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Lobe den Herren, den mächtigen König der Ehren, BWV 137

Lobe den Herren, den mächtigen König der Ehren
BWV 137
Chorale cantata by J. S. Bach
Portrait engraving of a 17th-century reformed pastor in the simple outfit for services
Joachim Neander, the author of the hymn text
OccasionTwelfth Sunday after Trinity
Chorale"Lobe den Herren, den mächtigen König der Ehren
by Joachim Neander
Performed19 August 1725 (1725-08-19): Leipzig
Movementsfive
VocalSATB choir and solo
Instrumental
  • 3 trumpets
  • timpani
  • 2 oboes
  • 2 violins
  • viola
  • continuo

Johann Sebastian Bach composed the church cantata Lobe den Herren, den mächtigen König der Ehren (Praise the Lord, the mighty King of honor),[1] BWV 137, in Leipzig for the twelfth Sunday after Trinity and led the first performance on 19 August 1725. The chorale cantata is based on the hymn by Joachim Neander, a general song of praise published in 1680.

Bach composed the cantata in his third year in office as Thomaskantor in Leipzig. He set the unchanged text of the hymn to music, structuring the cantata in five movements, with choral outer movements framing three intimate arias. He scored it for four vocal soloists, a four-part choir, and a festive Baroque instrumental ensemble of three trumpets with timpani, two oboes, strings and continuo. The chorale melody is present in all of the movements, in varied treatment.

Bach used the second movement for his Schübler Chorales, and made the closing chorale, which unusually features independent parts for the trumpets and timpani, also part of a 1729 wedding cantata.

History and words

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In office as Thomaskantor, director of church music in Leipzig, Bach composed Lobe den Herren, den mächtigen König der Ehren for the Twelfth Sunday after Trinity.[2][3] It forms part of a cycle of chorale cantatas which Bach composed mainly from mid-1724, his second year in the position. He had composed chorale cantatas between the first Sunday after Trinity of 1724 and Palm Sunday, but for Easter had returned to cantatas on more varied texts, possibly because he lost his librettist.[4] Later, Bach composed more chorale cantatas to complete the cycle. This cantata is one of the completing works. It is based entirely on the unchanged words on the hymn "Lobe den Herren, den mächtigen König der Ehren" (1680) by Joachim Neander.[2][3][5]

The prescribed readings for the Sunday were from the Second Epistle to the Corinthians, the ministry of the Spirit (2 Corinthians 3:4–11), and from the Gospel of Mark, the healing of a deaf mute man (Mark 7:31–37).[2][6] Unlike most chorale cantatas of the second cycle, but similar to the early Christ lag in Todes Banden, BWV 4, Bach retained the chorale text unchanged, thus without a reference to the readings.[7][5]

John Eliot Gardiner assumes, looking at the festive instrumentation and the general content of praise and thanksgiving, that the cantata was also performed that year to celebrate Ratswahl, the inauguration of the town council.[8] In 1729 Bach used the setting of the final chorale, transposed to D major, to conclude the wedding cantata Herr Gott, Beherrscher aller Dinge, BWV 120a, with the last two stanzas of the hymn.[9] With its general content of praise, and no specific narrative, the cantata is suitable for many occasions.[5]

Music

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Structure and scoring

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Bach structured the cantata into five movements. A chorale fantasia and a closing chorale frame a sequence of three arias for vocal soloists with accompaniment of obbligato instruments. Bach scored the work for four vocal soloists (soprano, alto, tenor and bass), a four-part choir and a festive Baroque instrumental ensemble of three trumpets (Tr), timpani, two oboes (Ob), two violins (Vl), viola (Va), and basso continuo.[2][10][5] The duration is given as 18 minutes.[11]

In the following table of the movements, the scoring follows the Neue Bach-Ausgabe. The keys and time signatures are taken from Alfred Dürr's Die Kantaten von Johann Sebastian Bach.[10] The continuo, playing throughout, and the timpani, always playing with the three trumpets, are not shown.

