Meine Seel erhebt den Herren, BWV 10

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Meine Seel erhebt den Herren
BWV 10
Chorale cantata by J. S. Bach
Heimsuchung, topic of the cantata, Rubens school, Unionskirche, Idstein
Relatedbased on "Meine Seele erhebt den Herren" (German Magnificat) by Martin Luther
OccasionVisitation
Bible textLuke 1:46–55 (partly paraphrased)
Performed2 July 1724 (1724-07-02): Leipzig
Movements7
VocalSATB choir and soloists
Instrumental
  • trumpet
  • 2 oboes
  • 2 violins
  • viola
  • continuo

Johann Sebastian Bach composed his church cantata Meine Seel erhebt den Herren, BWV 10,[a] in 1724 as part of his second cantata cycle. Its title translates as "My soul magnifies the Lord", and is taken from Martin Luther's German translation of the Magnificat canticle ("Meine Seele erhebt den Herren"). The cantata is also known as Bach's German Magnificat. He wrote it for the Feast of the Visitation (2 July). The composition is in Bach's chorale cantata format.

The Feast of the Visitation commemorates Mary's visit to Elizabeth as narrated in the Gospel of Luke, 1st chapter, verses 39 to 56. In that narrative the words of the Magnificat, Luke 1:46–55, are spoken by Mary. Traditionally Luther's prose translation of that biblical text is sung to a German variant of the tonus peregrinus or ninth psalm tone. The sung version of the canticle concludes with a doxology, translated from the Gloria Patri, on the same tune. Bach based his BWV 10 cantata on Luther's German Magnificat and its traditional setting, working text and melody into the composition in a similar way as he did with Lutheran hymns in his other chorale cantatas.

Early July 1724 Bach was somewhat over a month into his second year as Thomaskantor in Leipzig. BWV 10 is the fifth of 40 chorale cantatas with which he started that second year. The outer movements of the cantata are for mixed choir and orchestra, which for this composition consists of trumpet, two oboes, strings and continuo. Luther's translation of Luke 1:46–48 is the text of the first movement. The canticle's doxology is the text of the last movement. The five middle movements are a succession of arias and recitatives, with, between the fourth and sixth movement, a duet for alto and tenor. Soprano and bass each have one aria, and the two recitatives are sung by the tenor. The text of the arias and recitatives is paraphrased and expanded from (Luther's German translation of) Luke 1:49–53 and 55. The text of the duet is Luther's translation of Luke 1:54. The melody associated with Luther's German Magnificat appears in movements 1, 5 and 7.

The music of two of the cantata's movements was published in the 18th century: an organ transcription of the duet was published around 1748 as one of the Schübler Chorales, and the closing chorale was included in C. P. E. Bach's 1780s collection of his father's four-part chorales. The entire cantata was published in the first volume of the 19th-century first complete edition of Bach's works. In 20th- and 21st-century concert and recording practice the cantata was often combined with other German-language cantatas, but also several times with settings of the Latin Magnificat, by Bach and other composers.

Background

Bach took office as Thomaskantor (director of church music) in Leipzig, on 30 May 1723, the first Sunday after Trinity in the middle of the liturgical year. His employment by the town of Leipzig made him responsible for the music at four churches and for the training and education of boys singing in the Thomanerchor. In Leipzig, cantata music was expected on most Sundays and on Feast days.[b] During his first twelve months in office, Bach composed new works for nearly all of these liturgical events, known as his first cantata cycle. He continued that effort the following year, composing chorale cantatas based on Lutheran chorales for these occasions.[2] He composed Meine Seel erhebt den Herren for "Mariae Heimsuchung" (Visitation) as the fifth cantata of his second annual cycle of chorale cantatas.[3] The previous year, he had presented both a cantata, Herz und Mund und Tat und Leben, BWV 147,[4] and the first version of his Latin Magnificat, BWV 243a, for Visitation.[5] A repeat performance of that Latin Magnificat may have accompanied the first performance of BWV 10 on 2 July 1724.[6]

