Felix Mendelssohn Bartholdy: We all believe in one true God - Sheet music | Carus-Verlag

Felix Mendelssohn Bartholdy We all believe in one true God

Chorale cantata MWV A 12, 1831

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During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach’s works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists.
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  • We all believe in one true God
  • Wir glauben auch an Jesum Christ
  • Wir glauben an den Heilgen Geist
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  • 1. Wir glauben all an einen Gott

    Wir glauben all an einen Gott,
    Schöpfer Himmels und der Erden,
    der sich zum Vater geben hat,
    dass wir seine Kinder werden.
    Er will uns allzeit ernähren,
    Leib und Seel auch wohl bewahren;
    allem Unfall will er wehren,
    kein Leid soll uns widerfahren;
    er sorget für uns, hüt‘ und wacht,
    es steht alles in seiner Macht.

    2. Wir glauben auch an Jesum Christ

    Wir glauben auch an Jesum Christ,
    seinen Sohn und unsern Herren,
    der ewig bei dem Vater ist,
    gleicher Gott von Macht und Ehren;
    von Maria, der Jungfrauen,
    ist ein wahrer Mensch geboren
    durch den Heilgen Geist im Glauben;
    für uns, die wir warn verloren,

    ...
  • 1. We all believe in one true God

    We all believe in one true God,
    maker of the earth and heaven,
    who is our Father and our Lord,
    that we may be called his children.
    He will at all times sustain us.
    Soul and body’s watchful guardian
    from all evil will defend us,
    that sorrow have no dominion;
    and keep us in his love and care,
    for all creatures are in his power.

    2. And we believe in Jesus Christ

    And we believe in Jesus Christ,
    his own son and our Redeemer,
    who dwells with God the Father blest,
    like to him in power and honor,
    who of Mary, virgin lowly,
    as true man was born among us
    by god’s spririt, hope most holy,
    redemption from sin to bring us,

    ...
  • Texte du livret du CD Carus 83.216

    Thomas Schmidt-Beste
    Traduction (abrégée) : Sylvie Coquillat

    À partir de 1820, Félix Mendelssohn Bartholdy, alors âgé de onze ans, suit les cours de composition de Carl Friedrich Zelter, chef de la Singakademie de Berlin. La méthode d’enseignement favorite est dès le début l’étude et l'imitation créative de compositeurs et d’œuvres considérés comme exemplaires ; un parti pris naturellement logique pour la musique sacrée, étant donné que les genres correspondants étaient de toute manière plus étroitement liés à la tradition que les genres « modernes » comme le quatuor à cordes ou la symphonie. Rappelons que Mozart avait déjà étudié Haendel et Bach, et que le début du 19ème siècle est en général une époque de retour historique à la musique sacrée « ancienne ». Le contrepoint rigoureux était resté quoi qu’il en soit un élément indispensable de la polyphonie vocale. Rien d’étonnant donc au fait de trouver aussi des

    ...
  • Text from the CD Carus 83.216

    Thomas Schmidt-Beste
    Translation (abridged): Elizabeth Robinson

    Beginning in 1820, when he was eleven years old, Felix Mendelssohn Bartholdy received composition lessons from the director of the Berlin Singakademie, Carl Friedrich Zelter. From the beginning, the preferred method of teaching was the study and creative imitation of composers and works considered exemplary; for sacred music, the links to the relevant forms of the tradition were much closer than with the “modern” genres such as the string quartet or symphony. After all, Mozart had immersed himself in the works of Handel and Bach, and the early 19th century is generally regarded as the period of historical reassessment of “early” church music. And it goes without saying that strict counterpoint had always remained an essential component of vocal polyphony. So it is not surprising that sacred works were amongst the earliest independent

    ...
  • Booklet-Text der CD Carus 83.216

    Thomas Schmidt-Beste

    Seit 1820 erhielt der zu diesem Zeitpunkt elfjährige Felix Mendelssohn Bartholdy Kompositionsunterricht bei dem Leiter der Berliner Singakademie, Carl Friedrich Zelter. Die bevorzugte Lehrmethode war von Anfang an das Studium und die kreative Nachahmung von als vorbildhaft verstandenen Komponisten und Werken; für die geistliche Musik lag dies natürlich besonders nahe, da die entsprechenden Gattungen der Tradition ohnehin weit enger verbunden waren als die ‚modernen’ Genres, etwa Streichquartett oder Sinfonie. Immerhin hatte sich schon Mozart mit Händel und Bach befasst, und das frühe 19. Jahrhundert ist generell die Zeit der historistischen Rückbesinnung auf ‚alte’ Kirchenmusik – nicht nur die Händels und Bachs, sondern auch die noch weiter zurückliegender Epochen, bis hin zu Giovanni Pierlugi da Palestrina und Tomás Luis de Victoria. Und der strenge Kontrapunkt war

    ...
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