Gresham College 7303: 7301: 7289: 7253: 7248: 7239: 7237: 7231: 7225: 7210: 7206: 7204:Further reading 7201: 7187: 7168: 7162: 7141: 7125: 7113: 7107: 7092: 7086: 7067: 7061: 7039: 7010: 6983:Spitta, Philipp 6976: 6961: 6955: 6940: 6931: 6929: 6910: 6905: 6899: 6884: 6878: 6863: 6842: 6833: 6831: 6822: 6816: 6795: 6777: 6771: 6749: 6736: 6731:Gresham College 6720: 6706: 6659: 6627: 6613: 6607: 6592: 6577: 6561: 6555: 6547:. p. 260. 6533: 6527: 6512: 6503: 6501: 6500:. choirs.org.uk 6495: 6486: 6484: 6475: 6460: 6458: 6454: 6449: 6436: 6419: 6417: 6413: 6402: 6398: 6352:Arnold Schering 6345: 6279: 6271: 6269: 6261: 6233: 6231: 6227: 6216: 6212: 6169: 6156: 6136: 6134: 6129: 6125: 6120: 6119: 6109: 6107: 6096: 6095: 6091: 6079: 6068:Bist du bei mir 6053: 6046:Mass in B minor 6031: 6027: 6019: 6015: 6004: 6000: 5995: 5991: 5979: 5975: 5963: 5959: 5947: 5942: 5938: 5926: 5923:Wayback Machine 5914: 5910: 5902: 5895: 5883: 5878: 5874: 5865: 5858: 5850: 5846: 5832: 5820: 5816: 5804: 5799: 5795: 5783: 5778: 5771: 5758: 5754: 5742: 5737: 5733: 5725: 5721: 5709: 5703: 5700: 5691: 5679: 5674: 5667: 5662: 5658: 5646: 5641: 5637: 5625: 5620: 5616: 5608: 5604: 5596: 5592: 5581: 5577: 5572: 5568: 5564:Bach/Franz 1864 5563: 5559: 5555:, pp. 3–5. 5551: 5547: 5543:Bach/Rust 1862. 5542: 5538: 5532:Wayback Machine 5520: 5516: 5497: 5493: 5485: 5481: 5475:Schweitzer 1966 5473: 5469: 5461: 5457: 5445: 5440: 5436: 5428: 5424: 5417: 5410: 5405: 5401: 5389: 5385: 5367: 5363: 5355: 5348: 5340: 5336: 5328:classical-music 5326: 5321: 5317: 5309: 5305: 5300: 5237: 5229: 5225: 5217: 5206: 5198: 5189: 5181: 5177: 5169: 5165: 5157: 5153: 5148: 5141: 5133: 5126: 5118: 5114: 5106: 5093: 5085: 5081: 5073: 5069: 5063:Wayback Machine 5053: 5049: 5043:Wayback Machine 5033: 5029: 5025:, pp. 8ff. 5021: 5017: 5009: 5005: 4990: 4943: 4942: 4938: 4919: 4918: 4914: 4895: 4894: 4890: 4871: 4867: 4844: 4843: 4839: 4805: 4798: 4780: 4776: 4764: 4756: 4752: 4733: 4732: 4728: 4665: 4664: 4660: 4645: 4641: 4633: 4600: 4572: 4568: 4560: 4553: 4545: 4530: 4522: 4515: 4507: 4500: 4492: 4488: 4480: 4469: 4462: 4455: 4444: 4440: 4432: 4425: 4417: 4410: 4400: 4395: 4391: 4381: 4376: 4372: 4362: 4357: 4353: 4345: 4338: 4330: 4323: 4315: 4311: 4307:, p. 394f. 4303: 4292: 4288:, introduction. 4284: 4280: 4272: 4268: 4260: 4247: 4239: 4235: 4227: 4223: 4215: 4211: 4197: 4193: 4183: 4174: 4170: 4162: 4158: 4154:, pp. 2–4. 4150: 4146: 4138: 4131: 4123: 4119: 4111: 4104: 4093: 4091: 4081: 4078: 4077: 4073: 4061: 4054: 4046: 4039: 4031: 4027: 4019: 4015: 4004: 4000: 3987: 3983: 3975: 3971: 3963: 3954: 3946: 3927: 3914: 3910: 3897: 3893: 3888: 3871: 3810: 3793:L'arpa festante 3783:, and one with 3779:, one with the 3695:Helmuth Rilling 3624:Helmuth Rilling 3613:Karl Münchinger 3605:Karl Ristenpart 3542:Arnold Schering 3538: 3478: 3470: 3447: 3431: 3425: 3388: 3378: 3364: 3329: 3319: 3305: 3299: 3286: 3276: 3261: 3250:, one of a few 3236:Vom Himmel hoch 3207:annunciation to 3189: 3179: 3166: 3128: 3127: 3119: 3117: 3116: 3115: 3114: 3111: 3104: 3101: 3094: 3088: 3083: 3068: 3038:Suscepit Israel 3033: 2994:source code by 2984: 2959: 2937:Fecit potentiam 2932: 2918:Et misericordia 2913: 2898: 2878: 2844: 2825: 2823:2. Et exultavit 2762: 2761: 2759: 2744: 2743: 2741: 2688: 2683: 2677: 2649: 2632: 2623: 2622: 2605: 2600: 2599: 2598: 2597: 2596: 2594: 2586: 2574: 2572: 2547: 2546: 2530: 2523: 2491: 2463: 2458: 2457: 2456: 2455: 2454: 2446: 2410: 2394: 2393: 2370: 2365: 2364: 2363: 2362: 2361: 2343: 2342: 2326: 2318: 2296: 2295: 2277: 2257: 2235: 2230: 2229: 2228: 2227: 2226: 2208: 2207: 2191: 2183: 2160: 2159: 2142: 2135: 2123: 2122: 2115: 2112: 2099: 2086: 2079: 2043: 2036: 2023: 2022: 2004: 1996: 1976: 1975: 1961: 1956: 1955: 1954: 1953: 1952: 1947:2. Et exultavit 1945: 1920: 1919: 1902: 1897: 1896: 1895: 1894: 1893: 1882: 1871: 1847: 1846:BWV 243.2 (243) 1842: 1709:Fecit potentiam 1703: 1639:(Ti, tonic and 1617: 1589: 1548: 1547: 1532: 1463: 1458: 1457: 1456: 1455: 1454: 1449: 1433: 1423: 1405: 1387: 1369: 1351: 1333: 1315: 1297: 1279: 1263: 1259: 1243: 1239: 1211: 1194: 1185:Antonio Caldara 1143: 1107: 1101: 1038: 1032: 1008: 1007: 996: 981: 976: 968: 925: 908: 870: 848: 821: 794: 787: 759: 721: 637:Tomaso Albinoni 593:apart from the 571: 565: 553:chorale prelude 506:Heinrich Schütz 487:melodic formula 475:Gregorian chant 451: 425: 335: 329: 305: 214: 200:2 oboes d'amore 199: 194: 189: 181: 147: 135: 121: 68: 66:autograph score 45: 28: 23: 22: 15: 12: 11: 5: 7669: 7667: 7659: 7658: 7653: 7648: 7643: 7633: 7632: 7626: 7625: 7623: 7622: 7617: 7611: 7608: 7607: 7604: 7603: 