View source for Bist du bei mir

{{short description|Aria composed by Gottfried Heinrich Stölzel}}
{{Listen|type=music|filename=Hmv-db2291-32-4808-2wx767.ogg|title="Bist du bei mir" (BWV 508)|description=Performed by soprano [[Elisabeth Schumann]], 1934}}
"'''{{Lang|de|Bist du bei mir, geh ich mit Freuden|italic=no}}'''" (If you are with me, I go with joy) is an [[aria]] from [[Gottfried Heinrich Stölzel]]'s opera ''Diomedes'', which was first staged on 16 November 1718. The aria is best known as "{{Lang|de|Bist du bei mir|italic=no}}," [[Bach-Werke-Verzeichnis|BWV]]&nbsp;508, a version for voice and [[basso continuo|continuo]] found as No. 25 in the 1725 ''[[Notebook for Anna Magdalena Bach]]''.

==History==
Gottfried Heinrich Stölzel's opera ''Diomedes'' was staged in [[Bayreuth]] in November 1718.{{sfn|Hegen|2018|p=[https://books.google.com/books?id=X81-DwAAQBAJ&pg=PA15 15]}}{{sfn|Glöckner et al.|2002|pp=173–174}}{{sfn|Mizler|1754|p=[https://archive.org/details/bub_gb_lfQ4AAAAIAAJ/page/n1030 151]}}{{sfn|Stölzel|1740|p=[https://archive.org/details/grundlageeinereh00matt/page/346 346]}} There has been some speculation how one of its arias, "{{Lang|de|Bist du bei mir|italic=no}}," came to be known in the Bach household in mid-1730s [[Leipzig]], when [[Anna Magdalena Bach]], [[Johann Sebastian Bach|Johann Sebastian]]'s second wife, copied an arrangement of the aria into her second notebook.{{sfn|Glöckner et al.|2002|p=174}} 21st-century scholarship has shown that from the 1720s to the mid-1730s, at least several dozen to perhaps over a hundred of Stölzel's compositions were adopted by Bach or his family members in their public and private music practices.{{sfn|Schabalina|2008|pp=83–84}}{{sfn|Pfau|2008|pp=111–115}}{{sfn|Wollny|2008|pp=135–146}}{{sfn|Glöckner|2009|p=103}} Only indirect evidence suggests how such music was transferred from Stölzel to the Bachs;{{sfn|Glöckner et al.|2002|p=174}}{{sfn|Pfau|2008|pp=111–115}}{{sfn|Schabalina|2008|p=80}}{{sfn|Glöckner|2009|p=102}} Bach and Stölzel were in the same places at different times, and shared acquaintances, but whether they met in person can only be surmised.{{sfn|Glöckner|2009|p=102}}{{sfn|Ahrens|2007|p=46}}

===1707–1732===
[[File:Orchestral version of Stölzel's Bist du bei mir (1st system).png|thumb|upright=1.35|First system of the orchestral version of Stölzel's "{{Lang|de|Bist du bei mir|italic=no}}", as copied around 1723.]]
[[File:Orchestral version of Stölzel's Bist du bei mir (2nd to 4th system).png|thumb|upright=1.35|Orchestral version of Stölzel's "{{Lang|de|Bist du bei mir|italic=no}}" (2nd to 4th system)]]
[[File:Orchestral version of Stölzel's Bist du bei mir (5th and 6th system).png|thumb|upright=1.35|Orchestral version of Stölzel's "{{Lang|de|Bist du bei mir|italic=no}}" (5th and 6th system)]]
From 1707 to 1710 Stölzel was a student at [[Leipzig University]]. At that time, [[Melchior Hoffmann (composer)|Melchior Hoffmann]] was conductor of the [[Collegium Musicum]] founded by [[Georg Philipp Telemann|Telemann]], which had [[Johann Georg Pisendel]] as its [[concert master]]. Hoffmann was {{lang|la|[[director musices]]}} of the [[New Church (Leipzig)|New Church]] ({{Langx|de|Neue Kirche}}), and his operas were performed in the [[Oper am Brühl (Leipzig)|Oper am Brühl]] when it reopened in 1708. Stölzel, eager to cultivate his interest in music, visited such venues of Leipzig's high-quality music life. Eventually he became an assistant of Hoffmann, initially as copyist, and later, shortly before leaving Leipzig, he saw his first compositions performed under Hoffmann's direction.{{sfn|Glöckner et al.|2002|p=174}}{{sfn|Mizler|1754|pp=[https://archive.org/details/bub_gb_lfQ4AAAAIAAJ/page/n1023 144–145]}}{{sfn|Stölzel|1740|pp=[https://archive.org/details/grundlageeinereh00matt/page/117 117]–[https://archive.org/details/grundlageeinereh00matt/page/119 119], [https://archive.org/details/grundlageeinereh00matt/page/344 344]}}

Bach visited the court at [[Gotha]] in 1711 and 1717.{{sfn|Ahrens|2007|p=46}} In 1711 he had been hired as performer on the organ, and during the second of these documented visits he performed his so-called {{lang|de|[[Weimarer Passion]]}} during [[Holy Week]].{{sfn|Ahrens|2007|pp=45–54}} Stölzel moved to Bayreuth in 1717, where he was appointed to write church music for the second centenary of [[Reformation Day]] (31&nbsp;October).{{sfn|Mizler|1754|p=[https://archive.org/details/bub_gb_lfQ4AAAAIAAJ/page/n1030 151]}}{{sfn|Stölzel|1740|p=[https://archive.org/details/grundlageeinereh00matt/page/346 346]}} For the 39th birthday of [[George William, Margrave of Brandenburg-Bayreuth]] (16&nbsp;November) he composed a theatrical [[serenata]], ''Der Liebe Sieges- und Friedes-Palmen''.{{sfn|Hegen|2018|p=[https://books.google.com/books?id=X81-DwAAQBAJ&pg=PA15 15]}}{{sfn|Mizler|1754|p=[https://archive.org/details/bub_gb_lfQ4AAAAIAAJ/page/n1030 151]}}{{sfn|Stölzel|1740|p=[https://archive.org/details/grundlageeinereh00matt/page/346 346]}} For the Margrave's next birthday he wrote {{Lang|de|Diomedes oder die triumphierende Unschuld}} ({{translation|Diomedes or the triumphant innocence}}), a large-scale opera which was staged on {{nowrap|16 November 1718}}.{{sfn|Hegen|2018|p=[https://books.google.com/books?id=X81-DwAAQBAJ&pg=PA15 15]}}{{sfn|Glöckner et al.|2002|pp=173–174}}{{sfn|Mizler|1754|p=[https://archive.org/details/bub_gb_lfQ4AAAAIAAJ/page/n1030 151]}}{{sfn|Stölzel|1740|p=[https://archive.org/details/grundlageeinereh00matt/page/346 346]}} Before moving to Gotha the next year, where he would remain for the rest of his life, Stölzel still composed one further birthday serenata for the Margrave in Bayreuth.{{sfn|Mizler|1754|p=[https://archive.org/details/bub_gb_lfQ4AAAAIAAJ/page/n1030 151]}}{{sfn|Ahrens|2007|p=45}}

In 1720, three years before he became {{lang|de|[[Thomaskantor]]}} in Leipzig, Johann Sebastian Bach started the [[Klavierbüchlein für Wilhelm Friedemann Bach|''Klavierbüchlein'' (keyboard-booklet) for his eldest son Wilhelm Friedemann]].{{sfn|Klavierbüchlein für W. F. Bach (US-NHub Music Deposit) at Bach Digital}} Some years later [[Wilhelm Friedemann Bach|Wilhelm Friedemann]] copied a four-[[movement (music)|movement]] keyboard suite by Stölzel in this notebook, to which his father added a trio ([[BWV&nbsp;929]]).{{sfn|Schabalina|2008|pp=83–84}}{{sfn|Klavierbüchlein für W. F. Bach (US-NHub Music Deposit) at Bach Digital}}{{sfn|Dürr|Kobayashi|Beißwenger|1998|pp=391–392}} In 1725 Johann Sebastian started the second notebook for his second wife Anna Magdalena.{{sfn|Glöckner et al.|2002|pp=173–174}} In the meantime he had assumed his position of cantor and music director in Leipzig: among many responsibilities that came with that title, he was now in charge of the music in the New Church.{{sfn|Wolff|2002|pp=[https://books.google.com/books?id=ronZdkhQouMC&pg=PA237 237–253]}} From 1729 he also became director of the Collegium Musicum founded by Telemann.{{sfn|Wolff|2002|pp=[https://books.google.com/books?id=ronZdkhQouMC&pg=PA351 351ff]}}

