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| Composer : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Winds & String Orchestra | ||||
| Style : | Baroque | ||||
| Arranger : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Publisher : | MAGATAGAN, MICHAEL | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 16 Jul 2015 Lobe den Herren, den mächtigen König der Ehren (Praise the Lord, the mighty King of honor), BWV 137, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for the twelfth Sunday after Trinity and first performed it on 19 August 1725. It is based on the hymn by Joachim Neander (1680). Bach composed the cantata for the Twelfth Sunday after Trinity. It forms part of a cycle of chorale cantatas which Bach composed in Leipzig over a period of two years 1724–25. In 1724, his second year in the city, Bach had composed chorale cantatas between the first Sunday after Trinity of 1724 and Palm Sunday, but for Easter had returned to cantatas on more varied texts, possibly because he lost his librettist. Later Bach composed again chorale cantatas to complete his second annual cycle. This cantata is one of the completing works. It is based entirely on the unchanged words on the hymn "Lobe den Herren, den mächtigen König der Ehren" (1680) by Joachim Neander. John Eliot Gardiner assumes, looking at the festive instrumentation and the general content of praise and thanksgiving, that the cantata was also performed that year to celebrate Ratswahl, the inauguration of the town council. Bach used in 1729 the setting of the final chorale, transposed to D major, to conclude the wedding cantata Herr Gott, Beherrscher aller Dinge, BWV 120a with the last two stanzas of the hymn. As Alfred Dürr and Gardiner observed, the text as well as the chorale melody is present in all movements. The cantata is constructed in symmetry: the soprano carries the melody in the outer movements, in movement 2 it is sung by the alto, and in movement 4 played by the trumpet. In the central movement, the beginning of both the vocal and the instrumental theme are derived from it in the most intimate setting of the work. The melody in bar form has a Stollen of unusual five measures and reaches a climax at the beginning of the Abgesang, which Bach also stresses in a variety of means in the movements. Bach set this, the closing chorale for four vocal parts and three independent trumpet parts, for an affirmative conclusion. Gardiner notes: "He knew exactly how best to use the resources of the ceremonial trumpet-led orchestra and choir of his day to convey unbridled joy and majesty." The cantata in five movements is festively scored for four soloists, soprano, alto, tenor and bass, a four-part choir, three trumpets, timpani, two oboes, two violins, viola, and basso continuo. Source: (https://en.wikipedia.org/wiki/Lobe_den_Herren,_den_m%C 3%A4chtigen_K%C3%B...). I created this arrangement for Winds (Flute, Oboe & Bb Clarinet) & Strings (2 Violins, Viola & Cello). Sheet central : | Lobe den Herren, den mächtigen König der Ehren (8 sheet music) | | |||
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