Английская Википедия:Alles mit Gott und nichts ohn' ihn, BWV 1127
"Alles mit Gott und nichts ohn' ihn" (Everything with God and nothing without him), BWV 1127, is Johann Sebastian Bach's October 1713 setting of a poem in 12 stanzas by Johann Anton Mylius, Superintendent of Buttstädt, a town in the Duchy of Saxe-Weimar.Шаблон:SfnШаблон:Sfn The poem is an acrostic dedicated to Duke Wilhelm Ernst of Saxe-Weimar, on his birthday (30 October).Шаблон:Sfn Bach, at the time employed as court organist by the Duke, set Mylius's ode as an aria in strophic form, that is a melody for soprano accompanied by continuo for the stanzas, alternated with a ritornello for strings and continuo.Шаблон:Sfn When all stanzas are sung, a performance of the work takes around 45 to 50 minutes.Шаблон:SfnШаблон:Sfn
The work was likely first performed on the Duke's birthday.Шаблон:Sfn[1] The original print of Mylius's poem,Шаблон:Sfn with Bach's composition written on two pages at the end,Шаблон:Sfn was archived in Weimar,Шаблон:Sfn where it remained unnoticed for nearly three centuries, accidentally twice escaping a devastating fire, in 1774 and in 2004,Шаблон:Sfn until it was rediscovered in May 2005.Шаблон:Sfn After the discovery (in 1924)Шаблон:Sfn and publication (in 1935) of Bekennen will ich seinen Namen, BWV 200, this was the first time an autograph of a previously unknown vocal work by Bach had come to light.Шаблон:SfnШаблон:Sfn
Context
Wilhelm Ernst was born on (O.S.) 19 October 1662.Шаблон:Sfn In 1683 he became Duke of Saxe-Weimar, jointly with his younger brother Johann Ernst. The elder brother had chosen Шаблон:Lang (everything with God and nothing without him) as his motto.Шаблон:SfnШаблон:SfnШаблон:Sfn In 1700, when the Gregorian calendar was adopted, Wilhelm Ernst decided that his birthday would henceforth be celebrated on 30 October.Шаблон:Sfn In 1703 Johann Sebastian Bach worked for some months at the ducal court in Weimar. In 1708, a year after the death of the younger duke, Bach came to work for the ducal court again, this time in the capacity of organist.
At the time, Johann Samuel Drese and his son Johann Wilhelm were the court composers (Шаблон:Lang) at Weimar, and composition of new pieces was no part of Bach's assignment as court organist.Шаблон:SfnШаблон:Sfn In 1713 Bach composed the Hunting Cantata (Was mir behagt, ist nur die muntre Jagd, BWV 208, first performed on 27 February in Weißenfels) and the Canon a 4 perpetuus, BWV 1073 (2 August).Шаблон:Sfn Also from around this time are several entries in the Orgelbüchlein,Шаблон:Sfn and likely the bulk of his Weimar concerto transcriptions.
Johann Anton Mylius's life is relatively well-documented: in 1751–52 one of his sons published an extended chronicle of the Mylius family,Шаблон:Sfn and the family was later also subject of detailed historical research.Шаблон:Sfn After studies in Erfurt and Leipzig in the 1680s, Johann Anton became a theologian working in Erfurt and Niederroßla, and, having become Superintendent in 1674, he was from 1697 stationed in Buttstädt, a town some Шаблон:Convert north of Weimar.Шаблон:SfnШаблон:Sfn[2] There, he initiated reforms of the liturgical music, and grand renovation works to the town church (St Michael's), including its organ.Шаблон:Sfn Duke Wilhelm Ernst supported Mylius in these endeavours, and even organised a fund-raiser in his realm to finance the renovation works.Шаблон:Sfn
Every year Duke Wilhelm Ernst would typically receive over a dozen of written congratulatory tributes.Шаблон:SfnШаблон:Sfn The copies of these tributes which were presented to the Duke were mostly bound in luxurious marbled paper, and conserved in the court library.Шаблон:SfnШаблон:Sfn One of these, published by Mumbachische Schrifften, was by the court preacher Шаблон:Ill, and congratulated the duke on his 52nd [sic] birthday on 30 October 1713 (that date was in fact the Duke's 51st birthday).Шаблон:Sfn Mylius and Bach convened to produce a tribute for the same occasion.Шаблон:Sfn The title page of that tribute, also printed by Mumbachische Schrifften, reads in part:Шаблон:Sfn
Шаблон:Lang | on 30 October 1713. ... the |