Meanwhile, in Gotha, Stölzel had presented his first [[Passion oratorio]], ''[[Ein Lämmlein geht und trägt die Schuld (Stölzel)|Ein Lämmlein geht und trägt die Schuld]]'', in Holy Week of 1720,{{sfn|Schabalina|2008|p=79}} and composed a new [[cantata cycle]] every few years, among which:{{sfn|Mizler|1754|p=[https://archive.org/details/bub_gb_lfQ4AAAAIAAJ/page/n1031 152]}}
* in the early 1720s a setting of [[Benjamin Schmolck]]'s ''String-Music'' ({{lang|de|Saitenspiel}}) cantata [[libretto]] cycle.{{sfn|Pfau|2008|pp=106, 110}}
* for the 1731–32 [[liturgical year]], a setting of Schmolck's ''Namebook'' ({{lang|de|Namenbuch}}) cantata libretto cycle.{{sfn|Glöckner|2009|p=96}}

===1733–1754===
When [[Augustus the Strong]] died on {{nowrap|1 February 1733}}, a period of mourning was declared in his realm, which included Saxony.{{sfn|Glöckner|2009|p=100}}{{sfn|Schabalina|2008|p=78}} During this period, lasting from [[List of church cantatas by liturgical occasion#Second Sunday before Lent (Sexagesima)|Sexagesima Sunday]] (15&nbsp;February) to the [[List of church cantatas by liturgical occasion#Fourth Sunday after Trinity (Trinity IV)|fourth Sunday after Trinity]] (28&nbsp;June), no concerted music was to be performed in church services.{{sfn|Glöckner|2009|p=100}}{{sfn|Schabalina|2008|p=78}} Johann Sebastian Bach used the period to compose [[Mass for the Dresden court (Bach)|his Mass for the Dresden court]].{{sfn|Stockigt|2013}} He may have had the musicians of the [[Dresden]] court orchestra in mind when composing this extended setting: one of these musicians was its then-time concert master Pisendel, with whom Bach had been acquainted since before Stölzel had known him as concert master of Hoffmann's orchestra.{{sfn|Stockigt|2013}}

Early July 1733, Bach was still completing the composition, and the performance parts he intended to send to Dresden.{{sfn|Stockigt|2013}} Around this time, there are the earliest documented signs he used cantatas composed by Stölzel for performance in Leipzig.{{sfn|Glöckner|2009|pp=98–102}} He may have performed two cantatas from Stölzel's ''Namebook'' cycle, for the fifth and sixth Sunday after Trinity, in July 1733: his copies of these cantatas date from around this time.{{sfn|Glöckner|2009|pp=98–102}} He performed Stölzel's ''Ein Lämmlein geht und trägt die Schuld'' on Good Friday {{nowrap|23 April 1734}}, and likely Stölzel's entire ''String-Music'' cantata cycle from 1735 to 1736.{{sfn|Schabalina|2008|pp=83–84}}{{sfn|Pfau|2008|pp=111–115}}{{sfn|Wollny|2008|pp=129–146}}{{sfn|Glöckner|2009|pp=95, 102}} Around the same time, that is, likely somewhere between 1734 and 1740, Anna Magdalena Bach entered a version for voice and continuo of "{{Lang|de|Bist du bei mir|italic=no}}", an aria from Stölzel's 1718 ''Diomedes'' opera, in her second notebook.{{sfn|Glöckner et al.|2002|pp=173–174}}{{sfn|Schabalina|2008|pp=83–84}}{{sfn|Glöckner|2009|p=103}}<ref name="BWV508RISM">{{RISM|467022526}}.</ref>

That was not the end of Bach's dealings with Stölzel's music: in the early 1740s he reworked an aria from Stölzel's ''Ein Lämmlein geht und trägt die Schuld'', "Dein Kreuz, o! Bräut’gam meiner Seelen" to [[Bekennen will ich seinen Namen, BWV 200|''Bekennen will ich seinen Namen'', BWV&nbsp;200]].{{sfn|Glöckner|2009|p=103}}{{sfn|Wollny|2008|pp=125–129}} Stölzel's acquiring music composed by Bach is documented in 1747, when he bought a copy of [[The Musical Offering|Bach's ''Musical Offering'']] for Gotha, less than a month after its publication.{{sfn|Ahrens|2007|pp=58–60}} Both Stölzel and Bach joined [[Lorenz Christoph Mizler]]'s exclusive {{ill|Mizler's Music Society|de|Correspondierende Societät der musicalischen Wissenschaften|lt=Society of Musical Sciences}}: Stölzel in 1739, and Bach in 1747.{{sfn|Mizler|1754}} After they died, Stölzel in 1749 and Bach in 1750, their obituaries were published in 1754, in the same issue of the Society's organ, the {{ill|Musikalische Bibliothek|de|lt=''Musikalische Bibliothek''}}.{{sfn|Mizler|1754}}

==Text and music==
In its 18th-century manuscripts "{{Lang|de|Bist du bei mir|italic=no}}" is a [[da capo aria]] for [[soprano]] in [[E-flat major]], in {{music|time|3|4}} [[time signature|time]].<ref name="BWV508RISM" /><ref name="BdbmRISM">{{RISM|469080810}} Diomedes (Excerpts): "Bist du bei mir geh ich mit Freuden"</ref>{{sfn|Glöckner et al.|2002|p=173}} Its lyrics also survive in the printed libretto of Stölzel's ''Diomedes'' opera:{{sfn|Glöckner et al.|2002|pp=173–174}}
{{Verse translation|lang=de|Bist du bei mir, geh ich mit Freuden
&nbsp;&nbsp;&nbsp;&nbsp;zum Sterben und zu meiner Ruh.
Ach, wie vergnügt wär so mein Ende,
es drückten deine schönen Hände
mir die getreuen Augen zu.|If you are with me, then I will go gladly
&nbsp;&nbsp;&nbsp;&nbsp;unto [my] death and to my rest.
Ah, how pleasing were my end,
if your dear hands then
shut my faithful eyes!|attr1=[https://www.bach-digital.de/receive/BachDigitalWork_work_00000579?XSL.Style=detail&lang=en Lyrics of "Bist du bei mir"] at [[Bach Digital]].|attr2=Translation}}
Translations of the aria's text have been published, for instance, by [[Novello & Co|Novello]] and by [[Alfred Music]], and at [[The LiederNet Archive]].{{sfn|Barry|1894}}{{sfn|Palmer|1992|p=[https://books.google.com/books?id=hPnPKwYSOKsC&pg=PA47 47]}}{{sfn|Ezust|2014}}