Readings, text and tune

See also: Church cantata § Visitation (2 July)

The prescribed readings for the feast day were from the Book of Isaiah, the prophecy of the Messiah (Isaiah 11:1–5), and from the Gospel of Luke the narration of Mary's visit to Elizabeth, which includes her song of praise, the Magnificat (Luke 1:39–56). This gospel reading is, as the Bach scholar Klaus Hofmann notes, a biblical episode that is often represented in art, and in music where it has become a traditional part of Vesper services.[2] In Bach's time, the German Magnificat was regularly sung in Leipzig in vespers in a four-part setting of the ninth psalm tone (tonus peregrinus) by Johann Hermann Schein.[7] Different from the other chorale cantatas of the cycle, the base for text and music is not a chorale, but the German Magnificat. It is a canticle, a biblical song in prose concluded by the traditional doxology.[8] The text is based on Luther's translation of the biblical song to German in the Luther Bible, and on the doxology.[9][10]

In the format of the chorale cantata cycle, an unknown librettist retained some parts of Luther's wording, while he paraphrased other passages for recitatives and arias. He used the original verses 46–48 for the first movement, verse 54 for the fifth movement, and the doxology for the seventh movement. He paraphrased verse 49 for the second movement, verses 50–51 for the third, verses 52–53 for the fourth, and verse 55 for the sixth movement, the latter expanded by a reference to the birth of Jesus.[7][11]

music and text of the beginning of the Magnificat
The text of the first two verses with the music of the Ninth psalm tone

Bach's music is based on the traditional ninth psalm tone which was familiar to the Leipzig congregation.[7]

Magnificats and Visitation cantatas in Bach's Leipzig

See also: Church cantata (Bach) § Visitation, and Magnificat (Bach) § Other Magnificats by Bach?
Meine Seele rühmt und preist, BWV 189
First movement
Fourth movement (Recitative) and fifth movement (Aria)
Sung by Max Meili; conducted by Curt Sachs; L'anthologie sonore No. 23 (1935)
Problems playing these files? See media help.
Doxology of Bach's Latin Magnificat
Gloria Patri part of BWV 243
Performed by The Tudor Consort (2006)
Problems playing this file? See media help.

Melchior Hoffmann, Bach's predecessor as director musices of the Neukirche in Leipzig, wrote a German Magnificat based on Luther's German translation of the Magnificat.[12][13] There is little doubt that Bach knew this composition while its score survived via Bach's legacy: it was even for some time attributed to Bach (Kleine Magnificat, BWV Anh. 21).[14] BWV 189, a Visitation cantata on a libretto that paraphrases the text of the Magnificat canticle, also seems rather to have been composed by Hoffmann than by Bach, to whom this work used to be attributed.[15][16]

Johann Kuhnau, Bach's predecessor as Thomaskantor, composed a Latin Magnificat in two versions: one version with only the Latin text of the Magnificat for Marian feasts such as Visitation, and another version expanded with four German and Latin laudes relating to Christmas.[17] When Bach presented his Latin Magnificat in 1723 (B-flat major version, BWV 243a) it had the same expandable format: without laudes for Visitation, and with four laudes, on the same text as Kuhnau's, for Christmas.[5][18] Another composition presented by Bach at that year's feast of the Visitation was Herz und Mund und Tat und Leben, BWV 147, an expanded version of an Advent cantata composed before his Leipzig period (BWV 147a).[4][19]

The libretto of the cantata performed in Leipzig at the feast of the Visitation in 1725, a Magnificat paraphrase, survives without music.[15][20] A year later Bach performed Der Herr wird ein Neues im Lande, JLB 13, a Visitation cantata by his second cousin Johann Ludwig Bach. Picander's libretto for the Visitation cantata of 1728 may have been set as part of Bach's fourth cantata cycle: the libretto, surviving without music, starts with a dictum quoted from Luther's German translation of Luke 1:46–47.[15][21]

