Luogo e data di registrazione		(Luogo e data di registrazione non indicati)
	Registrazione: live / studio		studio
	Producer		Wolf Erichson
	Prima Edizione LP		Teldec "Das Alte Werk" | 6.35653 EX | 2 LPs - durata 55' 21" - 47' 40" | (p) 1984 | DIGITAL DMM
	Edizione CD		Teldec Classics | LC 6706 | 242 630-2 ZL | 2 CDs - durata 55' 21" - 47' 40" | (c) 1989 | DDD
	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 140, BWV 145 e BWV 146 a cura del Concentus Musicus Wien diretto da Nikolaus Harnoncourt.

INTRODUCTION by Gerhard Schuhmacher The occasion and date of composition and whether it was performed during Bach’s lifetime of »Lobe den Herrn, meine Seele« (BWV 143) are still not at all clear. The claim by Spitta and Schering that it was performed on New Year’s Day 1735 is contradicted by evidence that the fourth cantata of the Christmas Oratorio was sung on that occasion. In its conciseness the cantata is related stylistically to the motet (Nos. 1 and 7), to the older aria (Nos. 4 and 5) and to the sacred concerto (Nos. 2 and 4). A striking feature are the three horns, to which he added timpani in the fifth movement. Judging by the style this work probably falls between BWV 71, the cantata written for the occasion of the election of a new town council in Mühlhausen (1708) and the change in the style of his cantatas in 1714; since it is scored for horns the date of composition is probably close to that of the Hunting Cantata BWV 208 (1713). On all other occasions Bach symbolised the reign of Jesus the King by three trumpet parts and timpani, trumpets being the privilege of rulers. The continuo writing and this early use of horns are strong arguments in favour of Bach’s authorship. »Nimm, was dein ist, und gehe hin« (BWV 144), written for 6th February 1724, is introverted in character. The opening chorus is a strict fugue, in which the subject is sung in large note values to the words of the title (»Take what is thine and go hence), the last words (»gehe hin«) being treated as a sequential counterpoint and further elaborated. In the alto aria »Murre nicht, lieber Christ« (»Do not complain, dear Christian«) the complaints are depicted by the use of the low register, thereby disregarding the negation implicit in the text. This is maintained throughout the contrapuntal variations of the aria: »Murre nicht« is always set in low notes, »lieber Christ« in high notes. After a simple chorale verse »Was Gott tut, das ist wohlgetan« and a preparatory recitative, the great soprano aria with oboe d’amore and continuo »Geniigsamkeit ist ein Schatz in diesem Leben« (»Moderation is a treasure in this life«), full of expansive gestures and coloratura, provides the opportunity for Bach to give free reign to his certain faith. The seeming contradiction is cancelled out by the music: although the scoring is »moderate«, there is ample scope for development. In place of the customary da capo there is a freely varied repetition, variations providing a richer style than a mere mechanical reprise.