Ich bin herrlich, ich bin sch?n, Aria, No. 4 from Cantata No. 49: Ich geh und suche mit Verlangen (V

Johann Sebastian Bach composed the church cantata Ich geh und suche mit Verlangen BWV 49, in Leipzig for the twentieth Sunday after Trinity Sunday and first performed it on 3 November It is a solo cantata, a dialogue of soprano and bass. In the soprano aria "Ich bin herrlich, ich bin schön" (I am glorious, I am.
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Aria: "Ich bin herrlich, ich bin schön" (BWV 49 No 4) for String Quartet

O Ewigkeit, du Donnerwort. Wir danken dir, Gott, wir danken dir BWV Geist und Seele wird verwirret BWV Schwingt freudig euch empor BWV 36a: Steigt freudig in die Luft BWV 36b: Die Freude reget sich BWV 36c: Schwingt freudig euch empor BWV Aus tiefer Not schrei ich zu dir BWV Dazu ist erschienen der Sohn Gottes. Jesu, nun sei gepreiset BWV Sie werden euch in den Bann tun BWV Es ist dir gesagt, Mensch, was gut ist BWV Schauet doch und sehet BWV Ich geh' und suche mit Verlangen BWV Nun ist das Heil und die Kraft. Falsche Welt, dir trau ich nicht BWV Ich will den Kreuzstab gerne tragen BWV Selig ist der Mann BWV Wer mich liebet, der wird mein Wort halten BWV Sehet, welch eine Liebe BWV Sie werden aus Saba alle kommen BWV Erfreut euch, ihr Herzen BWV 66a: Wachet, betet, seid bereit allezeit!

Herr, wie du willt, so schick's mit mir BWV Die Elenden sollen essen BWV Jesu, der du meine Seele BWV Alles, was von Gott geboren BWV 80b: Ein feste Burg ist unser Gott. Ich habe genug BWV Ich bin ein guter Hirt BWV Wahrlich, wahrlich, ich sage euch BWV Bisher habt ihr nichts gebeten in meinem Namen BWV Siehe, ich will viel Fischer aussenden BWV Was soll ich aus dir machen, Ephraim BWV Was frag ich nach der Welt BWV Christus, der ist mein Leben BWV In allen meinen Taten BWV Was Gott tut, das ist wohlgetan BWV Was Gott tut, das ist wohlgetan.

Ihr werdet weinen und heulen BWV Ich glaube, lieber Herr BWV Unser Mund sei voll Lachens. Was mein Gott will, das g'scheh allzeit BWV Ach, lieben Christen, seid getrost BWV Mache dich, mein Geist, bereit BWV Gott, man lobet dich in der Stille BWV a: Gott, man lobet dich in der Stille. Christum wir sollen loben schon BWV Das neugeborne Kindelein BWV Meinen Jesum lass ich nicht BWV Herr Gott, dich loben alle wir.

Fugue in G minor BWV Ich freue mich in dir BWV Wohl dem, der sich auf seinen Gott BWV Wachet auf, ruft uns die Stimme.

Ich geh und suche mit Verlangen, BWV 49 - Wikipedia

Uns ist ein Kind geboren by Johann Kuhnau? Nimm, was dein ist, und gehe hin BWV Nach dir, Herr, verlanget mich. Jauchzet, frohlocket, auf, preiset die Tage II. Fallt mit Danken, fallt mit Loben V. Ehre sei dir, Gott, gesungen VI. This union and is the central theme of Luther's sermons for the 20th Sunday after Trinity, Leahy points out. Besides the important themes of mystic union, bride and bridegroom, and the Eucharistic meal, Leahy notes p. Luther emphasizes that salvation is attained only through Holy Communion following the cleansing process.

The Communion is a commemoration of Christ's sacrifice on the cross, therefore the utilization of the hymn in oratorio Passion settings. There are striking similarities, particularly based on Bach's musical treatment of the text of Stanza 1 of Franck's hymn, emphasizing the text-music relationships.

