Meine Seel erhebt den Herren, BWV 10
Meine Seel erhebt den Herren | |
---|---|
BWV 10 | |
Chorale cantata by J. S. Bach | |
Occasion | Visitation |
Bible text | Luke 1:46–55 (partly paraphrased) |
Based on | "Meine Seele erhebt den Herren" (German Magnificat) by Martin Luther |
Performed | 2 July 1724 Leipzig : |
Movements | 7 |
Vocal | SATB choir and soloists |
Instrumental |
|
In 1724
Bach composed Meine Seel erhebt den Herren for the Feast of the
By early July 1724 Bach was more than a month into his second year as
The music of two of the cantata's movements was published in the 18th century: an
Background
Late May 1723 Bach took office as
The first weeks of the
Meine Seel erhebt den Herren, BWV 10, for Visitation, is the fifth chorale cantata Bach presented in 1724.[1] Its text is based on Luther's German translation of the Magnificat. The singing tune associated with that version of the Magnificat, a German variant of the tonus peregrinus, appears in Bach's composition.[4]
Readings, text and tune
The prescribed readings for the feast day were from the
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.[5][8]
Bach's music is based on the traditional
Magnificats and Visitation cantatas in Bach's Leipzig
One of Bach's predecessors as director musices of the
A repeat performance of BWV 243a may have accompanied the first performance of BWV 10 on 2 July 1724.
Around 1733 Bach transposed his Latin Magnificat to D major (
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).[35][36] 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.[1]
Some musical similarities between BWV 10 and Bach's Latin Magnificat have been described.[37] Philipp Spitta sees a similar musical treatment at the end of the respective movements based on the Luke 1:51 text, which are the central "Fecit potentiam" movement of the Latin Magnificat and the third "Des Höchsten Güt und Treu" movement of BWV 10.[38] The movements with respectively the German and Latin text of Luke 1:54 present the tonus peregrinus melody associated with Luther's German Magnificat as a cantus firmus played by wind instruments. The "Suscepit Israel" movement of the BWV 243a version of the Latin Magnificat has that cantus firmus performed by a trumpet. In the later BWV 243 version of the same movement the trumpet has been replaced by two oboes. In the corresponding movement of BWV 10 ("Er denket der Barmherzigkeit") the cantus firmus is performed by the trumpet and the two oboes. Masaaki Suzuki assumes that this should be interpreted as trumpet for the original 1724 version, replaced by two oboes in the 1740s revival version, the same modification that occurred to the related movement of the Latin Magnificat.[39]
Place of BWV 10 in Bach's chorale cantata cycle
Bach followed a specific structure for most of the cantatas of his chorale cantata cycle, especially the 40 he presented consecutively from the first Sunday after Trinity of 1724 to Palm Sunday of 1725. In this chorale cantata format he retained the original text and melody of the chorale on which the cantata was based 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, usually with music independent of the chorale tune.[40]
19th-century Bach scholars were largely unaware of the composition history of the chorale cantatas, and how Bach conceived the cycle of these cantatas:
- When BWV 107).[41]
- Spitta described Bach's chorale cantatas rather as a group than as a cycle, and thought that most of them, including BWV 10, were not composed before the mid-1730s.[42]
Details about the history, organisation and coherence of the cycle were only elucidated in the second half of the 20th century, by scholars such as Alfred Dürr.[43] According to this research the chronology of the first six chorale cantatas Bach presented in 1724 is updated as follows (K numbers of the first edition of the chronological Zwang catalogue are given between brackets):[44][45][46]
- 11 June, K 74)
- 18 June, K 75)
- 24 June, K 76)
- 25 June, K 77)
- 2 July, Visitation (in 1724 coinciding with K 78)
- 9 July, K 79)
The strong coherence between the first four cantatas of this series, as belonging to the same set, has been described for instance by
Libretto publications in Bach's Leipzig more than once grouped the first four cantatas after Trinity, or started a new publication with the cantata for the fifth occasion after Trinity.