7595: 7593:, BWV 249 7587: 7586: 7585: 7580: 7575: 7570: 7565: 7560: 7554: 7547:, BWV 248 7540: 7539: 7537: 7533: 7532: 7529: 7528: 7527: 7526: 7513: 7506: 7499: 7498: 7497: 7492: 7480: 7479: 7478: 7473: 7461: 7454: 7453: 7452: 7441: 7440: 7438: 7432: 7431: 7428: 7427: 7426: 7425: 7420: 7410: 7405: 7404: 7403: 7398: 7393: 7382: 7381: 7379: 7373: 7372: 7361: 7359: 7358: 7351: 7344: 7336: 7330: 7329: 7316: 7310: 7287: 7277: 7264: 7252: 7251:External links 7249: 7247: 7246: 7229: 7223: 7207: 7205: 7202: 7200: 7199: 7185: 7166: 7160: 7139: 7111: 7105: 7090: 7084: 7065: 7059: 7037: 7036: 7035: 7008: 6980: 6974: 6959: 6953: 6938: 6903: 6897: 6882: 6876: 6861: 6840: 6820: 6814: 6793: 6775: 6769: 6747: 6734: 6718: 6704: 6657: 6655:on 2014-10-16. 6625: 6623:. H. Karmrodt. 6611: 6605: 6590: 6575: 6571:Emmanuel Music 6563:Dellal, Pamela 6559: 6553: 6531: 6525: 6510: 6496:Bawden, John. 6493: 6469: 6468: 6467: 6446: 6440:, ed. (1955). 6428: 6427: 6426: 6395: 6382: 6367: 6356: 6343: 6336: 6329: 6320: 6306: 6299: 6298: 6297: 6288: 6242: 6241: 6240: 6209: 6199: 6189: 6166: 6143: 6126: 6124: 6121: 6118: 6117: 6089: 6025: 6021:Steinberg 2005 6013: 5998: 5989: 5973: 5957: 5951:.muziekcentrum 5936: 5930:.harmoniamundi 5908: 5893: 5887:.bach-cantatas 5872: 5856: 5844: 5814: 5808:.bach-cantatas 5793: 5787:.bach-cantatas 5769: 5752: 5731: 5719: 5713:.bach-cantatas 5702:Magnificat in 5689: 5683:.bach-cantatas 5665: 5656: 5650:.bach-cantatas 5635: 5629:.bach-cantatas 5614: 5602: 5590: 5582:Tobias Grill. 5575: 5566: 5557: 5545: 5536: 5514: 5491: 5479: 5477:, p. 166. 5467: 5455: 5434: 5422: 5408: 5399: 5383: 5361: 5346: 5334: 5315: 5313:, p. 105. 5303: 5235: 5231:Steinberg 2005 5223: 5219:Marshall 1989a 5204: 5200:Marshall 1989a 5187: 5175: 5173:, p. 135. 5163: 5151: 5139: 5124: 5112: 5091: 5079: 5067: 5047: 5027: 5023:Marshall 1989a 5015: 5003: 4988: 4936: 4912: 4888: 4865: 4837: 4796: 4774: 4750: 4726: 4658: 4639: 4598: 4566: 4551: 4528: 4524:Cantagrel 2011 4513: 4498: 4486: 4467: 4453: 4438: 4423: 4408: 4389: 4370: 4351: 4349:, p. 133. 4336: 4321: 4317:Marshall 1989a 4309: 4290: 4278: 4266: 4245: 4233: 4221: 4209: 4191: 4180:(Fuge) BWV 733 4168: 4156: 4144: 4129: 4117: 4102: 4071: 4052: 4050:, p. 279. 4037: 4035:, p. 265. 4025: 4013: 3998: 3981: 3969: 3952: 3948:Steinberg 2005 3925: 3908: 3890: 3889: 3887: 3884: 3869:Top 75/Top 100 3821:Harmonia Mundi 3809: 3806: 3785:Rolf Schweizer 3769:Philip Pickett 3753:Peter Schreier 3741:Andrew Parrott 3674:Adalbert Kraus 3562:Otto Klemperer 3537: 3534: 3529:Philipp Spitta 3517:John Troutbeck 3477: 3474: 3446: 3443: 3424: 3421: 3420: 3419: 3377: 3374: 3373: 3372: 3318: 3315: 3314: 3313: 3275: 3272: 3178: 3175: 3165: 3162: 3144:time signature 3118: 3112: 3102: 3097: 3096: 3095: 3086: 3085: 3084: 3082: 3079: 3067: 3064: 3032: 3029: 2983: 2980: 2958: 2955: 2931: 2928: 2912: 2909: 2897: 2894: 2877: 2874: 2843: 2840: 2824: 2821: 2820: 2819: 2816: 2815: 2814: 2788: 2784: 2766: 2765: 2764: 2763: 2753: 2750: 2748: 2745: 2735: 2732: 2730: 2724: 2723: 2722: 2721: 2717: 2687: 2684: 2676: 2673: 2654: 2653: 2644: 2641: 2636: 2627: 2619: 2614: 2611: 2601: 2583: 2564: 2563: 2560: 2557: 2554: 2551: 2543: 2540: 2537: 2528: 2520: 2519: 2516: 2513: 2510: 2507: 2504: 2501: 2498: 2489: 2483: 2482: 2480: 2477: 2474: 2471: 2468: 2459: 2452: 2443: 2442: 2439: 2434: 2431: 2428: 2423: 2420: 2417: 2408: 2402: 2401: 2398: 2390: 2387: 2384: 2381: 2378: 2375: 2366: 2359: 2353: 2352: 2350: 2347: 2339: 2336: 2333: 2324: 2315: 2314: 2311: 2308: 2303: 2300: 2292: 2287: 2284: 2275: 2269: 2268: 2265: 2260: 2254: 2251: 2246: 2243: 2240: 2231: 2224: 2218: 2217: 2215: 2212: 2204: 2201: 2198: 2189: 2180: 2179: 2176: 2171: 2168: 2165: 2155: 2152: 2149: 2140: 2132: 2131: 2128: 2118: 2110: 2107: 2102: 2096: 2093: 2084: 2076: 2075: 2072: 2067: 2064: 2061: 2056: 2053: 2050: 2041: 2033: 2032: 2030: 2027: 2019: 2017: 2011: 2002: 1993: 1992: 1989: 1986: 1983: 1980: 1972: 1969: 1966: 1957: 1950: 1942: 1941: 1938: 1933: 1928: 1925: 1915: 1910: 1907: 1898: 1891: 1885: 1884: 1879: 1876: 1873: 1868: 1865: 1862: 1859: 1854: 1853:No. and title 1850: 1849: 1844: 1839: 1829: 1828: 1821: 1820: 1819: 1816: 1815: 1814: 1776: 1775: 1772: 1769: 1761: 1760: 1754: 1753: 1752: 1749: 1748: 1747: 1744: 1743: 1742: 1739: 1738: 1737: 1707:7th movement ( 1702: 1699: 1653:basso continuo 1616: 1613: 1588: 1585: 1536:1 (Magnificat) 1534:The movements 1531: 1528: 1514: 1513: 1507: 1501: 1495: 1470: 1469: 1459: 1451: 1446: 1442: 1441: 1430: 1425: 1420: 1416: 1415: 1412: 1407: 1402: 1398: 1397: 1394: 1389: 1384: 1380: 1379: 1376: 1371: 1366: 1362: 1361: 1358: 1353: 1348: 