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Cantata BWV 129
Gelobet sei der Herr, mein Gott
Discussions - Part 5 |
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Continue from Part 4 |
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Discussions in the Week of April 19, 2026 (5th round)
Cantata BWV 129, ‘Gelobet sei der Herr, mein Gott’’ by Rudolf Lutz compared to 4 other HIP and 1 OVPP recordings. |
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Frits V. Herbold wrote (April 19, 2026):
The BCW shows 28 interpretation so far, beginning with early renditions from the 19sixties and ending with newer recordings available on YouTube (not discussed here because of poor sound quality).
BWV 129 is the 14th. cantata of Rudolf Lutz’s cycle, recorded live at the Evangelic Church in Trogen, on Friday, May16, 2008 - two days before the respective Sunday of Trinity in that year. See also the Bachipidia Bachipedia with links to the concert (YouTube), workshop and reflexion. The names of all performers, including all choristers can also be found there. See also my general comments about the Lutz cycle at Rudolf Luts - Discussions Part 1.
Exceptionally, I am including Gustav Leonhardt’s recording in this discussion, since this is the only recording of movement 3 (Chorale, S) with a boys voice. Normally, I don’t include the Harnoncourt-Leonhardt cycle in these discussions because of the – IMHO – too large size of the choirs used.
Scoring: see KB, NBA: I/15 and Bach Digital Bach Digital
Sopran solo, Alt solo, Bass solo, Sopran, Alt, Tenor, Bass, Tromba I, Tromba II, Tromba III, Timpani, Flauto traverso, Oboe I, oboe II, Oboe d'amore, Violine I, Violine II, Viola, Basso continuo
Remarks:
1. The NBA I/15 with its ‘Kritischer Bericht’(critical report) was published in 1968 (Alfred Dürr, Robert Freeman and James Webster) meaning that it was available to all conductors discussed here.
2. Although the original score is only available as a copy by the hand of Christian Friedrich Penzels, the original parts are well preserved from the collection of the Thomas School Leipzig. Some individual parts are revised by Bach himself.
3. The original Leipzig key is in D Major played at the Leipzig ‘ Kammerton’ a’ = 415 Hz. All the HIP / OVPP recordings discussed here perform according to this original setting.
Introduction Cantata BWV 129 by Alfed Dürr (from The Cantatas of J. S. Bach)
‘This work belongs among the chorale cantatas* that Bach composed retrospectively for the cycle of 1724– 5 in order to replace non-chorale-based compositions— in this case BWV 176. Its date of origin may be determined only roughly: Bach probably wrote it for Trinity 1726 (16 June), though the possibility that it was written for another suitable occasion around 1726 cannot be altogether discounted. For the text, the five-verse hymn by Johann Olearius (1665) is adopted, word for word. Its content is well suited to the Feast of the Trinity for it is a song of praise to the triune God: verse 1 praises the Creator, God Himself, verse 2 the Son, verse 3 the Holy Spirit, and verses 4 and 5, which are united in substance, the Trinity. However, specific references to the readings for the day are absent, and since he set the text unaltered Bach made no attempt to introduce any.’
Remark: total times vary significantly between the fastest at 16:02 (Lutz) and the slowest 21:22 (Kuijken).
Mvt. 1: Chorus [Versus 1] S, A, T, B, Strings, Flue Traverse, Oboe I and II, 3 Trumpets, Timpani and BC
Introduction by Alfred Dürr (without illustrations): ‘With its orchestra of three trumpets and drums, flute, two oboes, strings, and continuo, the cantata is decked out in a positively festive manner. The opening chorus at once unfolds a lively concertato of strings and woodwind, with interjections from the trumpet choir. The cantus firmus— the melody O Gott, du frommer Gott— is delivered by the soprano one line at a time and supported by an imitative, freely polyphonic, or chordal substructure in the other voice parts. Not only does the orchestra develop independent thematic material, but the vocal counter-parts also lack a thematic connection with the chorale melody. Yet what the movement might lack in deep-seated thematic unity and learned counterpoint it makes up for in the immediate effectiveness of its concertante themes and their treatment.