... | ... |
Шаблон:Lang | birthday of the sovereign, |
Шаблон:Lang | and blessed start of the 53rd year of his life |
The title page of Mylius's ode contains the same miscalculation of the Duke's age, which, according to Michael Maul, would not be down to any of the individual authors using the services of the Mumbachische Schrifften publishing house, but was likely a more widespread misapprehension.Шаблон:Sfn Several composers could have been Mylius's choice for this collaboration: there were not only father and son Drese, but also the musicians with whom he collaborated in Büttstadt – whatsoever, the one with whom he embarked on the project was the 28-year old Bach.Шаблон:Sfn The theme of Mylius's congratulatory poem is the Duke's motto, announced thus on the tribute's title page:Шаблон:SfnШаблон:Sfn
Шаблон:Lang | Our benevolent sovereign's |
Шаблон:Lang | and lord's |
Шаблон:Lang | christian-princely motto |
Шаблон:Lang | or |
Шаблон:Lang, | creed: |
Шаблон:Lang. | Шаблон:Lang. |
Шаблон:Lang | Everything with God and nothing without him. |
Notwithstanding that the occasion, a birthday, was of a secular nature—usually Bach composed secular odes or cantatas for such occasions—, the result was a sacred work, not in the least because of the religious nature of the motto that became the topic of Mylius's exegetic poem.Шаблон:Sfn Bach set it as a strophic aria, a genre that had been widely practised in Germany by the end of the 17th century, but was considered old-fashioned by the second decade of the 18th century.Шаблон:Sfn In 1713, Duke Wilhelm Ernst's birthday was officially celebrated on Sunday 5 November, a day before he consecrated the newly finished Шаблон:Ill.Шаблон:Sfn[3] It is unlikely that "Alles mit Gott und nichts ohn' ihn", BWV 1127, was first performed on either of these days, a weekday service in the court chapel on Monday 30 October, the Duke's actual birthday, seeming more likely for that first performance.Шаблон:Sfn
Music and lyrics
The printed text of Mylius's ode takes five pages in the dedication copy, while Bach's handwritten setting, titled "Шаблон:Lang" (aria for solo soprano and ritornello), takes the last two pages of the pamphlet.Шаблон:SfnШаблон:Sfn
Mylius's ode
Mylius's poem is an acrostic in 12 stanzas of eight lines.Шаблон:SfnШаблон:Sfn The motto of Duke Wilhelm Ernst, in Latin and German, is given as the title of the poem on the page that holds its first stanza in the 1713 print.Шаблон:SfnШаблон:Sfn The first and last line of each stanza is the German version of the Duke's motto.Шаблон:SfnШаблон:Sfn In a footnote to the first line of the first stanza, Mylius gives these biblical references for the sovereign's motto (Шаблон:Lang):Шаблон:SfnШаблон:Sfn
- Psalm 18:30, "For by thee I have run through a troop; and by my God have I leaped over a wall."[4]
- Psalm 60:14, "Through God we shall do valiantly: for he it is that shall tread down our enemies."[5]
- 1 Chronicles 30:14, 16, "But who am I, and what is my people, that we should be able to offer so willingly after this sort? for all things come of thee, and of thine own have we given thee. ... O LORD our God, all this store that we have prepared to build thee an house for thine holy name cometh of thine hand, and is all thine own."[6]
The second line of the first stanza reads:Шаблон:SfnШаблон:Verse translationTo which Mylius adds this footnote:Шаблон:SfnШаблон:Verse translationThe footnote indicates the scheme of the acrostic:Шаблон:Sfn
- The emphasized letters (W, E, H, W, S, and Z) are the initials of the Duke's name, i.e. Шаблон:Lang (Wilhelm Ernst Duke of Saxe-Weimar).
- The third word, Шаблон:Lang (wondrous), starts with the same letter as Wilhelm Ernst's name. The second line of each stanza starts with Шаблон:Lang and ends on Шаблон:Lang: the word between these two half-phrases, Шаблон:Lang in the case of the first stanza, reads for the 12 consecutive stanzas:
- ... Шаблон:Lang ... (... wondrous ...)
- ... Шаблон:Lang ... (... Jesus' ...)
- ... Шаблон:Lang ... (... country's ...)
- ... Шаблон:Lang ... (... heaven's ...)
- ... Шаблон:Lang ... (... noble ...)