Several characteristics of the Magnificats and Visitation cantatas of the first half of the 18th century are combined in Bach's German Magnificat: it uses text of Luther's translation of the Magnificat, like BWV Anh. 21 and Picander's 1728 libretto, and it uses text paraphrased from the Magnificat like BWV 189 and the 1725 Visitation cantata. Like the Meiningen libretto used for JLB 13 the cantata not only starts with a dictum but also has a second dictum, directly quoted from Luther's translation of the New testament, near the middle of the cantata (movement 4, "Meine Seele erhebt den Herrn", in Johann Ludwig's cantata, and movement 5, "Er denket der Barmherzigkeit" in BWV 10).[22][23] This characteristic sets BWV 10 apart from Bach's other chorale cantatas, which as a rule contained quotes from Lutheran hymns, not from biblical prose.[3]

Place of BWV 10 in Bach's chorale cantata cycle

See also: Chorale cantata cycle

When Bach began a cycle of cantatas focused on Lutheran chorales for the liturgical occasions of the church year in the middle of 1724, he began a project that the Bach scholar Christoph Wolff calls "fascinating" and "unprecedented".[24] Wolff sees a systematic approach, especially in the four cantatas beginning the cycle, to be followed by Meine Seel erhebt den Herren as the fifth. Bach followed a specific structure for most of the cantatas in this cycle. He retained the original text and melody in the outer stanzas, typically treating the first as a chorale fantasia and the last as a four-part chorale setting, while the inner stanzas were reworded by a librettist as the basis for recitatives and arias, often with music independent of the chorale tune.[25]

The first of the four cantatas is [[[O Ewigkeit, du Donnerwort, BWV 20|O Ewigkeit, du Donnerwort, BWV 20]]] Error: {{Lang}}: text has italic markup (help), which begins with a chorale fantasia in the form of a French overture, with the soprano singing the cantus firmus of the "chorale" tune of the psalm tone.[24] It was first performed on 11 June 1724, the first Sunday after Trinity that year.[26] A week later, Bach performed [[[Ach Gott, vom Himmel sieh darein, BWV 2|Ach Gott, vom Himmel sieh darein, BWV 2]]] Error: {{Lang}}: text has italic markup (help),[26] with the cantus firmus sung by the alto in an opening movement in motet style.[24] The next occasion was St. John's Day on 24 June. Bach performed [[[Christ unser Herr zum Jordan kam, BWV 7|Christ unser Herr zum Jordan kam, BWV 7]]] Error: {{Lang}}: text has italic markup (help),[26] with the cantus firmus sung by the tenor in an opening movement in the style of an Italian violin concerto.[3] The following day, he performed [[[Ach Herr, mich armen Sünder, BWV 135|Ach Herr, mich armen Sünder, BWV 135]]] Error: {{Lang}}: text has italic markup (help),[26] with the cantus firmus sung by the bass in an opening movement in vocal and instrumental counterpoint.[26] The following table is based on the Bach scholar Alfred Dürr who notes: "At the beginning of the cycle of chorale cantatas we find–uniquely within Bach's output–the rudiments of cyclical composition".[25]

Overview of the first cantatas in Bach's chorale cantata cycle
Cantata Liturgical occasion Date Cantus firmus Form
[[[O Ewigkeit, du Donnerwort, BWV 20|O Ewigkeit, du Donnerwort
BWV 20]]] Error: {{Lang}}: text has italic markup (help) 		First Sunday after Trinity 11 June 1724 soprano French overture
[[[Ach Gott, vom Himmel sieh darein, BWV 2|Ach Gott, vom Himmel sieh darein
BWV 2]]] Error: {{Lang}}: text has italic markup (help) 		Second Sunday after Trinity 18 June 1724 alto motet
[[[Christ unser Herr zum Jordan kam, BWV 7|Christ unser Herr zum Jordan kam
BWV 7]]] Error: {{Lang}}: text has italic markup (help) 		St. John's Day 24 June 1724 tenor violin concerto
[[[Ach Herr, mich armen Sünder, BWV 135|Ach Herr, mich armen Sünder
BWV 135]]] Error: {{Lang}}: text has italic markup (help) 		Third Sunday after Trinity 25 June 1724 bass counterpoint
[Meine Seel erhebt den Herren
BWV 10] Error: {{Lang}}: text has italic markup (help) 		Visitation 2 July 1724 soprano, then alto

