Luogo e data di registrazione		Doopsgezinde Kerk, Haarlem (Holland) - 2/5 Novembre 1980
	Registrazione: live / studio		studio
	Producer		Wolf Erichson
	Prima Edizione LP		Telefunken "Das Alte Werk" | 6.35577 EX | 2 LPs - durata 36' 42" - 44' 55" | (p) 1981 | ANA
	Edizione CD		Teldec Classics | LC 6706 | 242 608-2 ZL | 2 CDs - durata 36' 42" - 44' 55" | (c) 1989 | ADD
	Cover		Johann Sebastian Nach, einige Jahre vor seiner Ernennung zum Kantor in Leipzig. Gemälde con JJ. Ihle (1720) Bach Museum Eisenach.
	Note		In questo volume sono presenti anche La Cantate BWV 115, BWV 116 e BWV 119 a cura del Concentus Musicus Wien diretto da Nikolaus Harnoncourt.

INTRODUCTION by Ludwig Finscher »Sei Lob und Ehr’ dem höchsten Gute (BWV 117) was probably written between 1728 and 1731, for an unknown occasion; the scope and scoring of the cantata lead one to believe that it must have been a particularly important celebration, possibly a service of thanksgiving. The form is that of a later chorale cantata per omnes versus, i. e. the text of all hymn stanzas is retained unaltered and set as chorus, recitative or aria, although the hymn tune is not used throughout; in the present example the melody of »Es ist das Heil uns kommen her« (Our salvation is now at hand) is used in the opening and concluding choruses and in the fourth stanza, a simple chorale which may well have preceded the sermon. The stanzas are further unified by the fact that each one of them is summed up, as it were, by the same closing line: »Gebt unserm Gott die Ehre« (Give homage to our Lord). In accordance with its importance as a refrain in terms of both form and content, this line is given special prominence, each time it occurs, although this is achieved by different means on every occasion. Finally, Bach reinforced the internal and external unity of the work by setting the last stanza as a repeat of the opening chorus and creating thematic links between the three arias. The arrangement of movements between the two resplendent choruses is in accordance with the two principles of contrast and intensification: recitative (refrain treated as an arioso) - tenor aria in E minor with two oboes d’amore - chorale in G major - accompanied recitative in D major (refrain treated as an arioso) - bass aria with violin solo in B minor - alto aria with flute and strings in D major - recitative in B minor/G major. Beyond that, the arias increase in intensity from the amiable siciliano of the first, via the virtuosity and rich imagery of the second, the refrain of which musically harks back to the last line of the preceding accompanied recitative, to the positively ecstatic dance rhythm of third aria. Even Bach only rarely set a text, which in itself is rather monotonous, to such an abundance of musical forms, or gave it such an allusive and complex overall structure.