- ... Шаблон:Lang ... (... life's ...)
- ... Шаблон:Lang ... (... many ...)
- ... Шаблон:Lang ... (... eternal ...)
- ... Шаблон:Lang ... (... rich ...)
- ... Шаблон:Lang ... (... new ...)
- ... Шаблон:Lang ... (... soul's ...)
- ... Шаблон:Lang ... (... thousand ...)
- The initials of these words read "WJLHELM ERNST" – that is the Duke's name.
The acrostic technique was very common in such congratulatory poetry, and the Duke apparently appreciated it.Шаблон:Sfn The seventh line of each stanza is a variant of its second line, starting with Шаблон:Lang (Must ...) instead of Шаблон:Lang (Will ...).Шаблон:SfnШаблон:Sfn The four middle lines of each stanza are an exegetic explanation of its second line, and Mylius indicates in footnotes which Bible passages support his theological interpretation.Шаблон:Sfn By stanza these biblical references for the four middle lines are,Шаблон:Sfn
- Шаблон:Lang (wondrous blessings):
- Psalm 72:18, "Blessed be the LORD God, the God of Israel, who only doeth wondrous things."[7]
- Genesis 15:1, "After these things the word of the Lord came unto Abram in a vision, saying, Fear not, Abram: I am thy shield, and thy exceeding great reward."[8]
- Job 14:1, "Man that is born of a woman is of few days and full of trouble."[9]
- Шаблон:Lang (Jesus' blessing):
- Шаблон:Lang (blessings for the country):
- Sirach 10:5, "In the hand of God is the prosperity of man: and upon the person of the scribe shall he lay his honour."[11]
- Deuteronomy 33:13, "And of Joseph he said, Blessed of the LORD be his land, for the precious things of heaven, for the dew, and for the deep that coucheth beneath"[12]
- Шаблон:Lang (blessings from heaven):
- Hosea 2:21, "And it shall come to pass in that day, I will hear, saith the LORD, I will hear the heavens, and they shall hear the earth"[13]
- Jeremiah 5:24, "Neither say they in their heart, Let us now fear the LORD our God, that giveth rain, both the former and the latter, in his season: he reserveth unto us the appointed weeks of the harvest."[14]
- Psalm 85:11, "Mercy and truth are met together; righteousness and peace have kissed each other."[15]
- Шаблон:Lang (noble blessings):
- Deuteronomy 33:13, "And of Joseph he said, Blessed of the LORD be his land, for the precious things of heaven, for the dew, and for the deep that coucheth beneath"[12]
- Шаблон:Lang (life's blessings):
- Шаблон:Lang (many blessings):
- Шаблон:Lang (eternal blessings):
- 2 Corinthians 4:17, "For our light affliction, which is but for a moment, worketh for us a far more exceeding and eternal weight of glory"[19]
- Romans 8:18, "For I reckon that the sufferings of this present time are not worthy to be compared with the glory which shall be revealed in us."[20]
- Шаблон:Lang (rich blessings):
- Шаблон:Lang (new blessings):
- Lamentations 3:23, "[The Lord's compassions] are new every morning: great is thy faithfulness."[22]
- Isaiah 40:31, "But they that wait upon the LORD shall renew their strength; they shall mount up with wings as eagles; they shall run, and not be weary; and they shall walk, and not faint."[23]
- Song of Songs 3:4, "It was but a little that I passed from them, but I found him whom my soul loveth: I held him, and would not let him go, until I had brought him into my mother's house, and into the chamber of her that conceived me."[24]
- Шаблон:Lang (blessings for the soul):
- Wisdom 3:3, "And their going from us to be utter destruction: but they are in peace."[25]
- Matthew 10:28, "And fear not them which kill the body, but are not able to kill the soul: but rather fear him which is able to destroy both soul and body in hell."[26]
- John 11:26, "And whosoever liveth and believeth in me shall never die. Believest thou this?"[27]
- Matthew 16:26, "For what is a man profited, if he shall gain the whole world, and lose his own soul? or what shall a man give in exchange for his soul?"[28]
- Шаблон:Lang (thousand blessings):
- Daniel 7:10, "A fiery stream issued and came forth from before him: thousand thousands ministered unto him, and ten thousand times ten thousand stood before him: the judgment was set, and the books were opened."[29]
- Revelation 7:9, "After this I beheld, and, lo, a great multitude, which no man could number, of all nations, and kindreds, and people, and tongues, stood before the throne, and before the Lamb, clothed with white robes, and palms in their hands"[30]