1344: 1343: 1340: 1335: 1330: 1326: 1325: 1322: 1317: 1312: 1308: 1307: 1304: 1299: 1294: 1290: 1289: 1286: 1281: 1276: 1272: 1271: 1268: 1261: 1256: 1252: 1251: 1248: 1241: 1236: 1232: 1231: 1228: 1225: 1210: 1207: 1206: 1205: 1192: 1162:, BWV 189 1100: 1097: 1079:Kindleinwiegen 1031: 1028: 998: 997: 995: 994: 989: 984: 979: 974: 971: 965: 963: 959: 958: 957:choir and solo 950: 946: 945: 942: 938: 937: 931: 927: 926: 924: 923: 920: 916: 914: 910: 909: 907: 906: 903: 898: 892: 890: 886: 885: 879: 875: 874: 864: 860: 859: 854: 850: 849: 839: 831: 830: 823: 822: 816: 813: 812: 725:Gospel of Luke 720: 717: 705:Samuel Scheidt 690:, BWV 215 648:eldest brother 564: 561: 424: 421: 328: 325: 304: 301: 216: 215: 213: 212: 207: 202: 197: 192: 187: 184: 178: 176: 172: 171: 170:choir and solo 163: 159: 158: 155: 151: 150: 141: 137: 136: 134: 133: 129: 127: 123: 122: 120: 119: 114: 108: 106: 102: 101: 95: 91: 90: 84: 80: 79: 74: 70: 69: 63: 55: 54: 47: 46: 40: 37: 36: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 7668: 7657: 7654: 7652: 7649: 7647: 7644: 7642: 7639: 7638: 7636: 7621: 7618: 7616: 7613: 7612: 7609: 7602: 7601:, BWV 11 7600: 7596: 7594: 7592: 7588: 7584: 7581: 7579: 7576: 7574: 7571: 7569: 7566: 7564: 7561: 7559: 7555: 7553: 7550: 7549: 7548: 7546: 7542: 7541: 7538: 7534: 7525: 7521: 7520: 7519: 7518: 7514: 7512: 7511: 7507: 7505: 7504: 7500: 7496: 7493: 7491: 7488: 7487: 7486: 7485: 7481: 7477: 7474: 7472: 7469: 7468: 7467: 7466: 7462: 7460: 7459: 7455: 7450: 7449: 7448: 7447: 7443: 7442: 7439: 7437: 7433: 7424: 7421: 7419: 7418:early version 7416: 7415: 7414: 7411: 7409: 7406: 7402: 7399: 7397: 7394: 7392: 7391:early version 7389: 7388: 7387: 7384: 7383: 7380: 7378: 7374: 7369: 7364: 7357: 7352: 7350: 7345: 7343: 7338: 7337: 7334: 7328: 7324: 7320: 7317: 7314: 7311: 7300: 7296: 7292: 7288: 7285: 7281: 7278: 7276: 7272: 7268: 7265: 7262: 7258: 7255: 7254: 7250: 7235: 7230: 7226: 7220: 7216: 7215: 7209: 7208: 7203: 7196: 7192: 7188: 7182: 7178: 7174: 7173: 7167: 7163: 7157: 7153: 7152: 7149: 7144: 7140: 7136: 7130: 7122: 7121: 7116: 7112: 7108: 7102: 7098: 7097: 7091: 7087: 7081: 7077: 7076: 7071: 7066: 7062: 7060:0-19-802921-7 7056: 7052: 7048: 7047: 7042: 7038: 7032: 7028: 7024: 7020: 7019: 7014: 7009: 7006: 7005: 7000: 6997: 6996: 6994: 6990: 6989: 6984: 6981: 6977: 6971: 6968:. C.H. Beck. 6967: 6966: 6960: 6956: 6950: 6946: 6945: 6939: 6928: 6924: 6920: 6916: 6909: 6904: 6900: 6894: 6890: 6889: 6883: 6879: 6873: 6869: 6868: 6862: 6858: 6854: 6850: 6846: 6841: 6830: 6829:Bach Cantatas 6826: 6821: 6817: 6811: 6807: 6803: 6801: 6794: 6790: 6786: 6785: 6780: 6776: 6772: 6766: 6762: 6758: 6757: 6752: 6748: 6744: 6740: 6735: 6732: 6727: 6723: 6719: 6715: 6711: 6707: 6701: 6697: 6693: 6689: 6685: 6681: 6680:Bach-Jahrbuch 6677: 6673: 6672: 6667: 6666:Wollny, Peter 6663: 6658: 6654: 6650: 6646: 6642: 6638: 6637:Bach-Jahrbuch 6634: 6630: 6626: 6622: 6621: 6616: 6615:Franz, Robert 6612: 6608: 6602: 6598: 6597: 6591: 6587: 6583: 6582: 6576: 6572: 6568: 6564: 6560: 6556: 6550: 6546: 6543:(in French). 6542: 6541: 6536: 6532: 6528: 6522: 6518: 6517: 6511: 6499: 6494: 6482: 6478: 6473: 6470: 6453: 6447: 6443: 6439: 6435: 6434: 6432: 6429: 6412: 6408: 6405:(in German). 6401: 6396: 6393: 6389: 6388: 6383: 6380: 6376: 6368: 6365: 6357: 6353: 6349: 6344: 6341: 6337: 6334: 6330: 6327: 6326: 6321: 6318: 6314: 6312: 6307: 6304: 6300: 6296: 6292: 6289: 6286: 6283:.bach-digital 6268: 6264: 6260: 6259: 6257: 6249: 6248: 6246: 6243: 6226: 6222: 6219:(in German). 6215: 6210: 6207: 6206: 6200: 6198: 6194: 6190: 6185: 6181: 6177: 6173: 6167: 6163: 6160:.bach-digital 6154: 6150: 6149: 6147: 6144: 6132: 6128: 6127: 6122: 6105: 6104: 6099: 6093: 6090: 6086: 6077: 6073: 6069: 6065: 6060: 6051: 6047: 6043: 6039: 6035: 6029: 6026: 6023:, p. 31. 6022: 6017: 6014: 6011: 6007: 6002: 5999: 5993: 5990: 5986: 5982: 5977: 5974: 5970: 5966: 5961: 5958: 5954: 5945: 5940: 5937: 5933: 5924: 5920: 5917: 5912: 5909: 5905: 5900: 5898: 5894: 5890: 5881: 5876: 5873: 5869: 5863: 5861: 5857: 5853: 5848: 5845: 5841: 5830: 5826: 5823: 5818: 5815: 5811: 5802: 5797: 5794: 5790: 5781: 5776: 5774: 5770: 5766: 5762: 5756: 5753: 5749: 5740: 5735: 5732: 5728: 5723: 5720: 5716: 5707: 5698: 5696: 5694: 5690: 5686: 5677: 5672: 5670: 5666: 5660: 5657: 5653: 5644: 5639: 5636: 5632: 5623: 5618: 5615: 5611: 5610:Schering 1924 5606: 5603: 5599: 5594: 5591: 5587: 5586: 5579: 5576: 5570: 5567: 5561: 5558: 5554: 5549: 5546: 5540: 5537: 5533: 5529: 5526: 5525: 5518: 5515: 5511: 5507: 5503: 5501: 5495: 5492: 5488: 5483: 5480: 5476: 5471: 5468: 5464: 5459: 5456: 5452: 5443: 5438: 5435: 5431: 5426: 5423: 5420: 5415: 5413: 5409: 5403: 5400: 5396: 5392: 5387: 5384: 5380: 5379: 5374: 5370: 5365: 5362: 5358: 5353: 5351: 5347: 5343: 5338: 5335: 5331: 5324: 5319: 5316: 5312: 5307: 5304: 5298: 5296: 5294: 5292: 5290: 5288: 5286: 5284: 5282: 5280: 5278: 5276: 5274: 5272: 5270: 5268: 5266: 5264: 5262: 5260: 5258: 5256: 5254: 5252: 5250: 5248: 5246: 5244: 5242: 5240: 5236: 5232: 5227: 5224: 5220: 5215: 5213: 5211: 5209: 5205: 5201: 5196: 5194: 5192: 5188: 5184: 5179: 5176: 5172: 5167: 5164: 5160: 5155: 5152: 5146: 5144: 5140: 5136: 5131: 5129: 5125: 5121: 5116: 5113: 5109: 5104: 5102: 5100: 5098: 5096: 5092: 5089:, p. 46. 