After a variation of cantus firmus and musical form of the opening chorale fantasia, Meine Seel erhebt den Herren followed on Sunday, 2 July.[26] John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage, notes about these first cantatas of the chorale cantata cycle: "Together they make a fascinating and contrasted portfolio of choral fantasia openings."[27]

In 1724 the feast of the Visitation fell on the fourth Sunday after Trinity, thus the next cantata Bach composed was a chorale cantata for the fifth Sunday after Trinity, Wer nur den lieben Gott läßt walten, BWV 93. Bach's second year in Leipzig passed without composing a chorale cantata specifically for the fourth Sunday after Trinity. He composed one for this occasion in 1732, Ich ruf zu dir, Herr Jesu Christ, BWV 177, one of the later additions to the chorale cantata cycle.[28]

Music

Structure and scoring

Bach structured the cantata in seven movements. The first and last are set for choir, and are based on the chant melody. They frame recitatives, arias and a duet of the soloists. Bach scored the work for four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir, and a Baroque instrumental ensemble: trumpet (Tr), two oboes (Ob), two violins (Vl), viola (Va), and basso continuo (Bc).[29][30] The trumpet is only used to highlight the cantus firmus and may have been a tromba da tirarsi, a slide trumpet. The title page of the original parts reads: "Festo Visitationis | Mariae | Meine Seel erhebt den Herren. | â | 4. Voc: | Tromba. | 2. Hautbois. | 2. Violini. | Viola | e | Continuo | di Sigl. | J. S. Bach."[31] The duration of the piece has been stated as 23 minutes.[32]

In the following table of the movements, the column text holds first the verse from the biblical Magnificat, adding "Luther" for the movements kept in his translation, and "anon." if the unknown librettist paraphrased and expanded his translation. The scoring follows the Neue Bach-Ausgabe.[30] The keys and time signatures are taken from the book by Bach scholar Alfred Dürr, using the symbol for common time (4/4).[29] The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown.

Movements of Meine Seel erhebt den Herren, BWV 10
No. Title Text Type Vocal Winds Strings Key Time
1 Meine Seel erhebt den Herren Luke 1:46–48, Luther Chorale fantasia SATB Tr 2Ob 2Vl Va G minor common time
2 Herr, der du stark und mächtig bist Luke 1:49, anon. Aria S 2Ob (unis.) 2Vl Va B-flat major common time
3 Des Höchsten Güt und Treu Luke 1:50–51, anon. Recitative T common time
4 Gewaltige stößt Gott vom Stuhl Luke 1:52–53, anon. Aria B F major common time
5 Er denket der Barmherzigkeit Luke 1:54, Luther duet, chorale A T Tr 2ob D minor 6/8
6 Was Gott den Vätern alter Zeiten Luke 1:55, anon. Recitative T 2Vl Va common time
7 Lob und Preis sei Gott dem Vater translation of Gloria Patri Chorale SATB Tr 2Ob 2Vl Va G minor common time

Movements

1

The opening chorale fantasia is marked vivace (lively). Bach begins the movement with an instrumental introduction that is unrelated to the psalm tone. It is a trio of the violins and the continuo, with the oboes doubling the violin, and the viola filling the harmony. The main motif stands for joy and is set in "rhythmical propulsion".[33]