Remark: total times don’t vary significantly around 4 minutes: 3:43 (Koopman) and 4:40 (Leonhardt)
Leonhardt 06 & 07 - 1982: I like the very detailed liner notes from the complete first LP and CD editions by Teldec (‘Das alte Werk’) of the Harnoncourt & Leonhardt cycle. One can look up the instrumentation in each movement but also the origin and description of the – what Harnoncourt calls the ‘original instruments’. I have commented earlier that I like many aspects of this cycle – especially the soloists and boys voices, but I don’t like the size of the choirs. In this festive movement, Leonhardt sounds fine with his 3 original / natural trumpets (in D), 2 oboes, traverse flute and strings as well as a BC with violoncello, violone, bassoon and chest organ (played by Bob van Asperen in this movement). Although the choir (S / A from the Knabenchor Hannover and T / B from the Collegium Vocale Gent is too large IMHO, this rendition is still very spirited but not as transparent as other recordings with smaller choir sizes. Not among my first choices.
Gardiner (06-2000): although Gardiner chooses a relatively fast tempo for this movement, all his instruments sound fine and perfectly played (especially the trumpets). Everything sound very vivid and cheerful. His excellent and well trained Monteverdi Choir (6 S, 4 A, 4 T, and 4 B) - although not much smaller as above - is among my first choices.
Koopman (02 & 03 - 2002): Koopman’s choir is slightly smaller (5 S, 4 A, 4 T, and 4 B) than Gardiner’ choir but also very inspired in this rendition. Both choir and instruments are most cheerful / joyous and festive. One of my first choices.
Lutz (05-2008: tis rendition is slightly slower but I like the smaller choir with 4 S, 4 A, 3 T and 3 B. The string section– as mostly with Lutz – is minimal and sounds very transparent, although not as ‘joyous’ as with all the above. Not bad, not my first choice.
Suzuki (02 -2009): the choir with 4 voices per part comes close to Lutz but is much more cheerful with a very similar instrumentation to Koopman’s rendition. One of my first choices.
Kuijken (06 2012): this is only OVPP recoding I have heard so far and both the small choir and instrumentation is most transparent as well as festive and joyous. Certainly my first choice.
Ranking : (1) Kuijken, (2) Suzuki, (3) Koopman, (4) Gardiner, (5) Lutz, (6) Leonhardt
Mvt. 2: Aria [Versus 2] B and BC
Introduction by Alfred Dürr (without illustrations): ‘Three arias in succession now follow without intervening recitatives. The first, no. 2, being accompanied only by continuo, gives the voice the opportunity for the most highly expressive melody: It is surely no mere chance that this very aria is devoted to God the Son, who becomes man and sacrifices Himself Tor me’.
Remark: total times don’t vary significantly: 3:23 (Suzuki) and 4:13 (Kuijken)
Leonhardt 06 & 07 - 1982: Dutch bass-baritone, Max van Egmond (see BCW) has a long career with several other Bach performances and I like his pleasant relatively dark voice, good German diction and timbre. The BC is very ‘light’ with violoncello and chest organ (here played by Leonhardt himself). Among my first choices.
Gardiner (06-2000): English baritone, Peter Harvey (see BCW) is also among the more experienced bass soloists as van Egmond. He sounds more forceful and I like his timbre and technique even better. The liner notes don’t inform the exact composition of the BC instruments here, but I can hear at least a violoncello (and double-bass?) aa very prominent organ. I don’t hear the harpsichord in this movement. Also among my first choices.
Koopman (02 & 03 - 2002): I am a great fan of German bass-baritone, Klaus Mertens (see BCW) with his soft / warm baritone timbre, excellent German diction and technique. The BC is quite different here, with a harpsichord as key instrument combined with a violoncello and – I am no sure – a lute. A very peculiar rendition. One of my first choices.
