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According to the obituary published by Lorenz Christoph Mizler, Stölzel would have written around fourteen Passions and Christmas oratorios. [222] Stölzel's librettos for his Passions and oratorios approach the cantata format: they are reflective in nature, and lack the dramatic-narrative component of, for instance, a sung Gospel reading. [223]
In 1976 an updated version of that thesis was published in one volume as Das Kantatenschaffen von Gottfried Heinrich Stölzel. [74] [75] An Urtext edition of the G minor Oboe Concerto was published in 1979. [76] The cantata Ich bin beide was published in 1981. [77] Stölzel's O wie ist die Barmherzigkeit des Herrn so groß was published in 1989 ...
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A church cantata or sacred cantata is a cantata intended to be performed during Christian liturgy. The genre was particularly popular in 18th-century Lutheran Germany, with many composers writing an extensive output: Stölzel, Telemann, Graupner and Krieger each wrote nearly or more than a thousand.
Die Elenden sollen essen, BWV 75 (30 May 1723; first cantata of Bach's first cantata cycle) O Ewigkeit, du Donnerwort, BWV 20 (chorale cantata, 11 June 1724; first cantata of the chorale cantata cycle) Brich dem Hungrigen dein Brot, BWV 39 (23 June 1726) Gottfried Heinrich Stölzel: [15] Wohl zu tun und mitzuteilen (1738) [34] [35] [186]
The central chorale movement of Gottfried Heinrich Stölzel's 1744 cantata for Rogate Sunday, Aus der Tiefen rufe ich, H. 419, has the first stanza of the hymn as text, set to the tune indicated by the Gotha hymnal. [2] BWV 744 is a chorale prelude by Johann Sebastian Bach, or by his son Carl Philipp Emanuel, on the Zahn 1217 hymn tune.
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Stölzel composed the cantata as part of his cycles of church cantatas for the court of Schwarzburg-Sondershausen.He composed two works beginning with a verse from the First Epistle to Timothy, "And without controversy great is the mystery of godliness: God was manifest in the flesh" (1 Timothy 3:16).