5088: 5087:Stockigt 2013 5083: 5080: 5076: 5071: 5068: 5064: 5060: 5057: 5051: 5048: 5044: 5040: 5037: 5031: 5028: 5024: 5019: 5016: 5013:, p. 65. 5012: 5007: 5004: 4999: 4995: 4991: 4985: 4981: 4977: 4973: 4969: 4965: 4964:Bach-Jahrbuch 4961: 4957: 4956: 4951: 4950:Wollny, Peter 4947: 4940: 4937: 4932: 4928: 4927: 4922: 4916: 4913: 4908: 4904: 4903: 4898: 4892: 4889: 4885: 4881: 4877: 4876: 4869: 4866: 4861: 4857: 4856: 4851: 4849: 4841: 4838: 4835: 4831: 4827: 4823: 4822:3-7651-0249-0 4819: 4815: 4813: 4808: 4803: 4801: 4797: 4794: 4790: 4789:, Volume III. 4788: 4783: 4778: 4775: 4771: 4768:.carus-verlag 4762: 4761: 4754: 4751: 4746: 4742: 4741: 4736: 4730: 4727: 4722: 4718: 4714: 4710: 4706: 4702: 4698: 4697:Bach-Jahrbuch 4694: 4690: 4689: 4684: 4680: 4676: 4672: 4668: 4662: 4659: 4655: 4654: 4649: 4643: 4640: 4636: 4631: 4629: 4627: 4625: 4623: 4621: 4619: 4617: 4615: 4613: 4611: 4609: 4607: 4605: 4603: 4599: 4596: 4592: 4588: 4584: 4580: 4576: 4570: 4567: 4563: 4558: 4556: 4552: 4548: 4543: 4541: 4539: 4537: 4535: 4533: 4529: 4525: 4520: 4518: 4514: 4510: 4505: 4503: 4499: 4496:, p. 53. 4495: 4490: 4487: 4483: 4478: 4476: 4474: 4472: 4468: 4465: 4464:Glöckner 2003 4460: 4458: 4454: 4451: 4447: 4442: 4439: 4435: 4434:Stockigt 2013 4430: 4428: 4424: 4420: 4419:Glöckner 2009 4415: 4413: 4409: 4405: 4398: 4393: 4390: 4386: 4379: 4374: 4371: 4367: 4360: 4355: 4352: 4348: 4343: 4341: 4337: 4333: 4328: 4326: 4322: 4318: 4313: 4310: 4306: 4301: 4299: 4297: 4295: 4291: 4287: 4286:Schering 1924 4282: 4279: 4275: 4270: 4267: 4263: 4258: 4256: 4254: 4252: 4250: 4246: 4243:, p. 63. 4242: 4237: 4234: 4230: 4225: 4222: 4218: 4213: 4210: 4207: 4203: 4201: 4195: 4192: 4188: 4181: 4179: 4172: 4169: 4165: 4160: 4157: 4153: 4148: 4145: 4141: 4136: 4134: 4130: 4127:, p. 45. 4126: 4125:Lundberg 2012 4121: 4118: 4114: 4113:Lundberg 2012 4109: 4107: 4103: 4089: 4085: 4075: 4072: 4068: 4064: 4059: 4057: 4053: 4049: 4044: 4042: 4038: 4034: 4029: 4026: 4022: 4017: 4014: 4011: 4007: 4002: 3999: 3995: 3991: 3985: 3982: 3978: 3977:Schröder 2012 3973: 3970: 3966: 3961: 3959: 3957: 3953: 3950:, p. 32. 3949: 3944: 3942: 3940: 3938: 3936: 3934: 3932: 3930: 3926: 3922: 3918: 3912: 3909: 3905: 3901: 3895: 3892: 3885: 3883: 3881: 3875: 3870: 3866: 3861: 3859: 3854: 3849: 3847: 3843: 3839: 3835: 3830: 3826: 3822: 3818: 3814: 3807: 3805: 3802: 3796: 3794: 3790: 3786: 3782: 3778: 3774: 3773:L'Oiseau Lyre 3770: 3766: 3763:, and by the 3762: 3758: 3754: 3750: 3746: 3742: 3738: 3734: 3729: 3727: 3723: 3719: 3715: 3711: 3707: 3702: 3700: 3696: 3692: 3688: 3684: 3683:Simon Preston 3679: 3675: 3671: 3667: 3663: 3659: 3658:Bruno Maderna 3655: 3653: 3649: 3645: 3641: 3636: 3635: 3629: 3625: 3620: 3618: 3614: 3610: 3606: 3602: 3598: 3594: 3590: 3586: 3582: 3578: 3573: 3571: 3567: 3563: 3559: 3558:LP recordings 3555: 3551: 3547: 3543: 3535: 3533: 3530: 3526: 3522: 3518: 3514: 3510: 3506: 3503: 3499: 3495: 3490: 3488: 3483: 3475: 3473: 3471:BWV Anh. 161. 3468: 3464: 3459: 3457: 3452: 3444: 3442: 3440: 3435: 3430: 3422: 3417: 3416: 3415: 3413: 3412: 3407: 3403: 3399: 3398:stem of Jesse 3394: 3390:The text is " 3387: 3383: 3375: 3368: 3362: 3361: 3360: 3357: 3352: 3348: 3343: 3342: 3335: 3328: 3324: 3316: 3309: 3302: 3297: 3296: 3295: 3292: 3285: 3281: 3273: 3271: 3269: 3268: 3267:Orgelbüchlein 3259: 3258: 3253: 3249: 3244: 3242: 3241:Christmas Eve 3237: 3232: 3228: 3224: 3220: 3216: 3212: 3208: 3203: 3193: 3188: 3184: 3176: 3174: 3171: 3163: 3161: 3158: 3153: 3149: 3145: 3141: 3137: 3135: 3126: 3124: 3100: 3080: 3078: 3076: 3074: 3065: 3063: 3060: 3054: 3053:cantus firmus 3048: 3047: 3041: 3039: 3030: 3028: 3025: 3019: 3013: 3008: 3006: 2998:.net project) 2997: 2993: 2988: 2982:9. Esurientes 2981: 2979: 2976: 2971: 2967: 2965: 2956: 2954: 2951: 2945: 2940: 2938: 2929: 2927: 2925: 2921: 2919: 2910: 2908: 2906: 2904: 2896:5. Quia fecit 2895: 2893: 2891: 2887: 2885: 2875: 2873: 2870: 2865: 2860: 2858: 2848: 2841: 