The chorus enters after 12 measures with "Meine Seel erhebt den Herren" (My soul magnifies the Lord).[34] The cantus firmus is in the soprano, doubled by a trumpet, whereas the lower voices add free polyphony on motifs from the introduction.[35] Bach treats the second verse similarly, but with the third verse, "Denn er hat seine elende Magd angesehen" (for he has looked at the humble state of his handmaid), the cantus firmus appears in the alto. Certain words, such as "freuet" (rejoice) and "selig preisen" (call me blessed) are adorned with melismas.[36] The movement is concluded by a vocal setting without cantus firmus embedded in the music of the introduction, framing the movement.[35]

2

The soprano aria "Herr, der du stark und mächtig bist" (Lord, you who are strong and mighty)[34] is a concerto of the voice and the oboes, accompanied by the strings.[33] It is a da capo aria, expressing praise for God's works in the first section, while the more reticent middle section covers thankfulness for his help in times of distress. Hofmann notes that it is the first soprano aria in the chorale cantata cycle.[36]

3

The recitative "Des Höchsten Güt und Treu" (The goodness and love of the Highest)[34] ends on an arioso.[35] The thought that God "also uses force with His arm" is expressed with emphasis, and the final "will be scattered like straw by His hand" is an extended coloratura.[36] Spitta compares the end of this movement with the end of the 7th movement of Bach's Latin Magnificat: textually both movements treat the same part of the Magnificat (the end of Luke 1:51), and, although the other movement is set for five part chorus and tutti orchestra, he considers the closure of this recitative of the German Magnificat cantata "equally picturesque".[37]

4

The following aria "Gewaltige stößt Gott vom Stuhl" (The mighty God casts from their thrones)[34] is set for bass and continuo.[35] A descending bass line in the continuo over two octaves illustrates the fall, which the voice also suggests in descending phrases. The second aspect of the text, the exaltation of the humble is shown by rising figures, and the final emptiness ("bloß und leer", bare and empty) by pauses.[36]

5

In the fifth movement, "Er denket der Barmherzigkeit" (He remembers his mercy),[34] the text returns to the original German Magnificat, and the music to the psalm tone. It is played by oboes and trumpet as the cantus firmus, while alto and tenor sing in imitation. Hofmann interprets the bass line of "emphatic downward semitone intervals" as "sighs of divine mercy".[36] The voices often sing in parallel thirds and sixths, as they do also in the corresponding movement from Bach's Latin Magnificat, the duet Et misericordia (And your compassion), in both cases expressing mildness and compassion.[36] Bach later transcribed this movement for organ as one of the Schübler Chorales, BWV 648.[35][38]

6

The recitative for tenor, "Was Gott den Vätern alter Zeiten" (What God, in times past, to our forefathers),[34] referring to God's promise, begins secco. Starting with the added words "Sein Same mußte sich so sehr wie Sand am Meer und Stern am Firmament ausbreiten, der Heiland ward geboren" (His seed must be scattered as plentifully as sand on the shore and as stars in the firmament, the Savior was born),[34] the added strings emphasize the importance of the promise kept.[35] Hofmann describes the string music as "lively, shimmering chords".[39]

7

In the final movement, the two verses of the doxology are set on the psalm tone for four parts, with all instruments playing colla parte.[35] All wind instruments and violin I support the soprano.[30] The setting is mostly in homophony, but turns to polyphony for the final "von Ewigkeit zu Ewigkeit" (for ever and ever).[9]

Manuscripts and editions

The extant autograph score of Meine Seel erhebt den Herren has a cover in the hand of Johann Andreas Kuhnau.[40] It was owned by Wilhelm Friedemann Bach, Philipp Spitta and Paul Wittgenstein, among others.[40][41] It has been held by the Library of Congress since 1948.[40][42][43]

The original parts are kept in the Bach-Archiv Leipzig. They were copied by three known scribes: Johann Andreas Kuhnau, the composer, and Christian Gottlob Meißner.[44]