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. Bach did apparently not compose a cantata for the sixt Sunday after Trinity in 1724 while absent from Leipzig.[44] 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.[52] Also for Trinity VI Bach composed a chorale cantata at a later date (BWV 9).[53]
Music
Structure and scoring
Bach structured the cantata in seven movements. The first and last are set for
In the following table of the movements, the column "text" links to the World English Bible, adding "Luther" for the movements kept in his translation, and "anon." for paraphrased and expanded versions of the unknown librettist.
No. | Title | Text | Type | Voices | Instruments [56] | Key[4] | Time[4] |
---|---|---|---|---|---|---|---|
1 | Meine Seel erhebt den Herren | Luke 1:46–48, Luther | Chorale fantasia | SATB | 'Tromba', 2 Oboes, strings, bc. | G minor | |
2 | Herr, der du stark und mächtig bist | Luke 1:49, anon. | Aria | S | 2 Oboes (unis.), strings, bc. | B-flat major | |
3 | Des Höchsten Güt und Treu | Luke 1:50–51, anon. | Recitative | T | bc. | ||
4 | Gewaltige stößt Gott vom Stuhl | Luke 1:52–53, anon. | Aria | B | bc. | F major | |
5 | Er denket der Barmherzigkeit | Luke 1:54, Luther | duet, chorale | A T | Tromba & both oboes unis., bc. | D minor | 6/8 |
6 | Was Gott den Vätern alter Zeiten | Luke 1:55, anon. | Accompagnato | T | strings, bc | ||
7 | Lob und Preis sei Gott dem Vater | translation of Gloria Patri | Chorale | SATB | Tromba. 2 oboes, strings, bc | G minor |
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".[34]
The chorus enters after 12
2
The soprano aria "Herr, der du stark und mächtig bist" (Lord, you who are strong and mighty)[57] is a concerto of the voice and the oboes, accompanied by the strings.[34] 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.[non sequitur] It is the first soprano aria in the chorale cantata cycle.[59]
3
The recitative "Des Höchsten Güt und Treu" (The goodness and love of the Highest)[57] ends on an arioso.[58] 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.[non sequitur][59] 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".[38]
4
The following aria "Gewaltige stößt Gott vom Stuhl" (The mighty God casts from their thrones)[57] is set for bass and continuo.[58] 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.[59]
5
In the fifth movement, "Er denket der Barmherzigkeit" (He remembers his mercy),[57] 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. Klaus Hofmann interprets the bass line of "emphatic downward semitone intervals" as "sighs of divine mercy".[59] 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.[non sequitur][59]
6
The recitative for tenor, "Was Gott den Vätern alter Zeiten" (What God, in times past, to our forefathers),
7
In the final movement, the two verses of the doxology are set on the psalm tone for four parts, with all instruments playing
Manuscripts and editions
Both Bach's autograph score and the parts used for the cantata's first performance survive.[62][54] The score, previously owned by Wilhelm Friedemann Bach, Philipp Spitta and Paul Wittgenstein, among others, came in the possession of the Library of Congress in 1948.[63][64][65] The original parts remained in Leipzig, where they were entrusted to the Bach Archive in the 20th century.[66]
The entire cantata was published in 1851 in the first volume of the