2839: 2837: 2833: 2831: 2822: 2817: 2811: 2805: 2799: 2794: 2789: 2785: 2782: 2777: 2771: 2770: 2768: 2767: 2757: 2746: 2739: 2728: 2727: 2726: 2725: 2718: 2715: 2714: 2712: 2708: 2707: 2706: 2704: 2700: 2696: 2694: 2686:1. Magnificat 2685: 2682: 2674: 2672: 2669: 2665: 2661: 2652: 2648: 2645: 2642: 2640: 2637: 2635: 2631: 2628: 2620: 2618: 2615: 2612: 2610: 2604: 2593: 2590: 2584: 2582: 2579: 2571: 2570: 2566: 2565: 2561: 2558: 2555: 2552: 2544: 2541: 2538: 2534: 2529: 2526: 2522: 2521: 2517: 2514: 2511: 2508: 2505: 2502: 2499: 2495: 2490: 2488: 2485: 2484: 2478: 2475: 2472: 2469: 2462: 2453: 2450: 2445: 2444: 2440: 2438: 2435: 2432: 2429: 2427: 2424: 2421: 2418: 2414: 2409: 2407: 2406:9. Esurientes 2404: 2403: 2399: 2391: 2388: 2385: 2382: 2379: 2376: 2369: 2360: 2358: 2355: 2354: 2348: 2340: 2337: 2334: 2330: 2325: 2322: 2317: 2316: 2312: 2309: 2307: 2304: 2301: 2293: 2291: 2288: 2285: 2281: 2276: 2274: 2271: 2270: 2266: 2264: 2261: 2255: 2252: 2250: 2247: 2244: 2241: 2234: 2225: 2223: 2220: 2219: 2213: 2205: 2202: 2199: 2195: 2190: 2187: 2182: 2181: 2177: 2175: 2172: 2169: 2166: 2164: 2156: 2153: 2150: 2146: 2141: 2138: 2137:5. Quia fecit 2134: 2133: 2129: 2127: 2119: 2111: 2108: 2106: 2103: 2097: 2094: 2090: 2085: 2082: 2078: 2077: 2073: 2071: 2068: 2065: 2062: 2060: 2057: 2054: 2051: 2047: 2042: 2039: 2035: 2034: 2028: 2020: 2018: 2015: 2012: 2008: 2003: 2000: 1995: 1994: 1990: 1987: 1984: 1981: 1973: 1970: 1967: 1960: 1951: 1948: 1944: 1943: 1939: 1937: 1934: 1932: 1929: 1926: 1924: 1916: 1914: 1911: 1908: 1901: 1892: 1890: 1889:1. Magnificat 1887: 1886: 1858: 1851: 1836: 1833: 1826: 1822: 1817: 1812: 1808: 1807: 1805: 1804: 1802: 1798: 1797: 1792: 1788: 1786: 1782: 1773: 1770: 1767: 1766: 1765: 1759: 1755: 1750: 1745: 1740: 1736: 1732: 1731: 1729: 1728: 1726: 1725: 1723: 1722: 1720: 1716: 1715: 1714: 1712: 1710: 1700: 1698: 1696: 1692: 1688: 1684: 1679: 1677: 1674:(Oa). In the 1673: 1672:oboes d'amore 1669: 1664: 1662: 1658: 1654: 1650: 1646: 1642: 1638: 1635:(Tr, tonic), 1634: 1630: 1626: 1622: 1614: 1612: 1610: 1606: 1602: 1598: 1594: 1586: 1584: 1582: 1577: 1575: 1571: 1567: 1563: 1559: 1555: 1545: 1541: 1537: 1529: 1527: 1524: 1520: 1512: 1508: 1506: 1502: 1500: 1496: 1493: 1492: 1491: 1489: 1485: 1481: 1480:Quia respexit 1477: 1462: 1453:movement 12, 1452: 1447: 1444: 1443: 1437: 1432:movement 12, 1431: 1429: 1421: 1418: 1417: 1413: 1411: 1408: 1403: 1400: 1399: 1395: 1393: 1390: 1385: 1382: 1381: 1377: 1375: 1372: 1367: 1364: 1363: 1359: 1357: 1354: 1349: 1346: 1345: 1341: 1339: 1336: 1331: 1328: 1327: 1323: 1321: 1318: 1313: 1310: 1309: 1305: 1303: 1300: 1295: 1292: 1291: 1287: 1285: 1282: 1277: 1274: 1273: 1269: 1266: 1262: 1257: 1254: 1253: 1249: 1246: 1242: 1237: 1234: 1233: 1222: 1219: 1216: 1208: 1203: 1197: 1193: 1190: 1189:BWV 1082 1186: 1182: 1181: 1180: 1178: 1174: 1170: 1165: 1163: 1161: 1156: 1152: 1146: 1140: 1139: 1133: 1131: 1126: 1122: 1118: 1114: 1113: 1106: 1098: 1096: 1094: 1089: 1084: 1081: 1080: 1074: 1070: 1066: 1062: 1058: 1054: 1049: 1047: 1043: 1037: 1029: 1027: 1024: 1019: 1015: 1005: 993: 990: 988: 985: 980: 975: 972: 967: 966: 964: 960: 956: 951: 947: 943: 939: 935: 932: 928: 921: 918: 917: 915: 911: 904: 902: 899: 897: 894: 893: 891: 887: 883: 880: 876: 865: 861: 858: 855: 851: 847:, around 1730 846: 842: 837: 832: 829: 824: 819: 814: 809: 806: 804: 800: 791: 785: 781: 777: 773: 769: 765: 757: 752: 750: 746: 742: 738: 734: 730: 726: 718: 716: 714: 710: 706: 702: 698: 693: 691: 689: 684: 683: 678: 674: 670: 669: 664: 662: 657: 653: 649: 645: 640: 638: 632: 630: 626: 622: 618: 617:Antonio Lotti 614: 610: 609: 604: 598: 596: 595:Mass ordinary 592: 588: 584: 580: 576: 570: 562: 560: 558: 554: 550: 546: 542: 536: 534: 527: 522: 521: 520:cantus firmus 515: 511: 507: 503: 498: 496: 492: 488: 484: 480: 476: 472: 467: 466: 460: 456: 450: 442: 438: 434: 429: 422: 420: 416: 414: 405: 403: 396: 391: 384: 383:, BWV 23 382: 375: 374:, BWV 22 373: 368: 364: 360: 356: 355:Johann Kuhnau 352: 348: 344: 340: 334: 324: 322: 318: 314: 310: 302: 300: 297: 295: 290: 285: 283: 279: 275: 274: 269: 265: 261: 257: 253: 249: 244: 242: 238: 234: 230: 226: 222: 211: 208: 206: 203: 198: 193: 188: 185: 180: 179: 177: 173: 169: 164: 160: 156: 152: 142: 138: 131: 130: 128: 124: 118: 115: 113: 110: 109: 107: 103: 99: 96: 92: 88: 85: 81: 78: 75: 71: 67: 61: 56: 53: 48: 43: 38: 33: 30: 19: 7598: 7590: 7544: 7515: 7508: 7501: 7482: 7463: 7456: 7444: 7412: 7302:. Retrieved 7294: 7286:(ChoralWiki) 7240:23 September 7238:. Retrieved 7213: 7171: 7151: 7147: 7119: 7095: 7074: 7069: 7045: 7016: 7002: 6986: 