The cantata's concluding chorale was published as No. 357 in Part IV (1887) of C. P. E. Bach's collection of four-part chorales by his father.[45][46] The entire cantata was published in 1851 in volume 1 of the Bach-Gesellschaft Ausgabe (BGA), edited by Moritz Hauptmann.[47] In English, the cantata was sometimes called German Magnificat.[41] The New Bach Edition (Neue Bach-Ausgabe, NBA) published the score in 1995, edited by Uwe Wolf, with the critical commentary published the same year.[11] A revised version appeared in 2015, with a singable English version, Now my soul exalts the Lord.[48]

A critical edition was published by Carus in 2009, edited by Christoph Großpietsch, with a singable English version, Magnify the Lord, my soul.[47]

Concert performances and recordings

In 1963 Max Thurn recorded the cantata for the Norddeutscher Rundfunk. 1960s recordings by Paul Steinitz, Fritz Werner and Karl Münchinger were originally released on LP, and later reissued on CD. BWV 10 is included in Telefunken's, Hänssler's, Koopman's, Brilliant Classics' and Suzuki's complete Bach cantata recordings. Karl Richter and Hans-Joachim Rotzsch recorded the cantata in the 1970s. Live recordings of the cantata were realised at the 1991 Bodenseefestival [de], the 2002 Rheinisches Musikfest [de], the 2003 Leipzig Bach Festival, and as part of the Bach Cantata Pilgrimage. A recording with the Regensburger Domspatzen was released in 2001. Sigiswald Kuijken included the cantata in his Cantatas for the Complete Liturgical Year series.[49][50][51][52]

Most recordings present BWV 10 along other German cantatas. In concert programs and recordings BWV 10 has also been combined with Latin Magnificat settings. Münchinger's 1968 recording and Rotzsch's 1978 recording combined BWV 10 with Bach's Latin Magnificat (BWV 243). Also Michael Gielen's concert at the 1991 Bodenseefestival combined Bach's German and Latin Magnificat. Performances by Roland Büchner in 2000 and by Ton Koopman in 2003 presented the cantata along the 1723 Christmas version of Bach's Magnificat (BWV 243a). Koopman additionally featured the Christmas version of Johann Kuhnau's Magnificat in the same concert. According to Bach scholar Yo Tomita the program of that concert added another historical dimension, allowing to compare two works by Bach with a similar composition by his predecessor as Thomaskantor. A 2007 concert at the Indiana University combined Bach's German cantata with a 2005 Magnificat by Sven-David Sandström.[49][53][54][55]