===Stölzel's ''Diomedes''===
{{see also|Gottfried Heinrich Stölzel#Operas}}
Two sources from the first quarter of the 18th century document text and music of Stölzel's ''Diomedes'' opera:{{sfn|Glöckner et al.|2002|pp=172–174}}
* A libretto printed for the first performance of the opera (16 November 1718 in Bayreuth).{{sfn|Hegen|2018|p=[https://books.google.com/books?id=X81-DwAAQBAJ&pg=PA15 15]}}{{sfn|Glöckner et al.|2002|pp=173–174}}
* A manuscript copy, dated to {{circa|1723}}, containing an orchestral score of five arias by Stölzel, the only known extant music of the opera.{{sfn|Glöckner et al.|2002|pp=172–174}}
The libretto specifies the performance venue as "{{lang|de|auf dem großen Theatro}}" ({{translation|at the grand theatre}}), where only some of the more remarkable Bayreuth theatrical productions of the time were staged.{{sfn|Hegen|2018|p=[https://books.google.com/books?id=X81-DwAAQBAJ&pg=PA15 15]}}{{sfn|Glöckner et al.|2002|pp=173–174}} The libretto names no composer.{{sfn|Hegen|2018|p=[https://books.google.com/books?id=X81-DwAAQBAJ&pg=PA15 15]}} In his autobiography, Stölzel describes the opera as "{{lang|de|von meiner Arbeit}}" ({{translation|"made by me"}}).{{sfn|Stölzel|1740|p=[https://archive.org/details/grundlageeinereh00matt/page/346 346]}} Also the 1720s manuscript copy of five arias mentions him as composer.{{sfn|Glöckner et al.|2002|p=173}} Stölzel often wrote his own librettos.{{sfn|Stölzel|1740|pp=[https://archive.org/details/grundlageeinereh00matt/page/343 343–347]}} As far as known, the opera is his most extended composition: it contains over seventy arias, eight duets and six choruses, totalling over hundred movements.{{sfn|Glöckner et al.|2002|p=174}}

The 1720s manuscript with the five arias does not name the instruments for which it is scored: these are assumed to be [[string section|strings]], that is [[violin]]s (vl), [[viola]] (va) and [[basso continuo]] (bc). The [[soprano clef]] for the singer indicates a soprano voice for all arias. They are in different [[key (music)|key]]s, and all of them are da capo arias. The fourth aria, that is "{{Lang|de|Bist du bei mir|italic=no}}", is in E-flat major (although notated with only two flats at the clef), and has the most extended instrumentation: first violin (vl1), second violin (vl2), viola and continuo. It is also the only aria with a [[dynamics (music)|dynamics]] indicator: {{lang|it|semper piano}} (soft throughout). Apart from the second aria, which seems to be an addition to the 7th scene of the 3rd act, all texts of the five arias score correspond with passages of the libretto of 1718, thus the lyrics of these arias can be coupled with the characters of the [[dramatis personae]] of the opera.{{sfn|Glöckner et al.|2002|pp=173–174}}<ref name="SBBmanuscript">[http://resolver.staatsbibliothek-berlin.de/SBB00019D7700000000 (Sammelhandschrift) 11 Geistliche Gesänge] at [[Berlin State Library]] website, [http://resolver.staatsbibliothek-berlin.de/SBB00019D7700000129 pp.&nbsp;129–131].</ref>

{| class="wikitable sortable"
|+ Extant arias of Stölzel's ''Diomedes''{{sfn|Glöckner et al.|2002|pp=173–174}}<ref name="11SacredSongsRISM">{{RISM|469080800}} Collection: 11 Sacred songs</ref> 
|-
! scope="col" | #
! scope="col" | text incipit
! scope="col" | character
! scope="col" | scene
! scope="col" | signature
! scope="col" | instruments
|-
| {{0}}1.
| Es ist die Ursach' meines Leidens
| Diomedes
| data-sort-value="II 11" | Act&nbsp;II, sc.&nbsp;11
| [[F&nbsp;major]]; {{music|time|3|4}}
| vl va bc<ref>{{RISM|469080807}}.</ref>
|-
| {{0}}2.
| Geht ihr Küsse geht ihr Blicke
| Mosthenes
| data-sort-value="III 07" | Act&nbsp;III, sc.&nbsp;7
| [[G&nbsp;major]]; {{music|time|3|8}}
| vl bc<ref>{{RISM|469080808}}.</ref>
|-
| {{0}}3.
| Mein Glücke steht in deinen Händen
| Copele
| data-sort-value="II 06" | Act&nbsp;II, sc.&nbsp;6
| [[A&nbsp;major]]; {{music|time|3|4}}
| vl va bc<ref>{{RISM|469080809}}.</ref>
|-
| {{0}}4.
| '''Bist du bei mir geh ich mit Freuden'''
| Diomedes
| data-sort-value="III 08" | Act&nbsp;III, sc.&nbsp;8
| [[E♭&nbsp;major]]; {{music|time|3|4}}
| vl1 vl2 va bc<ref name="BdbmRISM" />
|-
| {{0}}5.
| Sage mir doch wertes Glücke
| Desania
| data-sort-value="I 05" | Act&nbsp;I, sc.&nbsp;5
| [[A&nbsp;minor]]; {{music|time|3|8}}
| vl va bc<ref>{{RISM|469080811}}.</ref>
|}

===Anna Magdalena Bach's ''Notenbüchlein''===
{{see also|Notebook for Anna Magdalena Bach}}
[[Anna Magdalena Wilcke]] was an accomplished vocalist when she married Johann Sebastian Bach in 1721, around which time she was hired as a singer by his employer at [[Köthen (Anhalt)|Köthen]].{{sfn|Wolff|2002|p=[https://books.google.com/books?id=ronZdkhQouMC&pg=PA216 216]}}{{sfn|Yearsley|2019|p=[https://books.google.com/books?id=8bGhDwAAQBAJ&pg=PR19 XIX]}} A year later, her first notebook was started: it contains, as far as extant, only keyboard music, most of it written down by Johann Sebastian.{{sfn|Yearsley|2019|pp=[https://books.google.com/books?id=8bGhDwAAQBAJ&pg=PR19 XIX–XXI]}}{{sfn|1. Klavierbüchlein der A. M. Bach, 1722 (D-B Mus.ms. Bach P 224) at Bach Digital}} The first entries in her second notebook were, like the first entries in Wilhelm Friedemann's 1720 notebook, keyboard compositions by Johann Sebastian, written down by the composer.{{sfn|Klavierbüchlein für W. F. Bach (US-NHub Music Deposit) at Bach Digital}}{{sfn|2. Notenbüchlein der A. M. Bach, 1725 (D-B Mus. ms. Bach P 225) at Bach Digital}} In the 1725 notebook these are followed by around ten short keyboard pieces by various composers, among which [[Christian Petzold (composer)|Christian Petzold]]'s [[Minuet in G major, BWV Anh. 114|Minuet in G&nbsp;major (BWV&nbsp;Anh.&nbsp;114)]], written down by Anna Magdalena without composer indication.{{sfn|2. Notenbüchlein der A. M. Bach, 1725 (D-B Mus. ms. Bach P 225) at Bach Digital}} The next pieces, BWV&nbsp;510–512, are the first compositions for singing that appear in Anna Magdalena's notebooks.{{sfn|2. Notenbüchlein der A. M. Bach, 1725 (D-B Mus. ms. Bach P 225) at Bach Digital}}<ref>[http://resolver.staatsbibliothek-berlin.de/SBB0001D81000000000 Klavierbüchlein für Anna Magdalena Bach (1725)] at [[Berlin State Library]] website.</ref>

The pieces in Anna Magdalena's 1725 notebook were written down by eight different scribes, that is, apart from Johann Sebastian and Anna Magdalena, [[Carl Philipp Emanuel Bach|Carl Philipp Emanuel]] (the second son from Johann Sebastian's first marriage), two sons of Johann Sebastian and Anna Magdalena ([[Johann Christoph Friedrich Bach|Johann Christoph Friedrich]] and [[Johann Christian Bach|Johann Christian]]), Bernhard Dietrich Ludewig (known to have worked as a copyist of some choral works for Bach), and two further writers who have not been identified.{{sfn|2. Notenbüchlein der A. M. Bach, 1725 (D-B Mus. ms. Bach P 225) at Bach Digital}} Pieces were entered intermittently over a long period of time (e.g., Johann Christian was born in 1735), and their sequence in the manuscript does not reflect the chronology of when they were entered.{{citation needed|date=January 2020}} The "Menuet fait par Mons. Böhm" (No.&nbsp;21, entered by Johann Sebastian) is the only piece that is attributed to another composer in the manuscript.{{citation needed|date=January 2020}}
[[File:AMBII75 - bist du bei mir (p1).png|thumb|upright=1.35|First page of "{{Lang|de|Bist du bei mir|italic=no}}", BWV&nbsp;508, as written down by [[Anna Magdalena Bach]].]]
[[File:AMBII75 - bist du bei mir (p2).png|thumb|upright=1.35|Second page of "{{Lang|de|Bist du bei mir|italic=no}}", BWV 508, as written down by Anna Magdalena Bach.]]
Two objectives are apparent in Anna Magdalena's second notebook:{{citation needed|date=January 2020}}
* it was used for instruction such as the musical education of Bach's younger sons, comparable to how Wilhelm Friedemann's {{lang|de|Klavierbüchlein}} was in part used for the musical education of his eldest son.{{citation needed|date=January 2020}}
* it contained {{lang|de|[[House concert|Hausmusik]]}} ({{literal translation|home-music}}), that is music to be performed in the family circle, such as most of the pieces that are still extant in Anna Magdalena's first notebook.{{citation needed|date=January 2020}}