Movements of Lobe den Herren, den mächtigen König der Ehren
No. Title Type Vocal Winds Strings Key Time
1 Lobe den Herren, den mächtigen König der Ehren Chorus SATB 3Tr 2Ob 2Vl Va C major 3
4
2 Lobe den Herren, der alles so herrlich regieret Aria (chorale) A Vl solo G major 9
8
3 Lobe den Herren, der künstlich und fein dich bereitet Aria (duet) S B 2Ob E minor 3
4
4 Lobe den Herren, der deinen Stand sichtbar gesegnet Aria T Tr (or Ob) A minor 3
4
5 Lobe den Herren, was in mir ist, lobe den Namen Chorale SATB 3Tr 2Vl Va C major 3
4

Movements

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17th-century print of the five stanzas of a hymn, preceeded by the first line from Psalm 103, with the lines more or less centered
The hymn text in a 1686 print

As Alfred Dürr and Gardiner observed, the text as well as the chorale melody is present in all movements. The melody in bar form has a Stollen of unusual five measures[9] and reaches a climax at the beginning of the Abgesang, which Bach also stresses in a variety of means in the movements.[7] The cantata is constructed in symmetry: the soprano carries the melody in the outer movements; in the second movement it is sung by the alto, and in the fourth movement played by the trumpet. In the central movement, the beginning of both the vocal and the instrumental theme are derived from it for the cantata's most intimate setting.[7][8]

1

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In the opening chorus, "Lobe den Herren, den mächtigen König der Ehren" (Praise the Lord, the mighty King of honor),[1] the first stanza of the hymn, is rendered as a chorale fantasia. The trumpets, oboes and strings begin with an instrumental concerto; the soprano sings the cantus firmus while the lower voices prepare the entries by imitation of the instrumental motifs.[7] For the words "Kommet zu Hauf, Psalter und Harfen, wacht auf" (Come join the crowd, psaltery and harps, awake!),[1] the setting is homophonic and thus singled out.[7][8]

2

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In the second movement, "Lobe den Herren, der alles so herrlich regieret" (Praise the Lord, who directs everything so gloriously),[1] a solo violin accompanies the embellished melody of the chorale. Bach included this movement in his Schübler Chorales, but on a text for Advent, "Kommst du nun, Jesu, vom Himmel herunter auf Erden".[7]

3

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The third stanza, "Lobe den Herren, der künstlich und fein dich bereitet" (Praise the Lord, who prepares you wisely and well),[1] is set as a duet of soprano and bass. In great contrast to C major and G major, the central movement is in E minor. Two obbligato oboes take part in the setting; their motifs are derived from the beginning of the chorale melody.[12] In an unusual way, the first vocal section is repeated three times; only the words "In wieviel Not" (in how much suffering)[1] are set differently,[13] in "grinding chromatic descent".[8]

4

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The fourth movement, "Lobe den Herren, der deinen Stand sichtbar gesegnet" (Praise the Lord, who surely blesses your condition),[1] is in A minor, but the cantus firmus of the trumpet is nonetheless in C major,[13] in "a battle for harmonic supremacy".[8] In the final movement of his Christmas Oratorio Bach would later embed the chorale in doric mode in a concerto in D major. The independent vocal line quotes parts of the chorale melody several times. The words "Denke daran" (consider this)[1] are accented by a different metre, matching the slightly changed words "Denke dran".[13]

5

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For the closing chorale, Bach set the last hymn stanza, "Lobe den Herren, was in mir ist, lobe den Namen!" (Praise the Lord, what is within me, praise his name!),[1] as four-part vocal setting doubled by the strings and oboes, with independent parts for three trumpets and timpani.[13][14][15] The first trumpet "[soaring] above all", illustrates the words of the final lines effectively for an affirmative conclusion.[9] Gardiner notes that Bach "knew exactly how best to use the resources of the ceremonial trumpet-led orchestra and choir of his day to convey unbridled joy and majesty".[8]

