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Cantata BWV 147
Herz und Mund und Tat und Leben
Cantata BWV 147a
Herz und Mund und Tat und Leben
Discussions - Part 6

Continue from Part 5

Discusssions in the Week of July 12, 2015 (4th round)

William Hoffman wrote (July 13, 2015):
Cantata 147, 'Herz und Mund und Tat und Leben': Intro.

Chorus Cantata BWV 147, "Herz und Mund und Tat und Leben" (Heart and Mouth and Deed and Life) is one of Bach’s best-composed and most popular cantatas, and deservedly so. Beyond the elaborated chorale chorus that closes both parts of this half-hour work, now known as “Jesu, Joy of Man’s Desiring,” it is a musical sermon and journey that has four memorable arias and three engaging, accompanied recitatives with an opening chorus featuring solo trumpet. With the addition of the three recitatives and the chorale choruses, it became a two-part work for the Feast of the Visitation of Mary, on July 2, 1723.1

Cantata for the Feast of Visitation of Mary, the Readings are: Epistle: Isaiah 11:1-5 (Epistle: Isaiah 11: 1-5 A rod shall come out of Jesse); Gospel: Luke 1:39-56 (Mary’s Magnificat). The German text is that of Luther’s translation published in 1545, the English is the Authorised (King James) Version 1611. The full text and translation can be found at The full musical liturgy can be found at “Musical Context: Motets & Chorales for Feast of Visitation of Mary,” BCW

Bach's first Visitation Cantata BWV 147 "Herz und Mund und Tat und Leben" (Heart and Mouth and Deed and Life) was presented on Friday, July 2, a month after he began his Leipzig tenure. He spent considerable effort composing three elaborate accompanied recitatives between the existing arias in the original Cantata BWV 147a, composed for the Fourth Sunday in Advent, December 20, 1716, a service with no music in Leipzig. Besides continuing to please his listeners with two-part music on the highest level, Bach sought to complement varied madrigalian musical styles and instrumental accompaniment with striking music set to texts that related to the Gospel text of Mary's canticle of praise (Luke 1:42-52) as well as pertinent references to Psalms 50 and 139 and Paul's Epistle to the Romans. Consequently, Bach failed to provide music for the succeeding Sixth Sunday after Trinity (July 4) and ceased to present music before and after the service sermon, either two-part or two different cantatas. Still Cantata 147 elicited at least two repeat performances in 1730 (Trinity 4), 1735-40. To hear the music listen to Ton Koopman YouTube (with ad and :50 intro.):

Cantata 147 text: Salomo Franck (Mvts. 1, 3, 5, 7, 9), Text cycle “Evangelisches Sonn- und Fest-Tages Andachten, Weimar and Jena, 1717; Martin Jahn chorale (Mvts. 6, 10); and Anon (Mvts. 2, 4, 6, 8).

Bach's chosen chorale to close both parts of Cantata 147 set to the same music is "Jesu, meiner Seelen Wonne" (Jesus, delight of my soul), author Martin Jahn (1661), and melody Werde munter, mein Gemüthe (Be alert , my soul, Zahn melody 6551), composer Johann Schop (1642), a hymn "seeking the protection of the Almighty." Cantata 147 text and Francis Browne English translation, BCW

Chorale ‘Jesu, Joy of Man’s Desiring’

Now known as “Jesu, Joy of Man’s Desiring,” the 19-stanza Jesus Hymn, "Jesu, meiner Seelen Wonne," was parts of a category of more recent, pietistic chorales not found in Das neu Leipziger Gesangbuch (NLGB). In Cantata BWV 147, Bach set Stanzas 6 and 10 to an elaborated chorale chorus with instrumental gigue-style interludes to close Part 1 (Movement No. 6) and Part 2 (Movement No. 10): 6. Wohl mir, daß ich Jesum habe (Happy am I, to have my Jesus) and 10. Jesum nur will ich lieb haben (Only Jesus I shall hold dear)

Bach's other uses of the Jahn Jesus Hymn text, "Jesu, meiner Seelen Wonne," are Stanza 2, "Jesu, mein Hort und Erretter," (Jesus, my refuge and deliverer) as a plain chorale (Movement 3) in A Major in solo Cantata BWV 154, Mein liebster Jesus ist verloren" (My loving Jesus is lost), for the First Sunday after Epiphany (January 9, 1724), and an undesignated stanza harmonized as a plain chorale (Movement 8) in F Major in chorus Cantata BWV 146, "Wir müssen durch viel Trübsal in das Reich Gottes eingehen" (We must through much tribulation enter into the kingdom of God), for the Third Sunday after Easter (probably May 12, 1726).

Chorale Text and Francis Browne English translation, BCW

The hymn "Werde Munter, mein Gemuthe" is found in the NLGB as No. 208 under the listing of Morning and Evening Songs (Zahn melody 6551a), set to the Johann Rist 1642 12-stanza text of the same name. Bach set the melody c.1700 as an organ chorale prelude in the Neumeister Collection, BWV 1118 in G Major, related to Martin Luther's "Evening Blessing." About 1714 in Weimar Bach listed "Werde munter, mein Gemuthe" in the planned Orgelbüchlein organ chorale prelude collection as No. 150 under the heading "Evening" but did not set it, perhaps content with the Neumeister setting. Later, Bach harmonized the Schop melody as plain chorales BWV 359 in A Major and 360 in B-Flat Major, perhaps in Leipzig as alternate settings for the plain chorales, respectively, in Cantatas BWV 154 and tenor solo Cantata BWV 55, "Ich armer Mensch, ich Sündenknecht" (I, a poor man, slave to sin), Movement 5 ("Bin ich gleich," see next paragraph) for the 22nd Sunday after Trinity (November 17, 1726) [See BCW Chorale Melodies,

During his Leipzig tenure, Bach also used the melody, "Werde munter, mein Gemuthe," for plain chorale settings of Passion music: No. 40, to the Johann Rist text of the same title, Stanza 5, "Bin ich gleich von dir gewichen" (If I have ever abandoned you), after Peter weeps bitterly, and in the Sebastian Bach Chorale Book c.1740, SBCB No. 58, "Der am Kreuz ist mein Liebe" (There on the Cross is my love), Worship song, five stanzas, author unknown (1712), based on 1 Corinthians 8:3: "But if any man love God, the same is known of him"; text, Der am Kreuz ist meine Liebe (Anbetungslieder). Chorale melody: BCW,

Today, the hymn is called "Jesu, Joy of Man's Desiring" and also is known as "Come with Us, O Blessed Jesus" for Christmas and Communion.