No.&nbsp;25, "{{Lang|de|Bist du bei mir|italic=no}}", BWV&nbsp;508, belongs to the second category, along with another dozen pieces of vocal music in the 1725 notebook.{{citation needed|date=January 2020}} Most of these other vocal compositions ([[List of songs and arias by Johann Sebastian Bach#Songs and arias from the second Notebook for Anna Magdalena Bach (BWV 508–518)|BWV&nbsp;509–518]], [[BWV 299|299]] and [[BWV&nbsp;82|82]]/2–3) can, according to the 1998 edition of the {{lang|de|[[Bach-Werke-Verzeichnis]]}} (BWV), be attributed to Johann Sebastian.{{sfn|Dürr|Kobayashi|Beißwenger|1998|pp=86–87, 285, 289, 308–309}} Doubts about this attribution have however arisen regarding following arias and [[sacred song]]s:
* No.&nbsp;12: "Gib dich zufrieden und sei stille" (BWV&nbsp;510)<ref>{{BDh|581|0|2019-03-11}}</ref>
* No.&nbsp;20: "So oft ich meine Tobackspfeife" (BWV&nbsp;515) is possibly by Bach's son [[Gottfried Heinrich Bach|Gottfried Heinrich]] according to the 1998 edition of the BWV,{{sfn|Dürr|Kobayashi|Beißwenger|1998|p=308}} but only attributed to the father at the [[Bach Digital]] website.<ref>{{BDh|586|0|2019-03-11}}</ref>
* No.&nbsp;37: "Willst du dein Herz mir schenken" a.k.a. "Aria di G[i]ovannini" (BWV&nbsp;518)<ref>{{BDh|590|0|2019-03-11}}</ref>
* No.&nbsp;40: "Wie wohl ist mir, o Freund der Seelen" (BWV&nbsp;517)<ref>{{BDh|589|0|2019-03-11}}</ref>
* No.&nbsp;41: "Gedenke doch, mein Geist, zurücke" (BWV&nbsp;509)<ref>{{BDh|580|0|2019-03-11}}</ref>

For many keyboard pieces that were unattributed in Anna Magdalena's 1725 {{lang|de|Notenbüchlein}}, doubts about authorship had been around for a longer time: twenty such pieces, [[BWV&nbsp;Anh.]]&nbsp;113–132, had been listed in the [[BWV Anh. II|second ''Anhang'']], that is the {{lang|de|[[Anhang (disambiguation)|Anhang]]}} of doubtful compositions, since the 1950 first edition of the BWV catalogue.{{sfn|Dürr|Kobayashi|Beißwenger|1998|pp=459, 465}} Apart from "{{Lang|de|Bist du bei mir|italic=no}}", all compositions from the three notebooks (Wilhelm Friedemann's {{lang|de|Klavierbüchlein}} and both of Anna Magdalena's notebooks) that have been positively identified as being originally composed by another composer than Bach are keyboard pieces.{{citation needed|date=January 2020}}

In the notebook "{{Lang|de|Bist du bei mir|italic=no}}" is entered on two non-consecutive pages: the first half of the aria is on page 75, and the second half is on page 78: in between, No.&nbsp;26 on pages 76–77, is Anna Magdalena's copy of the aria of the ''[[Goldberg Variations]]''.<ref name="BWV508RISM" /> That copy of [[BWV&nbsp;988]]/1 was written down no earlier than 1733–34, possibly even only in the 1740s.{{sfn|2. Notenbüchlein der A. M. Bach, 1725 (D-B Mus. ms. Bach P 225) at Bach Digital}} There are various possibilities as to how the ''Diomedes'' aria became known in the Bach household, including, according to [[Andreas Glöckner]], from scores that once belonged to the {{lang|de|Oper am Brühl}} (which had bankrupted in 1720), or that "{{Lang|de|Bist du bei mir|italic=no}}" simply was a well-known ditty in Leipzig in the second quarter of the 18th century, which Anna Magdalena thought would make a welcome addition to her {{Lang|de|Hausmusik}} collection.{{sfn|Glöckner et al.|2002|p=174}}

Like in the five arias manuscript, the "{{Lang|de|Bist du bei mir|italic=no}}" version in Anna Magdalena's notebook is in E-flat major, and uses a soprano clef for the singing voice.<ref name="BWV508RISM" /> A difference in the notation is, however, that Anna Magdalena's manuscript uses three flats at the clef, which is the usual [[key signature]] for a composition in that key.<ref name="BWV508RISM" /> Anna Magdalena likely copied her version from a score that used two flats at the clef.<ref name="BWV508RISM" /> Apart from one measure in the second half of the composition, the melody for the singing voice is identical in both manuscripts.{{sfn|Glöckner et al.|2002|p=173}}<ref name="BdbmRISM" /> The continuo part of the BWV&nbsp;508 version of "{{Lang|de|Bist du bei mir|italic=no}}" is more lively and continuous in its voice leading than that of the extant orchestral version of the aria.{{sfn|Glöckner et al.|2002|p=173}}<ref name="BdbmRISM" /> The characteristics of the BWV&nbsp;508 version (and of its extant manuscript), do not prove that Anna Magdalena's husband was the arranger of that version.{{sfn|Glöckner et al.|2002|p=173}}

==Reception==
<!--Apart from a few arias the music of Stölzel's ''Diomedes'' is lost. A version for soprano, [[string orchestra|strings]] and continuo of its aria "{{Lang|de|Bist du bei mir|italic=no}}" survives in an 18th-century manuscript owned by the [[Sing-Akademie zu Berlin]].-->

