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voice. Taking up the detached motifs of the ritornello, the soprano starts the A section, singing the first couplet of the aria, "Wie zittern und wanken, Der Sũnder
Gedanken," with the oboe following in canon one crotchet later: their duet is followed by a repetition of the semiquaver passage for oboe. The soprano and oboe repeat the music for the couplet, but at that point the soprano suddenly sings the second couplet, "Indem sie sich unter einander verklagen ... ," accompanied only by the violas, with completely new musical material. The continuous remarkable melodic line of the soprano, with its frenetic upward semiquaver and semidemiquaver runs, are developed in canon with the oboe, as if "each makes complaints about the other." Together the two soloists interweave two highly ornate but tortuous melodic lines, their
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the basso continuo. The following fugal entry is sung by the bass, with the tenor now taking up the countersubject derived partly on the continuo quaver figures at the very beginning of the fugue. The lower voices are joined by successive fugal entries in the soprano and alto. After 21 bars of tightly scored choral singing, the tutti entries begin commencing with the basses doubling the continuo, followed by the tenors doubling the violas, the altos the second violins and oboe and the sopranos the first violins, oboe and corno. The extended fugue, with its increasingly fraught mood of denunciation, draws to a close after a further 50 bars. As
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declaring the principles of his system." Of the fugue, Pirro writes, "It is not simply a matter of bowing to the just judge, but of showing the inevitable severity of justice. Not only does the repetitive motif of the fugue multiply the overwhelming sentence, but the infallible development of the composition predicts that the punishment will follow from the sin. Bach uses the logic of his art to reveal, amongst its horrors, the axioms of his religion."
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831:. There is a contrasting mood in the middle section of the aria, when the corno does not play, "as if reluctant to reflect the comparison." In the middle section, although the melodic material for the tenor is independent, the string accompaniment is derived from the theme of the original ritornello as well as the garlands of demisemiquavers.
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958:, the tremolo gradually becomes less rapid and dissonant—the repeated semiquavers change to triplets, then quavers, then tied triplets and finally steady crotchets for the brief coda. Musically the chorale echoes the calming of man after conciliation with his Maker, bringing to an end a cantata that the musicologist
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in 1985. His preparation started in 1972, using the rare opportunity to have the autograph manuscript of Bach's full score available, created by Bach as a "composing score". Marshall attempted to reverse the process, analysing how Bach might have set about composing movements, altering portions if
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choir, doubled by the orchestra. The tone of the text is condemnatory: "Denn vor dir wird kein
Lebendiger gerecht"—"For in thy sight shall no man living be justified." The subject of the fugue theme commences resolutely with detached crotchets for "Denn", sung initially by the tenor accompanied by
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of unrighteousness," for the friendship of Jesus alone; for by His death mankind's guilt was absolved, opening up "the everlasting habitations." That part of the libretto covers the fourth and fifth movements (the second recitatives and arias). The alto recitative draws from biblical allusions in
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violins and steady quavers in the violas: the absence of a basso continuo and the amassing sevenths increase the feeling of anxiety and hopelessness. The ritornello concludes with a continuous semiquaver passage of lamentation—musical material heard several times later on the oboe but never the
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has commented, in the music for Bach's prelude, "neither the description, the drama nor the particular reference to words matter; instead it is the substance that has to be expressed, soberly, without gesticulation, but with a sense of authority, like a herald proclaiming a law or a philosopher
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representing the troubled soul. After a free reprise of the A section for soprano and oboe, there is shorter B section for the third couplet. More sustained then the A sections, it is derived from the musical material in the ritornello. The aria concludes with a reprise of the ritornello. The
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style. First the alto starts singing a detached crotchet "Herr" followed by semiquavers motifs for "gehe nicht ins
Gericht"; two beats later the tenor starts similarly, then the soprano and then the bass. The four voices continue singing the musical phrase "Herr, gehe nicht in Gericht" in an
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The mood becomes hopeful in the following accompanied bass recitative: Jesus' assurance that the sinner will attain salvation through His death on the cross. The bass solo is accompanied by the violins and violas playing gentle semiquaver figures; and by the basso continuo playing repeated
626:, depicting in musical terms the anxiety and restless desperation of the sinner. Spitta writes that, "A secret terror, and at the same time a profound grief pervades the whole ." The movement has been described as "one of the most impressive arias ever composed by Bach."
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The ritornello introduction in the corno solo of the aria is initially doubled by the first violins, but then transformed to more rapid and filigree passagework in demisemiquavers. The tenor part has a remarkable dance-like quality, similar to a
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The cantata opens with a chorus in two parts, a form of prelude and fugue, corresponding to the first two phrases of Psalm 143, "Lord, enter not into judgment with thy servant / for in thy sight shall no man living be justified." As
513:, starts in G minor with a sombre harmonically complex orchestral eight-bar ritornello. The throbbing repeated quaver beats of the figured bass play ceaselessly in the prelude. The ritornello has a penitent mood, its slow
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quaver octaves. In Bach's musical iconography, these repeated quavers represent the death knell, when—in the record of goods, body and life—judgement on the soul is passed by God. The recitative leads to a strict
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writes, "at last it gives out its own penitential cry, going through it completely in the middle range of compass, as if it flowed straight from the hearts of singing hosts." The prelude concludes gracefully on a
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The aria starts with an extended ritornello played eloquently on the oboe. The fragmented phrases in the oboe, anguished and mournful, are accompanied only by repeated semiquavers in the
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After the first ritornello, the instruments remain silent except for the pulsating basso continuo; the chorus sings in canon for six bars with new independent material in
861:, the two last pages of the autograph score reveal the many modifications Bach made. Throughout the cantata, Bach's use of "word painting" is prevalent, but in the final
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506:) that can double the soprano or alto voices. The choice of instrument likewise has to create the right balance between the first violins and tenor in the second aria.
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320:—"I will come near to you to judgment; and I will be a swift witness against the sorcerers, and against the adulterers." The text of the soprano aria is borrowed from
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The sopranos and the altos play the chorale reinforces by the corno and oboes, while the accompanying tremolo string motif returns. With each successive
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307:). The theme of the cantata is derived from the Gospel: since mankind cannot survive before God's judgement, he should forswear earthly pleasures, "the
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full of tortured chromatic modulations and suspended sevenths, which develop into sighing, mournful motifs in the violins and oboes. Similar
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474:. In the second violin parts of the opening movement, there are sections requiring notes below the normal range of the baroque oboe (B
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Chapter 11 BWV 105 Herr, gehe nicht ins
Gericht mit deinem Knecht / Lord, do not enter into judgement with Your servant.
2056:(1989), "The Genesis of an Aria Ritornello: Observations on the Autograph Score of 'Wie zittern und wanken' BWV 105/3",
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Autograph manuscript for closing chorale of BWV 105: the numerous modifications indicate that this was a composing score
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324:—"while accusing or else excusing one another." There is a reference to Paul's epistles in the second recitative,
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2031:. The compositional process of BWV 105/6 is described in detail based on Bach's changes to the autograph score.