- Psalm 143:11, "Quicken me, O LORD, for thy name's sake: for thy righteousness' sake bring my soul out of trouble."[31]
Bach's setting
The title Bach gave to his setting, in C major, of Mylius's "Alles mit Gott und nichts ohn' ihn" indicates that the composition has two parts:Шаблон:SfnШаблон:Sfn
- Шаблон:Lang – for soprano voice and figured bass (continuo)
- Шаблон:Lang – for two violins, viola, cello, and continuo
Bach's setting is in common time and its tempo indication is adagio.Шаблон:Sfn The setting is a strophic aria: the same music is repeated for each of the 12 stanzas of Mylius's poem.Шаблон:SfnШаблон:Sfn Bach's score only contains the text of the first stanza: a custos and a repeat sign at the end indicate that the other stanzas are to be performed to the same music.Шаблон:Sfn Since a single pass of Bach's music takes around four minutes to perform, the entire work is performed in around 45 to 50 minutes.Шаблон:SfnШаблон:SfnШаблон:Sfn If a split performance was intended (e.g. before and after a sermon), then the split would most likely fall after the seventh stanza: that is the stanza with which the "WJLHELM" part of the acrostic ends, and the exegetic middle lines of that stanza are of a concluding nature, like those of the very last stanza of the poem.Шаблон:Sfn
Aria
The aria part of Bach's composition starts with a four-bar instrumental introduction by the continuo: that introduction has exactly 52 bass notes, which may be seen as an allusion to the age of Duke Wilhelm Ernst.Шаблон:SfnШаблон:Sfn From the end of the fourth bar to the first note of the 17th bar the soprano sings the first two lines of Mylius's poem, that is the A section of its first stanza.Шаблон:SfnШаблон:Sfn On the first pass of the second line, Bach changed the word order: "Шаблон:Lang" instead of "Шаблон:Lang" in the poem.Шаблон:Sfn Maul describes Bach's setting of the A section as having "an artfully melismatic and 'catchy' tune"Шаблон:Sfn
The B section of the stanza, consisting of its middle four explanatory lines, is sung from bar 17 to 25.Шаблон:Sfn The setting of this section is harmonically more expansive than that of the A section.Шаблон:Sfn The mirrored A section, consisting of the two last lines of the stanza, follows from bar 26 to 34.Шаблон:Sfn The word order of the seventh line of the stanza, sung in bars 26 to 27, is changed as the first pass of the second line (bars 8–10): "Шаблон:Lang" instead of "Шаблон:Lang" in the poem.Шаблон:Sfn In these bars Bach returns from the subdominant (F major), at the end of the B section, to the tonic (C major), after which the "catchy tune" with which the A section opened is repeated to the same words (line 8 = line 1, the Duke's motto in all stanzas).Шаблон:Sfn In this way Bach realises a free da capo form, that is, instead of an exact repeat of the A section, a variant of the A section follows after the B section (A-B-A').Шаблон:Sfn
The voice and continuo part of the composition ends with a four-bar instrumental postlude, by the continuo, which keeps close to the four-bar introduction.Шаблон:Sfn Thus the build of the "aria" part of the composition is symmetrical:Шаблон:Sfn
- Introduction by continuo (four bars)
- First line of the stanza: "motto" tune for the Duke's "motto"
- Second line of the stanza, containing (before the word Шаблон:Lang) the topic of the stanza
- Four middle lines of the stanza: exegetic explanation on the topic of the stanza
- Seventh line of the stanza, mirroring the second line
- Second line of the stanza, containing (before the word Шаблон:Lang) the topic of the stanza
- Eighth line of the stanza, mirroring the first line: same "motto" tune for the Duke's "motto"
- First line of the stanza: "motto" tune for the Duke's "motto"
- Postlude by continuo, mirroring the first four bars
Or, approached as a free da capo aria:Шаблон:Sfn
Section | Text | Translation |
---|---|---|
A | [instrumental introduction] | |
<poem>Шаблон:Lang</poem> | <poem>Everything with God and nothing without him
Will draw wondrous blessings here.</poem> | |
B | <poem>Шаблон:Lang</poem> | <poem>While God, who performs miracles in heaven and on earth,
Wants to become a wondrous blessing to the pious. Man toils, and wants to realise many miracles, and his mind, thoughts, poetry, are full unrest.</poem> |
A' | <poem>Шаблон:Lang</poem> | <poem>Must draw wondrous blessings here.