6964: 6943: 6932:23 September 6930:. Retrieved 6918: 6914: 6887: 6866: 6844: 6832:. Retrieved 6828: 6806:Bach Studies 6805: 6799: 6783: 6755: 6742: 6738: 6675: 6670: 6653:the original 6640: 6636: 6619: 6595: 6580: 6539: 6515: 6502:. Retrieved 6485:. Retrieved 6461:23 September 6459:. Retrieved 6441: 6420:22 September 6418:. Retrieved 6411:the original 6392:Jeremy Noble 6385: 6374: 6363: 6350:, edited by 6339: 6332: 6324: 6309: 6302: 6270:. Retrieved 6267:Bach digital 6266: 6234:22 September 6232:. Retrieved 6225:the original 6202: 6171: 6135:. Retrieved 6108:. Retrieved 6101: 6092: 6071: 6063: 6041: 6033: 6028: 6016: 6001: 5992: 5976: 5960: 5939: 5911: 5875: 5867: 5847: 5817: 5796: 5755: 5734: 5722: 5704:E flat major 5659: 5638: 5617: 5605: 5593: 5584: 5578: 5573:Novello 1874 5569: 5560: 5548: 5539: 5523: 5517: 5499: 5494: 5482: 5470: 5458: 5449:.bachdigital 5437: 5425: 5402: 5386: 5376: 5364: 5359:, p. 3. 5357:Jenkins 2000 5337: 5318: 5311:Rimbach 2005 5306: 5226: 5185:, p. 4. 5183:Rizzuti 2013 5178: 5166: 5154: 5135:Jenkins 2000 5120:Simrock 1811 5115: 5108:Jenkins 2000 5082: 5075:Hogwood 2011 5070: 5050: 5030: 5018: 5006: 4959: 4954: 4939: 4931:Bach Archive 4926:Bach Digital 4924: 4915: 4907:Bach Archive 4902:Bach Digital 4900: 4891: 4874: 4868: 4860:Bach Archive 4855:Bach Digital 4853: 4847: 4840: 4810: 4786: 4777: 4759: 4753: 4745:Bach Archive 4740:Bach Digital 4738: 4729: 4692: 4687: 4661: 4651: 4642: 4590: 4569: 4564:, p. 5. 4562:Jenkins 2000 4509:Rizzuti 2013 4489: 4441: 4392: 4373: 4354: 4334:, p. 1. 4332:Jenkins 2000 4312: 4281: 4276:, p. 6. 4269: 4262:Rimbach 2005 4236: 4224: 4212: 4199: 4194: 4185:bach-digital 4177: 4171: 4159: 4152:Rizzuti 2013 4147: 4120: 4092:. Retrieved 4074: 4028: 4016: 4001: 3994:Bach Digital 3984: 3972: 3921:Bach Digital 3911: 3904:Bach Digital 3894: 3880:Bach Digital 3862: 3857: 3850: 3811: 3808:21st century 3800: 3797: 3730: 3710:Rutter(1990) 3703: 3656: 3643: 3621: 3608: 3601:Karl Richter 3574: 3572:as soprano. 3539: 3536:20th century 3512: 3507: 3498:Robert Franz 3493: 3491: 3479: 3476:19th century 3466: 3460: 3448: 3445:18th century 3436: 3432: 3409: 3389: 3330: 3301:B-flat major 3287: 3265: 3255: 3245: 3227:counterpoint 3218: 3198: 3167: 3152:triple metre 3134:Gloria Patri 3131: 3129: 3070: 3069: 3035: 3034: 3002: 3001: 2961: 2960: 2934: 2933: 2915: 2914: 2900: 2899: 2881: 2879: 2854: 2853: 2827: 2826: 2720:instruments. 2690: 2689: 2667: 2657: 2650: 2646: 2638: 2633: 2629: 2616: 2602: 2595: 2585: 2573: 2567: 2460: 2367: 2305: 2289: 2232: 2013: 1958: 1930: 1912: 1899: 1875:Instruments 1864:Instruments 1830: 1824: 1810: 1800: 1777: 1762: 1757: 1734: 1718: 1708: 1704: 1680: 1665: 1661:flauto dolce 1631:(Ob), three 1618: 1590: 1578: 1572:is the only 1533: 1519:Bach cantata 1515: 1487: 1473: 1460: 1414:movement 11 1396:movement 10 1227:Text source 1212: 1202:Pietro Torri 1176: 1166: 1159: 1154: 1129: 1111: 1108: 1092: 1087: 1085: 1064: 1060: 1052: 1050: 1045: 1039: 1023:Thomaskantor 1018:Marian feast 1013: 1001: 962:Instrumental 884:on feast day 857:E-flat major 792: 788:27 July 1733 753: 745:Christianity 722: 708: 699:published a 694: 687: 680: 666: 660: 641: 633: 625:by Heinichen 606: 599: 572: 548: 532: 524:in movement 499: 452: 431:Traditional 412: 401: 390:Thomaskantor 380: 371: 336: 321:Purification 317:Annunciation 306: 298: 294:D major 286: 271: 248:Thomaskantor 245: 224: 219: 175:Instrumental 100:on feast day 29: 7552:discography 7495:discography 7476:discography 7423:discography 7401:discography 7325:lecture by 7304:18 November 6834:18 November 6686:. Leipzig: 6504:7 September 6438:Alfred Dürr 6407:Bärenreiter 6379:Alfred Dürr 6272:18 November 6221:Bärenreiter 6205:Alfred Dürr 6110:19 November 5746:.baroquecds 5598:Jansen 2006 5463:Spitta 1884 5391:Spitta 1884 5011:Porter 2008 4970:. Leipzig: 4929:. Leipzig: 4905:. Leipzig: 4884:Bärenreiter 4858:. Leipzig: 4807:Alfred Dürr 4793:pp. 153–155 4743:. Leipzig: 4648:Alfred Dürr 4635:Spitta 1884 4547:Spitta 1884 4494:Butler 2008 4450:p. 246 4241:Porter 2008 4164:Spitta 1884 4140:Rathey 2016 4048:Shrock 2009 4033:Spitta 1884 4021:Spitta 1884 3872: [ 3853:Bärenreiter 3825:Ton Koopman 3761:Ton Koopman 3737:Robert Shaw 3646:, with the 3589:Bärenreiter 3581:Alfred Dürr 3511:printed an 3331:The text, " 3148:common time 2957:8. Deposuit 2924:con sordino 2793:subdominant 1685:, bassoon, 1595:(sI, sII), 1378:movement 9 1360:movement 8 1342:movement 7 1324:movement 6 1306:movement 5 1270:movement 2 1250:movement 1 1196:BWV Anh. 30 1132:BWV 10 1119:written by 1115:, the 1754 977:2 recorders 871: 1733 795:2 July 1733 760:2 July 1733 