Instrumental groups playing period instruments in historically informed performances are highlighted green under the header "Instr.".[citation needed]
Recordings of Meine Seel erhebt den Herren, BWV 10, issued on LP, CD, SACD and/or DVD
Title Conductor / Choir / Orchestra Soloists Label Year Instr.
J. S. Bach: Cantatas BWV 10, BWV 47; Sanctus BWV 241 Paul Steinitz
London Bach Society
English Chamber Orchestra
Oryx 1965 (1965)
Les Grandes Cantates de J. S. Bach Vol. 1 Fritz Werner
Heinrich-Schütz-Chor Heilbronn
Pforzheim Chamber Orchestra
Erato 1965 (1965)
J. S. Bach: Cantata BWV 10, Magnificat BWV 243 Karl Münchinger
Wiener Akademiechor
Stuttgarter Kammerorchester
Decca 1968 (1968)
J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Folge / Vol. 1 Gustav Leonhardt
Choir of King's College
Leonhardt-Consort
Teldec 1971 (1971) Period
Bach Cantatas Vol. 3 – Ascension Day, Whitsun, Trinity Karl Richter
Münchener Bach-Chor
Münchener Bach-Orchester
Archiv Produktion 1975 (1975)
Bach Made in Germany Vol. 4 – Cantatas II Hans-Joachim Rotzsch
Thomanerchor
Neues Bachisches Collegium Musicum
Eterna 1978 (1978)
Die Bach Kantate Vol. 17 Helmuth Rilling
Gächinger Kantorei
Bach-Collegium Stuttgart
Hänssler 1979 (1979)
J.S. Bach: Cantata BWV 10 – Magnificat BWV 243 Michael Gielen
Anton-Webern-Chor
SWR Sinfonieorchester Baden-Baden
SWF 1991 (1991)
J. S. Bach: Complete Cantatas Vol. 11 Ton Koopman
Amsterdam Baroque Orchestra & Choir
Antoine Marchand 1999 (1999) Period
J. S. Bach: Magnificat in E flat major BWV 243a – Cantata BWV 10 Roland Büchner
Regensburger Domspatzen
Musica Florea
Pure
Classics 		2000 (2000) Period
Bach Edition Vol. 20 – Cantatas Vol. 11 Pieter Jan Leusink
Holland Boys Choir
Netherlands Bach Collegium
Brilliant Classics 2000 (2000) Period
Bach Cantatas Vol. 2: Paris/Zürich / For the 2nd Sunday after Trinity / For the 3rd Sunday after Trinity John Eliot Gardiner
Monteverdi Choir
English Baroque Soloists
Soli Deo Gloria 2000 (2000) Period
Johann Sebastian Bach: Meine Seel erhebt den Herrn - Joseph Haydn: Nelson-Messe Berthold Botzet (de)
Aachener Domchor
Concert Royal Köln [de]
  • Marlies Buchmann
  • Beate Koepp
  • Markus Schneider-Francke
  • Katsunori Kono
 WDR 3 2002 (2002)
J. S. Bach: Cantatas Vol. 23 (Cantatas from Leipzig 1725) Masaaki Suzuki
Bach Collegium Japan
BIS 2002 (2002) Period
Bach - Kuhnau: Magnificat Ton Koopman
Amsterdam Baroque Orchestra & Choir
Naxos
  • 2003 (2003) (rec.)
  • 2004 (DVD)
 Period
J. S. Bach: Cantatas for the Complete Liturgical Year Vol. 7 Sigiswald Kuijken
La Petite Bande
Accent 2007 (2007) Period

Notes

  1. ^ "BWV" is Bach-Werke-Verzeichnis, a thematic catalogue of Bach's works.
  2. ^ During Bach's time, the Lutheran church observed Marian feasts, continuing a practice that began before the Reformation.[1]