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and for the last stanza, "trug uns'rer Sünden schwere Bürd' wohl an dem Kreuze lange", in the choral prelude
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has described the cantata as one of "the most sublime descriptions of the soul in baroque and
Christian art".
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The orchestra is scored is for four voices, the two upper voices providing the first violins, oboe and corno
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history, scoring, sources for text and music, translations to various languages, discography, discussion,
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260:, "And enter not into judgment with thy servant: for in thy sight shall no man living be justified" (
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2037:
The
Compositional Process of J.S. Bach: A Study of the Autograph Scores of the Vocal Works: Volume I
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In some period instrument performances, the first choral episode is only sung by the soloists; see
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has described as one of "the most sublime descriptions of the soul in baroque and
Christian art".
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1993:
1965:
1939:
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writes, "The chorus is so masterly that even a close analysis can only do scant justice to it."
284:. After being reprinted and even pirated all over Germany, there was a revised edition in 1525.
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required. For the last chorale, where the strings accompany the chorus and other instruments
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2015:
1931:
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1697:
Anderson, Nicholas (1999), "Herr, gehe nicht uns
Gericht, BWV 105", in Boyd, Malcolm (ed.),
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Herr, gehe nicht ins
Gericht BWV 105; BC A 114 / Sacred cantata (9th Sunday after Trinity)
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1979:
Foreword to J.S. Bach's
Cantata, "Herr, gehe nicht ins Gericht mit deinem Knecht," BWV 105
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722:, with the oboe echoing the soprano one crotchet later, is similar to the beginning of
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484:): in that case either a different reed instrument can be used; or, as suggested in
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1628:: one is labelled "Cantata nº 105 BWV 105"; another uses the autograph manuscript.
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2098:
Johann Sebastian Bach: His Work and Influence on the Music of Germany, 1685-1750
1624:
For studying the cantata, there are a few "scrolling score" videos available on
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1950:
Lauer, Edward Henry (1915), "Luther's Translation of the Psalms in 1523-24",
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and the others the second violins and oboe; in addition to violas there is a
2058:
The Music of Johann Sebastian Bach: the Sources, the Style, the Significance
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2019:
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Herr, gehe nicht ins Gericht: Cantate pour le 9e dimanche après la Trinité
2101:, translated by Clara Bell; J. A. Maitland-Fuller, Novello, Ewer & Co
1918:
Grossmann, Maria (1970), "Wittenberg Printing, Early Sixteenth Century",
1723:
Bluhm, Heinz (1948), "Luther's View of Man in His First Published Work",
1569:
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249:
1969:
815:, which results in the off-the-beat division of phrases into a half-bar—
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and strings, which brings a new rhythmic energy, ecstatic and animated.
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is particularly spirited, with successive upward leaps for the word
2111:
The Cantatas of Johann Sebastian Bach: sacred and secular, Volume I
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Music in the Castle of Heaven: A Portrait of Johann Sebastian Bach
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Nun, ich weiß, du wirst mir stillen, mein Gewissen, das mich plagt
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449:(Now I know that Thou will calm my conscience that torments me.)
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The cantata in six movements is scored for four vocal soloists (
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2212:
BWV 105 – "Herr, gehe nicht ins Gericht mit deinem Knecht"
2202:
Cantata BWV 105 Herr, gehe nicht ins Gericht mit deinem Knecht
982:, Concerto for Oboe and Strings (BWV 105/v, 170/i and 49/i),
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Autograph manuscript of soprano aria with Bach's text beneath
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Autograph manuscript of the aria for tenor, violin and corno
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singers and continuo, but eventually taken up by the whole
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Bach first performed the cantata, on 25 July 1723, at the
582:, with a coda similar to the brief orchestral interlude.
291:, a warning of false gods and consolation in temptation (
201:
and first performed it on 25 July 1723. The musicologist
2039:, Princeton Legacy Library, Princeton University Press,
823:). The angular writing in the tenor part for the phrase
622:
is followed by one of Bach's most original and striking
256:
from the city; the text begins with the second verse of
240:
Bach composed the cantata in 1723 in his first year in
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BWV 105 Herr, gehe nicht ins Gericht mit deinem Knecht
846:, Robert L. Marshall was responsible for creating an
557:
Autograph manuscript of the opening chorus of BWV 105
500:
or some other baroque woodwind instrument (such as a
287:
The prescribed readings for the Sunday were from the
130:
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The second part of the first movement is a spirited
422:(How they quiver and waver, the thoughts of sinners)
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Psalm-related compositions by Johann Sebastian Bach
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18:
2157:Bach's Musical Universe: The Composer and His Work
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1698:
521:has been used elsewhere by Bach to illustrate the
1897:Choral-Orchestral Repertoire: A Conductor's Guide
1552:The appendix discusses the performance of BWV 105
57:Engraving of the Thomaskirche in Leipzig in 1723.
404:(Lord, enter not into judgment with thy servant)
401:Herr, gehe nicht ins Gericht mit deinem Knecht
173:(Lord, do not pass judgment on Your servant),
169:Herr, gehe nicht ins Gericht mit deinem Knecht
3580:
3000:Later additions to the chorale cantata cycle:
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2113:, Oxford University Press, pp. 630–635,
1953:The Journal of English and Germanic Philology
8:
2734:Chorale cantatas between Trinity and Easter:
1500:"Liner notes on instrumentation for BWV 105"
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779:Bei dieser eitlen Welt und irdschen Sachen.
527:
316:—"Cast me not away from thy presence"— and
3587:
3573:
3565:
2267:
2253:
2245:
1998:"How J.S.Bach Composed Four-Part Chorales"
1392:
1390:
1388:
1386:
1384:
1181:Leipzig Cantatas: BWV 25, 138, 105 and 46,
764:Kann ich nur Jesum mir zum Freunde machen,
419:Wie zittern und wanken der Sünder Gedanken
51:
15:
2189:International Music Score Library Project
1637:
1612:
1452:
1419:
1375:
1350:
1346:
1344:
1342:
1340:
1338:
1336:
1334:
1332:
1330:
1328:
1041:Les Grandes Cantates de J.S. Bach Vol. 16
683:Whilst still daring to excuse themselves.
652:Und wiederum sich zu entschuldigen wagen,
485:
437:Kann ich nur Jesum mir zum Freunde machen
5074:Church cantatas by Johann Sebastian Bach
1681:
1670:
1659:
1599:
1478:
1476:
1474:
1472:
1396:
1281:J. S. Bach Cantatas: BWV 94, 105 and 168
1248:J. S. Bach: The Sacred Cantatas, Vol. 10
1147:J. S. Bach Kantaten: BWV 73, 105 and 131
1079:J. S. Bach Cantatas BWV 103, 104 and 105
833:
647:Indem sie sich unter einander verklagen,
1521:"Remarks on the performance of BWV 105"
1324:
1222:Amsterdam Baroque Orchestra & Choir
800:From this idle world and earthly goods.