===1860s–1940s===
In 1866, a year after he had published [[Biographies of Johann Sebastian Bach#Bitter's multi-volume biography|his two-volume biography of Johann Sebastian Bach]], [[Carl Hermann Bitter]] published six songs from Anna Magdalena's second {{lang|de|Notenbüchlein}}, including "{{Lang|de|Bist du bei mir|italic=no}}".{{sfn|Yearsley|2019|p=[https://books.google.com/books?id=8bGhDwAAQBAJ&pg=PA256 256]}}{{sfn|Tomita|2018}}{{sfn|Bitter|1866}} [[Ernst Naumann]] published the aria separately in 1890, with a keyboard realisation of the accompaniment of his own hand.{{sfn|Naumann|1890}}{{sfn|Hofmeister|1890|p=[http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=1000001&bd=0001890&teil=0203&seite=00000340 340]}} The {{lang|de|[[Bach Gesellschaft]]}} published "{{Lang|de|Bist du bei mir|italic=no}}" twice, both in the voice and continuo version as found in Anna Magdalena's notebook:
* edited by [[Franz Wüllner]], in Vol.&nbsp;39 (1892) of the {{lang|de|Bach-Gesellschaft Ausgabe}} (BGA).{{sfn|Wüllner|1892|pp=309–310}} In his preface, the editor names "{{Lang|de|Bist du bei mir|italic=no}}" as one of the most beautiful songs he knows, and attributes it without doubt to Bach.{{sfn|Wüllner|1892|p=LXII}}
* edited by {{ill|Paul Waldersee|scores|Category:Waldersee, Paul|de|Paul von Waldersee}}, in Vol.&nbsp;43<sup>2</sup> (1894) of the BGA.{{sfn|Waldersee|1894|pp=36–37}} This editor is a bit more cautious when attributing the piece to Bach ("... könnte ... wohl eine Composition Johann Sebastian's sein" – {{translation|"... could ... well be a composition by Johann Sebastian"}}), while thinking it odd that the lyrics, which rather seem to be spoken by a male character, would be assigned to a female voice.{{sfn|Waldersee|1894|p=XII}}
[[File:Blanche Marchesi btv1b85969067-p025 (cropped).jpg|thumb|[[Blanche Marchesi]] recorded "{{Lang|de|Bist du bei mir|italic=no}}" in 1906.{{sfn|Potter|2017|p=[https://books.google.com/books?id=1S8rDwAAQBAJ&pg=PA416 416]}}]]
Also in 1894, Novello published ''Three Songs from Anna-Magdalena Bach's Notebooks'', among which "{{Lang|de|Bist du bei mir|italic=no}}", with an English translation.{{sfn|Barry|1894}}{{sfn|Yearsley|2019|pp=[https://books.google.com/books?id=8bGhDwAAQBAJ&pg=PA14 14], [https://books.google.com/books?id=8bGhDwAAQBAJ&pg=PA258 258]}} A story about Bach's family life, published in the same year for a youthful audience, describes the aria as especially captivating among the songs and dances of the notebooks.{{sfn|Yearsley|2019|pp=[https://books.google.com/books?id=8bGhDwAAQBAJ&pg=PA11 11], [https://books.google.com/books?id=8bGhDwAAQBAJ&pg=PA257 257–258]}} After the publication of several anthologies, all the pieces of the second notebook were published in a single volume in 1904.{{sfn|Yearsley|2019|pp=[https://books.google.com/books?id=8bGhDwAAQBAJ&pg=PA11 11–12], [https://books.google.com/books?id=8bGhDwAAQBAJ&pg=PA258 258]}}{{sfn|Batka|1904}} "{{Lang|de|Bist du bei mir|italic=no}}" was recorded in 1906, sung by [[Blanche Marchesi]].{{sfn|Potter|2017|p=[https://books.google.com/books?id=1S8rDwAAQBAJ&pg=PA416 416]}}

Around 1915 [[Max Schneider (music historian)|Max Schneider]] discovered the orchestral version of "{{Lang|de|Bist du bei mir|italic=no}}", along with four other arias by Stölzel, in an 18th-century manuscript at the library of the [[Sing-Akademie zu Berlin]].{{sfn|Berkahn|2006|p=40}} At the time, this source was not further explored.{{sfn|Glöckner et al.|2002|p=172}} In the 1920s the aria appeared in fictionalised biographical accounts:{{sfn|Yearsley|2019|pp=[https://books.google.com/books?id=8bGhDwAAQBAJ&pg=PA13 13–18], [https://books.google.com/books?id=8bGhDwAAQBAJ&pg=PA258 258]}}
* A 1924 story by {{ill|Kurt Arnold Findeisen|de}} depicts Anna Magdalena starting to sing the aria when her husband returns home with the news that the [[Christiane Eberhardine of Brandenburg-Bayreuth|Saxon Electress]] has died (1727).{{sfn|Yearsley|2019|pp=[https://books.google.com/books?id=8bGhDwAAQBAJ&pg=PA13 13–15], [https://books.google.com/books?id=8bGhDwAAQBAJ&pg=PA258 258]}}
* [[Esther Meynell]]'s ''The Little Chronicle of Magdalena Bach'' (1925) pictures Anna Magdalena as overcome with emotion when she attempts to sing the aria.{{sfn|Yearsley|2019|pp=[https://books.google.com/books?id=8bGhDwAAQBAJ&pg=PA16 16–18], [https://books.google.com/books?id=8bGhDwAAQBAJ&pg=PA258 258]}}

[[Lotte Lehmann]] recorded "{{Lang|de|Bist du bei mir|italic=no}}" in 1929.<ref>[https://lottelehmannleague.org/the-lehmann-recordings/ The Lehmann Recordings] at [[Lotte Lehmann League]] website. {{Retrieved|access-date=2020-01-29}}</ref> Singers who recorded the aria in the 1930s include [[Elisabeth Schumann]], [[Paula Salomon-Lindberg]] and [[Jo Vincent]].<ref>[https://pool.publicdomainproject.org/index.php/Hmv-db2291-32-4808-2wx767 Hmv-db2291-32-4808-2wx767] at [[Public Domain Project]] website. {{Retrieved|access-date=2020-01-29}}</ref><ref>{{OCLC|59669412}} {{Retrieved|access-date=2020-01-29}}</ref><ref>{{BNF|37827808s}} {{Retrieved|access-date=2020-01-29}}</ref> [[Richard Crooks]] sang "If Thou Be Near", an English-language version of the aria, on a recording that was released in 1938.<ref>[https://archive.org/details/78_if-thou-be-near-bist-du-bei-mir_richard-crooks-j-s-bach-charles-oconnell-wilfr_gbia0042859b If Thou Be Near (Bist du bei Mir) by Richard Crooks; J. S. Bach; Charles O'Connell; Wilfred Pelletier – Victor (1912-B)] at [[Internet Archive]] website. {{Retrieved|access-date=2020-01-29}}</ref> Another English-language version, "Be Thou with me", was sung by [[Isobel Baillie]] on a war-time recording.<ref>{{OCLC|46612450}} {{Retrieved|access-date=2020-01-29}}</ref> During the [[Second World War]], the archive of the Berlin Sing-Akademie went lost.<ref name="Veit2007">Patrice Veit. [http://ifha.revues.org/624 "''ENßLIN, Wolfram,'' Die Bach-Quellen der SingAkademie zu Berlin. Katalog"], recension in ''Revue de l'Institut français d'histoire en Allemagne'', 2007.</ref> [[Otto Klemperer]]'s orchestral version of the aria was recorded in the 1940s.<ref>[http://www.arkivmusic.com/classical/album.jsp?album_id=654674 J.S. Bach: Magnificat In&nbsp;D; Brandenburg Concerto No.&nbsp;5; Air From Suite No.&nbsp;3; Bist Du Bei Mir] at [[ArkivMusic]] website. {{Retrieved|access-date=2020-01-29}}</ref>

===1950s and later===
In 1950 [[Wolfgang Schmieder]] listed "{{Lang|de|Bist du bei mir|italic=no}}" as a composition by Bach in the first edition of the ''[[Bach-Werke-Verzeichnis]]'', assigning it the number 508 in that catalogue. In 1957 the aria was published in the ''[[New Bach Edition]]'', where its editor, [[Georg von Dadelsen]], mentioned the lost orchestral version in the Critical Commentary volume.{{sfn|Berkahn|2006|pp=40–42}}<ref>[[Georg von Dadelsen]], editor. ''[[New Bach Edition]]'', [https://www.baerenreiter.com/en/catalogue/complete-editions/bach-johann-sebastian/nba/series-v/ Series V: Keyboard and Lute Works], Vol. 4: ''The Klavierbüchlein für Anna Magdalena Bach from 1722 and 1725'', [https://www.baerenreiter.com/en/shop/product/details/BA5008_01/ Score] (1957; <sup>2</sup>1963; <sup>3</sup>1978; <sup>4</sup>2014) and [https://www.baerenreiter.com/en/shop/product/details/BA5008_41/ Critical Commentary] (1957). [[Bärenreiter]].</ref><ref>{{BDh|579|00|2019-06-14|Work|Bist du bei mir (aria) BWV 508}}</ref> The 1998 edition of the Bach-Werke-Verzeichnis kept "{{Lang|de|Bist du bei mir|italic=no}}" in the main catalogue (i.e. without moving it to the ''[[BWV Anh.|Anhang]]'' either of the doubtful or of the spurious works), but mentions it was based on a setting by Stölzel in an inaccessible source.<ref>(BWV<sup>2a</sup>) [[Alfred Dürr]], Yoshitake Kobayashi (eds.), Kirsten Beißwenger. ''Bach Werke Verzeichnis: Kleine Ausgabe, nach der von Wolfgang Schmieder vorgelegten 2. Ausgabe''. Preface in English and German. Wiesbaden: [[Breitkopf & Härtel]], 1998. {{ISBN|3765102490}} – {{ISBN|978-3765102493}}, [https://www.bachmidi.info/kbwv-06.html#p0308 pp.&nbsp;308–309].</ref>