References

  1. ^ Lundberg 2013, p. 9.
  2. ^ a b Hofmann 2003, p. 6.
  3. ^ a b c Dürr & Jones 2006, p. 32.
  4. ^ a b Dürr & Jones 2006, p. 670.
  5. ^ a b BDW 303 2015.
  6. ^ Peters 2012, p. 64; Rizzuti 2013, p. 1.
  7. ^ a b c Dürr & Jones 2006, p. 678.
  8. ^ Hofmann 2003, p. 30.
  9. ^ a b Hofmann 2003, p. 8.
  10. ^ Peters 2012, p. 30.
  11. ^ a b BDW 12 2017.
  12. ^ Gottfried Heinrich Stölzel. "Melch. Hofmann", pp. 117–119 in Grundlage einer Ehren-Pforte [scores], edited by Johann Mattheson. Hamburg: 1740.
  13. ^ Andreas Glöckner. "Die Leipziger Neukirchenmusik und das 'Kleine Magnificat' BWV Anh. 21" in Bach-Jahrbuch 1982, pp. 97-102
  14. ^ Frederick Hudson and Alfred Dürr. "An Investigation into the Authenticity of Bach's ‘Kleine Magnificat’" in Music and Letters XXXVI (3), 1955 – pp. 233-236
  15. ^ a b c Alfred Dürr, Yoshitake Kobayashi (eds.), Kirsten Beißwenger. Bach Werke Verzeichnis: Kleine Ausgabe, nach der von Wolfgang Schmieder vorgelegten 2. Ausgabe. Preface in English and German. Wiesbaden: Breitkopf & Härtel, 1998. ISBN 3765102490 - ISBN 978-3765102493, pp. 458–459
  16. ^ Bach Digital Work 00229 at Bach Digital website
  17. ^ Dennis Shrock. Choral Repertoire. Oxford University Press, 2009, pp. 277–280. ISBN 0199716625 ISBN 9780199716623
  18. ^ Glöckner 2003, pp. 37–45.
  19. ^ Bach Digital Work 00180 and 00181 at Bach Digital website
  20. ^ Bach Digital Work 01672 at Bach Digital website
  21. ^ Picander (=Christian Friedrich Henrici). Ernst-Schertzhaffte und Satyrische Gedichte, Volume III. Leipzig: Joh. Theod. Boetii Tochter (1732; 2nd printing 1737), pp. 153–155
  22. ^ Bach Digital Work 08303 at Bach Digital website
  23. ^ Maria Zadori, Kai Wessel, David Cordier, Wilfried Jochens, Hans-Georg Wimmer, Stephan Schreckenberger, Harry van der Kamp, Rheinische Kantorei, Das Kleine Konzert and Hermann Max (conductor) Missa Brevis "Allein Gott in der Höh sei Ehr". Archived 2015-03-23 at the Wayback Machine Capriccio, 2004
  24. ^ a b c Wolff 2002, p. 278.
  25. ^ a b Dürr & Jones 2006, p. 31–32.
  26. ^ a b c d e f Wolff 2002, p. 275.
  27. ^ Gardiner 2010, p. 16.
  28. ^ Dürr & Jones 2006, pp. 422–425.
  29. ^ a b Dürr & Jones 2006, p. 676–678.
  30. ^ a b c University of Alberta 2017.
  31. ^ RISM 200020894 2017.
  32. ^ Dürr & Jones 2006, p. 676.
  33. ^ a b Gardiner 2010, p. 9.
  34. ^ a b c d e f g Dellal 2012.
  35. ^ a b c d e f g Dürr & Jones 2006, p. 679.
  36. ^ a b c d e f Hofmann 2003, p. 7.
  37. ^ Philipp Spitta. Johann Sebastian Bach: His Work and Influence on the Music of Germany, 1685–1750, translated by Clara Bell and J. A. Fuller Maitland – Vol. 2. Novello & Co, 1899, pp. 380–381
  38. ^ Bach c. 1748, pp. 8–9.
  39. ^ Hofmann 2003, pp. 7–8.
  40. ^ a b c Autograph 2017.
  41. ^ a b Gerhard Herz. Bach-Quellen in Amerika / Bach sources in America. Neue Bachgesellschaft, 1984 (reissued in 2010 by the University of Michigan as ISBN 978-3-7618-0724-8), p. 24
  42. ^ RISM 000102323 2017.
  43. ^ Library of Congress 1740.
  44. ^ D-LEb Thomana 10 2017.
  45. ^ Sortable Index of the Chorales by J.S. Bach at www.lukedahn.net
  46. ^ Carl Philipp Emmanuel Bach, editor. Johann Sebastian Bachs Vierstimmige Choralgesänge, Part IV (=pp. 167–218). Leipzig: Johann Gottlob Immanuel Breitkopf, 1787, p. 206.
  47. ^ a b Großpietsch 2009.
  48. ^ Wolf 2015.
  49. ^ a b Oron 2014.
  50. ^ Johann Sebastian Bach: Cantata No. 10, "Meine Seel erhebt den Herren," BWV 10 (BC A175) at www.allmusic.com website
  51. ^ BWV.10, "Meine Seele erhebt den Herren" at www.muziekweb.nl
  52. ^ Gardiner 2010.
  53. ^ Yo Tomita. Bachfest Leipzig 2003 at www.music.qub.ac.uk/tomita/
  54. ^ Sven-David Sandström at Indiana University Bloomington website
  55. ^ Indiana University, Program 2007-2008, no. 420: OCLC 291046339

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