The cantata was also published with a singable English version of the text:
- My soul doth magnify the Lord – English version by E. H. Thorne and G. W. Daisley[76]
- Magnify the Lord, my soul –
- Now my soul exalts the Lord – based on the NBA edition for the score.[77]
Concert performances and recordings
Instrumental groups playing period instruments in historically informed performances are highlighted green under the header "Instr.".[96] |
Title | Conductor / Choir / Orchestra | Soloists | Label | Year | Instr. |
---|---|---|---|---|---|
Johann Sebastian Bach: Cantatas 10, BWV 241: Sanctus in D major (LP)
Johann Sebastian Bach: Cantata 10 – Cantata 47 (CD)[79] |
Paul SteinitzLondon Bach SocietyEnglish Chamber Orchestra | Oryx (LP) Lyrichord (CD) |
1965 (LP) 2008 (CD) |
||
J-S Bach: Les grandes cantates. Vol. 1 (LP) J.S. Bach – Fritz Werner: Cantatas. Vol. 2 (CD)[80] |
Heinrich-Schütz-Chor HeilbronnPforzheim Chamber Orchestra
|
Erato (LP) Warner Classics (CD) |
1966 (LP) 2004 (CD) |
||
Bach: Magnificat in D major – Cantata No. 10 (LP) The Decca Sound, CD 36[82] |
Karl MünchingerWiener AkademiechorStuttgarter Kammerorchester | Decca | 1969 (LP) 2011 (CD) |
||
Joh:Sebas:Bach: Das Kantatenwerk (Complete Cantatas), Vol. 3[85][95] | Gustav LeonhardtChoir of King's CollegeLeonhardt-Consort |
|
Das Alte Werk (Teldec )
|
1972 (LP) 1985 (CD) |
Period |
Kantaten: Meine Seel' erhebt den Herren, BWV 10 – Ach Herr, mich armen Sünder, BWV 135 – Ein ungefärbt Gemüte, BWV 24 (LP) Bach Cantatas Vol. 3: Ascension Day – Whitsun – Trinity (CD)[81] |
Karl RichterMünchener Bach-ChorMünchener Bach-Orchester | Archiv Produktion | 1976 (LP) 1993 (CD) |
||
Johann Sebastian Bach: Magnificat D-dur – Meine Seel erhebt den Herren (LP) Bach Kantaten: Magnificat D-dur – Meine Seel erhebt den Herren (CD)[83] |
Hans-Joachim RotzschThomanerchorNeues Bachisches Collegium Musicum | Berlin Classics (CD) |
1979 (LP) 1996 (CD) |
||
Die Bach Kantate: BWV 10 Meine Seel erhebt den Herren – | Helmuth RillingGächinger KantoreiBach-Collegium Stuttgart |
|
Hänssler (CD) |
1979 (LP) 1985 (CD) |
|
Gielen-Edition: Johann Sebastian Bach Magnificat D-dur BWV 243 Kantate BWV 10 "Meine Seel' Erhebt den Herren"[84] | Michael GielenAnton-Webern-ChorSWF-Sinfonieorchester Baden-Baden | Intercord | 1991 (rec.) 1995 (CD) |
||
Bach: Complete Cantatas, Vol. 11[87][95] | Ton KoopmanAmsterdam Baroque Orchestra & Choir | Erato (later: Antoine Marchand) |
1999 (rec.) 2001 (CD) |
Period | |
J. S. Bach: Magnificat in E flat major BWV 243a – Cantata BWV 10[90] | Roland BüchnerRegensburger DomspatzenMusica Florea |
|
Pure Classics |
2000 | Period |
Bach Edition Vol. 20: Cantatas Vol. XI[88][95] | Holland Boys ChoirNetherlands Bach Collegium
|
Brilliant Classics | 2000 | Period | |
Bach Cantatas Vol. 2: Paris/Zürich / For the 2nd Sunday after Trinity / For the 3rd Sunday after Trinity[91] | John Eliot GardinerMonteverdi ChoirEnglish Baroque Soloists | Soli Deo Gloria
|
2000 | Period | |
J. S. Bach: Cantatas Vol. 23 (Cantatas from Leipzig 1725)[89] | Masaaki SuzukiBach Collegium Japan | BIS | 2002 | Period | |
Bach - Kuhnau: Magnificat[92] | Ton KoopmanAmsterdam Baroque Orchestra & Choir | Naxos
|
|
Period | |
Johann Sebastian Bach: Cantatas BWV 20 - 2 - 10 (Cantatas for the Complete Liturgical Year Vol. 7)[93] | Sigiswald KuijkenLa Petite Bande | Accent | 2007 (rec.) 2008 (SACD) |
Period |
Notes
- ^ "BWV" is Bach-Werke-Verzeichnis, a thematic catalogue of Bach's works.