Lutz (05-2008: German bass, Klaus Häger (see BCW) a soloist of a new generation comes very close to Koopman – without the long standing experience but a very pleasant and relatively soft warm timbre. The BC is again different from all other recordings: while conducting, Lutz plays a harpsichord himself, together with the chest organ and only 1 violoncello. This very intimate rendition is one of my first choices.
Suzuki (02 -2009): Dutch bass, Peter Kooij (see BCW) reminds Mertens with Koopman and is at the same level in this rendition. The BC also sounds ‘light’ probably also only with a violoncello and the chest organ. Among my first choices.
Kuijken (06 2012): Belgian baritone, Jan van der Crabben (see BCW) performs as well as all other bass soloist here and the characteristic BC appears with his ‘Basse de violon’ and chest organ. Also among my first choices.
Ranking: I like all soloists with their specific timbres in this aria with a slight preference for Klaus Mertens with Koopman but not enough for a fair ranking.
Mvt. 3: Aria [Versus 3] S, Traverse Flute, Violino I solo and BC
Introduction by Alfred Dürr (without illustrations): ‘In the second aria, no. 3, transverse flute and solo violin, together with soprano and continuo, form a quartet texture of measured solemnity which, however, is constantly enlivened by an oft-recurring semiquaver motive in the instruments.
Remark: total times don’t vary significantly: 3:46 (Koopman) and 4:56 (Gardiner)
Leonhardt 06 & 07 - 1982: Boy Soprano: Sebastian Hennig (Soloist of the Knabenchor Hannover, see BCW) is not at his best here. His coloraturas are not steady and exact as in many other recordings. The flute and violin solo playing are excellent. Not among my first choices.
Gardiner (06-2000): I am a big fan of English soprano, Ruth Holton (see BCW) with her boyish timbre and perfect technique. Both flute and solo violine playing are very transparent and intimate. One of my first choices.
Koopman (02 & 03 - 2002): Dutch soprano, Johannette Zomer (see BCW) has worked with Baroque specialists such as Frans Brüggen, Reinhard Goebel, Philippe Herreweghe, René Jacobs, Ton Koopman, Sigiswald Kuijken, Paul McCreesh and Jos van Veldhoven. Although very experienced, she sounds somewhat shrill in the higher register. The instrumental solo parts and BC (harpsichord and violincello!) are well played although the chosen tempo here is too fast IMHO. Not my first choice.
Lutz (05-2008: German soprano, Ulrike Hofbauer (see BCW) also has a long standing experience with other conductors (Herreweghe, Junghänel, Jacobs among others) and performs with an excellent technique. Her timbre is not as ‘boyish’ as Holton’s but still very ‘slim’ without leaning into the operatic. This is the most delicate rendition of both solo (original) instruments IMHO. The BC is played with harpsichord (by Lutz himself while conducting), violoncello and violone. I am not sure if the organ is also playing (not visible in the video), but this is certainly one of my first choices.
Suzuki (02 -2009): Japanese soprano, Yukari Nonoshita (see BCW) has an admirable German diction and excellent voice regarding both technique and timbre. The solo instruments and BC9 I can hear both cembalo and harpsichord and a violoncello. Although I don’t like the faster tempo, also among my first choices.
Kuijken (06 2012): I consider blind German soprano, Gerlinde Sämann (see BCW) at the same level of all sopranos discussed here. Pleasant timbre and good technique as well as diction. Kuikens typical BC with his ‘Basse de violon’ and chest organ sound very appropriate. Also among my first choices.
Ranking: (1) Gardiner, (2) Lutz, (3) Suzuki, (4) Kuijken, (5) Koopman, (6) Leonhardt
Mvt. 4: Aria [Versus 4] A, Oboe d’ Amore and BC
Introduction by Alfred Dürr (without illustrations): ‘Finally, in the third aria, no. 4, a relaxed and song-like— almost dance-like— joyfulness prevails. Since the alto part adopts the ritornello theme stated by the obbligato oboe d’amore—a homogeneous texture emerges in which even the continuo participates with occasional imitative motives.’