756:2 July 435:setting of 190:2 traversos 148: 1733 7635:Categories 7615:Evangelist 7413:Magnificat 7029:. London: 7023:Clara Bell 6857:1194734574 6800:Magnificat 6348:Magnificat 6176:N. Simrock 5985:Gramophone 5765:Gramophone 5553:Franz 1863 5487:Zenck 1986 5419:Upton 1886 5393:, p. 5342:Franz 1863 5171:Jones 2013 5065:32 minutes 4703:. Berlin: 4347:Jones 2013 4274:Franz 1863 3965:Jones 2013 3886:References 3714:Penderecki 3593:Kurt Redel 3427:See also: 3380:See also: 3321:See also: 3298:For SSAT, 3278:See also: 3181:See also: 3123:media help 3059:recordatus 3005:Esurientes 2804:Magnificat 2798:magnificat 2711:ritornello 2679:See also: 2380:2Vl Va Bc 2245:2Vl Va Bc 2029:23, 25–27 1985:2Vl Va Bc 1971:2Vl Va Bc 1813:key (7, C) 1764:movement: 1655:(Bc). Two 1627:(Vl), two 1576:movement. 1574:a cappella 1468:time part 1440:time part 1238:Magnificat 1103:See also: 1034:See also: 969:3 trumpets 828:J. S. Bach 811:Magnificat 749:Visitation 629:by Vivaldi 587:liturgical 567:See also: 483:minor mode 479:ninth mode 471:psalm tone 447:See also: 441:ninth tone 345:), all of 331:See also: 289:Visitation 233:Magnificat 225:Magnificat 182:3 trumpets 52:J. S. Bach 35:Magnificat 7536:Oratorios 7490:structure 7471:structure 7396:structure 7321:, a 2011 7299:Sotheby's 7195:0570-6769 7145:(1966) . 7129:cite book 6927:2240-7944 6851:thesis). 6714:0084-7682 6643:: 37–45. 5904:Oron 2012 5430:Bach 1955 4998:0084-7682 4721:0084-7682 4229:Taft 1986 4202:, BWV 733 4069:, p. 1, 8 3882:website. 3666:Hedy Graf 3556:records. 3458:in 1786. 3243:service. 2996:Libre art 2944:Dispersit 2500:sI sII a 2258:2Vl Va Bc 2116:2Vl Va Bc 2100:2Vl Va Bc 1758:tonic key 1735:tonic key 1719:tonic key 1668:traversos 1657:recorders 1651:(Va) and 1615:Orchestra 1566:obbligato 1086:As these 941:Movements 930:Performed 733:Elizabeth 703:in 1622. 313:Pentecost 268:Christmas 154:Movements 143:Leipzig, 140:Performed 87:BWV 243.1 18:BWV 243.2 7436:Passions 7043:(2005). 6995:, 1880. 6781:(1921). 6753:(2013). 6733:lecture. 6724:(2011). 6631:(2003). 6617:(1863). 6537:(2011). 6397:(2014b) 6211:(2014a) 6184:68145446 6133:. Amazon 5919:Archived 5739:BACH 721 5528:Archived 5059:Archived 5039:Archived 4782:Picander 4685:(eds.). 4669:(1983). 4575:Nekrolog 4383:klassica 3923:website. 3906:website. 3685:and the 3650:and the 3630:and the 3548:and the 3540:In 1924 3264:(in the 2992:LilyPond 2781:the Lord 2624:♭ 2548:♭ 2395:♯ 2344:♭ 2297:♭ 2209:♭ 2161:♭ 2124:♯ 2024:♭ 1977:♭ 1921:♭ 1721:(major) 1641:dominant 1633:trumpets 1603:(t) and 1593:sopranos 1549:♭ 1523:da capos 1428:Doxology 1215:doxology 1169:Picander 1145:BWV Anh. 1117:obituary 1112:Nekrolog 1009:♭ 992:continuo 913:Language 901:doxology 878:Occasion 845:Augsburg 663:, BWV 31 579:evensong 415:, BWV 76 404:, BWV 75 357:was the 343:BWV 233a 256:movement 210:continuo 126:Language 117:doxology 94:Occasion 7556:Parts: 7259:by the 6678:]. 6668:(ed.). 6487:16 June 6448:(2000) 6384:(1959) 6346:(1924) 6338:(1895) 6331:(1874) 6322:(1864) 6301:(1841) 6201:(1959) 6191:(1862) 6168:(1811) 6137:17 July 6123:Sources 5987:website 5971:website 5767:website 5727:Rilling 4962:]. 4952:(ed.). 4886:, 2000. 4695:]. 4482:Digital 4082:BC A 48 3996:website 3583:. This 3564:and by 3509:Novello 3482:Simrock 3456:Hamburg 3402:Emanuel 3396:" (The 3347:Vulgate 3262:BWV 606 3140:cadenza 2970:unisono 2810:Dominum 2776:Dominum 2503:TrI Ba 2433:2Fl Bc 2422:2Fl Bc 2389:2Vl Bc 2113:2Fl 2Oa 2066:OaI Bc 1881:Autogr. 1870:Autogr. 1861:Voices 1695:unisono 1691:violone 1645:bassoon 1637:timpani 1625:violins 1476:caesura 1110:Bach's 1069:Gospels 987:strings 982:2 oboes 973:timpani 934:Leipzig 863:Related 723:In the 575:vespers 489:is the 433:D minor 395:Trinity 351:Leipzig 303:History 252:Leipzig 205:strings 195:2 oboes 186:timpani 83:Related 77:D major 7221: 7193: 7183: 7158: 7103: 7082: 7057: 6972: 6951: 6925: 6895: 6874: 6855: 6812: 6767: 6712: 6702: 6603: 6551: 6545:Fayard 6523: 6483:. 1967 6373:1956) 6182: 6083:.klara 6057:.klara 6044:, and 5852:Bawden 5827: 5159:Dellal 5045:27'14" 4996: 4986: 4834:p. 458 4828: 4820: 4719: 4595:p. 168 4587:Mizler 4100:p. 219 4094:30 May 4090:. 