References
- ^ a b c d Dürr & Jones 2006, p. 32.
- ^ a b BIS-1331 2003, p. 6.
- ^ Lundberg 2013, p. 9.
- ^ a b c Dürr & Jones 2006, p. 676–678.
- ^ a b c d e Dürr & Jones 2006, p. 678.
- ^ a b BIS-1331 2003, p. 8.
- ^ Peters 2012, p. 30.
- ^ a b c BDW 12 2017.
- ^ Stölzel 1740.
- ^ a b c Glöckner 1982.
- ^ Rettinghaus 2017.
- ^ D-B Mus. ms. autogr. Hoffmann, M. 3 N 2017.
- ^ RISM 464000199 2017.
- ^ SBB Mus.ms.autogr. Hoffmann, M. 3 N 2014.
- ^ 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
- ^ Bach Digital Work 01329 at Bach Digital website
- ^
- ^ Bach Digital Work 00229 at Bach Digital website
- ISBN 978-0-19-971662-3
- ^ BDW 303 2015.
- ^ Glöckner 2003.
- ^ Dürr & Jones 2006, p. 670.
- ^ Bach Digital Work 00180 and 00181 at Bach Digital website
- ^ Peters 2012, p. 64; Rizzuti 2013, p. 1.
- ^ Bach Digital Work 01672 at Bach Digital website
- ^ a b c d Blanken 2015, p. 18.
- ^ Picander (=Christian Friedrich Henrici). Ernst-Schertzhaffte und Satyrische Gedichte, Volume III. Leipzig: Joh. Theod. Boetii Tochter (1732; 2nd printing 1737), pp. 153–155
- ^ Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz: D-B Mus. ms. Bach P 39 at Bach Digital website
- ^ Jenkins 2000, p. 1.
- ^ Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz: D-B Mus. ms. 2755, Fascicle 1 at Bach Digital website
- ^ Kirsten Beißwenger (ed.) Werke zweifelhafter Echtheit, Bearbeitungen fremder Kompositionen (Volume 9 of Series II: Masses, Passions, Oratorios from the New Bach Edition). Bärenreiter, 2000.
- ^ Bach Digital Work 01268 at Bach Digital website
- ^ Bach Digital Work 01338 at Bach Digital website
- ^ a b c Gardiner 2010, p. 9.
- ^ Bach Digital Work 08303 at Bach Digital website
- ^ Maria Zadori, Kai Wessel, David Cordier, Wilfried Jochens, Hans-Georg Wimmer, Stephan Schreckenberger, Harry van der Kamp, the Rheinische Kantorei, the 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
- ^ Rathey 2016.
- ^ Novello & Co, 1899, pp. 380–381
- ^ BIS-1331 2003, p. 11.
- ^ Dürr & Jones 2006, p. 31–32.
- Bach-Gesellschaft Ausgabe Volume 27: Thematisches Verzeichniss der Kirchencantaten No. 1–120. Breitkopf & Härtel. "Vorwort" (Preface), p. VII
- Novello & Co, 1899, pp. 89–99 and endnote 3 pp. 285–287
- ^ Dürr, Alfred 2(1976). Zur Chronologie der Leipziger Vokalwerke J. S. Bachs, 2. Auflage: Mit Anmerkungen und Nachträgen versehener Nachdruck aus Bach-Jahrbuch 1957. Kassel. p. 16
- ^ ISBN 978-3-8423-5725-9, p. 32
- ISBN 2-221-00749-2
- ^ Johann Sebastian Bach: Correspondance Catalogues Zwang — Schmieder at www
.musiqueorguequebec .ca - ^ Wolff 2002, p. 275–278.
- ^ Gardiner 2010, p. 16.
- ^ Pfau 2008, p. 108.
- ^ Tatiana Shabalina "Recent Discoveries in St Petersburg and their Meaning for the Understanding of Bach's Cantatas" pp. 77–99 in Understanding Bach 4, 2009, pp. 88–89
- ^ Wolff 2002, p. 275.