Recordings of the aria from the second half of the 20th century include:
* [[Elisabeth Schwarzkopf]]'s 1954 recording at [[Abbey Road Studios]] with pianist [[Gerald Moore]],<ref>[http://www.arkivmusic.com/classical/album.jsp?album_id=550072 ''Elisabeth Schwarzkopf – Perfect Prima Donna''], [[EMI Classics]], Cat. 9184592, at [[ArkivMusic]].</ref>

In 1999 the lost archive of the [[Sing-Akademie zu Berlin]] was recovered in [[Kyiv]].<ref>Michael O'Loghlin. [https://books.google.com/books?id=iS8rDwAAQBAJ "Frederick the Great and his Musicians: The Viola da Gamba Music of the Berlin School"], ''University of Queensland, Australia'', 2008. {{ISBN|9780754658856}}, [https://books.google.com/books?id=iS8rDwAAQBAJ&pg=PA60 p.&nbsp;60]</ref><ref name="Veit2007" /><ref>Patricia Kennedy Grimsted. [https://www.ucis.pitt.edu/nceeer/2003_816_03_Grimsted.pdf "Bach is Back in Berlin: The Return of the Sing-Akademie Archive from Ukraine in the Context of Displaced Cultural Treasures and Restitution Politics"], ''Harvard Ukrainian Research Institute'', 2003. pp.&nbsp;24-26</ref> Nonetheless, the manuscript with the five Stölzel arias was still considered lost as late as 2006.{{sfn|Berkahn|2006|pp=40–42}} That same year the manuscript was however described in a publication by the [[Bach Archive]], edited by Wolfram Enßlin.<ref name="Veit2007" /><ref name="11SacredSongsRISM" /> In 2009 a full catalogue of the Sing-Akademie's archive was published, in which the manuscript containing the five arias by Stölzel is indicated as SA&nbsp;808.<ref name="Gruyter2009">Axel Fischer and Matthias Kornemann, editors. [https://books.google.com/books?id=cBfCTlW9R9YC ''The Archive of the Sing-Akademie zu Berlin: Catalogue''.] Walter de Gruyter, 2009. {{ISBN|9783598441745}}, [https://books.google.com/books?id=cBfCTlW9R9YC&pg=PA67 p.&nbsp;67], [https://books.google.com/books?id=cBfCTlW9R9YC&pg=PA249 249–250] and [https://books.google.com/books?id=cBfCTlW9R9YC&pg=PA687 687–688].</ref> By this time "{{Lang|de|Bist du bei mir|italic=no}}" and the four other arias of the SA&nbsp;808 manuscript were identified as belonging to Stölzel's opera ''Diomedes''.<ref name="Gruyter2009" /> The archive of the Sing-Akademie was transmitted to the [[Berlin State Library]], which made a facsimile of the manuscript containing the ''Diomedes'' arias available on their website.<ref name="SBBmanuscript" /><ref name="Veit2007" />

"{{Lang|de|Bist du bei mir|italic=no}}" has become a very popular choice for wedding ceremonies and other such occasions.{{sfn|Berkahn|2006|pp=40–42}}<ref name="HBrecordings">[http://www.hbdirect.com/browse_classical.php?composer=S&specific_composer=St%26ouml%3Blzel%2C+Gottfried+Heinrich&v_0=composer&v_1=specific_composer&v_2=specific_work&specific_work=Bist+du+bei+mir Stölzel, Gottfried Heinrich  "Bist du bei mir"] at hbdirect.com.</ref> The question whether the perception and popularity of the piece would have been affected if it would have been identified as Stölzel's in an earlier stage remains unanswered.{{sfn|Berkahn|2006|pp=40–42}}

21st-century recordings of "Bist du bei mir" include:
* A recording by [[Natalie Dessay]] and [[Rolando Villazón]], with an accompaniment for [[piano]], [[violin]]s, and [[cello]] arranged by [[Philippe Rombi]], for the 2005 film ''[[Joyeux Noël]]''.{{citation needed|date=January 2020}}
* A recording by [[Amira Willighagen]] on her second album, ''Merry Christmas''<ref>{{Citation|title=Amira Willighagen - 2nd Album CD (2015) - "Merry Christmas"|url=https://www.youtube.com/watch?v=wG_kwfTax6U|language=en|access-date=2022-02-15}}</ref> (2015), at eleven years of age.
* [[Hayley Westenra]] added it to the UK release of her third album [[Treasure_(Hayley_Westenra_album)]] in 2007 (Treasure became Westenra's fourth album in New Zealand)