\header { tagline = ##f } \layout { indent = 0 \set Score.tempoHideNote = ##t \context { \Score \remove "Bar_number_engraver" } \context { \Voice \remove "Dynamic_engraver" } } global = { \key c \major \time 3/4 } tn = \tempo 4 = 102 tf = \tempo 4 = 39 trumpet = \relative c''' { \global \set midiInstrument = "trumpet" \repeat volta 2 { <g e c>4^"3 trumpets" <g c, e,> <g d g,> | <g e c>4. q8 <a fis c>4 | <b g d> <g d g,> <b g d> | <c g e> <b g f> << { <c e,>8 <a c,> } \\ { g4 } >> | <b g d>2 <c g e>4 | } <g e>4. << { bes8 a [g] } \\ { g16 f e8 f16 e } >> | <f d>2. | << { c4. d8 d4 | e8 [d] e [f] <g e> <a f> } \\ { e,4 r4 r | <c' g>4. <d g,>8 c4 } >> | <b' g d>2. | << { g2.~ | g8 [f] g [a] g a | g a16 b b4 c } \\ { <d, g,>4 q2 | <c g>4 <f d> <e c>8 <c e,> | <d g,>2 <e g,>4 } >> \bar "|." } soprano = \new Voice = "soprano" \relative c'' { \global \voiceOne \clef treble \set midiInstrument = "violin" %"oboe" \repeat volta 2 { \tn c4 c g' | e4. d8 c4 | b4. a8 g4 | c d e8 (f) | d2 \tf c4\fermata | } \tn e4. d8 e4 | f2.\fermata e4. f8 g4 | g4. f8 e4 | d2.\fermata | g,4 a b | c d e8. (f16) | d2 \tf c4\fermata \bar "|." } alto = \new Voice \relative c'' { \global \voiceTwo \set midiInstrument = "viola" %"flute" \repeat volta 2 { g4\ff g g | g4. g8 fis4 | d g g | g b g | g (f) e | } g4. g8 cis,4 | a'2. | a4. a8 d,4 | c g' g | g2. | d4 d d | g g g | g2 e4 \bar "|." } tenor = \new Voice \relative c' { \global \voiceThree \clef bass \set midiInstrument = "cello" %"clarinet" \repeat volta 2 { e4 e d | c4. g8 c4 | g' g, d' | c f, c' | d b g | } e'4. e8 e ([cis]) | d2. | e4. c8 b ([a]) | g4 b c | b2. | b4 d g, | g g g8 (c) | c4 (b) g \bar "|." } bass = \relative c { \global \voiceFour \set midiInstrument = "contrabass" %"bassoon" \repeat volta 2 { c4 c' b | c4. b8 a4 | g g, f' | e d c | g' g, c | } c4 e a | d,2. | a'4 g f | e4. d8 c4 | g2. | g'4 f8 ([e]) f (d) | e4 b c | g' g, c \bar "|." } verse = \new Lyrics = "firstVerse" \lyricsto "soprano" { << { \set stanza = "5." Lo -- be den Her -- ren, was in mir ist, lo -- be den Na -- men. } \new Lyrics = "secondVerse" \with { alignBelowContext = "firstVerse" } { \set associatedVoice = "soprano" Al -- les, was O -- dem hat, lo -- be mit A -- bra -- hams Sa -- men. } >> Er ist dein Licht, See -- le, ver -- giss es ja nicht; Lo -- ben -- de, schlie -- ße mit A -- men! } timpani = \relative c { \global \set midiInstrument = "timpani" \repeat volta 2 { c4^"timpani" c g | c4. c8 c4 | g g g | c g c | g8 g16 g g8 g c4 | } R2. | R | c4 r4 r4 | c4. g8 c4 | g2. | g4 g2 | c4 g c | g2 c4 \bar "|." } \score { << \new Staff \with { \magnifyStaff #3/4 } \trumpet \new ChoirStaff << \new Staff << { \soprano } { \alto } \context Lyrics = "soprano" { \lyricsto "soprano" { \verse } } >> \new Staff \with { \override VerticalAxisGroup.staff-staff-spacing = % reduce spacing to timpani staff #'( (basic-distance . 0) (minimum-distance . 0) (padding . 0.5 ) (stretchability . 0) ) } << { \tenor } { \bass } >> >> \new Staff \with { \magnifyStaff #3/4 } { \clef bass \timpani } >> \layout { } } \score { \unfoldRepeats { << \trumpet \\ \soprano \\ \alto \\ \tenor \\ \bass \\ \timpani >> } \midi { \context { \Score midiChannelMapping = #'instrument } \context { \Staff \remove "Staff_performer" } \context { \Voice \consists "Staff_performer" } } }