Bach’s Visitation Feast Performance Calendar

Cantata 147 was the first of various works Bach composed for performance on the Feast of the Visitation. It also was performed about July 2, 1730 when the feast fell on the Fourth Sunday after Trinity and the feast was observed. A third performance is documented about 1735-1740. Other works Bach performed on the Feast of the Visitation (July 2) are:

+Chorale Cantata BWV 10, "Meine Seele erhebt den Herrn" (1724, on Fourth Sunday after Trinity), repeat 1740-47;
+Anonymous Cantata, "Meine Seele erhebt den Herrn (My soul magnifies the Lord) (1725, Monday);
+ Johann Ludwig Bach Cantata JLB-13, "Der Herr wird ein Neues im Lande erschaffen Judah" (As yet they shall use this speech in the land of Judah) (1726, Tuesday);
+Magnificat in D Major, BWV 243, ?July 2, 1733, no documentation of succeeding performance at Visitation;
+Two Gottfried Heinrich Stölzel cantatas from different church cycles, performed in 1736, “String-Music” cycle and possibly 1737, “Book of Names of Christ” cycle, both by texts was Benjamin Schmolck (1672-1737), a Silesian theologian and the author of chorale texts.1a
+AntoCaldara's Magnificat in D Major (Bach added two parts for violins in Movement No. 3, Suscepit Israel puerum suum (He protects Israel, his servant), BWV 1082, performed about 1739-42.

Bach’s Leipzig performance calendar for the Feast of the Visitation:2

1723-07-02 Fr - Cantata BWV 147 Herz und Mund und Tat und Leben (1st performance, Leipzig)
1724-07-02 So (4.So.n.Trin.) - Cantata BWV 10 Meine Seel erhebt den Herren (1st performance, Leipzig)
1725-07-02 Mo - Spurious: Cantata Meine Seele erhebt den Herrn (1st performance, Leipzig)
1726-07-02 Di - J.L. Bach: Cantata Der Herr wird ein Neues im Lande erschaffen, JLB-13 1st perf., Leipzig)
1727-07-02 Mi – no performance documented
1730-07-02 So (4.So.n.Trin.) - Cantata BWV 147 Herz und Mund und Tat und Leben (2nd perf., Leipzig) (?)
1735-07-02 - G.H. Stölzel: Groß sind die Werke des Herrn, Mus. A 15:345 + Ich freue mich in dem Herrn, Mus. A 15:346
? 1737-07-02 Di -- G.H. Stölzel cycle, titles unknown
Vocal works with no definite date:
(1725-1735?) - G.M. Hoffmann: Cantata BWV 189 Meine Seele ruhmt und preist (2nd perf., Leipzig) (?)
(1735-1740) - Cantata BWV 147 Herz und Mund und Tat und Leben (3rd performance, Leipzig)
(1740-1747) - Cantata BWV 10 Meine Seel erhebt den Herren (2nd performance, Leipzig)

Scoring: For the 1723 revision and expansion of Cantata 147a, Bach added the oboe d’amore and oboes da caccia parts in Leipzig, not found in the original opening movement score of 1716 and not available in Weimar. Scoring: Soloists: Soprano, Alto, Tenor, Bass; 4-part Chorus; Trumpet, 2 Oboes, Oboe d'amore, 2 Oboes da caccia, 2 Violins, Viola, Continuo (including Violoncello & Violone in Mvt. 7).3

Cantata 147 Genesis/Provenance

The genesis of Cantata 147 is explained in Thomas Braatz BCW Provenance (December 17, 2001), <<Autograph score used for the 1st performance on July 2, 1723 for the Feast of the Visitation of the Virgin Mary. A very clean copy unlike quite a few Bach scores that show that he was composing and correcting on the score as he wrote it out. The 1st sheet of paper can be physically dated from the year 1716 (contains the 1st mvt. unchanged from BWV 147a, the Weimar Advent cantata. This came into CPE Bach's possession. The original set of parts used for the performance on July 2, 1723 is now in the Staatsbibliothek Berlin. The original score for BWV 147a (the one that Bach worked from to come up with the revision - BWV 147) came into WF Bach's possession and then disappeared forever.

[Oldest son Friedemann did a partial parody of the opening chorus, "Herz und Mund und Tat und Leben" (Herz und Mund kan sich nun laben), Cantata BWV 147a/1, as the third and concluding movement of a pasticcio Catechism Sermon Cantata, Fk. 77, performed in Halle in 1752.4 Friedemann apparently copied his father's music from the original version of Cantata 147, composed in Weimar in 1716 for the Fourth Sunday in Advent, since the scoring omits the two oboes added in Leipzig for Visitation 1723 (music printed in NBA KB I/28.2, Kantaten zu Marienfest II, e. Ute Wolf, 1995: 110ff)]

Text: Salomon Franck's text was used for both BWV 147a and BWV 147. It was a text specifically designated "For the Fourth Advent Sunday." [The original text (BWV 147a) is found in Alfred Dürr’s Cantatas of JSB.5 A brief introduction by Werner Neuman and the original Franck texts of Cantatas BWV 70a, 186a, and 147a is found in the NBA KB I/1 1955.] Here is a comparison of both versions of BWV 147:

No. 1. Chor: "Herz und Mund etc." remained the same. Both music and text were not changed by Bach [See BCW]
[No. 2. New: the insertion of a tenor recitative in 1723], [“Gebenedeiter Mund!” (Blessed mouth!)]
No. 3. Aria 1/247a (Alto) "Schäme dich etc." One line is changed: "Soll er seine Braut dich nennen" (Should he call you his bride) becomes "Soll er dich die Seine nennen" (Should he call you his own)
[No. 4. New: the insertion of a bass recitative in 1723], “Verstockung kann Gewaltige verblenden” (Stubbornness can blind the powerful);
[Aria 2/247a (Tenor) "Hilf, Jesu, hilf etc." is displaced to take up a new position at the beginning of Part 2, After the Sermon.
[No. 5, Aria 3/147a (Soprano) "Bereite dir, Jesu noch heute/itzo die Bahn" (Prepare the way to you, O Jesus, this very day/even now) has a major change from "Beziehe die Höhle des Herzens, der Seele" (Occupy the caver, the soul of the heart) to "Mein Heiland, erwähle die gläubige Seele" (My Saviour choose the believing soul)
[No. 6 New: Chorale placed at the end of Part 1 "Wohl mir, daß ich Jesum habe etc." This text not indicated by Franck. Here Bach has chosen instead vs. 6 of Martin Jahn's "Jesu, meiner Seelen Wonne" 1661]
[No. 7. New: Aria 2/247 "Hilf, Jesu, hilf etc." (Help, Jesus, help) for Tenor placed here as the 1st mvt. in Part 2, After the Sermon.]
[No. 8. New: the insertion of an alto recitative in 1723], “Der höchsten Allmacht Wunderhand” (The miraculous hand of the Almighty)
No. 9 Aria 4 (Bass) "Ich will von Jesu Wundern singen etc." (I shall sing of the wonders of Jesus) had a completely different text by Franck in the original cantata BWV 147a (Advent cantata): Laß mich der Ruffer Stimmen hören / Die mit Johanne treulich lehren, / Ich soll in dieser Gnaden-Zeit / Von Finsterniß und Dunckelheit / Zum wahren Lichte mich bekehren. [Let me hear all the voices that are crying out and are faithfully teaching what John has taught: that, at this blessed time of year [Advent] I should turn away from darkness and allow myself to be directed [converted] toward the true light.]
10. Choral: For this Franck had chosen the 6th verse of Johann Kohlroß' chorale "Ich dank dir, lieber Herre" (I thank thee, dear lord) This is the concluding chorale text [the music is lost]: Dein Wort laß mich bekennen Für dieser argen Welt/ Auch mich dein'n Diener nennen/ Nicht fürchten Gwalt noch Geld/ Das mich bald mög ableiten Von Deiner Wahrheit klar/ Wollst mich auch nicht abscheiden Von der Christlichen Schaar.
[Let me announce to this terrible world that I believe your word and that you can call me your servant. I will not be afraid that I could be swayed by power and money which could quickly lead me away from your truth. And for this effort, please do not separate me from the Christian community.]
[While only the opening movement of the original Cantata 147a survives, scholars now believe that this last aria is a re-written version of the original aria for trumpet and strings. Because the text meaning and length are completely different, Bach did not parody the original but made adjustments in the vocal line not unlike a Latin contrafaction into another language. The best scholarly sources are the 1990 Schmieder Catalogue (p. 148), Petzldt (see below, FN 6, p.81) and Dürr (Ibid.: 89).

Bach has chosen instead the 10th verse of the chorale text by Martin Jahn "Jesu, meiner Seelen Wonne" 1661. The chorale melody, of course, is "Werde munter, mein Gemüte" as already explained earlier. The Kohlroß chorale text that Franck had chosen would have to undergo a number of instances of slurring to make the words fit properly. This may be considered an argument against the notion that Bach retained the chorale melody and the harmonization that he had composed for the 4th of Advent in Weimar. Perhaps Bach drew upon another source from the Weimar period, but that would make my supposition about "Jesu, Joy of Man's Desiring" even less likely than it already is.>>

While the original chorale setting of “Ich dank dir, lieber Herre" is lost, here are three extant harmonizations, including BWV 347 and 348, as well as the fourth stanza setting closing the 1724 Ascension chorus Cantata 37. Thus, it is possible to reconstruct the original version of Cantata 147a with the original Franck text. This was done by scholar Uwe Wolf (Stuttgart, 1966) which he discusses in “Ein ‘neue’ Bach-Kantate zum 4.Advent: Zur Rekonstruction der Weimarer Adventskantate ‘Herz und Muund Tat und Leben, BWV 147a,” Musik und Kirche 66 (1996), 351-5, cited in Dürr (Ibid.: 89 FN 3).

With the expansion of Cantata 147a into a two-part cantata, Bach also, technically, has created a Cycle 1 form type cantata in Cantata 147, Part 1: Chs., rec., aria, rec., aria, chorale. The opening chorus text of Franck, “Herz und Mund und Tat und Leben” (Heart and mouth and deed and life) is not a biblical dictum from the service lessons but a paraphrase of Romans 10:9a/10b: “That if thou shalt confess with thy mouth the Lord Jesus, and shalt believe in thy heart (that God hath raised him from the dead),” “and with the mouth confession is made unto salvation,” according to Martin Petzoldt in Bach Commentary, Vol. 2, Advent to Trinityfest.6

Bach was able to expand all three Franck-texted cantatas, BWV 70a, 186a, and 147a, originally for the Second through the Fourth Sundays in Advent in 1717, respectively into the first Leipzig Cycle, in two parts, for the 26th Sunday after Trinity, the Seventh Sunday after Trinity, and the Feast of the Visitation, respectively. Cantata 186 will be the BCML Discussion next week (July 19).

The pairing and use of Cantatas 147 and 186 is discussed in Julian Mincham’s introduction to Cantata 147, Chapter 8 BWV 147 Herz und Mund und Tat und Leben, “Bach continued to present the large two-part structures, established from beginning of the cycle, for just two more weeks, Cs 147 and 186. He commences both with an ebullient chorus and in each case uses an instrumentally enhanced version of a chorale to draw each part to a close. Both cantatas were adaptations of earlier works composed at Weimar in 1716 (Dürr p 443 and 673) and Dürr explains clearly how it came to be that these works were suitable for later performances at Leipzig. The calling upon and adapting of cantatas written seven years previously certainly suggests that Bach had not yet formed a view as to what constituted his ideal cantata format. On the other hand, it might simply been a matter of creating some breathing space as he settled into his new and highly demanding position.”

Cantata 147: Franck’s Effective Text, Bach’s Music

The best of the Franck reworkings is Cantata 147, says John Eliot Gardiner in his Bach 2000 Cantata Pilgraimage on Soli Deo Gloria recordings.8 <<The best known of Bach’s reworkings of an earlier Weimar cantata is BWV 147 Herz und Mund und Tat und Leben.” Salomo Franck’s virtues of lyricism, theological point making and a fondness for isolating individual words (four of them in the opening chorus alone) are here on display. In the process of Bach’s expansion of a six-movement original for the Fourth Sunday in Advent (BWV 147a) to a ten-movement work for the feast of the Visitation (2 July 1723) the chief casualty is Franck’s concise exposition of the Advent message through the progression of its four back-to-back arias: repentance, faith, preparation and conversion. In the new version the arias are retained but reshuffled, with some verbal alterations and a completely different text (not by Franck) for the bass aria (No.9). On the other hand the Leipzig version of the cantata gains in richness and variety through the addition of three linking recitatives, one string-accompanied (No.2), one secco but breaking into dramatic arioso (No.4), reminiscent in mood and technique of cantata, BWV 70, and one with twin oboes da caccia (No.8) that looks forward to the two great Passion settings. But most of all it is a series of little duet exchanges that begin in bar one (between trumpet and bassoon) and pass to and fro across the whole colour spectrum of his vocal and instrumental ensemble. He even has time to incorporate a double echo (f–p–pp) into this taut overall structure.

