Luogo e data di registrazione		Predikherenkerk, Leuven (Belgium) - 1/3 June 2012
	Registrazione: live / studio		studio
	Recording Staff		Eckhard Steiger
	Prima Edizione CD		ACCENT - ACC 25316 - (1 CD) - durata 73' 23" - (p) 2012 (c) 2013 - DDD
	Note		-

COMMENTARY on the cantatas presented here This CD offers four cantatas, one for each of the three days of Pentecost (BWV 34, 173 and 184) and one for the Sunday after Pentecost, Trinity Sunday (BWV 29). Of these four works only the Trinity Cantata (BWV 129) is an original composition – the three Pentecost Cantatas are ‘parodies’, that is Bach’s own arrangements of earlier works. BWV 34 is based on an earlier Wedding Cantata (BWV 34a), BWV 173 on a previous Birthday Cantata (BWV 173a) and BWV 184 on a previous New Year Cantata (BWV 184a). Bach very often adapted his own works, and each time the quality of the original is maintained or even increased (often due merely to the quality of the librettos in the sacred parody exceeding the limitations of secular occasional verse). The original forms of the Cantatas for the second and third days of Pentecost (BWV 173 and 184) originated in Köthen, where Bach was Kapellmeister to Prince Leopold of Anhalt-Köthen. As a Calvinist this Prince did not want any “modern” festive cantata music in the services. Only for the birthday of the Prince and for the New Year did the Prince require a Festival Cantata from Bach. These works were conceived with more modest settings, appropriate for the court orchestra. On the settings of the Cantatas BWV 173 and 184: The original Köthen versions have been designated today as BWV 173a and 184a; Bach was able to take the score of BWV 173a and the separate voices books of BWV 184a with him to Leipzig. In the subsequent reworkings for the sacred parody form (also with new texts!) he changed nothing in the instrumental settings, just the vocal setting of both cantatas being expanded from two (only the soprano and bass, in Köthen) to four (the complete vocal quartet in Leipzig). The instrumentation in Köthen is identical to the original version of BWV 184a (the score of 173a also tallies, though not quite so explicitly in detail): it is for transverse flute, 2 violins, viola, cello and basso continuo. As a string bass only violoncello was indicated, and also no ‘doubling’ of the two violin parts was included, and since only a single wind instrument, the transverse flute, was selected (no oboes, trumpets, or the like) it can be concluded that in these pieces all the instruments were used singly, as in chamber music. With the Leipzig parody version nothing – as mentioned – was changed. We have in our recording completely respected this limited instrumentation – including the use of the violoncello (da spalla) as the only double bass. In both the other cantatas, the string section is as usual, with 2 x 2 violins. As the violoncello da spalla was available, it doubles the normal double bass (8 ft violone) in the more strongly set sections of BWV 34 and 129. “O ewiges Feuer, o Ursprung der Liebe”, BWV 34 (O Eternal Fire, O Wellspring of Love) This cantata was composed for a Pentecost Sunday, probably in the 1740s, based on the Wedding Cantata BWV 34a written in 1726, which had the same initial text, but which has not come down to us complete. The text author is unknown. From the eight parts of the original version we find just three parts used in the Pentecost version of only five parts: the No. 1 remained as the opening piece, the original No. 5 in the Wedding Cantata (after the ceremony) is No. 3 in the parody and the No. 4 (then the conclusion of the first part) is the final chorus in the parody. The piece is magnificently set: strings with oboes as well as three trumpets, with timpani. The Gospel reading for the Pentecost Sunday is from St. John 14 (23-31): an excerpt from Jesus’s farewell discourse to his disciples (the sending of the Holy Ghost, and the benediction for peace). In the Epistle reading we hear from the Acts of the Apostles what happened in the house of Mary: the sound of wind, how the fire appeared, the flaming tongues which sat upon each of them, how they were all filled with the Holy Ghost and suddenly spoke every language. No. 1 (Chorus) “O Eternal Fire”: The text of the original version had only to be adapted slightly for this new use. From the flames of love (at the wedding), the flames of the Holy Ghost came seamlessly upon the apostles. As always, Bach also finds here the leading compositional elements in the text. Right at the beginning a long-held trumpet note suggests the “eternal”. (This long note we find almost permanently somewhere in the score, sometimes in this, sometimes in that part). In between, the “flames of fire” blaze up, represented by the first violins with incessant, fast semiquavers. The oboe and other instruments help to give the entire fabric a very concertante and festive image. After the long introduction, the singers finally enter in a similar way, with long sustained notes