Everything with God and nothing without him</poem> |
[instrumental postlude] |
Ritornello
The Ritornello starts on the last beat of the 37th bar, continuing in the 18 remaining bars of the composition.Шаблон:Sfn It consists of two development sections (the second of these starting in the 45th bar), on the most prominent motifs of the aria section.Шаблон:Sfn Christoph Wolff describes the four-part instrumental ritornello as "written in a dense, motivic and contrapuntal texture reminiscent of the pieces in the contemporary Orgel-Büchlein."Шаблон:Sfn Maul elaborates an example of how motifs that have sounded on the words Шаблон:Lang and Шаблон:Lang in the aria part are combined in the last six bars of the first development of the Ritornello, and then again in the last three bars of its second development.Шаблон:Sfn
Reception
Five months after the presentation of the "Alles mit Gott und nichts ohn' ihn" poem and its setting to Duke Wilhelm Ernst, he promoted Bach to concertmaster (Шаблон:Lang), and commissioned him to compose, once a month, a new piece of church music.Шаблон:Sfn According to Maul, Bach being promoted to compose church music was likely, at least in part, due to his setting of Mylius's ode.Шаблон:Sfn Possibly the aria was performed again in 1715 in Pforta.Шаблон:Sfn
Conservation and recovery of the dedication copy
The dedication copy of Mylius's ode, containing Bach's autograph of its setting, was stored in the library of the Duke's palace, Schloss Weimar.Шаблон:Sfn In 1766 the content of that library was moved to the nearby Шаблон:Ill, out of reach of the fire that destroyed Schloss Weimar in 1774.Шаблон:Sfn The library in the Grünes Schloss was later renamed to Duchess Anna Amalia Library (Шаблон:Lang, HAAB).Шаблон:Sfn Together with other congratulatory documents received by the Dukes of Weimar, the dedication copy of BWV 1127 was stored on the second gallery level of the Rococo hall of the library.Шаблон:Sfn The luxurious binding of these pieces drew attention, and for classifying them they were moved to the restoration workshop outside the library building shortly before the Rococo hall burnt to the ground in September 2004.Шаблон:SfnШаблон:Sfn
In January 2005, as part of a program that had been initiated in 2002, Maul started his researches, looking for Baroque era music-related documentation, in the HAAB.Шаблон:Sfn On 17 June he was given access to the boxes with congratulatory tributes that were salvaged from the 2004 fire.Шаблон:Sfn Among these tributes was the dedication copy of Mylius's and Bach's "Alles mit Gott und nichts ohn' ihn".Шаблон:Sfn Authenticated, the newly discovered composition was given the Bach-Werke-Verzeichnis number 1127.Шаблон:Sfn The shelf number of the dedication copy containing Mylius's ode and its setting by Bach, in the HAAB, is D-WRz B 24.[1]Шаблон:Sfn
The new find was valued for several reasons:
- It is the only known composition by Bach in the strophic aria format.Шаблон:Sfn
- It documents Bach's activities for civil occasions in his Weimar period.Шаблон:Sfn
Score editions
Bärenreiter published several editions of the score of BWV 1127:
- The first edition, in 2005, edited by Maul.Шаблон:Sfn
- A facsimile edition, edited by Wolff.Шаблон:Sfn
- The New Bach Edition (Шаблон:Lang de), completing its activities in 2007, published BWV 1127 in a supplement, edited by Maul.Шаблон:SfnШаблон:Sfn
A high resolution digital facsimile of D-WRz B 24 became available on the HAAB and Bach Digital websites.Шаблон:SfnШаблон:SfnШаблон:Sfn
21st-century performances and recordings
Part of the rediscovered aria was recorded by soprano Ah Hong and harpsichordist Joseph Gascho on 9 June 2005, and aired the next day on NPR.Шаблон:SfnШаблон:Sfn Another preliminary performance, by Claron McFadden and Шаблон:Ill, was broadcast in the Dutch TV-show Nova.Шаблон:Sfn The official world première recording of the aria, by John Eliot Gardiner conducting the English Baroque Soloists and soprano Elin Manahan Thomas, was released in September 2005.Шаблон:SfnШаблон:Sfn[32] This recording contained three stanzas of the aria, with a performance time of 12:16.Шаблон:Sfn[32] Ton Koopman's recording, on which Lisa Larsson sang the solo part, was released a few months later in Vol. 20 of his complete recording of Bach's cantatas.[33] Koopman made a selection of four stanzas of the aria for his recording, with a performance time of 16:52.Шаблон:Sfn