The first aria, in effect a trio for alto, oboe d’amore and continuo (No.3), is an appeal to the believer, shaming him not to wriggle out of recognising his Saviour. It would be entirely in character, as well as appropriate in expression, if the idea for its irregular rhythmic pattern grew in Bach’s mind out of those bold hemiola references to fear and hypocrisy he placed in his opening chorus. Another trio, this time for soprano, violin and continuo (No.5), deals with the preparing of the way, though without the lung-bursting exertions of the opening aria of BWV 132 composed for the same Sunday a year earlier. In fact the arabesques of the violin grow in response to the head-motive, just as they did in the alto aria of that cantata (BWV 132 No.5) in contagious delight at the singer’s invitation to Jesus to enter the prepared way (‘Bahn’) of her heart. Another of Franck’s distinctive verbal mottos, ‘Hilf, Jesu, hilf’, launches the tenor aria (No.7) to open what is now Part II of the cantata, with its continuo accompaniment of cello and violone unusually decorated by the organ with chains of triplets. But the most imposing of the four arias is the last (No.9), for bass with the same trumpet-dominated full orchestra used in the opening movement. It would be easy to attribute the fiery concertante writing as Bach’s response to the mention of ‘the might of holy fire’, until we remember that the aria was originally set to totally different words (by Franck) that call on the voice of John the Baptist to help the process of conversion ‘from darkness and gloom to the true Light’ (‘von Finsternis und Dunkelheit zum wahren Lichte mich bekehren’).
© John Eliot Gardiner 2009, From a journal written in the course of the Bach Cantata Pilgrimage

Cantata 147: Franck text and Bach Music

Cantata 147 is an effective blend of Franck’s description of the “deeply sinful condition of mankind,” and Bach’s masterful music, ending in great joy, says Tadashi Isoyama in his 2000 liner notes to the Masaaki Suzuki BOS complete Bach sacred cantata recordings.9 << BWV147 is a well-known work that incorporates the chorale melody “Werde munter, mein Gemüthe (Jesu, Joy of Man's Desiring). The title is familiar from an arrangement of the chorale for piano by Myra Hess, but the beauty of it is most apparent in listening to the arrangement for chorus and orchestra within the context of the cantata.

Bach wrote the cantata entitled “Herz und Mund und Tat und Leben” in 1716, when he was 31. It was for use on the Sunday before Christmas, and like BWV 21 it has a libretto by Salomo Franck. In 1723, when Bach was selected for the position of Kantor at Leipzig's Thomaskirche, he became responsible for the provision of church music. A rigorous duty, this required him to perform 60 cantatas at services each year. For this reason, Bach recycled some of his work from Weimar, but unfortunately there was a custom in Leipzig that cantatas were not used in the days before Christmas. Bach therefore revised this cantata for use on 2nd July, the Feast of the Visitation of the Blessed Virgin Mary, and in this way the music took shape. Three recitatives and the beautiful chorale were added to the weave.

On the Feast of the Visitation of the Blessed Virgin Mary, verses 39 to 56 of the first chapter of Luke's Gospel are read. This passage follows after the Annunciation, and recounts Mary's visit to Elizabeth (mother of John the Baptist), Elizabeth's blessing, and the famous song of praise (Magnificat). This exalted scene is contrasted in the cantata with the deeply sinful condition of mankind, until gradually the work overflows with love for Jesus and hymns of praise.

Part One is introduced by a lively chorus with solo trumpet. The text declares the confession of faith that Christ is 'God and Saviour'. A tenor recitative (No.2) next refers to Mary's song of praise, then points out mankind's sinfulness. This theme is picked up by the alto in an aria (No.3, with oboe d'amore accompaniment) urging the soul to a confession of faith. A bass recitative (No.4) describes the might of God, then a 'faithful soul' speaks to Jesus in an elegant soprano aria (No.5) before the famous chorales sings of the happiness found in Jesus( No.6) to close the first part. Part Two, which with thfirst part frames the minister's sermon, begins with a brief aria for tenor (No.7) in which he asks for Jesus's help. The alto gives an impressive recounting of Mary's visit to Elizabeth (No.8), and then a bass aria with trumpet (No.9) praises God fervently; at the end the beautiful chorale is sung once more.”
© Tadashi Isoyama 2000


1Cantata 147 BCW Details and Discography,
1aSee Thomas Braatz’s BCW translation of Andreas Glöckner, “Is there another cantata cycle by Gottfried Heinrich Stölzel that belonged to Bach’s performance repertoire?,” from the Bach-Jahrbuch 2009], BCW:
2 Source, BCW, "Dates in Bach's Lifetime, "Mariä Heimsuchung" (Feast of Visitation of Mary),
3 Score Vocal & Piano, [2.94 MB] | Score BGA, [3.48 MB]; References BGA XXX (Cantatas 141-150), Paul Graf Waldersee, 1884; NBA KB I/28.2 (Visitation cantatas); Bach Compendium BC A 174; Zwang: K 33.
4 Source is David Schulenberg, Music of Wilhelm Friedemann Bach (New York: University of Rochester Press, 2010: 204).
5 Dürr, Cantatas of J. S. Bach, revised and translated by Richard D. P. Jones (Oxford University Press, New York, 2005: 90f)
6 Petzoldt, Bach Kommentar: Theologisch Musikwissenschaftlicke Kommentierung der Geistlichen Vokalwerke Johann Sebastan Bachs; Vol. 2, Die Geistlichen Kantaten vom 1. Advent bis zum Trinitatisfest; Internationale Bachakademie Stuttgart (Kassel: Bärenreiter, 2007: 77).
7 Mincham, The Cantatas of Johann Sebastian Bach: A listener and student guide, Revised 2014; Home Page,
8 Gardiner notes,[sdg162_gb].pdf; BCW Recording details,
9 Isoyama notes,[BIS-CD1031].pdf; BCW Recording details,