alternating in all parts throughout the movement, and with running semiquaver figures. At the words “Ursprung der Liebe” (Wellspring of Love) the associated motif is presented imitatively in the order soprano-alto-tenor, that is from high to low - the love comes like the Holy Ghost from Heaven. Such allusions as regards content are omnipresent in Bach, but never dominant – the music is so much more than descriptive. On the words “Feuer” and “Liebe” we find for the most part active melismas in the vocal parts, which then run parallel with the first violins. On “entzünde” (ignite) a very appropriate ascending line appears (what else would we expect?). The B section of the chorus “Lass himmlische Flammen/Durchdringen und wallen” (Let heavenly flames / penetrate and surge) is more lyrical for the voices, while the violins nevertheless continue to play their fast figures almost constantly, as a kind of connecting thread. The long note on “Ewigkeit” also remains present in the most varied colours. The dynamic metrical foot of the text in this very energetic and festive movement is remarkable: “O Ewiges Feuer, O Ursprung der Liebe” is written in the amphibrach foot (short-long-short), which with constant repetition makes a very binary impression, very close to the dactyl. We find this binary accentuated in the music from the start. After this masterful opening movement there follows a Secco recitative (No. 2) for the tenor with the new text from the 1740s: God wants to be with the people, he will mercifully enter their hearts and thereby sanctify them. There follows a wonderful, almost sounding like Christmas, Aria for alto and muted strings (No. 3) with two flutes (probably played by the oboists at the time). The reason for this ‘Christmas’ feeling is simply that in the original version (BWV 34a) the text reads: “Happy are you, you chosen sheep.” The groom, for whom the wedding cantata was written, was probably a theologian or pastor, who also had “sheep to put out to pasture” – hence this pastoral ‘shepherd music’, which reminds us of Christmas and which Bach adopts unchanged in his new version. The sheep here are the souls whom God has chosen, through the sending of the Holy Ghost (Pentecost!) to ‘live’ thereby, and to watch over them as a good shepherd. The theme of the ‘Good Shepherd’ incidentally appears again in the Gospel reading for the third day of Pentecost. Right at the beginning a long held note in the viola part stands out as a bourdon, a fifth against the pulsating bass note. Who does not recognize the bagpipes here (or rather a lighter Musette)? The two transverse flutes double the violins an octave higher, and only in the B-part of the aria – “Wer kann ein größer Heil erwählen” (Who can choose a greater salvation) – are they once used independently as a preliminary portrayal, which the violins answer immediately. The decision to use the flutes in this context is clear. In the original, they are played on the ‘shepherd flutes’, here in the parody these gentle wind instruments also embody the ‘breath’, the Spirit. After this particular aria a short Secco recitative (No. 4) for the bass returns. This explains how God will now pour out his blessings on the “heiligen Hütten” (sacred dwellings – human souls), in which there will come: “Friede über Israel” (Peace upon Israel) (Psalm 128: 6). With these words the closing movement (No. 5) begins. The Vox Dei (normally taken by the bass soloist) here solemnly expresses this benediction for peace, by the full vocal quartet, in two adagio bars. The careful listener will hear how both outer voices (first trumpet and continuo) display a counter-movement which opens out: think of the two open hands as a sign of blessing. The ‘blessing’ leads directly into the final music of the cantata, a kind of gavotte for every part (“Dankt den höchsten Wunderhänden” – Thanks for the lofty hands of wonder) in alla breve time. The figure for “Dankt” is a rapidly ascending scale – the image of thanksgiving – upwards, skywards. In the original text of the wedding cantata at this point was: “Eilt zu denen heiligen Stufen” (Hurry to those sacred steps). Since Bach adopted the music almost unchanged, we know that the fast rising figure originally stemmed from the word “eilt”. So one sees how music can be very variable in its naïve representations. The orchestra in this final movement is almost the central figure. The vocal part is entirely built on the festive concertante instrumental movement and embedded in it. This Cantata exceptionally contains no chorale, and does not include any references to a church hymn. It is purely music for a festival, of which thanksgiving is the focus, not moralizing thoughts, as we usually encounter in many church hymns. “Erhöhtes Fleisch und Blut”, BWV 173 (Exalted Flesh and Blood), for the second day of Pentecost was probably written in 1724. Our surviving version, however, dates from even later (between 1727 and 1731). In the latter case a printed text of the Cantata was