== References ==
{{reflist|30em}}

== Sources ==
* {{BDh|1135|0|2020-01-22|Source|1. Klavierbüchlein der A. M. Bach, 1722 (D-B Mus.ms. Bach P 224)}}
* {{BDh|1136|0|2020-01-13|Source|2. Notenbüchlein der A. M. Bach, 1725 (D-B Mus. ms. Bach P 225)}}
* {{cite book |last1=Ahrens |first1=Christian |date=2007 |chapter=Neue Quellen zu J. S. Bachs Beziehungen nach Gotha |trans-chapter=New sources regarding J.&nbsp;S. Bach's interaction with Gotha |chapter-url=https://journals.qucosa.de/ejournals/bjb/article/view/1816 |editor1-last=Wollny |editor1-first=Peter |editor1-link=Peter Wollny  |title=Bach-Jahrbuch 2007 |trans-title=Bach Yearbook 2007 |url=https://journals.qucosa.de/ejournals/bjb/issue/view/168 |series=[[Bach-Jahrbuch]] |language=de |volume=93 |others=[[Neue Bachgesellschaft]] |location=Leipzig |publisher=[[Evangelische Verlagsanstalt]] |pages=45–60 |doi=10.13141/bjb.v2007 |isbn=978-3-374-02579-4 |issn=0084-7682 }}
* {{cite book |translator-last1=Hernaman |translator-first1=C.&nbsp;F. |date=1894 |editor1-last=Barry |editor1-first=Charles Ainslie |title=Three Songs from Anna-Magdalena Bach's Notebooks |publisher=[[Novello & Co]] |oclc=1061635218 }}
* {{cite book |date=1904 |editor1-last=Batka |editor1-first=Richard |editor1-link=:de:Richard Batka |title=Johann Sebastian Bachs Notenbüchlein für Anna Magdalena Bach (1725) |trans-title=Johann Sebastian Bach's note-booklet for Anna Magdalena Bach (1725) |url= |language=de |location=Munich |publisher=Callwey }}
* {{cite thesis |last1=Berkahn |first1=Jonathan |date=2006 |title=Wrestling with the German Devil: Five Case Studies in Fugue After J.S. Bach |url=http://researcharchive.vuw.ac.nz/handle/10063/1038 |publisher=Victoria University of Wellington |hdl=10063/1038 }}
* {{cite book |date=1866 |editor1-last=Bitter |editor1-first=Carl Hermann |editor1-link=Carl Hermann Bitter |title=Sechs deutsche Lieder von Joh. Seb. Bach |trans-title=Six German Songs by Joh. Seb. Bach |url= |language=de |others=[[Vincenz Lachner|Lachner, Vincenz]] (realisation of piano accompaniment) |location=Berlin |publisher=Bote & G. Bock }}
* {{cite book |date=1998 |editor1-last=Dürr |editor1-first=Alfred |editor1-link=Alfred Dürr |editor2-last=Kobayashi |editor2-first=Yoshitake |editor-first3=Kirsten |editor-last3=Beißwenger |title=[[Bach-Werke-Verzeichnis|Bach Werke Verzeichnis: Kleine Ausgabe – Nach der von Wolfgang Schmieder vorgelegten 2. Ausgabe]] |trans-title=Bach Works Catalogue: Small Edition – After Wolfgang Schmieder's 2nd edition |language=de, en |edition=[[BWV2a|BWV<sup>2a</sup>]] |location=Wiesbaden |publisher=[[Breitkopf & Härtel]] |isbn=9783765102493}}
* {{cite web |url=https://www.lieder.net/lieder/get_text.html?TextId=381 |title=Bist du bei mir |date=2014-06-16 |editor-last=Ezust |editor-first=Emily |website=[[The LiederNet Archive]] }}
* {{cite book |last4=Wolff |first4=Christoph |author-link4=Christoph Wolff |last2=Leisinger |first2=Ulrich |author-link2=Ulrich Leisinger |last1=Glöckner |first1=Andreas |author-link1=Andreas Glöckner |last3=Schulze |first3=Hans-Joachim |author-link3=Hans-Joachim Schulze |last5=Wollny |first5=Peter |author-link5=Peter Wollny |date=2002 |chapter=Zurück in Berlin: Das Notenarchiv der Sing-Akademie – Bericht über eine erste Bestandsaufname"; (CW, pp.&nbsp;167–169:) "Originale Ripienstimmen zu BWV&nbsp;23"; (HJS, pp.&nbsp;169–172:) "''Amore traditore'' – Zur Herkunft eines umstrittenen Kantatentextes"; (AG, pp.&nbsp;172–174:) "Neues zum Thema Bach und die Oper seiner Zeit"; (PW, pp.&nbsp;175–178:) "Die Autographe Wilhelm Friedemann Bachs|trans-chapter="Back in Berlin: the music archive of the [[Sing-Akademie zu Berlin|Sing-Akademie]] – Notice about a first record of items"; (CW, pp.&nbsp;167–169:) "Original [[ripieno]]-voices of [[BWV&nbsp;23]]"; (HJS, pp.&nbsp;169–172:) "''[[Amore traditore]]'' – About the provenance of a debated cantata text"; (AG, pp.&nbsp;172–174:) "News on the topic of Bach and the operas of his time"; (PW, pp.&nbsp;175–178:) "The [[autograph (music)|autographs]] of [[Wilhelm Friedemann Bach]]" |chapter-url=https://journals.qucosa.de/ejournals/bjb/article/view/1745 |editor1-last=Schulze |editor1-first=Hans-Joachim |editor2-last=Wolff |editor2-first=Christoph |title=Bach-Jahrbuch 2002 |trans-title=Bach Yearbook 2002 |url=https://journals.qucosa.de/ejournals/bjb/issue/view/163 |series=[[Bach-Jahrbuch]] |language=de |volume=88 |others=[[Neue Bachgesellschaft]] |location=Leipzig |publisher=[[Evangelische Verlagsanstalt]] |pages=165–180 |doi=10.13141/bjb.v2002 |isbn=3-374-02031-3 |issn=0084-7682 |ref={{SfnRef|Glöckner et al.|2002}} }}
* {{cite book |last1=Glöckner |first1=Andreas |author-link1=Andreas Glöckner |date=2009 |chapter=Ein weiterer Kantatenjahrgang Gottfried Heinrich Stölzels in Bachs Aufführungsrepertoire? |trans-chapter=Is there another cantata cycle by Gottfried Heinrich Stölzel that belonged to Bach's performance repertoire? |chapter-url=https://journals.qucosa.de/ejournals/bjb/article/view/1861 |editor1-last=Wollny |editor1-first=Peter |editor1-link=Peter Wollny |title=Bach-Jahrbuch 2009 |trans-title=Bach Yearbook 2009 |url=https://journals.qucosa.de/ejournals/bjb/issue/view/170 |series=[[Bach-Jahrbuch]] |language=de |volume=95 |others=[[Neue Bachgesellschaft]] |location=Leipzig |publisher=[[Evangelische Verlagsanstalt]] |pages=95–115 |doi=10.13141/bjb.v2009 |isbn=978-3-374-02749-1 |issn=0084-7682 }}
* {{cite book |last1=Hegen |first1=Irene |date=2018 |chapter=Die markgräfliche Hofkapelle zu Bayreuth (1661–1769) |trans-chapter= |chapter-url=https://books.google.com/books?id=X81-DwAAQBAJ&pg=PA1 |editor1-last=Leopold |editor1-first=Silke |editor1-link=Silke Leopold |editor2-last=Pelker |editor2-first=Bärbel |title=Süddeutsche Hofkapellen im 18. Jahrhundert: Eine Bestandsaufnahme |trans-title= |url=https://books.google.com/books?id=X81-DwAAQBAJ |language=de |publisher=[[Books on Demand]] |pages=1–54 |isbn=9783946054788 }}
* {{cite journal |date=1890 |title=Gesänge für eine Singstimme mit Pianoforte |trans-title=Songs for one singing voice and pianoforte |url=http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=1000001&bd=0001890&teil=0203&seite=00000340 |journal=Musikalisch-literarischer Monatsbericht |language=de |location=Leipzig |publisher=[[Friedrich Hofmeister Musikverlag|Friedrich Hofmeister]] |volume=62 |issue=8 |pages=340–348 |ref={{harvid|Hofmeister|1890}} }}
* {{BDh|4312|0|2018-11-20|Source|Klavierbüchlein für W. F. Bach (US-NHub Music Deposit)}}
* {{cite journal |date=1754 |editor1-last=Mizler |editor1-first=Lorenz Christoph |editor1-link=Lorenz Christoph Mizler |title=VI. Denkmal dreyer verstorbenen Mitglieder der Societät der musikalischen Wissenschafften", including: (Stölzel's obituary, pp.&nbsp;143–157:) "B.", and (Bach's obituary, pp.&nbsp;158–176:) "C. |trans-title= |url=https://archive.org/stream/bub_gb_lfQ4AAAAIAAJ#page/n1008/mode/2up |journal={{ill|Musikalische Bibliothek|de}} |language=de |location=Leipzig |publisher=Mizlerischer Bücherverlag |volume=IV |issue=1 |pages=129–176 }}
* {{cite book |date=1890 |editor1-last=Naumann |editor1-first=Ernst |editor1-link=Ernst Naumann |title=Joh. Seb. Bach: "Bist du bei mir" (Aus dem grössern Klavierbüchlein f. A. Magd. Bach) |trans-title=Joh. Seb. Bach: "Bist du bei mir" (from the larger keyboard booklet f. A. Magd. Bach |url= |series=Liederkreis: Sammlung vorzüglicher Lieder und Gesänge für eine Stimme mit Begleitung des Pianoforte |language=de |volume=3 |location=Leipzig |publisher=[[Breitkopf & Härtel]] |id=271 }}
*{{cite book |date=1992 |chapter=Song Texts |chapter-url=https://books.google.com/books?id=hPnPKwYSOKsC&pg=PA46 |editor1-last=Palmer |editor1-first=Willard A. |editor1-link=Willard Palmer |title=Selections from Anna Magdalena's Notebook |url=https://books.google.com/books?id=hPnPKwYSOKsC |edition=2nd |publisher=[[Alfred Music]] |pages=46ff |isbn=9781457442704 }}
* {{cite book |last1=Pfau |first1=Marc-Roderich |date=2008 |chapter=Ein unbekanntes Leipziger Kantatentextheft aus dem Jahr 1735: Neues zum Thema Bach und Stölzel |trans-chapter=An unknown Leipzig cantata text publication from the year 1735: News regarding Bach and Stölzel |chapter-url=https://journals.qucosa.de/ejournals/bjb/article/view/1899 |editor1-last=Wollny |editor1-first=Peter |editor1-link=Peter Wollny  |title=Bach-Jahrbuch 2008 |trans-title=Bach Yearbook 2008 |url=https://journals.qucosa.de/ejournals/bjb/issue/view/169 |series=[[Bach-Jahrbuch]] |language=de |volume=94 |others=[[Neue Bachgesellschaft]] |location=Leipzig |publisher=[[Evangelische Verlagsanstalt]] |pages=99–122 |doi=10.13141/bjb.v2008 |isbn=978-3-374-02668-5 |issn=0084-7682 }}
* {{cite book |last1=Potter |first1=John |author-link1=John Potter (musician) |date=2017 |chapter=Beggar at the Door: The Rise and Fall of Portamento in Singing |chapter-url=https://books.google.com/books?id=1S8rDwAAQBAJ&pg=PA401 |editor1-last=Milsom |editor1-first=David |title=Classical and Romantic Music |url=https://books.google.com/books?id=1S8rDwAAQBAJ |publisher=Routledge |pages=401–428 |isbn=9781351571753 }}
* {{cite book |last1=Schabalina |first1=Tatjana |date=2008 |chapter=''Texte zur Music'' in Sankt Petersburg: Neue Quellen zur Leipziger Musikgeschichte sowie zur Kompositions- und Aufführungstätigkeit Johann Sebastian Bachs |trans-chapter={{lang|de|Texte zur Music}} in [[Saint Petersburg]]: New sources on Leipzig's music history, including on Johann Sebastian Bach's compositional and performatory practices |chapter-url=https://journals.qucosa.de/ejournals/bjb/article/view/1898 |editor1-last=Wollny |editor1-first=Peter |editor1-link=Peter Wollny  |title=Bach-Jahrbuch 2008 |trans-title=Bach Yearbook 2008 |url=https://journals.qucosa.de/ejournals/bjb/issue/view/169 |series=[[Bach-Jahrbuch]] |language=de |volume=94 |others=[[Neue Bachgesellschaft]] |location=Leipzig |publisher=[[Evangelische Verlagsanstalt]] |pages=33–98 |doi=10.13141/bjb.v2008 |isbn=978-3-374-02668-5 |issn=0084-7682 }}
* {{cite book |last1=Stockigt |first1=Janice B. |date=2013 |chapter=Bach's ''Missa'' BWV 232<sup>I</sup> in the context of Catholic Mass settings in Dresden, 1729–1733 |chapter-url=https://books.google.com/books?id=ZbT1AAAAQBAJ&pg=PA39 |editor1-last=Tomita |editor1-first=Yo |editor1-link=wikidata:Q11457180 |editor2-last=Leaver |editor2-first=Robin A. |editor3-last=Smaczny |editor3-first=Jan |title=Exploring Bach's B-minor Mass |url=https://books.google.com/books?id=ZbT1AAAAQBAJ |publisher=[[Cambridge University Press]] |pages=39–53 |isbn=978-1-107-00790-1 }}
* {{cite book |last1=Stölzel |first1=Gottfried Heinrich |author-link1=Gottfried Heinrich Stölzel |date=1740 |chapter=Melch. Hofmann" and "Stöltzel |trans-chapter="[[Melchior Hoffmann (composer)|Melch. Hoffmann]]" and "[[Gottfried Heinrich Stölzel|Stölzel]]"|chapter-url= |editor1-last=Mattheson |editor1-first=Johann |editor1-link=Johann Mattheson |title=[[scores:Grundlage einer Ehren-Pforte (Mattheson, Johann)|Grundlage einer Ehren-Pforte]] |trans-title= |url= |language=de |location=Hamburg |publisher=Mattheson |pages=117–119 and 342–347 }}
* {{cite web |url=http://homepages.bw.edu/bachbib/script/bach1ct.pl?0=Bitter%2C+Carl+Hermann&3=&12=&4=&5=&6=&8=&sorting=chronologically+%28table%29&maxlimit=300&datefilter=1&Limit=%28select+filters%29 |title=Author: Bitter, Carl Hermann (chronological table) |date=30 December 2018 |editor-last=Tomita |editor-first=Yo |editor-link=:fr:Yō Tomita |website=Bach Bibliography |publisher=Queen's University Belfast }}
* {{cite book |date=1894 |editor1-last=Waldersee |editor1-first=Paul |editor1-link=:de:Paul von Waldersee |title=[[scores:Bach-Gesellschaft Ausgabe (Bach, Johann Sebastian)#Band 43.2. Musikstücke in den Notenbüchern der Anna Magdalena Bach|Musikstücke in den Notenbüchern der Anna Magdalena Bach]] |trans-title=Musical pieces in the notebooks of Anna Magdalena Bach |url= |series=[[Bach-Gesellschaft Ausgabe]] |language=de |volume=43 |issue=2 |location=Leipzig |publisher=[[Breitkopf & Härtel]] }}
* {{cite book |last1=Wolff |first1=Christoph |author-link1=Christoph Wolff |date=2002 |title=Johann Sebastian Bach: The Learned Musician |url=https://books.google.com/books?id=ronZdkhQouMC |edition=paperback |publisher=Oxford University Press |isbn=0199248842 }}
* {{cite book |last1=Wollny |first1=Peter |author-link1=Peter Wollny |date=2008 |chapter=''Bekennen will ich seinen Namen'': Authentizität, Bestimmung und Kontext der Arie BWV&nbsp;200. Anmerkungen zu Johann Sebastian Bachs Rezeption von Werken Gottfried Heinrich Stölzels |trans-chapter=''Bekennen will ich seinen Namen'': authenticity, purpose and context of the aria [[BWV&nbsp;200]]. Annotations regarding Johann Sebastian Bach's reception of Gottfried Heinrich Stölzel's works |chapter-url=https://journals.qucosa.de/ejournals/bjb/article/view/1900 |title=Bach-Jahrbuch 2008 |trans-title=Bach Yearbook 2008 |url=https://journals.qucosa.de/ejournals/bjb/issue/view/169 |series=[[Bach-Jahrbuch]] |language=de |volume=94 |others=[[Neue Bachgesellschaft]] |location=Leipzig |publisher=[[Evangelische Verlagsanstalt]] |pages=123–158 |doi=10.13141/bjb.v2008 |isbn=978-3-374-02668-5 |issn=0084-7682 }}
* {{cite book |date=1892 |editor1-last=Wüllner |editor1-first=Franz |editor1-link=Franz Wüllner |title=[[scores:Bach-Gesellschaft Ausgabe (Bach, Johann Sebastian)#Band 39. Motetten, Choräle und Lieder|Motetten, Choräle und Lieder]] |trans-title=Motets, chorales and songs |url= |series=[[Bach-Gesellschaft Ausgabe]] |language=de |volume=39 |location=Leipzig |publisher=[[Breitkopf & Härtel]] }}
* {{cite book |last1=Yearsley |first1=David |author-link1=David Yearsley |date=2019 |title=Sex, Death, and Minuets: Anna Magdalena Bach and Her Musical Notebooks |url=https://books.google.com/books?id=8bGhDwAAQBAJ |publisher=[[University of Chicago Press]] |isbn=9780226617848 }}