Chorale "Ich dank dir, lieber Herre"

Douglas Cowling wrote (July 13, 2015):
Cantata 147, Dance Forms

BWV147 is a well-known work that incorporates the chorale melody “Werde munter, mein Gemüthe (Jesu, Joy of Man's Desiring). The title is familiar from an arrangement of the chorale for piano by Myra Hess, but the beauty of it is most apparent in listening to the arrangement for chorus and orchestra within the context of the cantata. >
I have always believed that smooth, over-Romanticized performances like Hess's, are a gross misinterpretation of Bach's use of dance forms in this movement. Taking "Freude" as the operative Affekt, Bach begins what should be a lively 9/8 gigue (the "Fugue in G Major 'Gigue' is comparable) Into this jig, Bach inserts the choir singing the chorale in minuet style: the similarity to the famous "Minuet in G" is quite striking. The simultaneous use of two dance forms is something Mozart would use at the end of the first act of "Don Giovanni" (he uses a minuet as a well). If this playfulness is correct, this wonderful movement has been mis-performed for nearly two centuries.

Claudio Di Veroli wrote (July 13, 2015):
[To Douglas Cowling] I certainly agree that this Choral should be performed much faster and dance-wise than is usually the case, even more so with early instrument ensembles.

George Bromley wrote (July 13, 2015):
Re 147, could not more the Dame Myra transcription reflects Victorian over sweetness that has nothing to do with the way Bach should be performed.

David Herzstein Couch wrote (July 14, 2015):
there's not just one correct way [was: Cantata 147, Dance Forms]

As a great lover of "authentic" HIP performances, I must nevertheless take issue with some recent judgments.

Is there really only one "correct" way to perform or interpret any movement by Bach, even when it is transcribed? And are we now such wise and all-knowing modern people that we can tut-tut at the fools who suffered in the Dark Ages before us, because we now know all the correct answers more than those ignoramuses (such as Myra Hess, Dinu Lipati, Casals and Otto Klemperer)?

Do we also think that -- even when the piece is transcribed for another instrument or another setting -- it should still be done only in one way -- which is, exactly the same way that it "should be" done by vocalists and a little orchestra? Same tempo, same affekt?

Perhaps dancing joyfulness may sometimes be expressed slowly and reflectively on, perhaps, the occasional weekday evening? Sebastian or Ana Magdalena might even have enjoyed playing it in that way, on the clavichord perhaps, in their home at the end of a musical family evening.

All that being said, it is nice to hear a good lively performance!
Harnoncourt's (faster, studio) version:
Rifkin OVPP:
and the liltingly articulated Gardiner:

After those lovely, lively versions, Dinu Lipati still sounds joyful playing Myra Hess's transcription -- (this is a beautiful 1947 recording, with the speed slightly off, not the usual 1950 released version)

Douglas Cowling wrote (July 14, 2015):
[To David Couch] Is there really only one "correct" way to perform or interpret any movement by Bach, even when it is transcribed? And are we now such wise and all-knowing modern people that we can tut-tut at the fools who suffered in the Dark Ages before us, because we now know all the correct answers more than those ignoramuses (such as Myra Hess, Dinu Lipati, Casals and Otto Klemperer)

Perhaps I should have been more precise in my comments about ""Jesus bleibet meine Freude". My point was that historical scholarship gives us insights into Bach's performance practice that challenge our assumptions, and move us to revise our interpretive ideas. That's not to say that Romantic performances of Bach are insensitive and unprofessional. The recent recording of Mendelssohn's arrangement of the "St. Matthew Passion" is a beautiful performance, but it tells us more about Mendelssohn than Bach. Stokowski's arrangement of the "Toccata and Fugue in D Minor" in "Fantasia" is a brilliant tone poem that Strauss could have written. Likewise, Bach's organ arrangements of Vivaldi's concerti grossi tell us more about Bach than they do Vivaldi.

Julian Mincham wrote (July 15, 2015):
[To Douglas Cowling] I think that one helpful, if not fully precise way of assessing Bach performance is to make a judgement about the ways in which the inherent dance quality is (or is not) brought out through the interpretation. Recordings i have of Bach from the early and mid C20 often sound tedious today because these qualities are not recognised or featured. This is partly a matter of tempo, but also of articulation, bowing etc. A 9/8 movement often implies a gigue-- a 3/4 movement a minuet or saranbande, depending on tempo and articulation.

Linda Gingrich wrote (July 15, 2015):
A conducting colleague of mine, Adam Burdic, has written a DMA dissertation called The Influence of French Baroque Dance on the Cantatas of Johann Sebastian Bach. I haven't had a chance to read it yet (someday soon I hope!) and I don't know if it's available on the web, but a search under his name or the title would make that clear. It may well shed some light on dance influences in the cantatas.

William Hoffman wrote (July 15, 2015):
Cantata 147a: Chorale "Ich dank' dir, lieber Herre"

The original chorale for Bach’s Weimar chorus Cantata BWV 147a, “Herz und Mund in Tat und Leben” (Heart and Mouth and deed and Life), based on Salomo Franck’s 1717 text, is the sixth stanza of Johann Kolrose’s pre-Reformation morning song, based on a 15th century anonymous German folk song, “Entlaubt ist uns der Walde.” "Ich dank' dir, lieber Herre" (I thank Thee, Dear Lord), is a Bar-form, nine-stanza, 8-line chorale, pre-Reformation text of Johann Kolrose (c.1487-1558/60), first published as a broadsheet in Musika Deutsch, Nürnberg, 1532. The original melody also was used in the Moravian and Bohemian hymn books with different texts.

Meanwhile, the melody was thought to be a version of the pietist 16-stanza chorale “Werde munter, mein Gemüthe,” Johann Rist 1642 text, Johann Schop 1642, best known as Jesu, Joy of Man’s Desiring,” Bach set as an elaborate chorale, with the musical setting closing Parts 1 and 2 of expanded Cantata 147 for the Feast of the Visitation, June 2, 1723, in Leipzig. Details are found in this week’s BCML Discussion, Unfortunately, the melodies are different according to Zahn,"Ich dank' dir, lieber Herre," is Zahn 5354, and “Werde munter, mein Gemüthe,”is Zahn 6551. Still, it is quite possible that Bach was aware of a melodic relationship between the two hymns, Reformation Orthodox, and Pietist.