Remark: total times don’t vary significantly: 4:33 (Koopman) and 5:o4 (Kuijken)
Leonhardt 06 & 07 - 1982: Belgian counter-tenor and conductor, René Jacobs (see BCW) has worked with other conductors as Herreweghe and Kuijken. I consider him a ‘veteran’ alt with excellent performances – mainly with Leonhard. I like his relatively ‘light’ timbre and excellent technique as well as ‘neutral’ timbre in all ranges. The delicate obligato oboe d’amore is played here by the expert Bruce Haynes, One of my first choices.
Gardiner (06-2000): Canadian counter-tenor, Daniel Taylor (see BCW) is certainly as experienced as Jacobs (above) and I like his technique and ‘warmer’ timbre as well. The oboe d’amore playing is also fine. Alos one of my first choices.
Koopman (02 & 03 - 2002): equally experienced, Polish mezzo-soprano and contralto, Bogna Bartosz (see BCW) sings many recordings with Koopman. She has a what I like to call ‘slim’ timbre and perfect technique. The oboe d’amore playing is also fine. Also one of my first choices.
Lutz (05-2008: Swiss mezzo-soprano, Claude Eichenberger (see BCW) is from a younger generation of MS’s but doesn’t disappoints compared to her older colleagues with an excellent performance in German diction, technique and a pleasant timbre. Since I can see the video, the BC is played without the violoncello but only violone, bassoon, chest organ and Lutz playing the harpsichord (while conducting). Among my first choices.
Suzuki (02 -2009): English counter-tenor, Robin Blaze (see BCW) is one of my favorite CT’s and performs very well here as expected. The oboe d’amore playing is also fine. Also one of my first choices. I believe Blaze is my first choice for the CT’s.
Kuijken (06 2012): Slovak mezzo-soprano, Petra Noskaiová (see BCW) is as good as Bartosz with Koopman here and I find it difficult to establish a ranking here, since both CT’s and MS recorded here show excellent performances in this movement. The oboe d’amore playing is also fine. Also one of my first choices. I believe this is my first choice for the MS’s.
Ranking : as mentioned, I like the individual characteristics of both CT’s and MS’s interpretations equally. I don’t think a ranking would be fair IMHO.
Mvt. 5: Chorale [Versus 5] S, A, T, B, Strings, Flue Traverse, Oboe I and II, 3 Trumpets, Timpani and BC
Introduction by Alfred Dürr (without illustrations): ‘Thefinale is of exceptional splendor. The trumpets, which in the opening chorus merely marked the cadences rather than carrying themes, here lead the six-bar ritornello and play a substantial role in the episodes between the lines of the chorale, which is delivered by the choir (plus flute) in a plain, homophonic texture. The striking, joyfully excited theme of the orchestral music, which is again unrelated to the chorale melody, surrounds its lines in the same fashion as in the concluding chorales of the Christmas and Ascension Oratorios. In its concertante style, this chorale setting harks back to the opening chorus, so that the three inner verses, which are set for a few parts only are framed by festive, full-textured outer movements.’
Ranking: as in movement 1: (1) Kuijken, (2) Suzuki, (3) Koopman, (4) Gardiner, (5) Lutz, (6) Leonhardt |
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Peter Smaill wrote (April 19, 2026):
[Frits V. Herbold] Ah now although there are have been minor changes to the BWV numberings, the title of BWV 129 surely remains “ Gelobet sei der Herr, Mein Gott”. The incipit “ Wo gehest du hin “ associates to BWV 166. Both are splendid works; thank you for the review. |
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Carlos Soriano wrote (April 19, 2026):
[To Peter Smaill] LOL, I noticed the title, too. :) |
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