1482:
680:Each making complaints against others,
280:in early 1517, half a year before the
2185:Herr, gehe nicht ins Gericht, BWV 105
2175:Herr, gehe nicht ins Gericht, BWV 105
2132:The Organ Music of J.S. Bach, Vol. II
1648:
1561:
1441:
1430:
431:(Happy is he who knows his protector)
428:Wohl aber dem, der seinen Bürgen weiß
7:
1920:Sixteenth Century Essays and Studies
1587:
1214:J. S. Bach: Complete Cantatas Vol. 7
2084:L'Esthétique de Jean-Sébastien Bach
876:Nun, ich weiß, du wirst mir stillen
791:If only I can make Jesus my friend,
689:Be torn apart as their own torture.
440:(If I can but make Jesus my friend)
2181:(video and background information)
2087:(in French), Librairie Fischbacher
769:So gilt der Mammon nichts bei mir.
509:The monumental first part, marked
248:. It is likely that the anonymous
14:
2937:Continuation of the second cycle:
2457:Köthen: BWV Anh. 5
825:So gilt der Mammon nichts bei mir
794:Mammon will have no worth for me.
686:Thus will an anguished conscience
272:, his German translations of the
213:The Parable of the Unjust Steward
1985:, translated by David Kosviner,
923:Now I know that Thou shalt quiet
865:it is particularly imaginative.
593:, initially scored for only the
546:O Mensch, bewein dein Sünde groß
454:Musical description of movements
289:First Epistle to the Corinthians
935:That throughout this wide earth
926:My conscience that torments me.
657:So wird ein geängstigt Gewissen
1726:The Harvard Theological Review
1564:, p. 28 According to the
1049:Heinrich-Schütz-Chor Heilbronn
911:Wenn er nur ist Glaubens voll.
881:Mein Gewissen, das mich plagt.
842:As one of the editors for the
724:the sixth Brandenburg Concerto
618:The short but expressive alto
1:
1577:Christus Coronobit Crucigeros
1007:Berlin Philharmonic Orchestra
774:Ich finde kein Verghügen hier
662:Darch eigene Folter zerissen.
410:Mein Gott, verwirf mich nicht
301:parable of the Unjust Steward
293:1 Corinthians 10:6–13
21:Herr, gehe nicht ins Gericht
3048:Other late chorale cantatas:
2035:Marshall, Robert L. (1972),
1962:University of Illinois Press
1289:The English Baroque Soloists
932:What Thou Thyself have said:
901:Keiner soll verloren werden,
886:Es wird deine Treu erfüllen,
821:Jesum nur zum Freunde machen
3387:Council election (Leipzig):
2479:Between Trinity and Advent:
1894:; Oertel, David W. (2019),
1791:Les Canatates de J.-S. Bach
1053:Pforzheim Chamber Orchestra
944:If he be but full of faith.
938:No single man shall be lost
929:Thy good faith will fullfil
896:Daß auf dieser weiten Erden
850:edition of the cantata for
797:I cannot here find pleasure
197:for the ninth Sunday after
5100:
2161:W. W. Norton & Company
2136:Cambridge University Press
2107:Whittaker, William Gillies
1976:Leisinger, Ulrich (1999),
1770:Cambridge University Press
1735:Cambridge University Press
1575:, chromaticism symbolized
1109:J. S. Bach Cantata BWV 105
941:But have everlasting life,
891:Was du selber hast gesagt:
674:How they quiver and waver,
413:(My God, cast me not away)
246:Ninth Sunday after Trinity
4995:
3613:
3530:
1928:Sixteenth Century Journal
1846:The Cantatas of J.S. Bach
1743:10.1017/S0017816000019404
528:
445:
436:
427:
418:
409:
400:
229:seventh Penitential Psalm
79:
50:
39:
29:
3104:Liturgical year 1725–26:
2179:Netherlands Bach Society
1902:Rowman & Littlefield
1117:Bach-Collegium Stuttgart
906:Sondern ewig leben soll,
677:The thoughts of sinners,
569:outpouring of imitative
331:Jesu, der du meine Seele
274:seven penitential psalms
217:Marinus van Reymerswaele
81:Jesu, der du meine Seele
2012:Oxford University Press
1850:Oxford University Press
1821:Oxford University Press
1815:Analyzing Bach Cantatas
1707:Oxford University Press
1705:, Composer Companions,
1464:Green & Oertel 2019
637:Wie zittern und wanken,
326:Colossians 2:14
264:). The psalm is one of
2592:From Advent to Trinity
1539:"The Corno da tirarsi"
1125:Gabriele Schreckenbach
1091:Concentus Musicus Wien
844:Neue Bach-Gesellschaft
839:
734:
615:
558:
525:, for example for the
232:
227:Psalm 143:2, Luther's
220:
168:
99:25 July 1723
20:
3601:Johann Sebastian Bach
3540:List of Bach cantatas
2281:Johann Sebastian Bach
2234:University of Vermont
2232:English translation,
2214:English translation,
2177:: performance by the
2003:The Musical Quarterly
1764:Bach: Mass in B minor
1351:Dürr & Jones 2006
1188:Collegium Vocale Gent
1101:, Ruud van der Meer,
1003:Berliner Motettenchor
837:
732:
613:
556:
350:Scoring and structure
276:, first published in
226:
211:
191:Johann Sebastian Bach
2241:Julian Mincham, 2010
2064:, pp. 143–160,
2020:10.1093/mq/LVI.2.198
1867:Gardiner, John Eliot
1842:Jones, Richard D. P.
1811:Chafe, Eric (2003),
1797:, pp. 826–834,
1293:The Monteverdi Choir
1256:Bach Collegium Japan
1230:Elisabeth von Magnus
1083:Nikolaus Harnoncourt
642:Der Sũnder Gedanken,
461:William G. Whittaker
314:Psalms 51:11
262:Psalms 143:2
193:. He composed it in
3086:After Trinity 1725:
2054:Marshall, Robert L.
1994:Marshall, Robert L.
1285:John Eliot Gardiner
1184:Philippe Herreweghe
1151:Philippe Herreweghe
1135:, Walter Heldwein,
991:Selected recordings
976:The English Concert
425:Recitative (bass):
407:Recitative (alto):
322:Romans 2:15
318:Malachi 3:5
305:Luke 16:1–9
1892:Green, Jonathan D.
1353:, pp. 464–467
840:
735:
616:
559:
282:Ninety-five theses
233:
221:
134:soloists and choir
5079:1723 compositions
5061:
5060:
3562:
3561:
3416:1139.1, 1140–1141
1787:Cantagrel, Gilles
1378:, p. 630–637
1139:1978 / broadcast
1093:, Wilhelm Wiedl,
1087:Tölzer Knabenchor
952:
951:
808:
807:
699:
698:
587:permutation fugue
231:, Wittenberg 1525
164:
163:
66:9th Sunday after
23:mit deinem Knecht
5091:
5053:Secular cantatas
5014:Chorale cantatas
4988:
3603:
3589:
3582:
3575:
3566:
3546:Monteverdi Choir
3388:
3330:
3283:
3243:
3105:
3087:
3049:
3001:
2938:
2735:
2593:
2480:
2283:
2269:
2262:
2255:
2246:
2187:: Scores at the
2163:
2153:Wolff, Christoph
2148:
2123:
2102:
2088:
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2049:
2030:
1989:
1984:
1972:
1946:
1914:
1887:
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1616:
1609:
1603:
1602:, pp. 61–62
1597:
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1585:
1579:
1559:
1553:
1551:
1549:
1548:
1543:
1537:Picon, Olivier.