published, probably on the occasion of a repeat performance. This cantata is also a reworking of a Birthday Cantata (“Durchlauchtster Leopold” – His most Serene Highness Leopold – from 1717 or 1722) for Bach’s former employer, Prince Leopold in Köthen. Bach’s score has been obtained from BWV 173a (Köthen), the separate parts having been lost. The piece was originally for only soprano and bass soloists, but for the Leipzig parody the alto and tenor were added. The text author is also unknown here. The music of the original version has been retained (with some adjustments for the new text). Bach, however, left out two arias from the original composition (ex-Nos. 6 & 7), so that the parody is limited to six movements. This cantata also has neither the structure of a chorale nor was one added later. The Gospel for Pentecost Monday is St. John 3 (16-21): “God so loved the world that He gave His only-begotten Son”. The Epistle reading comes from Acts 10 (42-48): It is about Peter’s speech (“As Apostles we must testify that it is Jesus who was ordained by God to be the Judge”), and the subsequent outpouring of the Holy Ghost on all the attending audience (even the Gentiles among them!). In the text some hints of these readings are to be found. The Cantata begins with an Accompagnato recitativo (No. 1) for tenor with strings. In the original version this recitative was set for soprano: a solemn short prologue in honour of Leopold. Here, however, man is so to speak addressed solemnly, and congratulated that he is now sanctified in flesh and blood, erhöht (exalted) by God’s Spirit and Fatherhood. The brilliant upward rising vocalise on “erhöhtes” could not be left out ... There follows an Aria (No. 2) for the tenor (in the first version likewise for soprano) with two transverse flutes, strings and basso continuo. The upper instrumental line is played by the violin and two flutes in unison. This creates a special sound, sweet and affectionate. In both versions the text deals with the heavenly gifts, of which Leopold (or in our cantata: mankind in general) is now part. Festive but still intimate, flower-filled sounds urge us to celebrate and give thanks, in order to “Gottes Treue auszubreiten” (spread God’s faithfulness). No. 3 is not called an Aria, but is rather a short vivace for alto with string accompaniment. Because God wants mankind to do great things, the text declares “Mund und Herze, Ohr und Blicke bei diesem Glücke und so heil’ger Freude nicht ruhen” (mouth and heart, ears and eyes should not rest with this happiness and such holy joy). As in the original version in which the bass sang this fragment with an almost identical text, this piece contains here an additional invitation to thanksgiving and praise. It is about God’s intentions toward mankind, but the music is rather strict and metered (Bach writes staccato for both violin parts). A Duetto (No. 4) for soprano and bass now follows, with strings and flutes - a gentle, minuet-like music delights the listener. While the two soloists in the original version almost as allegorical figures congratulated and sang to the Prince Leopold, here instead of Leopold God himself is praised for his goodness (“God so loved the world”, see the Gospel reading!). This duet is very peculiar in its structure. Each of the three (six-line) ‘verses’ of the duet is set in a different key, and each is a fifth higher (G Major – D Major – A Major). The first verse (G Major) is sung by the bass alone, and accompanied by the strings alone. The second verse (D Major) is taken by the soprano, the two flutes join in, and the violins in unison with the viola play the bass part as a so-called Bassetto, an octave higher than the violoncello and organ would have done. Only the last verse (A Major) is sung by both the soloists, the two flutes in unison play the minuet upper voice over the strings with basso continuo, and the first violin suddenly takes off on its own with rapid ornaments (diminutions of the old-fashioned kind). The reason for this may well be that Bach, with these fast concertante notes, wishes to indicate the “offenbartes Licht” (revealed Light), which is mentioned in the text. However that may be, it results in a beautiful intensification in the course of this third part. There follows a Recitativo for 2 (Duetto) (No. 5) for soprano and tenor and basso continuo (originally for soprano and bass, because there was then only soprano and bass). The text hardly had to be adapted for the new version, only in the first verse, which is in the original: “Durchlauchtigster, den Anhalt Vater nennt” (Most serene one, whom Anhalt calls Father). In our parody this is: “Unendlicher, den man doch Vater nennt” (Eternal one, whom one calls Father). (You will notice that the rhythm of the prosody remains unchanged!). The rest of the Recitativo verses could remain unchanged. This Recitativo is atypical, because it is more a measured arioso than a free recitativo. This is especially true from the sixth bar on when the