- ^ Dürr & Jones 2006, pp. 422–425.
- ^ Dürr 1981, pp. 366–368.
- ^ a b RISM 200020894 2017.
- ^ Dürr & Jones 2006, p. 676.
- ^ Wolf 1995, pp. 131ff. (score).
- ^ a b c d e f g Dellal 2012.
- ^ a b c d e f g Dürr & Jones 2006, p. 679.
- ^ a b c d e f BIS-1331 2003, p. 7.
- ^ BIS-1331 2003, pp. 7–8.
- ^ Hauptmann 1851, p. 303.
- ^ RISM 000102323 2017.
- ^ Autograph 2017.
- ^ Library of Congress 1740.
- ISBN 978-3-7618-0724-8), p. 24
- ^ D-LEb Thomana 10 2017.
- ^ Bach c. 1748, pp. 8–9.
- ^ BDW 736 2015.
- ^ Dahn (table) 2017.
- ^ Dietel 2017.
- ^ Bach 1787, p. 206.
- ^ Dahn 2017.
- ^ a b Großpietsch 2009.
- ^ Hauptmann 1851.
- ^ Wolf 1995.
- OCLC 855200738
- ^ Wolf 2015.
- ^ Johannes Martin. Karl Richter in München (1951 - 1981) - Zeitzeugen erinnern sich. Conventus Musicus, 2013, p. 257
- ^ OCLC 705343169
- ^ OCLC 946461026
- ^ OCLC 724824165
- ^ OCLC 813930323
- ^ OCLC 949900636
- ^ a b Cantata: Johann Sebastian Bach Magnificat + Kantate BWV 10 Michael Gielen at Christoph Prégardien website
- ^ OCLC 317446251
- ^ OCLC 937062548
- ^
- ^ OCLC 836243736; pp. 23–24 (liner notes by Dingeman van Wijnen), 64 (sung texts) and 185 (tracklist) of Brilliant Classics' J.S. Bach Complete Edition: Liner Notes, Sung Texts, Full Tracklist.
- ^ a b BIS-1331 2003.
- ^ a b c Norbert Rüdell. J.S. Bach: Glissando 779 019-2 at Klassik Heute (1 April 2001); Magnificat (DBX6040) at www
.muziekweb .nl - ^ a b Gardiner 2010.
- ^ a b Yo Tomita. Bachfest Leipzig 2003 at www
.music .qub .ac .uk /tomita /; Cantatas Magnificat (DBD0026) at www .muziekweb .nl - ^ a b Cantatas BWV 20 - 2 - 10 (DBX8925) at www
.muziekweb .nl - website
- ^ a b c d e Bradley Lehman and Andrew White (2009). "Bach Cantatas" in Recording Reviews section, pp. 508–511 of Early Music, Vol. XXXVII, No. 3. Oxford University Press
- ^ Oron 2014.
Sources
By author or editor
- BWV 648, Schübler Chorale No. 4: transcription of BWV 10's 5th movement as chorale preludefor organ)
- Bach, Carl Philipp Emmanuel (1787). Johann Sebastian Bachs Vierstimmige Choralgesänge (PDF). Vol. IV. Leipzig: Johann Gottlob Immanuel Breitkopf. pp. 167–218.
- Blanken, Christine (2015). "A Cantata-Text Cycle of 1728 from Nuremberg: a Preliminary Report on a Discovery relating to J. S. Bach's so-called 'Third Annual Cantata Cycle'" (PDF). Understanding Bach. 10. Bach Network UK: 9–30. ISSN 1750-3078. Retrieved 1 June 2017.
- Dahn, Luke. "Sortable Index of the Chorales by J.S. Bach". lukedahn.net. Retrieved 4 June 2017.
- Dahn, Luke (2017). "BWV 10.7". bach-chorales.com. Retrieved 4 June 2017.
- Dellal, Pamela (2012). "BWV 10 – Meine Seel erhebt den Herren". Emmanuel Music. Retrieved 20 August 2022.