Manuscripts and publication

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The manuscripts of the original parts of Lobe den Herren are extant, while the original score is lost. An extant copy of the score made by Christian Friedrich Penzel, and dated 1755, assigns the cantata to St. John's Day (24 June). It is unclear if this designation was copied from Bach's score.[5]

The first critical edition of the cantata, edited by Wilhelm Rust, was published by the Bach Gesellschaft in 1881 as part of its complete edition of Bach's works. In the Neue Bach-Ausgabe, the second edition of Bach's works, the cantata was published in 1986, edited by Klaus Hofmann.[2][5]

Recordings

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The entries are taken from the listing on the Bach Cantatas Website.[16] Ensembles playing period instruments in historically informed performances are marked green under the header Instr..

Recordings of Lobe den Herren, den mächtigen König der Ehren
Title Conductor / Choir / Orchestra Soloists Label Year Instr.
Bach Made in Germany Vol. 1 – Cantatas VII Günther Ramin
Thomanerchor
Gewandhausorchester
Eterna 1953 (1953)
J. S. Bach: Cantatas BWV 137 & BWV 190 Hans Thamm
Windsbacher Knabenchor
Consortium Musicum
EMI 1966 (1966)
Les Grandes Cantates de J.S. Bach Vol. 27 Fritz Werner
Heinrich-Schütz-Chor Heilbronn
Pforzheim Chamber Orchestra
Erato 1973 (1973)
Bach Cantatas Vol. 4 – Sundays after Trinity I Karl Richter
Münchener Bach-Chor
Münchener Bach-Orchester
Decca 1977 (1977)
Die Bach Kantate Vol. 10 Helmuth Rilling
Gächinger Kantorei
Bach-Collegium Stuttgart
Hänssler 1982 (1982)
Bach Made in Germany Vol. 4 – Cantatas IV Hans-Joachim Rotzsch
Thomanerchor
Neues Bachisches Collegium Musicum
Eterna 1982 (1982) Period
J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Fol / Vol. 2 Nikolaus Harnoncourt
Leonhardt-Consort
Teldec 1983 (1983) Period
Bach Edition Vol. 19 – Cantatas Vol. 10 Pieter Jan Leusink
Holland Boys Choir
Netherlands Bach Collegium
Brilliant Classics 2000 (2000) Period
Bach Cantatas Vol. 6: Köthen/Frankfurt[8] John Eliot Gardiner
Monteverdi Choir
English Baroque Soloists
Soli Deo Gloria 2000 (2000) Period
J. S. Bach: Complete Cantatas Vol. 18 Ton Koopman
Amsterdam Baroque Orchestra & Choir
Antoine Marchand 2002 (2002) Period
J. S. Bach: Cantatas Vol. 40 – BWV 79, 137, 164, 168 Masaaki Suzuki
Bach Collegium Japan
BIS 2007 (2007) Period

References

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  1. ^ a b c d e f g h i Dellal 2025.
  2. ^ a b c d e Bach Digital 2025.
  3. ^ a b Dürr & Jones 2006.
  4. ^ Wolff 2000.
  5. ^ a b c d e f Wolf 2015.
  6. ^ Dürr & Jones 2006, p. 501.
  7. ^ a b c d e f Dürr & Jones 2006, p. 505.
  8. ^ a b c d e f g Gardiner 2010.
  9. ^ a b c Mincham 2010.
  10. ^ a b Dürr & Jones 2006, pp. 504–505.
  11. ^ Dürr & Jones 2006, p. 504.
  12. ^ Dürr & Jones 2006, pp. 505–506.
  13. ^ a b c d Dürr & Jones 2006, p. 506.
  14. ^ Dahn 2025.
  15. ^ Hengel 2020.
  16. ^ Oron 2025.

Cited sources

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