recitativo disappears and a beautiful web of three voices (soprano, tenor, basso continuo) emerges. The tenor follows the soprano in clear imitation, below which the basso continuo proceeds with regular quavers until shortly before the end of the singing it comes into its own and finally brings the instrumental postlude to a close with a high soaring figure (see the text: “soll sich der Seufzer Glut zum Himmel schwingen” – the fervour of our sighs ascends to to heaven). In this Recitativo a few bars earlier the continuo part is already even higher (because of the textual content!), so that it could certainly be concluded that the five-string violoncello (da spalla) was intended. The sister-Cantata BWV 184 confirms this instrumentation. The Cantata ends with a Chorus (No. 6) for the full vocal quartet and all instruments (in the original version, where only two singers participated, this movement was also called ‘Chorus’. Here it can clearly be seen that the word ‘Chorus’ did not at all correspond at the time to the present meaning.) In this piece we encounter the gentle tutti sound of the individual strings with both flutes. The music for this text points ‘inwards’ (“Rühre, Höchster, unser Geist” – Stir, O Lord, our spirit) is courtly, elegant, in turn minuet-like and delightful. Left over from the original version are the sections where the soprano and bass dialogue without the alto and tenor, to which in the new version Bach simply added ‘all voices’ in the tutti-sections, without much individuality (rather like the inner voices in the French orchestral style, which yes is not far away in this final part). “Erwünschtes Freudenlicht”, BWV 184 (Light of joy desired) Newly arranged for the third day of Pentecost, 30th of May 30, 1724, in Leipzig, this Cantata is a parody of a lost cantata from Köthen. It is so to speak a sister- Cantata of BWV 173, which has been discussed above, and which, in 1724, was given the day before in Leipzig. Like BWV 173, it was also performed again in 1731, as the date on the printed text indicates. The setting is very similar. The original version was probably (like BWV 173) only sung by the soprano and bass. The separate voices of the new sacred version are kept. Here you can see that Bach simply reused the Köthener instrumental parts (only the organ part was rewritten, as it had to be transposed down a tone), and the partbooks of the (now four) singers were rewritten with the new text. We do not know who carried out the rearrangement of the text. The Cantata begins with a Recitativo accompagnato (No. 1) for tenor with two flutes and basso continuo. The flute parts of the original version fit the new text of the sacred version exactly, as if in the original text the words had also been of “light” or “flames”. One might assume that the (secular) Köthener version was a New Year’s Cantata, in which case the “light of joy” simply hinted at the New Year festival, at the candles and torches, or at the light of the New Year. In any case, the short, continuously repeated flute motifs are to be interpreted as an auditory record of flickering candle flames – childlike and simple as Bach is so happy to do. The Gospel reading of the day (St. John 10, 1-11) above all relates that Jesus is the “Good Shepherd”, and it immediately follows that a movement with shepherd flutes can be expected. One can quote further associations with flutes, as we shall discuss later. The text of the Rezitativo is a long monologue, in which the believer is called on to thank and honour God, who concludes a new covenant with mankind through Jesus, for which the solemn symbol of the poet is a “Light of Joy desired”. Man should follow that light to the grave. This accompagnato is very close to the style of a measured arioso, and before the end (with “Drum folgen wir mit Freuden bis ins Grab” - That is why we follow with joy to the grave) Bach actually writes ‘arioso’. From then on, the tenor does not sing recitative but melody with melismas. The flutes are silent and the basso continuo continues with quiet striding quavers. In the last verse (which is set again in a more recitative style), the flutes return with their ‘flame’ images. Now comes an Aria (duet) (No. 2) for soprano and alto, with all the instruments in a flowing 3/8 time (similar to the French Passepied dance) in a free rondo form. “Gesegnete Christen, glückselige Herde” (Blessed Christians, blissfully happy flock). The flutes double the first violin in the tutti sections. In the interludes, they are more independent and bring rapid scale motifs (the joy of the shepherds, but perhaps also the flicker of the Holy Ghost at Pentecost). These motifs are later taken over by the first violin. The text again paraphrases what has been said in the preceding long monologue, this time in a shorter form. What is new though is the idea of the B-part “Verachtet das Locken der schmeichlenden Erde” (Despise the enticements of flattering earth). The vocal parts are almost throughout kept