- ISBN 3-423-04080-7.
- ISBN 978-0-19-929776-4.
- Gardiner, John Eliot (2010). "Cantatas for the Second Sunday after Trinity / Basilique Saint-Denis, Paris" (PDF). Soli Deo Gloria. pp. 9–10. Retrieved 4 July 2011.
- Glöckner, Andreas (1982). "Die Leipziger Neukirchenmusik und das 'Kleine Magnificat' BWV Anh. 21". In Schulze, Hans-Joachim; Wolff, Christoph (eds.). Bach-Jahrbuch 1982. Bach-Jahrbuch (in German). Vol. 68. Merseburger (for Neue Bachgesellschaft). pp. 97–102.
- Glöckner, Andreas (2003). "Bachs Es-Dur-Magnificat BWV 243a – eine genuine Weihnachtsmusik?". In Schulze, Hans-Joachim; ISBN 9783374020324.
- Großpietsch, Christoph (2009). "Johann Sebastian Bach / Magnify the Lord, my soul / Visitation / BWV 10". Carus-Verlag. Retrieved 8 May 2017.
- Bach-Gesellschaft Ausgabe (in German). Vol. I. Breitkopf & Härtel. pp. XV–XVII and XX (Preface), 275–303 (Score).
- Jenkins, Neil (2000). "Bach Magnificat in D & E flat BWV 243 & 243a" (PDF). Novello. Retrieved 23 September 2014.
- Lundberg, Mattias (2013). "J. S. Bach's Meine Seele erhebt den Herren (BWV 10) in the Context of Other Uses of the Magnificat Text for the Feast of Visitatio Mariae" (PDF). Understanding Bach. 8. Bach Network UK: 9–31. ISSN 1750-3078. Retrieved 8 May 2017.
- Oron, Aryeh (2014). "Cantata BWV 10: Meine Seel erhebt den Herren". Bach Cantatas Website. Retrieved 18 April 2017.
- Peters, Mark A. (2012). "J. S. Bach's Meine Seel' erhebt den Herren (BWV 10) as Chorale Cantata and Magnificat Paraphrase". JSTOR 41640620.
- Pfau, Marc-Roderich (2008). "Ein unbekanntes Leipziger Kantatentextheft aus dem Jahr 1735: Neues zum Thema Bach und Stölzel" [An unknown Leipzig cantata text publication from the year 1735: News regarding Bach and Stölzel]. In ISSN 0084-7682.
- Rathey, Markus (2016). "A Female Voice: Mary in Bach's Magnificat Settings BWV 243 and 10". Bach's Major Vocal Works: Music, Drama, Liturgy. ISBN 9780300219517.
- Rettinghaus, K. (2017). "Sankt-Peterburg (Sankt Petersburg), Rossijskaja nacional'naja biblioteka (National library): RUS-SPsc F. 446 Lwow A. F., Nr. 65". Bach Digital. Retrieved 4 June 2017.
- Rizzuti, Alberto (2013). "One Verse, Two Settings, and Three Strange Youths" (PDF). Gli Spazi della Musica. 2 (2). ISSN 2240-7944. Retrieved 29 May 2017.
- Stölzel, Gottfried Heinrich (1740). "Melch. Hofmann". In Mattheson, Johann (ed.). Grundlage einer Ehren-Pforte (in German). Hamburg: Berlin, Kommissionsverlag von L. Liepmannssohn. pp. 117–119. Grundlage einer Ehren-Pforte (Mattheson, Johann) at Scores
- Wolf, Uwe (1995). "Bach, Johann Sebastian: Meine Seele erhebt den Herren, BWV 10". Kantaten zu Marienfesten II. New Bach Edition (in German). Vol. Series I: Cantatas, Vol. 28/2. Bärenreiter. pp. 67ff. (Critical Commentary), 131ff. (Score).
- Wolf, Uwe (2015). "Bach, Johann Sebastian / Now my soul exalts the Lord BWV 10 / Cantata for the Feast of Visitation B. V. M." Bärenreiter. Retrieved 8 May 2017.