1534:
1528:
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1517:Finscher, Ludwig
1513:
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1444:
1439:
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1400:
1394:
1379:
1373:
1354:
1348:
1242:Antoine Marchand
1155:Collegium Vocale
1141:Alpirsbach Abbey
1061:Claudia Hellmann
868:
867:
756:
755:
749:aria for tenor,
629:
628:
533:
532:
497:corno da tirarsi
486:Leisinger (1999)
479:
478:
448:
447:
439:
438:
430:
429:
421:
420:
416:Aria (soprano):
412:
411:
403:
402:
295:), and from the
236:History and text
182:
178:
171:
132:
113:
112:
106:
104:
84:
83:
55:
25:
16:
5099:
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5062:
5057:
5010:Church cantatas
4991:
4977:
4976:— discography;
3609:
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3558:
3526:
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3325:
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2999:
2936:
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2719:
2711:
2710:
2591:
2478:
2469:
2462:
2461:
2318:1138.1 & .2
2290:
2284:
2279:
2276:Church cantatas
2273:
2223:Cantata notes,
2171:
2166:
2151:
2146:
2128:Williams, Peter
2126:
2121:
2105:
2093:Spitta, Philipp
2091:
2077:
2072:
2052:
2047:
2034:
1992:
1982:
1975:
1949:
1936:10.2307/3003685
1917:
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1709:, p. 223,
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1496:Suzuki, Maasaki
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1349:
1326:
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1305:James Gilchrist
1268:Makoto Sakurada
1159:Barbara Schlick
1113:Helmuth Rilling
993:
980:Trinity Baroque
968:
710:and disturbing
541:Mass in B minor
535:section of the
491:corno da caccia
476:
475:
456:
372:four-part choir
352:
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108:
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5046:
5044:Picander cycle
5041:
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3281:Picander cycle
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2225:Emmanuel Music
2218:
2216:Emmanuel Music
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2169:External links
2167:
2165:
2164:
2149:
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2124:
2119:
2103:
2089:
2075:
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2062:Schirmer Books
2050:
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1990:
1973:
1947:
1915:
1910:
1904:, p. 88,
1888:
1883:
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1858:
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1754:
1720:
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1638:Cantagrel 2010
1630:
1617:
1613:Leisinger 1999
1604:
1592:
1580:
1554:
1529:
1508:
1487:
1468:
1456:
1453:Grossmann 1970
1445:
1434:
1423:
1420:Leisinger 1999
1401:
1380:
1376:Whittaker 1978
1355:
1323:
1321:
1318:
1317:
1316:
1297:Katharine Fuge
1278:
1252:Masaaki Suzuki
1245:
1211:
1196:Damien Guillon
1192:Hana Blažíková
1178:
1175:Virgin Records
1144:
1133:Adalbert Kraus
1106:
1076:
1038:
1015:Gunthild Weber
992:
989:
988:
987:
972:Albrecht Mayer
967:
966:Transcriptions
964:
950:
949:
948:
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696:
694:
693:
692:
691:
690:
687:
684:
681:
678:
675:
668:
667:
666:
665:
664:
659:
654:
649:
644:
639:
472:basso continuo
455:
452:
451:
450:
441:
434:Aria (tenor):
432:
423:
414:
405:
392:basso continuo
351:
348:
297:Gospel of Luke
237:
234:
187:church cantata
162:
161:
159:
158:
155:
152:
149:
146:
142:
140:
136:
135:
127:
123:
122:
119:
115:
114:
96:
92:
91:
75:
71:
70:
64:
60:
59:
56:
48:
47:
41:Church cantata
37:
36:
30:
27:
26:
13:
10:
9:
6:
4:
3:
2:
5096:
5085:
5082:
5080:
5077:
5075:
5072:
5071:
5069:
5054:
5050:
5047:
5045:
5042:
5040:
5037:
5035:
5032:
5030:
5027:
5025:
5022:
5020:
5017:
5015:
5011:
5007:
5004:
5002:
4998:
4997:
4994:
4987:
4986:
4981:
4975:
4972:
4970:
4967:
4965:
4962:
4960:
4957:
4955:
4952:
4950:
4949:1138.1–1139.1
4947:
4945:
4942:
4940:
4937:
4935:
4932:
4930:
4927:
4925:
4922:
4920:
4917:
4915:
4912:
4910:
4907:
4905:
4902:
4900:
4897:
4895:
4892:
4890:
4887:
4885:
4882:
4880:
4877:
4875:
4872:
4870:
4869:
4865:
4862:
4858:
4855:
4851:
4849:
4848:
4844:
4842:
4841:
4837:
4834:
4830:
4828:
4825:
4823:
4820:
4818:
4815:
4813:
4810:
4808:
4805:
4803:
4800:
4798:
4795:
4793:
4790:
4788:
4785:
4783:
4780:
4778:
4775:
4773:
4770:
4768:
4765:
4763:
4760:
4758:
4755:
4753:
4750:
4748:
4745:
4743:
4740:
4738:
4735:
4733:
4730:
4728:
4725:
4723:
4720:
4718:
4715:
4713:
4710:
4708:
4705:
4703:
4700:
4698:
4695:
4693:
4690:
4688:
4685:
4683:
4680:
4678:
4675:
4673:
4670:
4668:
4665:
4663:
4660:
4658:
4655:
4652:
4648:
4646:
4643:
4641:
4638:
4636:
4633:
4631:
4628:
4626:
4623:
4621:
4618:
4616:
4613:
4611:
4608:
4606:
4603:
4601:
4598:
4596:
4593:
4591:
4588:
4586:
4583:
4581:
4578:
4576:
4573:
4571:
4568:
4566:
4563:
4561:
4558:
4556:
4553:
4551:
4548:
4546:
4543:
4541:
4538:
4536:
4533:
4531:
4528:
4526:
4523:
4521:
4518:
4516:
4513:
4511:
4508:
4506:
4503:
4501:
4500:
4496:
4494:
4491:
4489:
4486:
4484:
4481:
4479:
4476:
4474:
4471:
4469:
4466:
4464:
4461:
4459:
4456:
4454:
4451:
4449:
4446:
4444:
4441:
4439:
4436:
4434:
4431:
4429:
4426:
4424:
4421:
4419:
4416:
4414:
4411:
4409:
4406:
4403:
4399:
4397:
4396:
4392:
4390:
4387:
4385:
4382:
4380:
4377:
4375:
4372:
4370:
4367:
4365:
4362:
4360:
4357:
4355:
4352:
4350:
4347:
4345:
4342:
4339:
4335:
4333:
4330:
4328:
4325:
4323:
4320:
4318:
4315:
4313:
4310:
4308:
4305:
4303:
4300:
4298:
4295:
4293:
4290:
4288:
4285:
4283:
4280:
4278:
4275:
4273:
4270:
4268:
4265:
4263:
4260:
4257:
4253:
4250:
4248:
4245:
4243:
4240:
4238:
4235:
4233:
4230:
4228:
4225:
4223:
4220:
4218:
4215:
4213:
4210:
4208:
4205:
4203:
4200:
4198:
4195:
4193:
4190:
4188:
4185:
4183:
4180:
4178:
4175:
4173:
4170:
4168:
4165:
4163:
4160:
4158:
4155:
4153:
4150:
4148:
4145:
4143:
4140:
4138:
4135:
4133:
4130:
4128:
4125:
4123:
4120:
4118:
4115:
4113:
4110:
4108:
4105:
4103:
4100:
4098:
4095:
4093:
4090:
4088:
4085:
4083:
4080:
4078:
4075:
4073:
4070:
4068:
4065:
4063:
4060:
4058:
4055:
4053:
4050:
4048:
4045:
4043:
4040:
4038:
4035:
4033:
4030:
4028:
4025:
4023:
4020:
4018:
4015:
4013:
4010:
4008:
4005:
4003:
4000:
3998:
3995:
3993:
3990:
3988:
3985:
3983:
3980:
3978:
3975:
3973:
3970:
3968:
3965:
3963:
3960:
3958:
3955:
3953:
3950:
3948:
3945:
3943:
3940:
3938:
3935:
3933:
3930:
3928:
3925:
3923:
3920:
3918:
3915:
3912:
3908:
3906:
3903:
3901:
3898:
3896:
3893:
3891:
3888:
3886:
3883:
3881:
3878:
3876:
3873:
3871:
3868:
3866:
3863:
3861:
3858:
3856:
3853:
3851:
3848:
3846:
3843:
3841:
3838:
3836:
3833:
3831:
3828:
3826:
3823:
3821:
3818:
3816:
3813:
3811:
3808:
3806:
3803:
3801:
3798:
3796:
3793:
3791:
3788:
3786:
3783:
3781:
3778:
3776:
3773:
3771:
3768:
3766:
3763:
3761:
3758:
3756:
3753:
3751:
3748:
3746:
3743:
3741:
3738:
3736:
3733:
3731:
3728:
3726:
3723:
3721:
3718:
3716:
3713:
3711:
3708:
3706:
3703:
3701:
3698:
3696:
3695:
3691:
3689:
3686:
3684:
3681:
3679:
3676:
3673:
3669:
3666:
3664:
3661:
3659:
3656:
3654:
3651:
3649:
3646:
3644:
3641:
3639:
3636:
3634:
3631:
3629:
3626:
3624:
3621:
3619:
3616:
3615:
3612:
3607:
3602:
3597:
3590:
3585:
3583:
3578:
3576:
3571:
3570:
3567:
3555:
3551:
3547:
3544:Discography:
3543:
3541:
3538:
3536:
3533:
3532:
3529:
3522:
3519:
3517:
3514:
3512:
3509:
3507:
3504:
3502:
3499:
3497:
3494:
3492:
3489:
3487:
3483:
3481:
3478:
3476:
3473:
3471:
3468:
3466:
3463:
3461:
3458:
3456:
3452:
3450:
3447:
3445:
3441:
3439:
3436:
3434:
3431:
3429:
3426:
3424:
3420:
3417:
3413:
3411:
3408:
3406:
3403:
3401:
3398:
3396:
3393:
3391:
3385:
3383:
3380:
3377:
3373:
3369:
3365:
3361:
3357:
3353:
3350:
3348:
3345:
3343:
3340:
3338:
3335:
3333:
3328:
3327:Late parodies
3324:
3322:
3319:
3317:
3314:
3312:
3309:
3307:
3304:
3302:
3299:
3297:
3294:
3292:
3289:
3287:
3282:
3278:
3277:
3274:
3268:
3261:
3258:
3256:
3253:
3251:
3248:
3246:
3240:
3238:
3235:
3233:
3230:
3228:
3225:
3223:
3220:
3218:
3215:
3213:
3210:
3208:
3205:
3203:
3200:
3198:
3195:
3193:
3190:
3188:
3185:
3183:
3180:
3178:
3175:
3173:
3170:
3168:
3165:
3163:
3160:
3158:
3155:
3153:
3150:
3148:
3145:
3143:
3140:
3138:
3135:
3133:
3130:
3128:
3125:
3123:
3120:
3118:
3115:
3113:
3110:
3108:
3102:
3100:
3097:
3095:
3092:
3090:
3084:
3083:
3080:
3078:
3074:
3067:
3064:
3062:
3059:
3057:
3054:
3052:
3046:
3044:
3041:
3039:
3036:
3034:
3031:
3029:
3026:
3024:
3021:
3019:
3016:
3014:
3011:
3009:
3006:
3004:
2998:
2996:
2993:
2991:
2988:
2986:
2983:
2981:
2978:
2976:
2973:
2971:
2968:
2966:
2963:
2961:
2958:
2956:
2953:
2951:
2948:
2946:
2943:
2941:
2935:
2933:
2930:
2928:
2925:
2923:
2920:
2918:
2915:
2913:
2910:
2908:
2905:
2903:
2900:
2898:
2895:
2893:
2890:
2888:
2885:
2883:
2880:
2878:
2875:
2873:
2870:
2868:
2865:
2863:
2860:
2858:
2855:
2853:
2850:
2848:
2845:
2843:
2840:
2838:
2835:
2833:
2830:
2828:
2825:
2823:
2820:
2818:
2815:
2813:
2810:
2808:
2805:
2803:
2800:
2798:
2795:
2793:
2790:
2788:
2785:
2783:
2780:
2778:
2775:
2773:
2770:
2768:
2765:
2763:
2760:
2758:
2755:
2753:
2750:
2748:
2745:
2743:
2740:
2738:
2732:
2731:
2728:
2725:
2718:
2714:
2707:
2704:
2702:
2699:
2697:
2694:
2692:
2689:
2687:
2684:
2682:
2679:
2677:
2674:
2672:
2669:
2667:
2664:
2662:
2659:
2657:
2654:
2652:
2649:
2647:
2644:
2642:
2639:
2637:
2634:
2632:
2629:
2627:
2624:
2622:
2619:
2617:
2614:
2612:
2609:
2607:
2604:
2602:
2599:
2597:
2590:
2588:
2585:
2583:
2580:
2578:
2575:
2573:
2570:
2568:
2565:
2563:
2560:
2558:
2555:
2553:
2550:
2548:
2545:
2543:
2540:
2538:
2535:
2533:
2530:
2528:
2525:
2523:
2520:
2518:
2515:
2513:
2510:
2508:
2505:
2503:
2500:
2498:
2495:
2493:
2490:
2488:
2485:
2483:
2477:
2476:
2473:
2471:
2465:
2458:
2455:
2453:
2450:
2448:
2445:
2443:
2440:
2438:
2435:
2433:
2430:
2428:
2425:
2423:
2420:
2418:
2415:
2413:
2410:
2408:
2405:
2403:
2400:
2398:
2395:
2393:
2390:
2388:
2385:
2383:
2380:
2378:
2375:
2373:
2370:
2368:
2365:
2363:
2360:
2358:
2355:
2353:
2350:
2348:
2344:
2341:
2339:
2336:
2334:
2331:
2329:
2326:
2324:
2321:
2319:
2316:
2314:
2311:
2309:
2306:
2304:
2300:
2297:
2296:
2293:
2287:
2282:
2277:
2270:
2265:
2263:
2258:
2256:
2251:
2250:
2247:
2240:
2237:
2235:
2231:
2228:
2226:
2222:
2219:
2217:
2213:
2210:
2207:
2206:bach-cantatas
2203:
2200:
2198:
2195:
2192:
2190:
2186:
2183:
2180:
2176:
2173:
2172:
2168:
2162:
2158:
2154:
2150:
2147:
2145:0-521-31700-2
2141:
2137:
2133:
2129:
2125:
2122:
2116:
2112:
2108:
2104:
2100:
2099:
2094:
2090:
2086:
2085:
2080:
2076:
2073:
2071:9780028717821
2067:
2063:
2059:
2055:
2051:
2048:
2046:9780691200507
2042:
2038:
2033:
2029:
2025:
2021:
2017:
2013:
2009:
2005:
2004:
1999:
1995:
1991:
1988:
1981:
1980:
1974:
1971:
1967:
1963:
1959:
1955:
1954:
1948:
1945:
1941:
1937:
1933:
1929:
1925:
1921:
1916:
1913:
1911:9781442244672
1907:
1903:
1899:
1898:
1893:
1889:
1886:
1884:9780141977591
1880:
1876:
1875:Penguin Books
1872:
1868:
1864:
1861:
1859:0-19-929776-2
1855:
1851:
1847:
1843:
1839:
1835:
1832:
1830:0-19-516182-3
1826:
1822:
1817:
1816:
1809:
1806:
1804:9782213644349
1800:
1796:
1793:(in French),
1792:
1788:
1784:
1781:
1779:0-521-38716-7
1775:
1771:
1766:
1765:
1759:
1755:
1752:
1748:
1744:
1740:
1736:
1732:
1728:
1727:
1721:
1718:
1712:
1708:
1703:
1702:
1695:
1694:
1689:
1683:
1682:Marshall 1989
1678:
1675:
1672:
1671:Marshall 1972
1667:
1664:
1661:
1660:Marshall 1970
1656:
1653:
1650:
1645:
1642:
1639:
1634:
1631:
1627:
1621:
1618:
1614:
1608:
1605:
1601:
1600:Williams 1980
1596:
1593:
1589:
1584:
1581:
1578:
1574:
1571:
1567:
1563:
1558:
1555:
1540:
1533:
1530:
1522:
1518:
1512:
1509:
1501:
1497:
1491:
1488:
1485:, p. 424
1484:
1479:
1477:
1475:
1473:
1469:
1465:
1460:
1457:
1454:
1449:
1446:
1443:
1438:
1435:
1432:
1427:
1424:
1421:
1416:
1414:
1412:
1410:
1408:
1406:
1402:
1399:, p. 215
1398:
1397:Anderson 1999
1393:
1391:
1389:
1387:
1385:
1381:
1377:
1372:
1370:
1368:
1366:
1364:
1362:
1360:
1356:
1352:
1347:
1345:
1343:
1341:
1339:
1337:
1335:
1333:
1331:
1329:
1325:
1319:
1314:
1310:
1306:
1302:
1301:Daniel Taylor
1298:
1294:
1290:
1286:
1282:
1279:
1277:
1273:
1269:
1265:
1261:
1257:
1253:
1249:
1246:
1243:
1239:
1238:Klaus Mertens
1235:
1231:
1227:
1223:
1219:
1215:
1212:
1209:
1205:
1201:
1197:
1193:
1189:
1185:
1182:
1179:
1176:
1172:
1168:
1164:
1160:
1156:
1152:
1148:
1145:
1142:
1138:
1134:
1130:
1126:
1122:
1118:
1114:
1110:
1107:
1104:
1100:
1096:
1092:
1088:
1084:
1080:
1077:
1074:
1070:
1066:
1062:
1058:
1054:
1050:
1046:
1042:
1039:
1036:
1032:
1028:
1027:Hermann Schey
1024:
1020:
1016:
1012:
1011:Fritz Lehmann
1008:
1004:
1000:
999:
995:
994:
990:
985:
981:
977:
973:
970:
969:
965:
963:
961:
957:
943:
940:
937:
934:
931:
928:
925:
922:
921:
920:
919:
918:
912:
909:
907:
904:
902:
899:
897:
894:
892:
889:
887:
884:
882:
879:
877:
874:
873:
872:
871:
870:
869:
866:
864:
860:
859:
853:
849:
845:
836:
832:
830:
826:
822:
818:
814:
799:
796:
793:
790:
789:
788:
787:
786:
780:
777:
775:
772:
770:
767:
765:
762:
761:
760:
759:
758:
757:
754:
752:
748:
743:
742:
731:
727:
725:
721:
720:voice leading
718:
713:
709:
704:
695:
688:
685:
682:
679:
676:
673:
672:
671:
670:
669:
663:
660:
658:
655:
653:
650:
648:
645:
643:
640:
638:
635:
634:
633:
632:
631:
630:
627:
625:
621:
612:
608:
605:
600:
596:
592:
588:
583:
581:
576:
572:
567:
564:
555:
551:
549:
547:
542:
538:
534:
531:
524:
520:
516:
512:
507:
505:
504:
499:
498:
493:
492:
487:
483:
473:
469:
464:
462:
453:
442:
433:
424:
415:
406:
397:
396:
395:
393:
389:
385:
381:
377:
373:
369:
365:
361:
357:
349:
347:
345:
340:
338:
334:
332:
327:
323:
319:
315:
310:
306:
302:
298:
294:
290:
285:
283:
279:
275:
271:
267:
266:Martin Luther
263:
259:
255:
251:
247:
243:
235:
230:
225:
218:
214:
210:
206:
204:
200:
196:
192:
188:
184:
179:
172:
170:
156:
153:
150:
147:
144:
143:
141:
137:
133:
128:
124:
120:
116:
111:
97:
93:
90:
82:
76:
72:
69:
65:
61:
54:
49:
46:
42:
38:
33:
28:
24:
17:
5001:Compositions
4983:
4866:
4845:
4838:
4497:
4393:
4186:
3692:
3535:Bach cantata
3423:BWV 34a
3390:BWV 119
3286:BWV 149
3107:BWV 110
3089:BWV 168
3051:BWV 117
2717:Second cycle
2516:
2205:
2197:Bach Digital
2156:
2131:
2110:
2097:
2083:
2079:Pirro, André
2057:
2036:
2007:
2001:
1987:Carus Verlag
1978:
1957:
1951:
1923:
1919:
1896:
1870:
1845:
1838:Dürr, Alfred
1814:
1790:
1763:
1730:
1724:
1700:
1677:
1666:
1655:
1644:
1633:
1620:
1607:
1595:
1590:, p. 85
1583:
1576:
1557:
1545:. Retrieved
1532:
1511:
1490:
1466:, p. 88
1459:
1448:
1437:
1426:
1309:Peter Harvey
1280:
1260:Miah Persson
1247:
1226:Lisa Larsson
1213:
1200:Thomas Hobbs
1180:
1167:Howard Crook
1163:Gérard Lesne
1146:
1121:Arleen Augér
1108:
1099:Kurt Equiluz
1095:Paul Esswood
1078:
1065:Helmut Krebs
1057:Agnes Giebel
1045:Fritz Werner
1040:
1023:Helmut Krebs
1019:Lore Fischer
997:
953:
910:
905:
900:
895:
890:
885:
880:
875:
856:
847:
841:
828:
824:
820:
817:Kann ich nur
816:
809:
778:
773:
768:
763:
739:
736:
700:
661:
656:
651:
646:
641:
636:
617:
584:
560:
545:
526:
519:chromaticism
508:
501:
495:
489:
480:and G below
467:
465:
457:
353:
346:in Leipzig.