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Meanwhile, there are various differences in the overall compositional methods of a cantata pastorale-gigue chorus in episodic ritornello form and embellished melodic treatment compared to manipulation of the cantus with modulation and contrapuntal harmony in the organ chorale prelude.

Here is Browne's interlinear English translation of Stanza 1: Der den Himmel kann verwalten, He who can reign in heaven Will selbst Herberg in dir halten. Brockes Passion of , No.


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In all likelihood Bach developed the music for the extended "Great" chorale prelude collection, composed in Weimar and revised c. There are two Miscellaneous Organ Chorale prelude settings now attributed to the Bach student and gallant composer Gottfried August Homilius: II 74 Emans ? Chorale Cantata BWV may have been reperformed on the 20thth Sunday after Trinity, October 31, , possibly as part of performance of the entire second cycle.

In , the 20th Sunday after Trinity occurred on October 14 during Bach's third Trinity Time in Leipzig when he composed only a handful of new cantatas. It is doubtful that he presented any of his own music on this Sunday in It utilizes another composite text near the end of the third Leipzig cantata cycle, for the 20th Sunday after Trinity, on November 3, The first six lines in long notes in the soprano are inserted between the first two lines of the biblical dictum opening the final movement No.

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They each quote a passage from Revelation: Bass aria, Song of Songs: Its primary usage is for the 20th Sunday after Trinity, Stiller Ibid, points out, when it was "the hymn of the day in Leipzig and also enjoyed high priority in the Dresden hymn schedules around The author of both the seven-stanza text and melody is Philipp Niccolai, dating to Bach utilized all the verses and the melody is found in Cantatas: Further information is found in Wikipedia: No musical source with the presumed chorales is extant.

Only one new hymn is introduced: Two are repeated for Trinity Provenance The estate division of the manuscripts of Bach's vocal music shows a uniform pattern in the distribution of the three Leipzig church cycles of cantatas composed for the final quarter of Trinity Time. For the first cycle, presented in , beginning with Cantata 48 for the 19th Sunday after Trinity, first-born son Friedemann received both the score and parts sets while none of the remaining music of Cycle 1 Trinity Time cantatas, including BWV 49, was found in the estate of second-born son Emmanuel.

There is no deviation in the distribution of Cantata in the so-called Chorale Cantata Cycle 2: Friedemann received virtually all the scores and step-mother Anna Magdalena the parts sets then given to the Thomas Church. In Cycle 3, beginning at the 13th Sunday after Trinity with Cantata , Emanuel received virtually all the scores and Friedemann the parts sets.

Subsequently, concerning the provenance of Cantata BWV , , and 49, there is no record for Cantata The score of Cantata was available for copying for a price in Leipzig publisher Breitkopf's initial catalog of , presumably available from Friedemann's manuscript in Halle, who would have shared the payment.

Ich geh' und suche mit Verlangen, BWV 49 (Bach, Johann Sebastian)

The Amalien Bibliothek in Berlin purchased a copy of the score. There is a score copy of Cantata 49 in the hand of Emmanuel's main copyist in Hamburg, H. Addendum William Hoffman wrote June 4, It is LBW hymn No. Seines Heils Gerechtigkeit The justice of his salvation Ist mein Schmuck und Ehrenkleid; is my adorand robe of honour; Und damit will ich bestehn, and with these I shall pass the test Wenn ich werd im Himmel gehn. Christi Blut und Gerechtigkeit Christ's Blood and Righteousness das ist mein Schmuck und Ehrenkleid, That is my adornment and robe of honor damit will ich vor Gott bestehn, With these shall I come through before God wenn ich zum Himmel werd eingeh when I am bound for heaven.

This is also exquisitely accompanied by the sound of the oboe d'amore and violoncello piccolo, in a movement full of contrapuntal artfulness which includes multiple stretti based on the opening of the main theme" BCW, http: While Bach scholars have devoted considerable efforts to finding the sources of biblical references and chorales, less has been used to find the sources of chorale references in arias and choruses. Much in need of updating and virtually ignored by established Bach scholars, his exhaustive study of parody, contrafaction, and instrumental borrowings also lists Bach's uses of various chorale stanzas as a form of varied text underlay.