homophonic (that is in the same rhythm, in intervals of a third and a sixth). This creates again a rather traditional and simple Christmas feel. In the B section of the aria (“Verachtet das Locken”) the scene changes. The pair of flutes dialogue with the two singers, but then for a short time they are replaced by the first violin and the singers alone for the words “dass euer Vergnügen vollkommen kann sein” (that your pleasure could be perfect). Then a short version of the instrumental introduction to the A-part is heard as a ritornello, and the singers repeat the B-text. Where previously on “schmeichelnden Erde” there was a long vocalise, here there is an even longer vocalise on “Locken”, in an elaborate dialogue with the instruments. The entire A-section is then repeated. No. 3 is a Secco Recitativo for tenor. The text continues to develop the idea of the shepherd and the happy flock, but also points to the redemption of the “Sündenbanden” (bonds of sin) by the “Held aus Juda” (hero from Judah) (Jesus’s journey to hell to free the sinners) and the “Kraft von Gottes Arm über die Feinde” (the power of God’s arm over the enemy). It finishes with a double image: “Hier schmecket die Herde die edle Weide, und dort hoffet sie volkommne Himmelsfreude” (Here the flock tastes the noble pasture, and hopes for perfect heavenly joy there). At the word “Himmelsfreude” the Secco Recitativo suddenly becomes a delightful dialogue between the tenor and basso continuo (violoncello and organ) - an image of shared happiness? This is followed by an Aria (No. 4) for tenor with solo violin and basso continuo. The dialogue continues, this time between the tenor and the solo violin, supported by a flowing quaver bass, in 3/4 time. A similarity to a polonaise can be noted from the musical setting. The text of the aria is connected to the previous recitative: “Glück und Segen sind bereit / Die geweihte Schar zu krönen” (Happiness and blessedness are ready / to crown the sacred throng). On “krönen” there is always a little decorative motif which reminds us (at least on paper) of a crown. The whole aria is a moment of serene contemplation. It is played with no action, nothing dynamic. Then follows a Choral (No. 5), a new movement, which was set as a Secco Recitativo in the original BWV 184a. It is the eighth verse of “O Herre Gott, dein göttlich Wort” (O Lord God, thine divine word) by Anarg von Wildenfels (1526). The content of this verse takes up again the idea of the shepherds. May God always stand by and lead to salvation those who believe in him. One might have expected that this Choral would close the Cantata, but there follows a solemn Chorus (No. 6), which resembles an elegant and charming gavotte. This movement was the closing movement of the secular original. The original incidentally was used again by Bach in later years (1733) as the finale of his so-called “Hercules” Cantata “Lasst uns sorgen, lasst uns wachen” (Let us tend, let us watch) (BWV 213). Here also, as in the sister Cantata BWV 173, it is clear that initially the soprano and bass were the only singers. Bach only adding the alto and tenor in the A-part as simple inner voices. The B section remains a duet for soprano and bass. The flutes double the first Violin with additional embellishments (simple diminutions with faster note values). The basic idea of the Choral and the whole work is in other words repeated: May God forever remain the Good Shepherd. “Gelobet sei der Herr, mein Gott”, BWV 129 (Blessed be the Lord, my God), for the Trinity Sunday, 1726 (or 1727). The Trinity Sunday Feast can be said in the Christian faith to form the epilogue to the entire arc, which in the first half of the church year spans from Advent through Christmas – Epiphany – Good Friday – Easter – the Ascension to Pentecost, when God as the ‘Crown of His work’ sends us the Holy Ghost. The Trinity is now complete: God as Father, Son and Holy Ghost. It is celebrated on this Sunday immediately after Pentecost as a ‘whole’, a unity. After this end point when the Trinity is completed, the services in the second half of the church year are used for all kinds of reflections on and from the Holy Scriptures, always within the main sweep of the first half. The Sundays of the second half are simply named according to their order: first, second, third (etc.) Sunday after Trinity. There are usually 26 Sundays, and only exceptionally 27 (when Easter falls early in the calendar year), until the year begins again with Advent. Bach’s position as Kantor of the St. Thomas School in Leipzig began on the first Sunday after Trinity in 1723. Cantata BWV 129 is a chorale cantata. Bach, on the first Sunday after Trinity in 1724, as he began his second annual cycle of Cantata compositions, decided to compose a full year of cantatas in which an existing chorale text with all its verses would be taken as the basis, either completely verbatim or partially paraphrased. The first and last verses always retained the original wording. (Sometimes