344:Thomaskirche
341:
329:
286:
269:
239:
174:
166:
165:
139:Instrumental
3332:BWV 36
3245:BWV 82
3077:Third cycle
3003:BWV 80
2737:BWV 20
2596:BWV 40
2482:BWV 75
2468:First cycle
2347:BWV 61
2014:: 198–220,
1737:: 103–122,
1566:iconography
1483:Spitta 1884
1272:Peter Kooij
1264:Robin Blaze
1218:Ton Koopman
1204:Peter Kooij
1129:Helen Watts
1001:, BWV 105,
960:Alfred Dürr
858:colla parte
852:Bärenreiter
712:dissonances
604:André Pirro
595:concertante
580:pedal point
571:diminutions
523:crucifixion
468:colla parte
337:Johann Rist
335:written by
203:Alfred Dürr
89:Johann Rist
5068:Categories
3484:Doubtful:
2940:BWV 6
2303:BWV 4
2120:019315238X
1758:Butt, John
1716:0198662084
1690:References
1649:Pirro 1907
1562:Chafe 2003
1547:2020-07-12
1442:Bluhm 1948
1431:Lauer 1915
1171:Peter Kooy
1069:Erich Wenk
819:—or a bar—
620:recitative
563:polyphonic
530:Crucifixus
278:Wittenberg
270:Bußpsalmen
254:theologian
250:librettist
103:1723-07-25
45:J. S. Bach
5039:3rd cycle
5034:2nd cycle
5029:1st cycle
4954:1140–1141
3442:Funeral:
3421:Wedding:
3272:and other
2470:(1723–24)
1930:: 53–74,
1588:Butt 1991
1234:Gerd Türk
741:pizzicato
589:, marked
548:, BWV 622
443:Chorale:
339:in 1641.
258:Psalm 143
151:2 violins
118:Movements
95:Performed
5051: ;
5008: ;
5006:Cantatas
4985:spurious
4980:doubtful
3672:oratorio
3596:Cantatas
2724:cantatas
2155:(2020),
2130:(1980),
2109:(1978),
2095:(1884),
2081:(1907),
1996:(1970),
1970:27700635
1964:: 1–34,
1869:(2014),
1844:(2006),
1789:(2010),
1760:(1991),
1701:J.S.Bach
1570:Lutheran
1519:(1979).
1498:(1999).
1137:Hänssler
974:(oboe),
708:melismas
503:cornetto
482:middle C
477:♭
398:Chorus:
244:for the
219:, c 1540
157:continuo
63:Occasion
4999:Lists:
4974:Anh. 18
4969:Anh. 11
4899:248 III
3550:Koopman
3453:Other:
3414:(lost:
2722:chorale
2291:Leipzig
2221:BWV 105
2208:website
1944:3003685
1751:1508086
1626:YouTube
1568:of the
1035:Gallica
986:, 2010.
863:chorale
813:gavotte
747:da capo
717:canonic
703:tremolo
599:ripieno
591:allegro
539:in the
384:violins
356:soprano
242:Leipzig
199:Trinity
195:Leipzig
148:2 oboes
110:Leipzig
101: (
74:Chorale
68:Trinity
5024:Weimar
4964:Anh. 9
4959:Anh. 5
4914:248 VI
4904:248 IV
4894:248 II
3608:number
3554:Teldec
2343:Weimar
2289:Before
2142:
2117:
2068:
2043:
2028:740990
2026:
1968:
1942:
1908:
1881:
1856:
1827:
1801:
1795:Fayard
1776:
1749:
1713:
1313:Archiv
1103:Teldec
1031:Archiv
956:stanza
848:urtext
829:nichts
575:Spitta
511:adagio
390:, and
382:, two
378:, two
309:mammon
299:, the
252:was a
181:
5019:Early
4909:248 V
4889:248 I
4256:motet
3270:Later
3242:1727:
2720:(and
2299:Early
2024:JSTOR
2010:(2),
1983:(PDF)
1966:JSTOR
1960:(1),
1940:JSTOR
1747:JSTOR
1733:(2),
1573:canon
1542:(PDF)
1524:(PDF)
1503:(PDF)
1320:Notes
1073:Erato
984:Decca
751:corno
624:arias
566:motet
537:Credo
515:canon
388:viola
380:oboes
376:corno
370:), a
364:tenor
185:is a
154:viola
126:Vocal
5049:Late
4944:1127
4939:1083
4934:1045
4929:1040
4924:249b
4919:249a
4884:244a
4827:216a
4792:210a
4777:208a
4767:207a
4752:205a
4707:197a
4682:193a
4662:190a
4570:173a
4433:147a
4359:134a
4338:131a
4277:120b
4272:120a
3465:120b
3460:190a
3449:244a
3433:120a
3382:1083
3296:197a
2367:147a
2357:186a
2140:ISBN
2115:ISBN
2066:ISBN
2041:ISBN
1906:ISBN
1879:ISBN
1854:ISBN
1825:ISBN
1799:ISBN
1774:ISBN
1711:ISBN
1315:2000
1244:1997
1210:2012
1177:1990
1143:1983
1105:1979
1075:1963
1037:1952
494:, a
368:bass
366:and
360:alto
131:SATB
4982:);
4879:224
4874:223
4868:222
4861:221
4854:220
4847:219
4840:218
4833:217
4822:216
4817:215
4812:214
4807:213
4802:212
4797:211
4787:210
4782:209
4772:208
4762:207
4757:206
4747:205
4742:204
4737:203
4732:202
4727:201
4722:200
4717:199
4712:198
4702:197
4697:196
4692:195
4687:194
4677:193
4672:192
4667:191
4657:190
4651:189
4645:188
4640:187
4635:186
4630:185
4625:184
4620:183
4615:182
4610:181
4605:180
4600:179
4595:178
4590:177
4585:176
4580:175
4575:174
4565:173
4560:172
4555:171
4550:170
4545:169
4540:168
4535:167
4530:166
4525:165
4520:164
4515:163
4510:162
4505:161
4499:160
4493:159
4488:158
4483:157
4478:156
4473:155
4468:154
4463:153
4458:152
4453:151
4448:150
4443:149
4438:148
4428:147
4423:146
4418:145
4413:144
4408:143
4402:142
4395:141
4389:140
4384:139
4379:138
4374:137
4369:136
4364:135
4354:134
4349:133
4344:132
4332:131
4327:130
4322:129
4317:128
4312:127
4307:126
4302:125
4297:124
4292:123
4287:122