Matthew Carver, 2009. Hymnoglypt,1 says of "Ich dank' dir, lieber Herre": “Wackernagel said of this hymn that it contains “All the leading thoughts of the Reformation.” Ludecus (1589) appoints this hymn for [Lenten Sundays] Invocavit, Reminiscere, and Oculi.”

Earlier versions of the Moravian Hymn-Book find this hymn as “Thy Wounds, Lord, be my Safeguard.” Later versions separate stanzas into two hymns “Lord Christ, I give Thee Praises” [S.6] and “Amidst this world’s profaneness” [S.8] only, says Carver.

The English versions are known as “Let Me Be Yours Forever” LBW 490 (Commitment) (as well as the English hymn “Redeemed, Restored, Forgiven”) in Lutheran hymnals.

<<The melody “Ich dank’ dir, lieber Herre” has a secular origin. It was associated in 1532 with the song, “Entlaubt ist uns der Walde [gen disem Winter Kalt.” In 1544 Johann Roh or Horn attached it to his Hymn, “Lob’ Gott getrost mit Singen,” in his Ein Gesangbuch der Bruder inn Behemen und Merherrn” (Bohemian Bretheran, Nürnberg, 1544), text Nikolaus Selnecker (1532-1592) In a simplified form the tune was attached to Kolross’ Hymn in the Johann Crüger 1662 (Frankfort) Praxis Pietatis Melica>>. [C.S. Terry2].

The German folk song, popular as early as the 15th century, was printed by Hans Gerle, a leading lute player and composer who died in 1570, in his Musika Deutsch, Nürnberg, 1532. Johann Horn adapted it for his text, “Lob’ Gott getrost mit Singen” [, melody G Major or model] in 1544 and it appeared the following year in the Valentin S. Schumann (Babst) in Geistliche lieder auffs new gebessert und gemehrt, published in Leipzig, with Kolross’ “Ich danke dir lieber Herre,” by which title it is known. [Terry corrected and Hymnal Companion to LBW3]

“Lob Gott getrost mit Singen” (not in NLGB) Text und Melodie: Böhmische Brüder 1544; first stanza Selnecker, “Lass mich dein sein und bleiben “Let me be your forever, published in Passio: Das Leiden sterben unsers Herrn Jesu Christi, 1572, and was included with two additional anonymous stanzas in the Rudolstädter Gesangbuch, 1688. See text, Addendum 1

"Ich dank' dir, lieber Herre" (text and melody) appeared in Das neu Lipziger Gesangbuch of 1682 as. No. 191 under “Morningsongs” (Morgengesänge), following Luther’s Catechism section, Zahn melody 5354.4


Johann Kolrose, BCW Short Biography,
Born: c1487 - Kirchhofen, near Staufen, Died: 1558 (or 1560) – Basel. Johann(es) Kolrose [also: Kolross, called Rhodonthracius] was a German poet, philologist and paedagogue. Kolrose was registered on August 10, 1503 in Freiburg, and in 1528 began his activity as a director of the boy elementary school in Basel. In 1530 he published in Basel a text book for orthography under the title Enchiridion in Basel. It became particularly popular among dramatists. In 1532 in Basel he performed Spil von Fünfferley betrachtnussen, a kind dead dance. He wrote various texts for church hymns (songs) of the Reformation, among them “Wo Gott zum Haus nicht gibt sein Gunst” and “Ich dank dir, lieber Herre.”

Chorale Texts used in Bach’s Vocal Works

“Ich dank dir, lieber Herre,” see below

“Wo Gott zum Haus nicht gibt sein Gunst,” BVW 438 plain chorale, and chorale BWV 1123 (possibly BWV 247/26, Dietel) German text, Kolrose setting of Psalm 128, NLGB No. 269, Christian Life & Conduct. Index to Scores, BWV-250-438, BCW, music unavailable

Bach composed four recognized plain chorale settings of “Ich dank dir, lieber Herre” (Zahn 5354b), are:

1. BWV 147a/6, music lost, Stanza 6, “Dein wort laß mich bekennen” (Let me acknowledge your word) part of Salomo Franck text (Evangelisches Sonn- und Fest-Tages Andachten, Weimar and Jena, 1717; presumably in C Major with text source Weimar Hymnbook 1713.
6. Dein Wort laß mich bekennen
vor dieser argen Welt,
auch mich dein Diener nennen,
nicht fürchten G'walt noch Geld,
das mich bald möcht verleiten
von deiner Wahrheit klar;
wollst mich auch nicht abscheiden
von der christlichen Schar.
6. Thy Word be my confession
Before the world profane,
Nor let me make concession
To fear, might, wealth or gain,
But make me serve Thee ever
In Thy clear truth, my rock,
Nor my connection sever
With Thy true Christian flock.
English translation © Matthew Carver, 2009.

2. BWV 37/6, “Wer da gläubet und getauft wird,” (Whoever believes and is baptized, Mark 16:16), Ascension Festival 1724 (librettist ?Christian Weise) ends with No. 6, Stanza 4, closing plain chorale "Den Glauben mir verleihe" (The faith to me lends). BWV 37/6 S. 4, Chorale [S, A, T, B] Oboe d'amore I e Violino I col Soprano, Oboe d'amore II e Violino II coll'Alto, Viola col Tenore, Continuo
Den Glauben mir verleihe|
Grant me faith
An dein' Sohn Jesum Christ,
in your son Jesus Christ,
Mein Sünd mir auch verzeihe
forgive me also my sins
Allhier zu dieser Frist.
here at this time,
Du wirst mir nicht versagen,
You will not deny to me
Was du verheißen hast,
what you have promised,
Dass er mein Sünd tu tragen
that he should bear my sins
Und lös mich von der Last.
and free me from the burden.
Francis Browne English translation, BCW

3. BWV 347, plain chorale in A Major; music, score,;
harmonic analysis, Riemenschneider,

4. BWV 348, plain chorale in B-Flat Major; music
Index to Scores, BWV-250-438, BCW, music unavailable

Hymnal listings:

BWV Kalmus Bär.-Kirn. Musica Budapest Riemen.
Ich dank' dir, lieber Herre 347 176 2 175 2
Ich dank' dir, lieber Herre 348 177 272 176 272
Ich dank' dir, lieber Herre 37/6 178 341

Stanza 6, “Dein wort laß mich bekennen,” also is listed as the closing chorale in Picander’s Cycle text, P-20/5, closing Cantata “Sei getreu bis in den Tod” (Be thou faithful unto death, Rev. 2:10b KJV), for Sexagesimae Sunday (February 20, 1729). It is possible that BWV 347 or 348 was composed for this usage. No other music survives to the Picander text.