choral sermons were also given, that is sermons, which are based on only a single chorale text). This plan, however, only lasted until Easter 1725. In later years, Bach tried, with similar chorale cantatas, to fill the gap that had remained open from Easter to Pentecost 1725, so that finally a complete annual cycle of cantatas of this type would exist. Cantata BWV 129 is one of these later ‘fillers’. The chorale text by Johann Olearius (1665) here is retained verbatim for all five verses. The first stanza sings of God the Father, the second of the Son, the third of the Holy Ghost. The last two verses then praise the one God existing in three persons. The piece is richly set with an orchestra of 3 trumpets with timpani, transverse flute, 2 oboes and strings with basso continuo. The No. 1, marked Chorus, begins with a long concert-like instrumental introduction, in which the flute and the two violins play virtually throughout in unison with an almost unbroken stream of semidein quavers, and this is very often strengthened by the first oboe, yet in a simplified way. Around this stream two groups hang about initially playing antiphonally: basso continuo, second oboe and viola on the one hand, and the three trumpets with the timpani on the other. In the nineteenth bar the soprano enters with the chorale melody in regular long notes, all alone without the support of any instrumental doubling, and sings the text in clearly separate blocks. The other three singers come in with lively dynamic interjections. In the middle of the very active and colourful web of the surrounding instruments and singers, the chorale melody has not much chance of being clearly heard. This is also due to the soprano part being pitched rather low. It must, therefore, be assumed that Bach did not want this chorale melody to be placed absolutely in the centre. Its presence was in itself apparently enough (we can think of the many hidden beauties in the architecture of so many old churches, which, because of the darkness or too great a distance from the eye, are very often hardly accessible!). To conclude this very striking and impressive movement (in honour of the Father!) the instrumental introduction is heard again. Movement No. 2 (an Aria for bass with basso continuo) stands in stark contrast to this. Simply because of the pure two-part notation, instead of orchestral richness, the composition emphasises here the direct and personal relationship with the Son (“der sich für mich gegeben hat” – ‘who hath given himself for me’, according to the text). This aria could be understood as an intimate dialogue between the faithful and the Son. The third verse of the hymn of 1665 is again an Aria, this time for soprano (No. 3) with obbligato flute, obbligato violin and continuo. Here is the praise of the Holy Spirit: “des Vaters werter Geist, den mir der Sohn gegeben” (worthy Spirit of the heavenly Father, which the Son gave to me). The instruments (first bass) repeat, alternating with the simple main voice from the beginning, a short motif which runs rapidly up and down. It seems to me that this symbolizes the Spirit, the ‘breath’, the spirit which from now on blows where it will. The soprano never adopts this particular image in her vocal ornamentation (as on “gelobet” – praised, or on “schafft” – creates), but maintains an instrumental role. The No. 4 is again a ‘chamber music’ Aria for alto with obbligato oboe d’amore and basso continuo. Here, as already mentioned, the Trinity is sung as a whole, after the Holy Ghost had approached as the last to come and completed the Trinity. This piece, therefore, is (as expected) a pure three-part fabric in itself, in which all the voices are equally important. That Bach selected the oboe d’amore as an obbligato instrument could well be because it is associated with the idea of ‘love’, which is at the heart of the Trinity, the deep bond. A long, purely instrumental introduction (only two parts) opens the aria. Are these not God the Father and God the Son, joined later by the Holy Ghost (the alto soloist)? This assumption can certainly be made. The aria is written in a flowing 6/8 time, and has a very lyrical character. Note the sudden unison of the three parts on the words “Gott Vater, Gott der Sohn und Gott der Heilge Geist” (God the Father, God the Son and God the Holy Ghost): the unity of the Trinity. The last verse of the hymn (No. 5) Chorale will again be played by the entire ensemble, thus forming a tonally symmetrical counterweight to the opening movement. The Chorale is sung in different blocks line by line in simple homophonic four parts. This time the flute doubles the soprano melody in the upper octave. The movement is concertante throughout for the instruments, the trumpet playing the major role in the festive interludes. The text here is once again the universal summation proclaiming: “Gelobet sei mein Gott / In alle Ewigkeit.” (Blessed be my God, For all eternity). Sigiswald Kuijken Translation by Christopher Cartwright