- ISBN 978-0-393-32256-9.
By title as issued
- Bach, Johann Sebastian: Meine Seel' erhebt den Herren in G minor. RISM 000102323: description of US-Wc ML30.8b.B2 M4, Bach's autograph score of BWV 10)
- Bach, Johann Sebastian: Meine Seel' erhebt den Herren. RISM 200020894: description of D-LEb Thomana 10, Bach's performance parts of BWV 10)
- "Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz: D-B Mus. ms. autogr. Hoffmann, M. 3 N". Bach Digital. 2017. Retrieved 4 June 2017. (facsimile and description of the performance parts of the Kleine Magnificat)
- Hoffmann, Melchior: Magnificat in A minor. RISM 464000199: description of D-B Mus. ms. autogr. Hoffmann, M. 3 N, performance parts of the Kleine Magnificat)
- "Hoffmann, Melchior: Magnificat; S, orch; a-Moll; BWV Anh. 1:21/Anh. 3:168; TWV 1:1748". Berlin State Library. 2014. Retrieved 4 June 2017. (facsimile of D-B Mus. ms. autogr. Hoffmann, M. 3 N, performance parts of the Kleine Magnificat)
- J.S. Bach - Cantatas, Vol.23 (BWV 10, 93, 178, 107) (CD). Åkersberga, Sweden: BIS. 2003. BIS-1331. Retrieved 31 May 2017. With English liner notes by Klaus Hofmann (pp. 6–11) and Masaaki Suzuki (p. 11)
- "Leipzig, Bach-Archiv Leipzig: D-LEb Thomana 10". Bach Digital. 2017. Retrieved 9 May 2017. (facsimile and description of Bach's performance parts of BWV 10)
- "Leipzig, Stadtbibliothek Leipzig, Musikbibliothek: D-LEb Peters Ms. R 18 = Choralsammlung Dietel (Depositum im Bach-Archiv)". Bach Digital. 2017. Retrieved 4 June 2017. (description of Dietel's collection of four-part chorales by Johann Sebastian Bach)
- "Magnificat in E flat major (first version) BWV 243a; BC E 13: Magnificat (The Visitation of Mary, 2 July)". Bach Digital. 2015. Retrieved 29 May 2017. (BDW 303, with links to libretto and manuscript descriptions)
- "Meine Seel erhebt den Herren BWV 10; BC A 175: Chorale cantata (The Visitation of Mary, 2 July)". Bach Digital. 2017. Retrieved 18 April 2017. (BDW 12, with links to libretto and manuscript descriptions)
- "Meine Seele erhebt den Herren (Schübler chorales) BWV 648". Bach Digital. 2015. Retrieved 4 June 2017. (BDW 736, with links to descriptions of the first print and later manuscript copies)
- "Meine Seel erhebt den Herren. Notated Music". Library of Congress. 1740. Retrieved 29 May 2017. (facsimile and description of US-Wc ML30.8b.B2 M4, Bach's autograph score of BWV 10)
- "Washington, D.C., Library of Congress: US-Wc ML30.8b.B2 M4". Bach Digital. 2017. Retrieved 15 May 2017. (description of US-Wc ML30.8b.B2 M4, Bach's autograph score of BWV 10)
External links
- Meine Seel erhebt den Herren, BWV 10: performance by the Netherlands Bach Society (video and background information)
- Free scores of Meine Seel erhebt den Herren, BWV 10, in the Choral Public Domain Library (ChoralWiki)
- Meine Seel erhebt den Herren, BWV 10: Scores at the International Music Score Library Project
- Mincham, Julian (2010). "Chapter 6 BWV 10 Mein Seel erhebt den Herren / My soul doth magnify the Lord". jsbachcantatas.com. Retrieved 11 May 2017.
- "Cantata BWV 10 Meine Seel erhebt den Herren" (PDF). Discovery Series. Oregon Bach Festival. 2001. Retrieved 11 May 2017.