The first complete recording of BWV 1127, that is, including all 12 stanzas of the aria with a recording time of 48:30, was realised by Masaaki Suzuki, Carolyn Sampson, and the Bach Collegium Japan, and released in January 2006 on the 30th volume of Suzuki's complete Bach cantatas project.Шаблон:Sfn[34][35] Daniel Abraham's recording, with The Bach Sinfonia and soprano Amanda Balestrieri, was released in 2006.[36] Dorothee Mields recorded four stanzas of the aria with L'Orfeo Barockorchester conducted by Michi Gaigg, in December 2014.[37] Carus-Verlag released this recording, with a performance time of 15:03, a year later.[37] Mields released, courtesy of Naxos of America, part of this recording, that is the first stanza of Bach's aria (3:50), on YouTube in 2016.[38]
References
Sources
- Шаблон:BDh
- Шаблон:Cite web
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite web
- Шаблон:Cite book
- Шаблон:Cite AV media notes
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:Cite book
- Шаблон:BDh
- Шаблон:Cite journal
- Шаблон:Cite book
- Шаблон:Cite AV media notes Plain text version of these liner notes partially available at Christoph Prégardien's website. The subscription website Scribd also hosts a copy of these notes.
- Шаблон:Cite interview
- Шаблон:Cite book
External links
- Шаблон:IMSLP
- Alles mit Gott und nichts ohn' ihn at The LiederNet Archive
- Шаблон:Muziekweb
- Bach Alles mit Gott und nichts ohn' ihn, BWV 1127 at Musopen website
Шаблон:Short vocal works by Johann Sebastian Bach Шаблон:Bach cantatas Шаблон:Authority control
- ↑ 1,0 1,1 Шаблон:RISM. Шаблон:Access-date
- ↑ Mylius, Johann Anton at CERL Thesaurus. 14 September 2020.
- ↑ Als der Durchlauchtigste Fürst und Herr, Herr Wilhelm Ernst, Hertzog zu Sachsen, Jülich, Cleve und Berg ... Seinen Höchst-erfreulichsten Geburths-Tag Welcher den Lande zu allem Trost d. 30. Octobr. 1713. glücklich angeschienen, Den 5. Nov. celebrirte, Und den Tag darauf Die neu-erbaute S. Jacobs-Kirche Feyerlich einweihete (etc) at the website of Martin Luther University of Halle-Wittenberg. Шаблон:Access-date
- ↑ Шаблон:Sourcetext in KJV, translation of Ps. 18:30 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Ps. 60:14 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of I. Chron. 30:14, 16 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Ps. 72:18 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Genesis 15:1 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Hiob 14:1 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Luc. 5:3 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Sir. 10:5 in Luther Bible, 1704 edition (Kelp).
- ↑ 12,0 12,1 Шаблон:Sourcetext in KJV, translation of Deut. 33:13 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Hos. 2:21 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Jer. 5:24 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Ps. 85:11 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Ps. 133:3b in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Prediger 1:8 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Ps. 139:1 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of 2 Corinth. 4:17 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Rom. 8:18 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Ephes. 3:20 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Klagelieder 3:23 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Isaiah 40:31 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Cant. 3:4 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Weisheit 3:3 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Matth. 10:28 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Joh. 11:26 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Matth. 16:26 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Daniel 7:10 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Revelation 7:9 in Luther Bible, 1704 edition (Kelp).
- ↑ Шаблон:Sourcetext in KJV, translation of Ps. 143:11 in Luther Bible, 1704 edition (Kelp).
- ↑ 32,0 32,1 Шаблон:Muziekweb. Шаблон:Access-date
- ↑ Шаблон:Muziekweb. Шаблон:Access-date
- ↑ Шаблон:Muziekweb. Шаблон:Access-date
- ↑ J.S. Bach - Cantatas, Vol.30, Solo Cantatas (BWV 51, 1127) at BIS Records website. Шаблон:Access-date
- ↑ HANDEL, G.F.: Alexander's Feast (Oratorio) / BACH, J.S.: Alles mit Gott und nichts ohn' ihn (Balestrieri, Abraham) at Naxos website. Шаблон:Access-date
- ↑ 37,0 37,1 Шаблон:Muziekweb. Шаблон:Access-date
- ↑ Шаблон:YouTube. Шаблон:Access-date