4282:121
4267:120
4262:119
4252:118
4247:117
4242:116
4237:115
4232:114
4227:113
4222:112
4217:111
4212:110
4207:109
4202:108
4197:107
4192:106
4187:105
4182:104
4177:103
4172:102
4167:101
4162:100
4062:80a
4002:69a
3982:66a
3825:36c
3820:36b
3815:36a
3800:34a
3775:30a
3606:BWV
3604:by
3598:by
3521:224
3516:223
3511:221
3506:220
3501:217
3496:189
3491:142
3475:158
3455:194
3444:157
3438:197
3428:195
3405:120
3395:193
3364:III
3352:248
3347:200
3342:191
3321:174
3316:145
3311:159
3306:156
3301:171
3291:188
3260:173
3212:169
3182:102
3172:187
3167:170
3147:146
3117:151
3094:164
3061:100
3056:192
3033:177
3028:140
3023:112
3013:129
3008:137
2995:176
2990:175
2975:183
2970:128
2960:108
2955:103
2927:127
2922:126
2917:125
2907:111
2897:124
2892:123
2882:122
2877:133
2872:121
2857:116
2847:139
2842:115
2832:180
2817:114
2812:130
2787:113
2782:101
2772:178
2767:107
2752:135
2706:184
2681:166
2676:104
2666:134
2646:181
2641:144
2621:154
2611:153
2606:190
2567:109
2557:148
2547:138
2532:69a
2527:179
2517:105
2512:136
2507:186
2502:147
2497:167
2452:163
2447:162
2442:161
2437:199
2432:185
2422:165
2417:172
2402:182
2397:80a
2382:155
2377:152
2362:132
2352:70a
2338:143
2333:150
2328:196
2323:106
2308:131
2278:by
2016:doi
1932:doi
1739:doi
1276:BIS
1208:PHI
268:'s
189:by
183:105
177:BWV
145:cor
87:by
43:by
34:105
32:BWV
5070::
5012::
4157:99
4152:98
4147:97
4142:96
4137:95
4132:94
4127:93
4122:92
4117:91
4112:90
4107:89
4102:88
4097:87
4092:86
4087:85
4082:84
4077:83
4072:82
4067:81
4057:80
4052:79
4047:78
4042:77
4037:76
4032:75
4027:74
4022:73
4017:72
4012:71
4007:70
3997:69
3992:68
3987:67
3977:66
3972:65
3967:64
3962:63
3957:62
3952:61
3947:60
3942:59
3937:58
3932:57
3927:56
3922:55
3917:54
3911:53
3905:52
3900:51
3895:50
3890:49
3885:48
3880:47
3875:46
3870:45
3865:44
3860:43
3855:42
3850:41
3845:40
3840:39
3835:38
3830:37
3810:36
3805:35
3795:34
3790:33
3785:32
3780:31
3770:30
3765:29
3760:28
3755:27
3750:26
3745:25
3740:24
3735:23
3730:22
3725:21
3720:20
3715:19
3710:18
3705:17
3700:16
3694:15
3688:14
3683:13
3678:12
3668:11
3663:10
3486:53
3480:50
3470:51
3410:69
3400:29
3376:VI
3374:,
3370:,
3368:IV
3366:,
3362:,
3360:II
3358:,
3337:30
3284::
3255:34
3250:84
3237:52
3232:55
3227:98
3222:49
3217:56
3207:47
3202:27
3197:19
3192:17
3187:35
3177:45
3162:88
3157:39
3152:43
3142:72
3137:13
3132:32
3127:16
3122:28
3112:57
3099:79
3066:97
3043:14
3018:58
2985:68
2980:74
2965:87
2950:85
2945:42
2912:92
2887:41
2867:91
2862:62
2852:26
2837:38
2822:96
2802:99
2797:78
2792:33
2777:94
2762:93
2757:10
2701:59
2696:44
2691:37
2686:86
2671:67
2661:66
2656:23
2651:22
2636:83
2631:81
2626:73
2616:65
2601:64
2594::
2587:70
2582:90
2577:60
2572:89
2562:48
2552:95
2542:25
2537:77
2522:46
2492:24
2487:76
2427:21
2412:12
2407:31
2392:54
2387:18
2372:63
2345::
2313:71
2301::
2159:,
2138:,
2134:,
2060:,
2022:,
2008:56
2006:,
2000:,
1958:14
1956:,
1938:,
1926:,
1922:,
1900:,
1877:,
1873:,
1852:,
1848:,
1840:;
1823:,
1819:,
1772:,
1768:,
1745:,
1731:41
1729:,
1471:^
1404:^
1383:^
1358:^
1327:^
1311:,
1307:,
1303:,
1299:,
1295:,
1291:,
1287:,
1283:,
1274:,
1270:,
1266:,
1262:,
1258:,
1254:,
1250:,
1240:,
1236:,
1232:,
1228:,
1224:,
1220:,
1216:,
1206:,
1202:,
1198:,
1194:,
1190:,
1186:,
1173:,
1169:,
1165:,
1161:,
1157:,
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1131:,
1127:/
1123:,
1119:,
1115:,
1111:,
1097:,
1089:,
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1081:,
1071:,
1067:,
1063:,
1059:,
1055:,
1051:,
1047:,
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1029:,
1025:,
1021:,
1017:,
1013:,
1009:,
1005:,
978:,
726:.
550:.
394:.
386:,
374:,
362:,
358:,
215:,
107::
4978:(
4863:)
4859:(
4856:)
4852:(
4835:)
4831:(
4653:)
4649:(
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4400:(
4340:)
4336:(
4258:)
4254:(
3913:)
3909:(
3674:)
3670:(
3658:9
3653:8
3648:7
3643:6
3638:5
3633:4
3628:3
3623:2
3618:1
3588:e
3581:t
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3552:/
3548:/
3418:)
3378:)
3372:V
3356:I
3354:(
3329::
3038:9
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2827:5
2807:8
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2726:)
2268:e
2261:t
2254:v
2018::
1934::
1924:1
1741::
1615:.
1550:.
1526:.
1505:.
1033:-
333:,
303:(
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105:)
85:"
77:"
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