Johann Christoph Bach (1642-1703) set a five-voice (SSATB) funeral motet, “Sei getreu bis in den Tod, ” in motet-aria style, with soprano (non-chorale) aria in four stanzas, the two-part style adopted by Sebastian in his motet, Komm, Jesu, komm, BWV 229.

Other Composers:

Johann Christoph also composed a chorale prelude for organ setting, “Ich dank dir lieber Herre (Lobt Gott getrost mit Singen),” No. 40 of 44 (Kassel: Bärenreiter, 1949. Catalog BA 285). He also set Kolrose’s “Wo Gott zum Haus nich gibt sein Gunst,” No. 22äle_zum_Präambulieren_(Bach,_Johann_Christoph.
Dieterich Buxtehude also set a chorale fantasia, “Ich dank dir, lieber Herre,” BuxWV 194


1 Matthew Carver, Hymnoglypt

2Johann Sebastian Bach, Bach’s Chorals. Part I: 2 The Hymns and Hymn Melodies of the Cantatas and Motetts, by Charles Sanford Terry (Cambridge University Press, 1915-1921). 3 vols. Vol. 2. July 13, 2015.
3 Hymnal Companion to the “Lutheran Book of Worship” (LBW), Ed. Marilyn Kay Stulken (Phiadelphia: Fortress Press, 1981). Lutheran Book of Worship (Minneapolis: Augsbiurg Publoshing, 1978).
4 BACH'S HYMN BOOK: Jürgen Grimm, "Das neu [?] Leipziger Gesangbuch (NLGB) des Gottfried Vopelius (Leipzig 1682)", Berlin: Merseburger, 1969. ML 3168 G75.

Addendum 1

1) Lob Gott getrost mit Singen, frohlock, du christlich Schar!
Dir soll es nicht misslingen, Gott hilft dir immerdar.
Ob du gleich hier musst tragen viel Widerwärtigkeit,
noch sollst du nicht verzagen; er hilft aus allem Leid.
2) Dich hat er sich erkoren, durch sein Wort auferbaut,
mit seinem Eid geschworen, weil du ihm bist vertraut,
dass er sich lässet finden in aller Angst und Not;
er wird auch überwinden, die dich noch schmähn mit Spott.
3) Kann und mag auch verlassen ein Mutter je ihr Kind
und also gar verstoßen, dass es kein Gnad mehr findt?
Und ob sich's möcht begeben, dass sie so sehr abfiel:
Gott schwört bei seinem Leben, er dich nicht lassen will.
4) Darum lass dich nicht schrecken, o du christgläubge Schar!
Gott wird dir Hilf erwecken und dein selbst nehmen wahr.
Hat er dich doch gezeichnet, gegraben in sein Händ:
dein Nam stets vor ihm leuchtet, dass er dir Hilfe send.
Source: YouTube,, click on SHOW MORE.
Chorale text, “Ich dank dir, lieber Herre”
1. Ich dank dir, lieber Herre,
daß du mich hast bewahrt
in dieser Nacht Gefährde,
darin ich lag so hart
mit Finsternis umfangen;
dazu in großer Not,
daraus ich bin entgangen,
halfst du mir, Herre Gott.
2. Mit Dank will ich dich loben,
o du mein Gott und Herr
im Himmel hoch dort oben.
Den Tag mir auch gewähr,
worum ich dich tu bitten
und was dein Will mag sein:
Leit mich in deinen Sitten
und brich den Willen mein,
3. daß ich, Herr, nicht abweiche
von deiner rechten Bahn,
der Feind mich nicht erschleiche,
damit ich irr möcht gahn.
Erhalt mich durch dein Güte,
das bitt ich fleißig dich,
vor's Teufels List und Wüthen,
womit er setzt an mich.
4. Den Glauben mir verleihe
an dein' Sohn Jesum Christ;
mein Sünd mir auch verzeihe
allhier zu dieser Frist.
Du wirst mir´s nicht versagen,
wie du verheißen hast,
daß er mein Sünd tut tragen
und löst mich von der Last.
5. Die Hoffnung mir auch gebe,
die nicht verderben läßt,
dazu ein christlich Liebe
zu dem, der mich verletzt,
daß ich ihm Guts erzeige,
such nicht darin das Mein
und lieb ihn als mein eigen
nach all dem Willen dein.
6. Dein Wort laß mich bekennen
vor dieser argen Welt,
auch mich dein Diener nennen,
nicht fürchten G'walt noch Geld,
das mich bald möcht verleiten
von deiner Wahrheit klar;
wollst mich auch nicht abscheiden
von der christlichen Schar
7. Laß mich den Tag vollenden
zu Lob dem Namen dein,
von dir mich nicht abwenden,
ans End beständig sein.
Behüt mir Leib und Leben,
dazu die Frücht im Land;
was du mir hast gegeben,
steht alls in deiner Hand.
8. Herr Christ, dir Lob ich sage
um deine Wohltat all,
die du mir all mein Tage
erzeigt hast überall.
Dein' Namen will ich preisen,
der du allein bist gut;
mit deinem Leib mich speise,
tränk mich mit deinem Blut.
9. Dein ist allein die Ehre,
dein ist allein der Ruhm;
die Rach dir niemand wehre,
dein Segen zu uns komm,
daß wir im Fried entschlafen;
mit Gnaden zu uns eil,
gib uns des Glaubens Waffen
vor's Teufels listig Pfeil.
1. I thank Thee, Lord, for keeping
Thy watch throughout the night
And guarding me while sleeping
In slumber’s fetters tight,
When shadows circled round me,
And in distress I lay,
Thy ramparts did surround me
Until I saw the day!
2. With thanks I bow before Thee
O Thou my God and Lord
And urgently implore Thee:
This day Thy help afford;
O Father, hear my pleading,
Yet, let Thy will be done,
In Thine own way be leading,
My will with Thine be one!
3. From wand’ring, Lord, prevent me,
That I not slip or stray,
Grant not the foe to tempt me
To take the erring way:
I pray Thee, help in shunning,
O Lord, by all Thy grace,
The devil’s snares and cunning
Which wait in every place.
4. With solid faith endue me,
In Jesus Christ to trust;
Forgive my sins, renew me,
For Him declare me just;
This shalt Thou not deny me,
Just as Thy lips did swear,
That Christ from sin would pry me,
And all its burden bear.
5. And with that hope provide me
Which no corruption sees,
Put Christlike love inside me
For all mine enemies,
That I may show compassion,
Nor seek or serve mine own,
But love them in the fashion
That Thou to me hast shown.
6. Thy Word be my confession
Before the world profane,
Nor let me make concession
To fear, might, wealth or gain,
But make me serve Thee ever
In Thy clear truth, my rock,
Nor my connection sever
With Thy true Christian flock.
7. The day grant me to finish
In glory to Thy name,
Nor let my faith diminish,
But Thee till death acclaim,
Uphold my earthly haven
Defend me till I die,
All things Thy hand hath given,—
All in Thy hand doth lie.
8. Lord Christ, I give Thee praises
For all Thy goodness fair,
Which Thou as each day passes
Revealest everywhere;
Thy name, all names exceeding
I’ll praise, for Thou art good,
Thou giv’st Thy flesh for feeding,
Thou bid’st me drink Thy blood.
9. We worship and we bless Thee
We praise Thee, God, alone;
Grant that, as we confess Thee,
Thy blessings to us come;
That we in peace may slumber,
Thy grace upon us pour;
For Satan’s darts in number
Grant faith, Thy weapon sure.
Translation © Matthew Carver, 2009.

