Luogo e data di registrazione		(Luogo e data di registrazione non indicati)
	Registrazione: live / studio		studio
	Producer		Wolf Erichson
	Prima Edizione LP		Telefunken "Das Alte Werk" | 6.35606 EX | 2 LPs - durata 38' 10" - 41' 03" | (p) 1983 | ANA
	Edizione CD		Teldec Classics | LC 6706 | 242 617-2 ZL | 2 CDs - durata 38' 10" - 41' 03" | (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 130 e BWV 131 a cura del Concentus Musicus Wien diretto da Nikolaus Harnoncourt.

INTRODUCTION by Gerhard Schuhmacher »Auf Christi Himmelfahrt allein« (BWV 128) was composed for 10th May 1725. The text by the poetess Marianne von Ziegler draws its substance from the first stanza of the hymn, on which the opening chorus is also based; in contrast to the principle on which other chorale cantatas are constructed, none of the other stanzas are used. In the largescale opening chorus the text of the chorale is, in motet style, worked line by line into the concertante writing, rather like a chorale prelude. The chorus and orchestral parts are developed in a manner which is symbolic. The striking contrast between Himmelfahrt (ascension) and meine Nachfahrt (my own journey) (bar 19 ff) is taken up and elaborated by the horns and the continuo. Since the text has not yet confirmed Christ’s reign, and mankind (Nachfahrt) is not entitled to trumpets, this movement employs horns. After a recitative, No. 2, there follows a richly figured bass aria, No. 3, in which the solo trumpet indicates that Christ has entered into His kingdom. The linking recitative which precedes the instrumental da capo section is probably Bach’s own alteration of the text, since it does not agree with Marianne von Ziegler’s version published in 1728. It both epitomises the relationship between the aria and the duet No. 4, and highlights the contrast. The duet is clearly introverted; the use of the oboe d’amore suggests that man is turning to Christ. In the concluding chorale to the tune of »O Gott, du frommer Gott« the two horn parts are independent. »Gelobet sei der Herr, mein Gott« (BWV 129) was probably written for Trinity 1726 or 1727 and exchanged for BWV 176 (which is not a chorale cantata) in the annual cycle of chorale cantatas for 1724/25. This work, based on a hymn by Johannes Olearius (1665) to the tune of »O Gott, du frommer Gott« is a chorale cantata of the older type in which the text of all the stanzas is retained but each is differently set, with the cantus firmus running through them all. Bach has utilised the division by stanza and thus of content for varied symbolism. In the opening chorus, which is similar in form to that of BWV 128, there are no horns. Three independent trumpet parts and timpany convey the sym_bolism. The trumpets are restrained, to show up the declamatory repeats in motet style describing the variety of creation and the varied praise of the Creator; figuration only occurs at Leben (life - bar 27f, also third movement, bars 22-26), and alle Augenblick’ (at all times). The second movement, though derived from the sacred concerto, displays the characteristics of an aria in the prelude and instrumental da capo section. The interplay of the bass voice and the continuo obbligato indicates that God’s Son is the foundation of the faith of the New Testament, just as the thorough bass is the »beginning and end« of music. In the quartet for soprano, flute, violin and continuo obbligato, man (the soprano voice) praises the Spirit of God; the flute is the symbol of willingness to follow Christ’s example, the violin, prayer and comfort, the continuo, faith founded in Christ. This movement bears all the hallmarks of chamber music. Compared with this the following alto aria with oboe d’amore and continuo is much less sophisticated: an inward-looking movement in which man praises the Trinity. The final chorus, its spaciousness exceptional in Bach’s cantatas, exalts the Trinity with its brilliant trumpet writing, to which is added yet another triune symbol: the division of the orchestra into trumpets and timpani - woodwind - strings. This is used to summarise the preceding movements.