== External links ==
* {{Musicbrainz work}}
* [http://allofbach.com/en/bwv/bwv-508/ Bist du bei mir, BWV 508]: performance by the [[Netherlands Bach Society]] (video and background information)
* {{IMSLP|work=Songs and Arias, BWV 439-518 (Bach, Johann Sebastian)#Songs and arias from Notenbuch der Anna Magdalena Bach, BWV 508–518|cname=Songs and arias from Notenbuch der Anna Magdalena Bach, BWV 508–518}}
* {{IMSLP|work=Diomedes (Stölzel, Gottfried Heinrich)|cname="Bist du bei mir" (from Stölzel's ''Diomedes'')}}
* [http://artsongcentral.com/2007/bach-attr-bist-du-bei-mir/ "Bist du bei mir"], details, including sheet music
* [http://www.mutopiaproject.org/cgibin/make-table.cgi?preview=1&searchingfor=Bist&Composer=BachJS&Instrument=&Style=&timelength=1&timeunit=week&lilyversion= "Bist du bei mir"] at the [[Mutopia Project]]
* {{YouTube|id=QYTo4GMWSDc|title="Bist du bei mir"}}, [[Elisabeth Schwarzkopf]], [[Gerald Moore]], [[Angel Records]] 35023
* {{RISM|469080810}}
{{Bach spurious}}
{{Authority control}}

[[Category:Compositions by Gottfried Heinrich Stölzel]]
[[Category:1718 compositions]]
[[Category:1725 compositions]]
[[Category:Bach: spurious and doubtful works]]
[[Category:Arias in German]]
[[Category:Soprano arias]]