Stephen Benson wrote (July 15, 2015):
[To Linda Gingrich] And then there’s Dance and the Music of J. S. Bach (Expanded Edition) by Meredith Little and Natalie Jenne (Indiana University Press, 2001).

Julian Mincham wrote (July 15, 2015):
[To Linda Gingrich] Adam Burdick's abstract.

Claudio Di Veroli wrote (July 15, 2015):
[To Linda Gingrich] Hope the dissertation acknowledges and refers to an excellent and unique treatise that sheds lots of light into the topic:

Little, Meredith and Jenne, Natalie. Dance and the Music of J. S. Bach. Expanded Edition. Indiana University Press, Bloomington , Indiana ( USA ) 2001.

Julian Mincham wrote (July 15, 2015):
[To Claudio Di Veroli] A detailed and illuminative book--though not an easy read for the nonprofessional music lover.

Judy Marr Birmingham wrote (July 15, 2015):
Cantata 147: Jesu Joy of Man's Desiring - words

I'm a "lay person" without much formal music training, and I've only recently, at age 60, developed a deep appreciation for the Bach Cantatas. When I was in college, I had a recording of Cantata 147, and on the album's back cover were the words to Jesu Joy of Man's Desiring in English. They were something like this:

Jesu Joy of Man's Desiring
Thou whose love transcends every mortal fear.
Thou whose wisdom so inspiring,
Guides us through the days of an earthly year.

Son of God, we kneel before thee,
Humbly now do we adore thee.
Guide us to the Truth unknown.
Guide us from thy Heav-enly throne.

(Something like that, anyway--It's been 40 years...) I think it may have been an Archiv recording. But a search on Google doesn't turn up any song with those lyrics. I was wondering if anyone here recognizes these lyrics? They aren't anything like the translations (or the German original text) that I've found on the net so far.

I am so grateful for the discussion on this mailing list. It's been very helpful as I go about studying each of the cantatas on my own. As each cantata comes up for discussion, I find it on Spotify (which has quite a few playlists that include almost every Bach cantata, as performed by various conductors - Ton Koopman, John Eliot Gardiner, Helmuth Rilling...probably others too.) Thank you!

Linda Gingrich wrote (July 15, 2015):
It does indeed, as well as several related articles by both Little and Jenne.

Peter Smaill wrote (July 16, 2015):
[empty message]

William Hoffman wrote (July 16, 2015):
Sorry: Google: No pages were found containing,

Kim Patrick Clow wrote (July 16, 2015):
[To William Hoffman] Works fine for me, and I downloaded a copy of the PDF of the document, if you need a copy.

William Hoffman wrote (July 16, 2015):
Thanks, I printed out the Abstract and the Table of Contents. There is a chater on Dance in the Cantatas, with emphasis in BWV 122, 8, 6, 113, 124, and 75.

Ed Myskowski wrote (July 18, 2015):
[To Stephen Benson] I have had this volume (below) on the shelf for several years, for reference use. I recently got it out after hearing Andrew Rangell perform a French Suite on piano at Rockport MA, USA. To my surprise, I found only a passing reference to Allemande, with no index listing for this ubiquitous (in Bach and others) dance form. Have I overlooked something?

A local reviewer (Boston Globe) called the Rangell performance overly romantic, etc. Probably accurate, in strict terms, especially for HIPsters. However, the audience responded enthusiastically to the emphasis on the varied dance characteristics of the individual movements, and that emphasis by Rangell is what drove me to Little and Jenne for a little enlightenment on details of the various forms. Alas, hard to dig in without the standard first movement of the suites (Allemande) being covered by them.

Claudio Di Veroli wrote (July 18, 2015):
[To Ed Myskowski[ Indeed, Ed,

this is one of the few shortcomings in this otherwise excellent treatise. As I explain in a recent work of mine (

" The author is indebted to an already mentioned work (Little and Jenne 2001), mostly devoted to dancing, composition, structure and rhythms, with only a few sparse—but very valuable—hints on performance, including articulation, inégales and tempi. Please note that Little and Jenne cover neither Rigaudons nor Allemandes/as (the latter because they were no longer danced in J.S. Bach’s times) and only deal very briefly with Passacailles and Chaconnes." (Needless to say, my book does include a full treatment of performance matters related to Allemandes, Italian Allemandas, Rigaudons, Passacailles and Chaconnes.)

William Hoffman wrote (July 18, 2015):
This is the best book by far, from which, Little and Jeanne did their second editon including vocal music: Fincke-Heckinger, Doris: Tanzcharakter in J.S. Bach’s Vokal Musik. Trossingen: Tübinger Bach-Studien 6. 1970.


Cantatas BWV 147: Details & Complete Recordings | Recordings of Individuaul Movements: A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z
Cantata BWV 147a: Details
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6

Recordings & Discussions of Cantatas: Main Page | Cantatas BWV 1-50 | Cantatas BWV 51-100 | Cantatas BWV 101-150 | Cantatas BWV 151-200 | Cantatas BWV 201-224 | Cantatas BWV Anh | Order of Discussion
Discussions of General Topics: Cantatas & Other Vocal Works | Performance Practice | Radio, Concerts, Festivals, Recordings


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