1992 3858:laudes 3801:laudes 3787:, the 3664:, and 3609:laudes 3585:Urtext 3554:78 rpm 3513:Octavo 3341:Gloria 3282:, and 3219:laudes 3024:inanes 2869:Spitta 2668:laudes 2651:45–48 2647:42–45 2634:27–29 2630:24–27 2613:SSATB 2562:40–42 2553:23–24 2539:SSATB 2518:38–40 2512:Ob Bc 2441:36–38 2430:20–21 2400:34–36 2386:17–20 2349:30–31 2338:Vl Bc 2335:SSATB 2313:28–34 2302:15–19 2286:SSATB 2267:24–28 2253:13–15 2214:28–30 2178:20–23 2167:12–13 2130:20–25 2109:10–12 2095:SSATB 2074:18–19 2055:Ob Bc 1991:16–18 1909:SSATB 1587:Voices 1488:laudes 1093:laudes 1088:laudes 1073:Christ 1065:laudes 1061:laudes 1057:Kuhnau 1053:laudes 1046:laudes 1042:Advent 1014:before 936:, 1723 922:German 656:Weimar 583:matins 535:BWV 10 455:Luther 359:Cantor 309:Easter 273:laudes 89:(1723) 7070:Missa 6911:(PDF) 6741:[ 6674:[ 6455:(PDF) 6414:(PDF) 6403:(PDF) 6295:IMSLP 6228:(PDF) 6217:(PDF) 5969:Naxos 5928:store 5054:E.g. 5034:E.g. 4958:[ 4848:P 977 4691:[ 4585:, in 4385:.info 3990:00292 3988:Work 3917:00302 3915:Work 3900:00303 3898:Work 3876:] 3865:Klara 3213:from 3146:from 3050:as a 2639:tutti 2617:tutti 2470:sI b 2306:tutti 2290:tutti 2200:SSAT 1940:1–15 1931:tutti 1913:tutti 1825:tonic 1811:tonic 1801:tonic 1687:cello 1683:organ 1649:viola 1629:oboes 1601:tenor 1599:(a), 1554:tutti 954:SSATB 949:Vocal 919:Latin 820:243.1 743:. In 737:Jesus 495:fifth 491:tonic 339:Kyrie 278:243.1 167:SSATB 162:Vocal 132:Latin 44:243.2 7524:1149 7306:2014 7242:2014 7219:ISBN 7191:ISSN 7181:ISBN 7156:ISBN 7135:link 7101:ISBN 7080:ISBN 7055:ISBN 6970:ISBN 6949:ISBN 6934:2014 6923:ISSN 6893:ISBN 6872:ISBN 6853:OCLC 6836:2014 6810:ISBN 6765:ISBN 6710:ISSN 6700:ISBN 6601:ISBN 6549:ISBN 6521:ISBN 6506:2014 6489:2014 6463:2014 6422:2014 6274:2014 6236:2014 6180:OCLC 6139:2014 6112:2017 5932:.com 5889:.com 5825:ISBN 5810:.com 5789:.com 5748:.com 5715:.com 5685:.com 5652:.com 5631:.com 5330:.com 4994:ISSN 4984:ISBN 4826:ISBN 4818:ISBN 4770:.com 4717:ISSN 4581:and 4404:.org 4402:cpdl 4366:.org 4364:cpdl 4096:2014 3791:and 3722:Pärt 3708:and 3697:and 3676:and 3615:and 3603:and 3575:The 3384:and 3325:and 3209:and 3185:and 2703:bars 2256:2Fl 2242:a t 2098:2Ob 2063:8–9 2016:ATB 1982:3–7 1968:sII 1927:1–9 1878:Key 1867:Key 1857:Time 1689:and 1619:The 1605:bass 1597:alto 1542:and 1445:12. 1419:11. 1401:10. 889:Text 729:Mary 644:SATB 627:and 619:and 512:and 493:, a 376:and 311:and 105:Text 7568:III 7365:by 7001:in 6692:doi 6645:doi 6293:at 6285:.de 6281:www 6162:.de 6158:www 6085:.be 6081:www 6078:at 6070:", 6066:, " 6059:.be 6055:www 6052:at 6040:", 6036:, " 5983:at 5967:at 5953:.be 5949:www 5946:at 5925:at 5885:www 5882:at 5840:.uk 5838:.co 5834:www 5831:at 5806:www 5803:at 5785:www 5782:at 5763:at 5744:www 5741:at 5711:www 5708:at 5681:www 5678:at 5648:www 5645:at 5627:www 5624:at 5451:.de 5447:www 5444:at 5395:371 5375:in 5325:at 4976:doi 4882:). 4766:www 4763:at 4709:doi 4589:'s 4399:at 4380:at 4361:at 4187:.de 4182:at 3992:at 3919:at 3902:at 3867:'s 3716:'s 3642:'s 3150:to 2662:'s 2556:Bc 2542:Bc 2509:22 2479:32 2473:Bc 2203:Bc 2170:Bc 2154:Bc 2052:sI 1883:p. 1872:p. 1643:), 1579:As 1509:D: 1503:C: 1383:9. 1365:8. 1347:7. 1329:6. 1311:5. 1293:4. 1275:3. 1255:2. 1235:1. 1171:in 1147:21; 853:Key 826:by 818:BWV 707:'s 581:or 473:in 262:of 260:key 250:in 229:BWV 223:'s 73:Key 50:by 42:BWV 7637:: 7583:VI 7573:IV 7563:II 7297:. 7293:. 7269:, 7189:. 7175:. 7131:}} 7127:{{ 7049:. 7025:; 7015:. 6917:. 6913:. 6827:. 6759:. 6708:. 6698:. 6641:89 6639:. 6635:. 6569:. 6565:. 6479:. 6474:. 6371:c. 6360:c. 6265:. 6252:c. 6178:. 6100:. 6048:– 6008:; 5896:^ 5859:^ 5772:^ 5692:^ 5668:^ 5411:^ 5371:. 5349:^ 5238:^ 5207:^ 5190:^ 5142:^ 5127:^ 5094:^ 4992:. 4982:. 4923:. 4899:. 4852:. 4850:)" 4832:, 4824:– 4799:^ 4737:. 4715:. 4681:; 4601:^ 4554:^ 4531:^ 4516:^ 4501:^ 4470:^ 4456:^ 4448:, 4426:^ 4411:^ 4339:^ 4324:^ 4293:^ 4248:^ 4132:^ 4105:^ 4086:. 4055:^ 4040:^ 3955:^ 3928:^ 3874:nl 3759:, 3755:, 3751:, 3747:, 3743:, 3739:, 3735:, 3728:. 3672:, 3668:, 3619:. 3599:, 3595:, 3527:, 3469:, 3414:. 3408:' 3304:, 3260:. 2643:D 2559:D 2515:b 2506:c 2476:F 2419:a 2383:g 2377:t 2310:D 2151:b 1988:D 1647:, 1538:, 1191:). 868:c. 843:, 805:. 790:. 631:. 577:, 559:. 508:, 504:, 323:. 284:. 243:. 227:, 157:12 145:c. 7578:V 7558:I 7355:e 7348:t 7341:v 7308:. 7244:. 7227:. 7197:. 7164:. 7137:) 7109:. 7088:. 7063:. 6978:. 6957:. 6936:. 6919:2 6901:. 6880:. 6859:. 6847:( 6838:. 6818:. 6791:. 6773:. 6728:. 6716:. 6694:: 6647:: 6609:. 6588:. 6573:. 6557:. 6529:. 6508:. 6491:. 6465:. 6424:. 6369:( 6358:( 6319:. 6276:. 6250:( 6238:. 6186:. 6141:. 6114:. 5906:. 5854:. 5729:. 5612:. 5502:. 5489:. 5432:. 5397:. 5344:. 5161:. 5122:. 5110:. 5077:. 5000:. 4978:: 4723:. 4711:: 4573:" 4526:. 4511:. 4484:. 4421:. 4231:. 4219:. 4142:. 4098:. 4084:" 3979:. 3967:. 3371:. 3312:. 3125:. 2779:( 2758:. 2740:. 2621:E 2603:4 2545:E 2461:8 2437:E 2426:F 2392:f 2368:4 2341:E 2294:E 2263:e 2249:f 2233:8 2206:B 2174:A 2158:B 2121:f 2105:g 2070:b 2059:c 2021:E 2014:S 1974:E 1959:8 1936:D 1918:E 1900:4 1711:) 1659:( 1461:4 873:) 658:( 20:)

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

Index