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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 ...
He performed Stölzel's Ein Lämmlein geht und trägt die Schuld on Good Friday 23 April 1734, and likely Stölzel's entire String-Music cantata cycle from 1735 to 1736. [ 6 ] [ 7 ] [ 29 ] [ 30 ] Around the same time, that is, likely somewhere between 1734 and 1740, Anna Magdalena Bach entered a version for voice and continuo of " Bist du bei ...
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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]
First page of Gottfried Heinrich Stölzel's Ein Lämmlein geht und trägt die Schuld, from a score preserved in Berlin. [1]Ein Lämmlein geht und trägt die Schuld, also known by the title of its earliest extant printed libretto, Die leidende und am Creutz sterbende Liebe Jesu, is a Passion oratorio by Gottfried Heinrich Stölzel, composed in 1720.
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).
In music, a dictum (Latin 'something that has been said'; plural dicta) is a type of libretto for a church cantata consisting of quotes from sacred scripture.. When Erdmann Neumeister introduced the cantata concept for sacred music in early 18th-century Protestant Germany, his librettos originally had only two types of movements: recitatives and arias.